YellowBrickRoad: All One Word Because This Shit Is Serious

YellowBrickRoad is going to make my head hurt. Not just because my spell check is underlining with RED every time I write the impossibly correct word YellowBrickRoad, but also because it's one of those movies that plays tricks on your mind. This time however, we can't play tricks back which evidently results in a very painful headache or head hurting, or if you're very unlucky--a migraine.

I had heard a few things here and there about YellowBrickRoad and they all had me intrigued. The main one being that it was "creepy". I love creepy. In fact, if I had to pick my favorite kind of horror movie it would BE creepy. Creepy is the good kind of horror that you can't get enough of. It's not gross, it's not zombies, and it's definitely not Saw. Creepiness in horror films is something that several films have been lacking as of late and it gives me a perpetual sad face. Perhaps that's why I came away mostly liking Don't Be Afraid of the Dark. That whispering from the furnace? CREEPY. And in my book--creepiness equals success.

You'll be happy to know then, that the story behind YellowBrickRoad IS creepy. In 1940 all the citizens of Friar New Hampshire abandoned their homes and set off down an unmarked trail. Some were found frozen to death, others mysteriously slaughtered but most of them were never seen or heard from again. The mystery of the residents of Friar has gone unsolved for 70 years but now a team of researchers ventures into the woods on a path to find out what really happened.

The beginning of YellowBrickRoad is 100% delightful. Filled with a supposed real recording of the only known survivor from the ordeal and a few well crafted "authentic" photographs from the scene of the crime. It doesn't matter here whether or not this actually happened---what matters is that the film does such a good job of building up that instant creepiness that it causes us to instantly believe every single aspect of the tale. I'll even be honest with you and tell you that the recording of the only man who was found alive sent chills up my spine and caused me to put off watching the film till morning.

For the most part, YellowBrickRoad stays on that line of creepiness but it never seems to live up to that initial moment of setting the stage. Things continue to be creepy yes, but that tingly feeling never did seem to return. Still, you cannot deny that the film has some truly creative moments of scares. The premise is very simplistic yet unbelievably bizarre. At some point, loud and creepy music from the "old days" starts pouring out seemingly from the sky and never stops. An old hat is found in the woods, and people's psychological well being seems to fade with each passing day.

If you want answers out of YellowBrickRoad, you'll have a hard time finding them. This is where you might feel some headaches because here you'll have to think about things and come to your own conclusion about what is going on. Why do people walk on the YellowBrickRoad? Is it to find something or is it to go home? There are several different things at work here and they are all equally intriguing. Of course those of you who need to know things will probably be disappointed by the films end but those of us that enjoy thinking may be pleasantly surprised.

One thing that struck a bit of wrong chord with me however were the few moments of blatant craziness. Sure having a character suddenly snap and pull off another character's leg may seem like a good idea in theory but when matched against that quiet, creepy and psychological motif---it feels like it just doesn't belong. Same thing can be said for that final-ish image of intense CGI work and weird tree demon faces. Not really sure what happened there but if you don't mind I will immediately start pretending that it never happened.

Overall, I wouldn't say I was let down by YellowBrickRoad, but I did feel like it could have held up that air of creepiness a little bit better. Still though, this is a film that does deserve at one point or another to be seen. It's not typical and it's not conventionally scary but there's still something about it that is so intriguing. It could just be one of those movies that we need to see in order to find out what the deal is. What is the deal with that trail? And what will they find? I suppose you'll just have to see for yourself. But don't be mad at me when you get a headache and find out that you do not have any pain reliever around and that you have to resort to stupid holistic methods that don't work.

Honest Man: The Life of R. Budd Dwyer

If there's one thing I despise, it's politics. Call me naive, stupid or single minded but politics and I just do not get along. It's not my fault I have a selective narcolepsy button that turns on anytime somebody talks about politics. It's also not my fault that I have no idea what any of those "big" words mean...or is it? Yes well, I suppose that is my fault for not paying better attention but I've got bigger things on my mind like....sandwiches.

Anyways- when I was approached with this screener of Honest Man: The Life of R. Budd Dwyer, I was very worried that my narcolepsy button would kick on almost instantly. Budd Dwyer is better known to almost everyone as that guy that shot himself in the head during a live press conference. The footage is horrific and unsettling, and the idea that that is REAL really distresses me till no end. There's something about real on camera violence that is so much more terrifying than what can be produced with film. Put any horror fan in the midst of a real crime scene and I'm sure they will be puking in the bushes in no time.

It was this fact more than anything that drove me to the documentary. What were the repercussions after Dwyer's suicide? And what was he truly aiming to accomplish by killing himself in front of cameras? And how did it backfire? However, the documentary, directed by James Dirschberger actually focuses more on Dwyer's conviction and the real man that Dwyer was, which in hindsight is perhaps just what many people need to see. It's sad of course that Budd Dwyer has now just come to stand for "that guy that shot himself on TV". Few people probably even know why he did what he did or what his role actually was--I know I didn't.

The documentary begins with Budd in his early political career. It highlights his honesty, his good character and the joy that his family gave him. Soon it leads us up to the controversy which to me and my no nonsense political mind perceived as a brick wall. Perhaps I am not really the target audience for a documentary based largely around a man of politics but damn it--was I confused. There's all this talk about bribes, and taxes and stuff I have no clue about. I wouldn't say the material wasn't handled properly, I just think that it's kind of an unavoidable bit of the "plot" that cannot be ignored. I still don't really understand what happened, and I'd be lying if I didn't say that I was bored. But there you have it.

