American Horror Story: Asylum (2012)

In modern day a young newlywed couple, taking a haunted honeymoon tour around the country, comes to Briarcliff, an old insane asylum that reached its peak of weird in the sixties, its most famous patient a violent serial killer called Bloody Face. Not too long after arriving the couple is killed by an unseen force and we are flash-backed to the sixties where we see Briarcliff in its day. Not too different than its current proceedings it is a grimy patient care facility that is supervised by the cruel Sister Jude and run by Rome driven Monsignor Timothy Howard. Of its newly recent patients there's Kit Walker, a twenty some year old average Joe who's wife was brutally murdered by the unknown killer Bloody Face. Mistaken for her murderer Kit is thrown into Briarcliff and is committed as he claims aliens abducted him then killed his wife Alma. With his face now being the poster child of the violent crimes where the killer has been skinning the women he captures and wearing their skin as a mask Kit's arrest attracts Lana Winters to Briarcliff. A journalist Lana has all the right girth as a reporter who'll do anything to get her story but her nosing in Briarcliff and its conditions lands her a bed in the hospital, her condition symptom by Sister Jude of her interest in the same sex. Inside Briarcliff Kit and Lana are exposed to the often inhumane treatments and unsanitary living conditions the hospital offers. Not to mention its sometimes mid-evil practices for punishment. The only option the two have is to prove their innocence as the real Bloody Face killer is still lurking around. But along the way they have other horrors to triumph over which include Sister Mary Eunice who's purity is left dead inside her by a malevolent demon and Briarcliff's own residing doctor, Doctor Arden, who's experiments and history bring a whole new shade of evil to the patients. 

As last year the metaphoric horror was dealing with the ghosts of the past this season played a more rising from the fall as survivors were made in the tender walls of Briarcliff.  Conscious of its time AHS: Asylum tackles the issues of woman's oppression, Civil Rights movement, and the deeply misconceived understanding of mental health. Each of its vivacious characters represent a different struggle all of which seek the same outcome for freedom, independence, and choice. The horror likely more present this season with the works of mutated zombies, Nazi doctors, aliens, a murderous Santa Claws, mean nuns (and possessed, mind you), and a serial killer who's fond of the work of Buffalo Bill to add to a list of things that might keep you up at night. The Bloody Face mask is a brutal conception from the makeup and special effects department. A vivid, ruthless imagining of a more than deeply unhinged killer and his prominent work. Lets just say Leatherface would be proud. There's a natural uneasiness of mental institutions as the real life horrors of mental illness are often the darkest and most grieving to watch giving Asylum a perch above the prior season's location. Also an improvement from last year is a more guided direction where the story arcs actually sought out a conclusion, for the most part at least. There are inconsistencies that don't pose fatal to the tack of the show but are weird plot motions such as Alma's final years and Dr. Arden's last act. The latter maybe not odd but more of a disappointing end to a well built deleterious villain. The composure at the end of the season is really quite lovely though, for a show that often doesn't know where it's going it manages to tie up things in a quiet but significant end that changes the perception of the show. Another happy ending with the remnants of dread still looming beneath the surface.

Evan Peter's Kit Walker is about as opposite as it gets to Tate Langdon, a hard working man who's aim in life is to live a happy one with his wife loses everything in a single night to otherworldly beings. Peter's is a good actor and is good in the part, his accent, appearance, and matured performance all strong, but Kit's story falls a little bit short to some of the other dealings going on at Briarcliff. While its still an interesting story line and ends in an unsettling yet somehow comforting finish, it differs from the tone for the rest of the season. Of all the stories I enjoyed Lana's the most as it showed a strong uprising from a character who was initially strong to start with but was shattered when she lost everything in the asylum and all her strength is put to the test. Sarah Paulson is fantastic in the part with the heart and spirit of the time evident in the character. Lana can be forceful and she does her fair share of questionable things but Paulson plays the ups and downs with no problem and keeps the character at a constant and likable. Jessica Lange's Sister Jude also an unexpected tale of triumph and demons as initially she's portrayed as the 'bad guy', so to speak, having wrongly committed Lana so she wouldn't expose the truth that lurked behind Briarcliff's walls. Not to mention her always pleasant collection of whips. But as the show progresses we see Jude in a time before she joined the convent and the spirit that follows her around. Her tough exterior is not only a cover up for a very broken individual but her strongest asset against her work enemy, Doctor Arden, who often sees to undermine her authority as he considers her nothing more than a woman. Lange is a force in the part but it lacks the same punch of her performance in the first season.