The rest of the documentary however is quite interesting although it's very one sided in my mind. One would think that every single person in Pennsylvania loved Budd Dwyer but as we all know in politics this is never the case. This may be my one real problem with the film is that there doesn't seem to be another side. Sure if all you interview are those close to Budd and his family--you're going to get all positive feedback. You're going to get a lot of people who maintain Budd's innocence but what about the other side?

The main thing that is missed in this is a clear sense of Dirschberger's own voice. The documentary really is all just interviews. There isn't much of anything else establishing the bigger picture here. Not to say that documentaries aren't usually a bunch of interviews, but here there's nothing in between the interviews. The scenes only change from person to person in their interview chairs. There is one brief moment during an interview with Budd's daughter where you hear an agreement from Dirschberger and it's almost startling. It's like for a moment there we forget that someone is really there, behind a camera. We forget that this is a documentary and not just a collection of interviews made up of people from Budd Dwyer life.

For me, the high points come when the the aftermath is discussed. Those interviewed make comments on how unfortunate it is that while Budd's bigger agenda was getting people to realize that the judicial system is out of whack if this can happen--but it never came to that. Instead people just focused on the horrific nature of the suicide. People became oddly infatuated with finding the footage online and reliving a real life horror. The reporters in the room were bad mouthed for caring more about a good shot than they cared about Budd's life.

The only problem with this portion of the film is that it is much too short. To me it felt like this was the most interesting part of the documentary and yet it is restricted to the last 15 minutes or so of the film. Additionally there is no real commentary about the aftermath of the events save for a compilation of what all those interviewed have said. I just wish there was more of a glue holding everything together. Interviews are great but what is everybody really saying? What can we draw from everyones opinion? And what is missing?

Overall, I greatly value what Dirschberger has done here. The documentary sheds light on a man few know much about. Yes, it's a lot of political talk but the film achieves one of the most important aspects of a documentary--it makes you think. It causes us to think about Budd and what was really happening. Is it all true, was he honest and is that why he maintained his innocence? I can believe it I suppose, but still, there's that question of the very public suicide looming in my head. Would an honest, kind, family man really do that to his friends and family? So many questions--and yet so few of them get answered.

It is incredibly touching and eye opening to see interviews with Budd's family, and hearing their thoughts that had run through their minds the morning of the shooting. These points were heartbreakingly sad and I couldn't help but wonder how awful that would be. I value the intimacy that Dirschberger approached this with but I still am finding that I'm stuck on a bit of a speed bump when looking at the overall picture. I'm grappling with the idea that this feels much less like a documentary and much more like a "Behind the Music" sort of special.

I will recommend it however for anyone who finds that they want to know more about the life of Buddy Dwyer. And you should I might add--because he was pretty fascinating. And he deserves to be seen as a political figure and not that guy that shot himself. If you're looking to get down and dirty with the shooting, and its aftermath however this may not be the right film for you to see.

Honest Man: The Life of R. Budd Dwyer will be screening in Budd's hometown of Meadville PA on January 22nd (the 24th anniversary of Budd's death) at the Vukovich Center for Communication Arts at Allegheny College. Additional screenings around Pennsylvania and the US are planned and will be announced in mid January.

If you cannot make it to a screening, the film is available for purchase at DwyerMovie.com

Ludlow: Ponder Gets Serious

When the opening credits of Ludlow begin, I feel like one of those giggly children at a funeral suddenly silenced by the shocked looks of the teary eyed adults. Stacie Ponder's debut feature length film Ludlow produces that same kind of hushed seriousness. As longtime readers of Final Girl and fans of Stacie's work know, it is not uncommon to laugh above the octave of normalcy. And so when Ludlow begins and we are met with an instant air of heaviness and sadness, our giggling anticipation is immediately thrown out the window and we are ready to behave.

Readers of Final Girl have no doubt followed the harrowing story of the making of Ludlow and were well keyed into the fact that this was a divergence from Ponder's previous work. While the project seemed to be taking place on a roller coaster due to the shoddy electrical wiring of Ludlow and the poor reservation taking skills of motel workers---the final outcome of the film couldn't have been better. Thanks to the inspired work of Shannon Lark, Stacie's incredible eye for the beauty that lies within sadness and to her newly honed editing skills, Ludlow turns into something that the horror community greatly needs---originality.

After driving into Ludlow, a seemingly bruised and battered Krista (Lark) checks into a motel. There she calls her sister Maddy (Elissa Dowling) and promptly ignores phone calls from someone named Steve. Popping pills, and downing vodka--Krista begins to undergo a terrifying decent into a world where reality and madness are harshly intertwined.

In Stacie's early account of making Ludlow she once stated that she was deeply inspired by the film The Dead Girl (Don't get it confused with Deadgirl or I'll kill you). The comparison is easy, as both films evoke such a strong and heavy feeling of depression that by the end it almost becomes difficult to breathe. Ludlow takes things to a different place however as the way to get there is darkly clouded and often times distorted. By its end we are similarly depressed but we are also rooted in the fact that we can't be exactly sure what has just happened. In fact for the most part of the film I couldn't help but repeat to myself my very favorite lines from Let's Scare Jessica to Death.

I sit here and I can't believe that it happened. And yet I have to believe it. Dreams or nightmares. Madness or sanity. I don't know which is which.

This is perhaps less a mantra for the character of Krista and more of a mantra for the viewer. Throughout Ludlow we are never given a definitive answer as to what exactly is happening. Rather it is a continuous feeling of being stuck on some dizzying carnival ride and never being quite sure if it is going to stop. When it does we are still plagued with similar feelings, only now that our feet are rooted in the ground it makes it a little easier to think. Whether you find that the majority of the film didn't happened or whether you find that it did happen only in a different way, the fact still remains that something happened and that it affected you. Because we are so deeply pushed into the world and mind of Krista we find that we are affected by things much like she is. Ponder does this seamlessly as she causes us to grimace and become revolted by an extraordinary bloody mess in the sink for example--and then suddenly causes us to catch our breath and stare as confusedly back into the mirror just as Krista does.

We are constantly delivered a one two punch of absolute horror and absolute shock. As viewers we are 100% invested in Krista and what happens to her. This is what makes the final outcome more depressing than we'd like to admit.

The film can also not be talked about without discussing the brilliance of Shannon Lark's performance. While I try to give most independent films a shot, I am usually always turned off by the unnaturalness of most of the actors. Shannon Lark's performance however completely wowed me. There are moments in this film that had me wide eyed and amazed that Shannon Lark was actually acting. In fact I remain unconvinced that Stacie wasn't forcing Lark to chug vodka and pop pills in between takes (knowing Stacie it's probably true). Even when she isn't on screen, Lark's voice overs and monologues are some of the best work I've seen and heard. One incredibly moving scene in particular involving a shattered mirror, practically brought me to cool voice over heaven and made me want to cry (by the way I was kidding about Stacie being a booze pusher). Nothing ever comes out sounding awkward and everything right down to her facial expressions and the way that Lark's unwashed hair becomes a vital part of her character--is down right thrilling.

While a few have found a minor complaint in the shortness of the film, I almost wish it could have ended with that scene I referred to up there with the mirror. This is most likely due to the fact that I tend to love really depressing and beautiful things. But something about that scene just makes me want to watch it all day long. It's a voiceover/monologue that rivals the above mentioned Let's Scare Jessica to Death! It's that mystifying. But since I know there was quite a bit of hubbub about making the length fit into feature film territory I realize that my fascination with the glum and the depressing must be pushed aside. But know this---that part fucking rocks.

Ludlow is a film that is largely psychological yet it speaks to its viewers in a much more purposeful and chilling way. If you are a fan of naked women and helpless teenagers being brutally slaughtered than you may find yourself confused when it comes to Ludlow. Ludlow is almost quiet in what it does and it makes you feel like you too are inside that motel room. The beauty of the film can easily be summed up by the score done by James M Barry. The quiet piano notes echo those same tones of heaviness--and even sound like tears if you listen close enough. Yes, Ludlow isn't the feel good comedy of the year but it's a film that I feel like the horror world needs more of. A film that dissects a real kind of a horror and leaves the viewer feeling more scared of what the mind is capable of and less scared that a killer is waiting patiently outside their door. It's a real, brutal and honest horror and that is difficult to find.

Watching Ponder's film almost makes you want to knock on her parents' door and get them to tell you the truth about her film making experience. It still seems incredible to me that someone who had no real previous experience in film making is capable of making a film 100% better than half of those annoying indie filmmakers who claim they've had a camera in their hands since age 5. It can't be possible! Or can it? Ludlow and behold (ha that was the worst joke I've ever made....sorry), Stacie Ponder is a serious force to be reckoned with. Of course there was that time my screener copy suddenly froze and malfunctioned during chapter 6 (for those of you in the know it's during that little masturbation scene) and I swore out loud and cursed Stacie Ponder for giving me a bum copy. Upon taking the disc out to examine however, I found a cat hair gently embedded into the lens. So make of that what you will.

For all information Stacie Ponder and Ludlow check out Final Girl.

Boston Horror Fans Unite: Celebrate Women in Horror!

My buddies Mike and Chris of All Things Horror have been quietly doing something very important in the horror community in Boston. Every first Wednesday of the month, they hold All Things Horror Presents at The Somerville Theater, in which one feature independent film, and independent shorts are shown. This is important for two GIANT reasons 1) it brings horror fans together in Boston and 2) brings to light some truly awesome films that most people would have otherwise missed. I've always looked sadly over at all the Chicago horror fans and thought how nice it would be if cool horror things happened in Boston as well. In fact, there was a brief period of time where I thought I was the only horror fan in Boston! Where was everyone hiding? My fears were allayed when I met Mike and Chris as well as some other Boston horror fans that came forward through email in response to my blog. Plus with every month, there seems to be a bigger and bigger turnout at All Things Horror Presents. Look out Chicago, Boston will soon make a splash in the horror world. George A. Romero DID come here after all a few weeks ago so.....yeah.