Past season favorites Lily Rabe and Zachary Quinto return with genuine performances that account for a lot of the fear instilled within the episodes. Frances Conroy also rejoins the cast as The Dark Angel of the season, having a significantly smaller role but managing to steal most every scene she appears in. AHS still utilizes a very defined and seamless display of cinematography, choosing a darker palate this year to tone the melancholy of the asylum. The production also again consistently strong and attentive to detail. There's a far deal more I could say about the second season of FX's prominent new show but this particular review has carried on long enough. Murphy and Falchuk can simply be brilliant, as was evident last year. AHS is different, unlike any show horror and non to be present on TV, and with more cohesion in their telecasts this year its made its mark. Like its first season American Horror Story: Asylum is riddled with exceptional acting, strange and addictive horror, a strong finish, and unsurpassed writing. With only two eras and two types of locations covered there's endless possibilities for this show that has a love for all types of horror and makes a regular effort to pay homage of past films. Last year I was unsure, albeit addicted, about the overall composure of the show. This year I'm purely addicted. To put it simply if you are a horror fan and your not watching American Horror Story your missing out on some of the best the genre has to offer.

Horror Short: Ave Maria (2013)

Written and directed by Skip Shea
Staring Aurora Gabrill & David Graziano
Director of Photography Nolan Yee

A clergy man abides his sentence from three women in the woods, as a recording of Ave Maria drowns his screams. Skip Shea's Ave Maria is an eloquent twine of gore, music, and enacted karma. It's a pair to Shea's acclaimed Microcinema and in that the two are both lovely masterpieces that speak of violence in our society. There's no dialogue, the six minute run time a symphony of music and constructed torture. Shea as a director understands the appropriation of blood in a film and doesn't opt to show more than necessary. Though he is guilty we are never witnesses to the clergy man's crimes as Shea trusts the audience to display the revenge first and unveil the fulsome truth later. 

Aurora Gabrill returns as Missy, the white masked crusader of justice, whom is our anti-heroine, if you so will. Gabrill again plays a brave part in an unconventional female character in cinema, horror and non alike. Cinematography speaks for itself as it's balefully set in midst of the woods, the beautiful view of nature to timid the cringing horror. It will make a few squeal in its single act of violence but is a simple, beautiful piece to add to a collection of interesting works. In tradition of his works Ave Maria will not be for everyone as the religious text and the film's bizarre approach will off-put some, but for a horror aficionado it rings unique and gorgeous, leaving enough for the viewers imagination but volunteering enough visually to leave you averse and fascinated. Ave Maria is a lovely edition from the director that I suggest is best watched as a double feature to its more masculine counter Microcinema. However the feminine side of this story stands on its own and must be seen regardless if you liked the prior.

Ave Maria will be making its way around film festivals so watch for it. You can follow the director and its star on twitter for updates.

Horror Short: Somebody to Love (2013)

Written by Mark A.C. Brown
Directed by Phil Haine
Starring Alex Hughes and Natasha Staples
Director of Photography Tom Seal

Love has found Sebastian, it just wasn't the love he was expecting. A doleful, albeit unsettling, tale about a necrophiliacs failed marriage to his dead bride is both interesting and unnerving in its unusual portrait of the broken heart. Somebody to Love takes a horror body but has a romantic soul with its introspective on a human's instinct to love but how often that proves more difficult than none, as our expectations rarely align with reality. The eleven minute short is of the quieter side of horror and doesn't use any common staples of the genre. It plays out more as a drama as it shows us a life between Sebastian and his bride similar to any other marriage. The exception is Sebastian's growing unhappiness in his new life and that none of it is real. The presence of fear lies in Sebastian's actions that appear loving and normal at the exterior but are all lined with the concept that his retrieved bride is dead for the entire length of their marriage, and therefore every thing is in actuality really creepy. The happy life is the shadow that masks the true nature of Sebastian and his world.

The script is solid with a dialogue that sounds appropriate to the content and subject of the short. And directing in likes to that is strong overall. Alex Hughes as Sebastian is played well as his character is often loving and disturbed at the same time, Hughes seamlessly blends the two characteristics with ease. Though Hughes may be the lead the show is stolen by Natasha Staples who plays the wifey part all too well. She's both lovely and forceful in her right as his newlywed bride and commands most of the screen with her performance. Together both have chemistry and despite that they look like a Twilight Zone couple they respond off each other well and it ultimately comes off as convincing. The cinematography and music are both favorable assests to the film as they capture the tone perfectly. Between the angelic lighting on un-dead Cassandra to the weird techno score that plays as the two are with each other intimately for the first time it keeps up with every pace of the script. I have a partiality to genre films that tell real issue stories through horror and that's what Somebody to Love is. There's a feeling of dejection as most of us are all too familiar with the misguided love; the film comes to terms and coopes with this by telling a love story about a man who finds unhappiness even in his most dark and twisted fantasies. I fully recommend Somebody to Love as it's a fantastic short with a warped heart.

Somebody to Love is making its way around film festivals but if you'd like to watch it you can contact BraineHownd Films on their facebook, twitter, or at their site.

Horror Short: The Devils Walks Among You (2011)

Written and directed by Ryan M. Andrews
Staring Robert Nolan, Sandra DaCosta, and Katie Uhlmann
Director of Photography Fraser Brown

Alluring and mysterious Lilith Mastema tells of tales in her live spoken word show, showcasing a classic old jazz style to her stage. Tonight's tale is of a late night diner that receives an elliptic customer after closing, whom later reveals himself to be the Devil. The Devil Walks Among You is a short, 8 min run time, thriller that doesn't dwell on literal horror. Unlike you expect the Devil doesn't enter the dinner and upon doing so raises 'hell' but rather in an subtle yet haunting etiquette chills you to the bone with his simple message of walking among us. Often fit with short films is the grab or rather the shock and awe moment, but Andrews script and direction risks for a tame story that flows fealty into its disquieting end. Basically, don't expect an abundance of blood but anticipate a quiet thriller that's more about the essence of horror rather than the incarnation of it.

Robert Nolan again comes in as the sly but ever so charming Devil, another expo in the actors unbound talent. Sandra DaCosta is stunning, a fitting portrait for her cool lounge character as her voice narrates the story with a chilled ease. Ryan M. Andrews direction is crisp and there's little pitfalls in his overall well made short. I may like the style of the film the most though, with the interweave of the 1950's diner and early 1930's lounge den. As a lot of the shots, especially those showing DaCosta, are up close it limits the view of the sets making the photography key in conveying the tone. The detailed design of the diner is accurate in its depiction and the mood lighting in both sets captures the feel. The diner under gray florescent sets you off balance and the lounge is dimmed to tense and focus the mood. Although I rarely do I'd also like to note the costume department who I think dressed their cast appropriately, letting way to more of the characters personalities. The Devil Walks Among You was an enjoyable, well made horror short, that I'd recommend to most for its appreciated style and familiar concept.

Horror Short: Out of the Night (2013)

Written and directed by Skip Shea
Staring Gwendolyn Callahan
Director of Photography William Smyth

Lost in a sullen neighborhood a wealthy woman is lured out of her car by falling hundred dollar bills, despite the shadows she's seen skulking in the fog. Out of the Night is similar in Shea's previous short film, Microcinema, in that it uses its events as an analogy for a more deeper understandings of the human condition. As voyeurism and obsession was the topic of the former the latter helms topics of greed, desire, and how in light we view strangers. The woman in the film is lost, scared, and likely at the other end of the tracks, however her lust of money leads her out into the night to gain more wealth even with the figures hidden in the fog. Of course for those who don't look so deeply the surface level horror is done well with the fear of being lost at play as well as the sense of dislocation. We never find out where the wealthy woman has wander off too, whether it be an odd neighborhood or some city of the afterlife.

Shea has a way of taking our expectations as an audience as well as the expectations of the character to offer us a different alternative. His films have a knack for unveiling the illusions of reality and exposing the often brutal truth. Not all is so bleak as Shea's dark humor is subtly placed in the film, mostly near the end. Gwendolyn Callahan is great, her role consists of no dialogue but her often lurid expressions fill in that utter terror of being lost in a neighborhood that vastly differs from her own. The score was taunt, lucidly attendant to the chilling atmosphere that's been set. The photography is simply gorgeous, utilizing classic black and white. There's a really exceptional image of Callahan vanishing into the fog; it fluently lacing around her, dissolving her figure into the darkness. I really liked Out of the Night, however it was a film I had to watch a few times to fully grasps the concept. In that I do recommend with a little hesitation as this film will likely go over a few people's head. But if your like me and you love reading into horror with deeper meanings than I'd say don't miss it.