So get ready because the most anticipated screening event is about to happen. On June 2nd and starting at 7pm and for only $5.00-All Things Horror Presents it's Women in Horror Film Program! The feature presentation is none other than Elizabeth Fies feature, The Commune- which has received praise upon praise by seemingly all that have reviewed it--especially one Ms. BJ-C of Day of the Woman.

The shorts will include; Snuff and also Hollywood Skin by Montreal filmmaker Maude Michaud, Gimme! by Monica Puller of Gonzorific (Thank you the Scare-ening for introducing me to Gonzorific) and finally Fantasy by Izabel Grondin.

For more information on all the films check out All Things Horror, and don't forget to get out and there and support both women in horror AND independent film!

Dirt Boy: Hometown Horrors

Although currently residing in Boston, there was a time--before I went to college, that I lived quietly at home with my parents and my dogs. That place was called Cape Cod, a vacation spot for many but for me, my dear old homeland. Quite surprisingly, Cape Cod has a bit of a horrific past, filled with murders and unsolved gruesome murders at that. Plus JAWS was filmed on Martha's Vineyard so that's... scary. You also may have heard of Cape Cod as where the Mayflower first landed or perhaps you heard of it in Men in Black and Men in Black 2...a terrible terrible representation of my best friend's hometown, Truro.

Speaking of best friends, that same best friend Isadora (Izzy on the streets) recently presented me with an Indie flick from 2001, shot on Cape Cod called Dirt Boy. At first glance I figured I was in for another teeth clenchingly bad indie film. What makes it more challenging is that I felt an obligation to enjoy it seeing as it's from my old stomping grounds. There's something funny that happens when you see a film, or read a book that takes place where you are from. I remember reading a kids horror book that took place in Eastham more than a few times while at the library. Looking back it was probably terrible, but I loved it because they said my town's name and spoke of places that I KNEW about, places right down the street from my house. In a slightly more embarrassing example, I must admit that I am forced to watch the atrocious Summer Catch, starring Freddie Prinze Jr., every time it comes on TV. Not only do they show my town's newspaper, but the whole movie is about the Cape Cod Baseball League---and come on it's Freddie Prinze Jr.

So anywho after a few weeks of neglect I decided it was time to give Dirt Boy a chance. The plot seems like nothing new, and is in fact very similar to the likes of In the Mouth of Madness and Basic Instinct. Guy from New York comes down to the Cape to take a criminology seminar. The town that he stays in, is well known for the book that takes place there, Dirt Boy- a book that retains a little too much fanaticism in the town if you ask me. Anyways, our main guy--Matty Matthews starts doing a little detective work on his own and finds that every murder described in the book, leaves a real body to be found exactly as it is depicted. Once the press catches on, the remaining bodies are moved from their hiding places and Matty must uncover the truth before his life is put in danger.

The thing about Dirt Boy is that it's one of those slow burners. In fact, I wouldn't even call it a horror movie, more of a murder mystery or as Netflix strangely dubs it an "understated" film. There's a heavy air wafting throughout- and perhaps that is what struck me the most. The director's ability to capture the suffocating nature of Cape Cod in the winter. Perhaps you won't know what I am talking about if you haven't lived there yourself, but the atmosphere is as Marty Mcfly would say---heavy. It's all very ominous, and puts you right on track to expect an ultimate creep building experience. Unfortunately, things stay mostly on one level and don't rise to anything spectacular by the time we get to the film's conclusion. This is highly problematic for most of the people that viewed it on Netflix. I on the other hand was still dumbfounded how un-indie film it looked, sounded and felt. Save for a few moments of bad writing and delivery and one bad CGI explosion, the film could have fooled me into believing that it was like you know.... REAL!

Sure, there are things that are weak--Matty's junkie past is never really given a proper explanation or revisiting, and his entire back story feels a little on the thin side. Plus Matty has braces and that is just distracting. But overall I was pleasantly surprised at it's quality. Acting that doesn't make you cringe, and voice overs that work and radio voices that really sound like radio voices. It's almost too good to be true. Even cinematography that looks like cinematography and not like someone just pointing a camera at something.

So maybe I got caught again by the homegrown produce is better than the other stuff bug (I just made up that saying, does it work? No? Damn it. ) but whatever I enjoyed the film for it's quiet eerieness and great quality. Check it out if you wish on Netflix Instant but don't hate me if you think it's utterly terrible. I'm biased! I still think it might be a hidden gem of the indie world but what do I know?

End of the Line: Who Has Trains Like That?!

As someone who has a hard time digesting why people do crazy things in the name of religion, yet thinks it perfectly normal when people do crazy things for the sake of the their cat, I found End of the Line to be especially unsettling. Remember how when Jesus Camp came out people were like "oh dude this is basically like a horror movie" ?? I'm not sure if that really happened or not but I vaguely remember something along those lines....but anyways--End of the Line really takes something as creepy as a religious cult and does turn it in a horror movie. Throw those creepy people on an extra spacious train, add some blood and some jumpstastic scares and you have yourself a pretty decent indie horror movie.

I'm not sure why I find religious cults so fascinating and creepy, but I believe it has mainly to do with the fact that as a young one I was obsessed with googling about the Heaven's Gate Cult (yes I was inspired to do so because I saw it on I Love the 90s). The images of the people with the purple sheets and the Nike's and just how absolutely crazy Marshall Applewhite was. The thing with movies like End of the Line is that it's probably not too far off from how things would really go down if say, a really serious cult came to order. That is where the true terror begins to collect, because these aren't zombies, or vampires---this shit is real!