Out of the Night will premiere at the SENE Film, Arts & Music Festival on Sunday April 28th at the Cable Car Theater in Providence, Rhode Island. For more information you can visit - http://www.senefest.com/dramatic-short-films.html

American Horror Story (2011)

WARNING: Contains too many spoilers

Viven and Ben Harmon are looking for a new start, well Ben more than anything. After being caught having an affair with one of his college students Ben believes that moving to a new home across the country and reopening his practice is what will save his broken family. Viven however is not as willing to move on as the pain she feels from her husband's indiscretion doesn't match that of the pain she feels from her miscarriage. Willing to fix her family though Viven moves with her husband and their only child Violet to California in an old house that has a very colorful history. The most recent being the previous owners, a gay couple, who died in the house by a murder suicide. Not only that but several other murders have occurred in the house dubbing it 'The Murder House'. But the limitations don't hold to the house either as their neighbor, Constance Langdon, is a strange and somewhat unnerving individual. And Ben's new teenage patient, Tate, whose mental stability is that of teeter totter has taken a liking to Violet. As the Harmon's attempt to settle into their new lives their past horrors will come back to haunt them, as will the ghosts of the house's past.

I have a very destructive and defining love hate relationship with American Horror Story. At moments the brilliance of the show is so sheer in sight that it's almost difficult to handle. Then there are times, equally as frequent, where the show convinces me that it's alright to stick in my head in the oven. Most of the time AHS lost focus with it's main story arc of the real horrors of the Harmon family in contrast with the house. I'm also let down that the house has a good eighty so years of history to its name and they only took focus to Tate's story. I loved the school shootings, it was so tragic and the true definiton of horror that it again rung brilliance in script writing, not to mention being pulled off so well by actor Evan Peters. But then the revalation that Tate was also the Rubber Sex Suit Guy (will not get tied of that) who raped Vivian took a really hard turn into bad writing. I'm pretty confident, from what actors have said and other clues, that the script for each episode was written on a weekly basis, not giving the writers time to reflect and even less time to edit. Not to mention the occasional plot hole that tends to slip in when your rushed in writing that way. Next season I do hope for more refinement.

American Horror Story served a lot of pre-season buzz from its grabbing previews and its campaign for owning a clue (I got one, via email that is, a jar of some body part that never made itself present in the show). If you went to Yourgoingtodieinthere and explore around the house as I did you'll remember the dead bride, bloody champagne bottle, Heather from Dead Central's Demon Bunny, and a thousand of other bits that never made them self on the show. Of course they still have room on season two but its not the same house so why do that? Why not update the website with the new location? A lot of pre speculatioin suggested this to be a Psycho-sexual-thriller with that post of Mrs. Harmon and the Rubber Suit Sex God, pulling towards each other. It wasn't. Another disappointment. I think AHS suffered from too much marketing, as did True Blood season 3, in that it built up expectations that either were never reached or never intended to be reached. Of all the things I loved in American Horror Story, the horror references are the most fun for a horror addict like myself. Within an episode you could see the influence of a film or films that was to inspire the episode, that varied between old school horror like Rosemary's Baby to new iconic images like the masks in The Strangers.

Of the Harmons the only one I liked was Viven played by Connie Britton. She has the ability to just say how it is, and not in that blunt Violet way. She also had an asshole husband, a moody daughter, and is living in The Murder House. Plus I'm fucking jealous of her hair, it curls so nicely. Dylan McDermot was alright as Ben Harmon, I believe more of the problem lay less in the acting and more in the character itself. Ben was an asshole, and there's no way around that. Crysterbating to the maid doesn't help your case much either. Violet was on my 'Characters I hate list' at the beginning of the show. I wasn't all sympathetic to her moody demands, pregnancy statistics, and her relationship with Tate. It was, again, never so much Taissa Farminga's acting, as she was good, it was the character. But the episode 'Piggy Piggy' not only showed the full potential of the actress (she was excellent in that episode) but the full potential of the character. As the season went on she improved and I liked her much more towards its end.

Not to gush too much but Jessica Lange is the reason I watch this show. Like I do like this show but the reason I watch is for her captivating take as Constance Langdon. The character itself is complex and layered beyond anything a twelve episode show could cover, but Lange is able to let way to all the hidden past and repressed emotions of her character. It's as if she's stuck in the house's decaying age with her old school comeliness. The acting is nothing I've seen before. Absolutely fabulous and I recommend watching an episode for this reason alone. My second love of this show is Evan Peters as Tate Langdon. Tate was not my favorite, to put it lightly, at the start of the show. His 'I'm crazy rampages' paired with Violet's weird girl suicides made for a unlikable teen angst couple, that I did not care for. I use to call him Taint, just to be spiteful. The Halloween episodes though Tate made amends for his bad behavior and started getting interesting. Then of course I fell in love with the dysfunctional relationship him and Violet spawned in 'Piggy Piggy'. I also grew to love Evan Peters acting, not necessarily the touching side to Tate (though that's well played too), but the darker bits. When he pretended to shoot himself with his finger gun it was really chilling. Like a lot of actors it seems it just took a few episodes for him to settle into the character, and the character to settle into the show.

Again, even Murphy and Faulker's angle for next season, a new haunting, new characters, but same actors creates a battled cloud of emotions. I'm disheartened by the loss of Tate and Constance characters, as well as the maybe inconclusive anti-christ story but at the same time I'm intrigued because it hasn't been done before, which is to be quite honest brilliant. Then again this all may be premature, I don't know how season two will play out or if that's even the direction they will go in. Maybe it'll all tie up in the end and I can just back away and be in awe. But aside that the Harmons still had a rocky storyline. At the end I'm conflicted, I don't know how to feel about American Horror Story. It has bad plot structure but its beyond addicting. At the basis you'll either love it or hate it.

The Muse (2012)

Addison Taylor is a one hit wonder who's been secluded in his song writing for the past three years. Overdue by the record companies standards Addison neglect of writing a song strung with poetic rhythm and a general sense of being good steams from the excessive one night stands and pill addiction he's been living in. Spilling his insecurities on air it's clear Addison has developed an acute paranoia lead by depression from the pressure to be better. A deadline nearing his manager, Jimmy, suggests that he stay a few weeks at a cabin on Granite Lake and find himself and his music again. The lake house strums more than asked for though as it draws severe influence to Addison but also unsettles. When a beautiful women begins to appear in Addison's vision he finds the muse he's been searching for. But behind the beauty of his muse a dark past and sinister agenda lie. Obsessed with immortality in his music and intoxicated in his muse, Addison becomes lost in inspiration and a slave to her.

I've again been blessed to have been offered to watch a film before it's distribution, how I've been so lucky is beyond me but I'll always be thankful. The Muse is another one of those beautiful quiet pieces that shows an unrelenting haunt. Emotionally deep in the loss of oneself in music it's a unique rock horror that differs from the typical expectant of the small sub-genre. It takes much more to a indie flow paired with the build of a psychological thriller rather than something like Rob Zombie's rock horror films that have loud music and the raw grit (don't mistake, I love both kinds). The story structure could have been better built, Oliva almost appeared out of nowhere and it can be very easy to get lost if not paying attention. But overall a well composed cadence of the ghost story. I'm always impressed when director and set crew alike are able to draw emotion from inanimate object. The old guitar that seduces Addison has an enigmatic air to it, attribute to the scratches on its facial and director Rufus Chaffee's still shots of it.

Isaac Simons takes to your attention as Addison, he carries most of the film on his performance as often he's alone. As mentioned in the synopsis that Addison isn't really all the way there, he's paranoid and in a deep depression. Impressive as he also did the music for the film. Marguerite Insolia reminds me of Jenny Spain in Deadgirl for their similar usage of unconventional facial features. As much of an insult as that may sound its not as she has a unqiue beauty that is able to twist into an uncanny aura when she comes on to screen. Rene Miller fades in an out as Frances but she's still good and its clear she's a veteran actor. As I was told before hand the film is not in full completion as it has a few touch ups before release, one of these is color correction. DP Doug Gordon has a good sense of capturing images for the film, and really quite exceptional for being his first feature film. Chaffee also directs and captures his set location beautifully, as you really become immersed in the lake.