End of the Line follows a train of people who come under attack by a group of religious cult members. One by one the people on the train are ceremoniously stabbed after the group receives a page from the "Reverend". The group relentlessly stalks those who get away, and claim to only be saving them. Outside the world has run amok and the Reverend takes over all transmissions citing that the end of the world is near and yadda yadda yadda. What ensues is a frightening realization of the horrors of extreme religion and what happens when other peoples beliefs collide with the rest of the world.

The first 20 minutes or so of this movie is filled to the brim with jump scares. In the true fashion of...myself, I got really angry at this- and probably would have turned it off if it continued throughout the rest of the film. I still have a hard time grappling with the concept of jump scares because I always feel like I'm being forced to find something is scary because of them. These jump scares in particular, got me every fucking time! But it's not necessarily a good thing. Typically yes, jump scares are better when they actually work--but it was starting to get a little ridiculous there for a while. If you can physically withstand about 7 mini heart attacks then don't give up hope just yet.

Once you get past those initial few scares there are great scenes of uber creepiness, lots of blood and gore and NO boobs. Also, trying to put the pieces together of the truth and validity of the cult is sort of thrilling in it's own right. The good news is- there IS an ambiguity. Hooray! There are also a select few stand outs moments that made me step back and check my "this is disturbing" radar. One scene in particular really got me, and that is when the two train workers are together and the cult enters. One of the men happens to be a legitimate part of the cult, yet is scared and confused and doesn't seem to be too invested in it's actual cause. They bring in his pregnant lover person and he's all excited- and she tells him that he has to kill her in order to save her. She feels the "evil" growing inside her and her life must be taken before the end comes. The man shakes his head in dismay and the cult surrounds him- he obviously cannot do it and so the other members take matters into their own hands. The man is killed, and then the pregnant woman is continually stabbed, the man, woman AND SPOILER-- the freaking unborn fetus are placed next to each other as they wait to completely bleed out. First off I didn't see anyone performing an emergency C-section on that baby, so to see it suddenly appear on top of them was, eye bulging. Secondly it was just a really creepy scene. Creepy, disturbing, gross, and just really showed you the gravity of the situation at hand.

In case you are resigned to the fact that you can't enjoy a horror movie unless major gore is involved, fear not--there is actually a surprising amount of it. One of the things I did love about it all was the weapons used were all "crime of passion" worthy. No guns! All kills and injuries were made so much brutal because of it- and each wound made was fantastic. There's also an extremely nauseating scene involving a pretty nasty bite- which I almost tossed my cookies over so look out for that!

There is a point however where the movie starts to drag a bit. After awhile, seeing crazy religious people stalk non religious people becomes tiresome and you yearn for something different to happen. Eventually that different something does happen, but it takes a little while and it can cause restlessness. I was also confused about why the train looked more like a bus, and where a particular giant sword came from? There are small things like random bad acting/writing and every now and again and turret's syndrome like music. These are typically minor offenses but things that did distract me at least a little. The last few minutes however are worth that wait.

Regardless, the movie is a solid entry into the world of horror. In general I was surprised at how the religious people nailed creepiness so well and how off putting seeing the horrors of religious cults materialized into movie form can really be. The ending was powerful although doesn't give you too much to work with. In fact it may be a little too ambiguous- but if you can figure out the secret beforehand this shouldn't be a huge problem. I have my theories and you may have yours- but if you think about the history of religious cult leaders and what those cults actually gained by doing what they did, then the outcome probably shouldn't be too surprising to you. In any case, this religious cult wears messengers bags and look all too similar to every one's favorite door to door religion salesman, which is doubly frightening. If you're craving some really decent independent horror, then give this a shot. Keep a look out for clues, and brush up on history involving cults and mass hysteria and don't forget to keep someone nearby in case you have a heart attack or 10.

Serial: Amoral Uprising

Directed by K.M. Jamison, Serial: Amoral Uprising is the start of something truly captivating. Running at 58 minutes, Serial is an introduction into the life and psychosis of serial killer Trenton Wade Bracks. Taking inspiration from films like Henry: Portrait of a Serial Killer and Maniac- Bracks seems to be a product of several disturbing and notorious real life serial killers. The film is just an introduction into what will be a full feature length film to be filmed sometime in 2010.

The back story of Trenton isn't anything new- and rightly so as the majority of serial killers have a horrendous past- but I became more and more nervous as I saw gaping similarities to my least favorite trailer trash, abused serial killer- Rob Zombie's Michael Myers. But thank goodness that things didn't quite fall into that same route! The character of Trenton may be- if you can believe it more complex and intriguing than the one that Zombie creates. I say this because we don't see Bracks suddenly snap and go on a mass killing spree of every member of his household- nor do we see him torture animals. Rather- we only see the events that most likely led up to Brack's future problems. We aren't shoved this shitty explanation- things are missing but it isn't detrimental to the plot because it keeps us interested and makes us wonder what happened to Trenton between then and the scenes at the end of the film.

I will say that the scenes involving the mother do at times seem to be stretched. Her lines consist a lot of times of-repeats and her overall look can be distracting- I get that she's a coke head with some serious issues of her own but the scene in the basement was a little much perhaps. I did enjoy how that scene mirrors the ending one however so I guess I can't really knock it.