As you can tell I really did like The Muse, in fact I think I actually loved The Muse. The film doesn't really feel like a horror film from it's start, and in actuality continues to do so for a good portion of the time, substituting humor and music instead. However when it does climax to it's psychological build it proves unsettling in nature. I didn't get to see the film in full completion but for the most part what I saw stands. I ignorantly told the director when he asked me to do the review that the temporary use of music was irrelevant to me as I don't pay attention to that. This is dumb considering the film is about music and I would of liked to have heard the finish product to complete the film, but that's just an excuse to watch it again. Aside from my small nit picks The Muse is a real lovely film. An eloquent thriller that is undoubtedly to impress those who revel in psychological horror.

Horror Short: Waffle (2010)

Written and directed by Rafael De Leon Jr
Staring Kathryn Neville Browne, Kerri Ford and Andrea Shannon Young
Director of Photography Anthony DeRose

There's something a little off about Wendy, and it becomes apparent when her classmate and new friend Dana comes over to Wendy's house for dinner one night; her mother foul and overbearing and Wendy seemingly a psychopath. However not all madness is unprovoked and when the true nature of Dana's visit is revealed at dessert a horror of its own comes to life. I'm aware that the film only runs a few minutes in length but the plot seemed very one note, the characters not really, but as to why the reason Dana was at Wendy's house could of been adjusted to something a little bit more engaging or maybe something horrifying. Again the aim is to 'shock' the audiences, and it does, but a little forthcoming because you know there's something not right with Wendy. The concept is how at surface value and within a person there are truer more darker natures but it really just felt a bit bland for me.

I attest that the obtuse execution laid in the writing by De Leon Jr, who was fair as a director but tried a little too hard to create a disturbing use of dialogue. Acting also contributed to the dull script, a good portion of it being overacted, especially by Browne who played Wendy's mother. Even in the cover art the photography for Waffle is what I like the best, a very dark contrast of colors paired with this distorted strawberry pink creates a very nice visual piece of lighting to look at. Also by keeping the camera off Wendy's face for the majority of the film proved effective when a direct shot of her face is revealed, taking you back at the very least. Waffle isn't a horrible film by any means, nothing like Bunny Boy, but overall I found it to be a little dull and fairly mediocre. Not a waste of five minutes but not a need-to-see short film either.

You may follow the film on its blogspot and watch out for its appearances at film festivals around the world. 

As a side note I'm running a little short on short films so if you have one you'd like me to review please email me at bleedingdead22@yahoo.com, or contact me by my twitter.

Horror Short: Good Morning, Beautiful (2011)

Written and directed by Todd Cobery
Staring David Tufford
Director of Photography Bo Hakala

After the death of his baby daughter Dave becomes numb with the inimitable tragedy. His wife, just as broken, is distant and all Dave sees is ugliness. As Dave is getting perspective into the truth of the world the silhouette of reality falters and chaos awakens. Good Morning, Beautiful runs at twenty minute length and if a full feature it'd remind me of Let the Right One In (I'm sure this comparison is becoming tiresome) in that it takes the pace slowly and doesn't force feed you the horror, so to speak. Not exactly surrealistic in plot but more of a brutal metaphor in that monsters and obscene violent acts openly occur in broad daylight as Dave goes about common activities. Though Dave is seeing monsters the real fear is in the world he's living in where babies die, people get shot, and there is no sense of control any more.

David Tufford seamlessly handles the blurred reality of David, not missing a step from the depressed man to the feared individual he becomes. Todd Cobery script is developed in a further sense; it addresses the less attractive side of the world while presenting us with the horror. As well as adding moments of levity to lighten from the more macabre subjects as infant death and child murder. Cobery's direction also shows that of experience, his direction of Dave waiting in the doctor's office is great taking focus to the child's toy in the back to reflect the horrible wait and just the general inpatients to being there. I also loved the opening with the fast play around Dave as he lifelessly sits still in his chair hearing the news about his daughter. Bo Hakala's work as DP is nice, the lighting and angels being on key with Cobery's direction. Good Morning, Beautiful was my favorite short film at the Mile High Horror Film Festival. It's another that managed to speak more of society than most films as it takes focus to the general ugly on the world, even if it doesn't give us a solution to stop it.

Good Morning, Beautiful is going around film festivals. The film's website lists dates and upcoming news for the indie film.