As I said before there is an entire decade where we have no idea what happened to Trenton. In that time his father has been murdered and his mother is in prison- yet Trenton suddenly turns out to be this suave and studly man with a desire to inflict pain and suffering on others. Some parts get a little dodgy in this area- and somehow all of the characters start looking the same- but the complexities of Trenton continue to arise. I still don't entirely understand how things came to escalate so quickly but I'm excited to understand more. Needless to say- I am very eager to see the rest of this project unfold and to get a more detailed and deeper look into Trenton Wade Bracks' life.

There is some decent gore, acting, and shots in this movie but it is overall a more building kind of film. Trenton isn't a machete wielding serial killer- rather he is a product of truth, an honest and brutal serial killer that isn't a huge stretch from past incidences that have actually happened. There is a genuine darkness that Jamison creates with this short film- and his ability to make you invested in a character as dark and messed up as Trenton is, is pretty unbelievable. Go here to check out the film's blog and here for the website, to learn more about the project and to see how it develops.

SERIAL: Amoral Uprising Trailer from Vicious Malicious on Vimeo.

The Return: Oh Those Teenage Zombie's and Their Issues!

My latest foray into independent horror movies comes in the form of a film by Elli Raynai called The Return. The story is about a young man who runs away from home and returns later as a zombie. The film is short but handles the zombie genre well and even manages to create a story with characters that have depth. While in the end I was filled with all sorts of burning questions- I still saw quite a bit of potential in Raynai and am very excited to follow his career.

Short films can be very tricky- questions will always be raised and people will always want more. For me the most exciting part of The Return came during the flashback scene of Elijah's runaway. The zombie make up of the zombie hiding in the bushes was very stunning. Up until that point the zombie make up had all been done digitally- which was very surprising to me. So when this zombie started growling in the weeds and I got a look at his face I was more than thrilled. There is a close up of this makeup in the gallery section of the film's website which I implore you to check out. Oh and also make sure you take a look at the extremely impressive artwork while you are there! I also loved the blood effect at the end of the film- and the dialogue between Ellijah and his father up on the roof.

There is a flaw in the overuse of digital makeup for the zombies however. It is an interesting effect actually and almost makes the zombies comic book looking- but the problem is that it doesn't entirely make sense to me. As I said, the zombie with the real makeup was so much more thrilling- so why not use real makeup for all the zombies? It wasn't a deal breaker or even that distracting by a long shot but it was just something that made me raise my little horror movie aficionado ears and wonder. The sound effects chosen for the zombies were also sort of questionable. They sounded more like ravenous tigers and I would have enjoyed it better if the actors had been making the noises themselves.

As I said before short films can be tricky and I found myself grappling with questions about why the mother wasn't freaking out that her son looked well- like a zombie. I was also confused about the time frame if this was a year after he ran away what was he doing for a year? Or is it even a year later and the beginning was all just some kind of dream? I longed for more backstory on Elijah's situation and didn't quite understand why he would be running away- or why he was using the roof to make his getaway in the first place- he seemed old enough to use the front door and make a real scene. Also- wouldn't the mother and the sister have heard that extremely loud gunshot?

With the questions this movie raised I still found myself pleased at the way Raynai could handle a movie in such a short amount of time. There are some surprisingly great shots, a genuinely creepy snowy atmosphere and pretty decent writing. The story is unique and perhaps if the film had been longer Elijah could have been fleshed out more. I also must say that I truly enjoyed the brief moment of Elijah's only non zombie lines- and I found myself wishing to see more of a non zombie Elijah. There is so much potential to be seen from this little movie-and if I learned anything it is that Elli Raynai is extremely capable of making a decent movie. This is his first stab at a horror movie and I am sincerely hoping that he will continue to make more.

Cropsey: A Real Life Boogeyman.

As someone who despises summer camp-the Cropsey urban legend was not something I had heard of. Not to be confused with Cropsey from the Burning, although I'm sure he was named that for this very reason- Cropsey is an urban legend developed after several children had gone missing in Staten Island in the 70s and 80s. Joshua Zeman and Barbara Brancaccio's documentary film follows the legend- and tackles one of the most startling unsolved murder cases the country has ever seen-the funny thing being, many of us have never heard of it.

I've said before that I find abandoned mental institutions to be one of the most frightening and naturally terrifying places in the world. Cropsey is like the anti-hollywood and an un-fabricated version of all those horror movies we have seen. Here we are presented with real images, and real people that only make that nightmare more realistic in our minds. The story focuses on Willowbrook a division of the mental facility that specifically housed mentally challenged children. In one of the most memorable and altogether unsettling parts of the film- Geraldo Rivera's (yes that Geraldo) first feature expose is shown. In this we get actual footage of what the conditions were like. 50 or so kids with one attendant to take care of them. Naked children covered in feces and filth. Geraldo recounts the smell saying it smelled "of filth, of disease and of death". These children were in a sense taken to this place to be hid. Mental illness in those times was something often shunned to the side- the public feared those with mental illness and this footage proves that that sort of cruelty did exist.

Now to get into the actual disappearances- we find that children began missing once Willowbrook was closed down. The prime suspect in the kidnappings was a man named Andre Rand a former employee of Willowbrook who often camped out in the woods surrounding the hospital. The circumstances seem strange and coincidental- wherever a missing child was last seen, so was Rand. But the lack of evidence was startling.

The film- while continually projecting an unsettling air of creepiness- mainly focuses on Rand and the numerous trials he was put on. It begs an interesting question about urban legends and what they can do to the public's opinion. In many ways Rand certainly seems guilty- but in others it would seem that the public used him as their scapegoat. He looked the part of a crazy, perverted child killer- so therefore he was embedded in their minds as the person responsible. The eyewitnesses are also drawn as very unreliable. Why have they only come forward- 20 years after the fact to testify? One girl claiming to be with one of the girl's who was kidnapped- was 6 years old when she saw her friend reach into a car driven by a man wearing a mask. To put it gently this girl kind of looked like a meth addict, why on earth would she only come forward about this now? She claims it's because she knows more than she did then- but honestly? These shoddy eye witnesses were not in small numbers either. It's truly a wonder Andre Rand was in the end convicted of the crimes.

Aside from all the judicial banter- the film does capture a truly memorable environment. Old lunch trays all over the grounds, the underground tunnels where Rand was said to camp out, startling video footage of a future kidnapped child in the background of a news report. It's all so real. Unlike the faux documentary of the Blair Witch Project, Cropsey is a real life and terrifying horror story. Whether or not Rand was responsible for their disappearances, it remains clear that someone had to be. The images of the missing children are something that will stay in my head for a very long time.

The film is incredibly well done- with an eerie soundtrack that echoes throughout. The letter correspondence Joshua and Barbara had with Rand was so unbelievably frightening to me- and Rand's eventual telephone call? Wow. The scene where they go to the reported area of satanic worship was also very unnerving- and my fears were appropriately echoed by Barbara who refused to go inside. These areas of possible alternative explanations to the missing children was also very puzzling to me. It is funny to see how quickly the public connect the idea of satanic worship to Rand- who probably was never involved with them in the first place.

It all really comes down to how we envision the boogeyman. The idea of someone being out there that we do not know- that has a power to evade capture and claim the lives of many, is very terrifying. It reminds me in a way of one of the central themes in The Candyman- how the public's sudden disbelief in the existence of the true Candyman spurred his actual appearance. We as human's need explanation and as Zeman says at the end of the film; "The power of the urban legend is that it doesn't claim to be the truth. It says the truth is a range of possibilities and it is the audience that must decide. So pick one"

This film is very groundbreaking in it's discoveries. It captures an honest to goodness horror story in real time and with a 100% true story. You won't find screaming documentary filmmakers or little sticks strung up in trees- but you will find something that will stick with you for a very long time. Please check out the website to get more information and to buy the movie. It's well worth the cost to help out an independent film that is sure to continue to make waves.

Patriotic Danger: Proof That Beautiful Blood Can Exist in Action Flicks.

Whilst at one of the many Filmsnobbery live chats that I attend I met and spoke with Matthew Shea- Writer, director, producer, editor- all around renaissance man for Patriotic Danger. With a budget of $3,000 mostly spent on props- Matt does the unthinkable by creating a fun and exciting Independent action flick.

The movie follows David Striker (Masa Gibson) who after returning home late one night comes home to find his love interest shot and killed on the kitchen floor. We soon learn Striker was recruited by a strange company, claiming to be testers of the video game American Heroes. As it turns out this company actually creates government assassins- enlisting Striker's help and therefore changing his life forever. Now Striker must set out to find out who is behind the murder- and why they have targeted him.

What Matt accomplishes with this movie on such a low budget is pretty phenomenal. It should be said however that at no time do the action sequences outshine the overall purpose of the film. It is an action film yes- but what is really at the heart of the movie is Striker's journey into the unknown and the destruction of those who have wronged him. The angst that Striker encounters within the first few minutes of the film is clearly portrayed on the screen. The scene in the kitchen instantly puts us on Striker's side- justifying any and all actions that he takes during the course of the film.

One of my favorite scenes however came during the flashback of Striker's recruitment. The big boss man puts a gun in Striker's hand and tells him he must shoot the man tied to the chair. A man who apparently is responsible for the deaths of several agents. When Striker seems resistant the boss puts a gun to his head and gives him three seconds to shoot. I could actually feel a true sense of turmoil boiling up inside of Striker. The scene is extremely well done and I was nothing less than impressed.

As the movie goes on and the mystery starts to unravel- my interest never faltered. The introduction of the tough woman sidekick Brandi (Katie Jones) was interesting, although their history seemed clouded. The scene in the house where Brandi's shirt gets ripped open was startling- and the uber creepy Victor made me insanely uncomfortable. That scene also however presented to me one of the my favorite things in the world; a beautiful shot of blood!

The ending action sequence is nicely built up- although the assassins and guard's lack of aim did startle me a little bit. I cannot stress the fact that what is accomplished on such a little budget is thrilling. There are some truly stunning moments of cinematography, and editing in this little film that make me appreciate just what indie films can do. Patriotic Danger proves that you don't need millions of dollars, and bad acting by Megan Fox- to make an entertaining and thrilling action movie.

If you are interested in buying or screening Patriotic Danger (which you should be) check out Matt's website. Do your part to help out Independent filmmaking and support an extremely talented guy like Matt.

The Puzzle: 1000 Pieces of Pure Thrill and Frustration.

A few of my closest confidantes know that one of my greatest weaknesses is a puzzle. I went through a brief stage in college where instead of traipsing out to the local bar- I stayed at home putting together a mosaic tiled puzzle of Winnie the Pooh. Puzzles have a unique and alluring quality that seems only to attract those whose minds are capable of focusing on the task- and who would rather spend an hour finding that one damn corner piece- instead of ordering a refill on their beer- AKA me. Nerd city.

And so the main character in Davide Melini's short film The Puzzle and I are immediately linked. However, I can only hope I do not end up the same way that she did.

The film is short- at about 5:00 but with opening credits and ending credits the actual film is closer to 4:30. The mother figure we meet seems to have a very static relationship with her son who apparently calls her a lot and asks for money. This time the mother puts her foot down and shouts that it's over- she will no longer give him money. We fast forward a bit to see the mother patiently doing a puzzle that seems to be giving her a lot of trouble. Before long, things start getting creepy and when the final solution to the puzzle is solved- the mother gets the message a little too late.

What I loved most about this film is the evident struggle plaguing the mother. Puzzles are one of those things that is painful to watch and be a part of- unless you are doing the puzzle. So when we see the mother agonizing over little pieces- pacing the room, walking around the table we in turn feel agonized and restless- which immediately puts us on edge. The entire idea of the puzzle and putting a puzzle together piece by piece to come to an overall complete picture is an outstanding metaphor for this little film. Things do not start making sense until the puzzle is completed and we see the solution. The solution in this case is perhaps a solution to the son's problems but only an even bigger puzzle to the audience who really has no idea what just happened. This isn't a bad thing however because the movie in turn becomes a sort a puzzle for the audience. We must carefully go back and put the pieces together to come to our own solution.

The film is very intriguing in other areas as well, the sound effects, how Melini builds up instant tension with the phone ringing and a confrontation- and some pretty impressive camera angles and shots. I especially loved the shot of the stove burner-which I was convinced was a jump rope for a good 5 seconds, and the always shadow of the candle on the face look.

Although the film is short, it definitely makes me interested to see what else Melini can come up with. If he is capable of making my head hurt in 4 minutes and 30 seconds I shudder to think what he could do with an hour and 30 minutes. I mean that in the best possible way. It's clear from this film that Melini will be making the type of horror movie I can really sink my teeth into. I mean of course the intelligent kind, the kind that make you think for hours on end and most importantly, the kind that affect you long after watching.

While the solution to the movie's overall message is difficult and challenging to figure out- what fun would a puzzle really be if it only had 10 pieces. Know what I mean? Melini brings complexity and possibilties to a world of horror that could really use his help.

For your viewing pleasure, you may watch Davide Melini's short film right here on this very blog. Feel free to share your own solution- and please spread the word about Melini and his extremely intriguing film- which certainly warrants more than one watch.

Ink: Hagrid? Is That You?

Ink is by all accounts an extremely moving and deep little piece of low budget film making. It's one of those movies that makes me want to cry within the first few minutes- a feeling that doesn't entirely leave until about 20 minutes after turning it off. What this movie accomplishes and how it does it is beyond me and I'm still astounded thinking about it now.

Ink centers around a strangely angry type of man named John. We know bits and pieces about his life but we don't quite know what makes him scream "FUCK!!!" like he has a serious case of tourettes. John's daughter is soon kidnapped while dreaming, by a large Hagrid like creature named Ink and taken to a different world. John's daughter Emma is in a coma in the real world and being dragged along by a chain in the dream world- to where Ink will use her in order to become an Incubi-nightmarish type beings with creepy screen faces and headlight eyes. The storytellers the good people in the dream world are trying to stop Ink by getting John to realize the giant loss his life would suffer without the presence of Emma.

There are way too many amazing things going on in this film that my head can't process it all. Everything about this film is moving in some way. The beginning when John finally gives in and saves Emma during her pretend Monster scenario made me feel like crying- because you just know it was a sort of struggle for him to do that, and although you aren't sure why at that point, you are prepared to find out and are immediately invested in John's character.

The Storytellers and The Incubi were also such an original idea that really worked well on the screen. I loved the simple effect of how they appeared and the simple showing of what their purpose was. The dreams we have, the desires we yearn for, and what just simply makes us happy were so obviously portrayed- and then the opposite side- the cold dark fears we all have were also shown and told very well.

What really makes this film remarkable however are the seemingly endless possibilities of what it means. The tackling of the question of who we are and who we used to be are so evident and really powerful. John's character has issues- we know this because of his weird tourette's swearing problem. But what we don't know is how those issues come to affect him in his life and how they will continue to affect everything he does. In a way we choose who we become- but that choice is also undermined by all these outside forces. It's a very VERY provocative film and I'm not doing a great job of explaining it but you just have to see it.

It may not be a horror movie per say but it did affect me in a very complex way. I believe it's currently available on Netflix streaming so check it out for yourself. The music is also pretty incredible and really made everything 30 times more powerful and sadder, the soundtrack is on also on Itunes.

Ink is just one of those movies that forces you to think about your own life- our past present and future- and while it is at times utterly depressing- it is also not over yet.