The Crow (1994)

Devil's Night - Halloween Eve - is a night with a reputation of arson and murder for inner city Detroit. On this night Eric Draven and his fiance Shelly Webster were brutally murdered and she brutally raped. Leaving behind a grieving surrogate-esque daughter, Sarah, and a fearful city. The gang composed of TinTin, Skank, Funboy and T-Bird are free without even an arrest. A year later though the Crow, which has been said to carry you to the afterlife, brings back Draven in his grief. He seeks revenge on the four men who killed Shelly but is unbeknownst that the gang is part of a larger criminal empire run by the high class katana wielding Top Dollar. When Top Dollar finds out about Draven's invincibility and the Crow's powers he seeks after Draven with the only thing he has left, Sarah.

I'm not sure if it's because of the on set tragedy (Lee was accidentally shot in the making of the film) or just the somber context of the script but The Crow has a drear veil in its viewing. That's not to attest it as uninteresting but rather the opposite as I'm always drawn into the tenebrous subject matter in that it never fails to evoke emotions from me. The film borders revenge flick to Gothic thriller, tending to shy away from the more violent scenes, but not denying us the final product; the gun shoot out felt more like it belonged in a action film than it did with the rest. Towards the hour mark it drags some and I lose focus for a minute or two, whenever I watch it. And as goes the plot is a bit absent minded and one dimensional. But I've always attribute character to surpass plot and I love Draven's character so I could care less if the plot was less attended too. The special effects are not great, even for its time and likely standout the most in the film.

Inevitability praise for Lee's work has been questioned by the close occurrence of his death on set, similar to Heath Ledger's Joker, many claim that the only reason the film is known and his performance accredited is because of the tragic accident. I make no mistake in saying that's absolutely wrong, tragedy or not Brandon Lee is immense in the role of Eric Draven. The sinister clown exteriors the broken angel, both which make for a memorable character. Draven's one liners and his depression from his and Shelly's death create a character that is to stay with you, despite an unstable plot. Ernie Hudson is good at being Ernie Hudson...that's a little harsh, I honestly don't mean it as a negative. His self portrayed likable cop is a nice character to relax on, you always know he's going to be the good guy in that sense it relives the tension from the dark script. And Michael Wincott is great as the baleful Top Dollar. This is a Gothic visual stimuli in a more natural approach than Tim Burton's inspired work. The prominent color of black is painted on nearly everything but it never hides or darkens the screen. Instead it blends with the gray skies and red flashbacks to bleed a comely cinematographic show. Attribute to director Alex Proyas and director of Photography Dariusz Wolski, who I hold this to be his best work.

The film like most of my favorites is a beautiful flaw, not perfect but hits my right notes. I consider it a great piece similar to Guillermo del Toro's Hellboy, not strong on plot but excels in character development and visuals. I love the soundtrack as well with a mix of rock songs and romantic scores to capture the dense sadness and angst. Another thing I picked up was Lee's usual of martial arts in his stance and actions. They didn't really need a stunt double as the martial arts expert was able to do most of the stunts himself. Not necessarily a martial arts fan (odd considering my favorite movie is Kill Bill Vol 2) but I love when it's present in outside genre films. The Crow conceived quite a bit of sequels and a TV spin off; the films holding under a five star rating on IMDB. I believe one of them even has Edward Furlong in it. I can't speak for the sequels as I have not seen them myself but the 1994 film The Crow is a stunning Gothic entry in the horror genre. A must watch but be weary of the black subject matter as it's not for a light viewing.

Dead Awake (2010)

It's not fair, how am I suppose to summarize a film if there is no coherent plot to describe? I've had to do this twice now and I'm becoming a little irksome of it. Oh well, I'll try my best. Dylan is a funeral home assistant, or Morticians assistant, or whatever, plagued by the memories of his past. When one of Dylan's old high school football teammates dies and it brings a reunion of his class to his funeral home Dylan gets reunited with his ex love Natalie. Seeing his friends death and Natalie Dylan gets a bit bummed on himself and bets his boss that if he faked his own death no one would come. Taking the bet Dylan waits the day in the coffin for what appears to be a no show, that is until an unhinged junkie crashes the wake.

I almost forgot to post this review which may have been a sign. It's full of intolerance towards the director and the screenwriter, with a sparingly few nice things said towards the actors. Proceed with caution. The concept, a man faking his own death, is provocative in theory but poor in execution. Dylan fakes his death for one scene and the rest is of him trying to get back with Natalie and following the junkie around to inconclusive events. The film consistently tries to discuss a larger meaning of death and redemption but the writing is so up and down it doesn't work out. They show flashbacks to recap what's occurring in the film (aka, nothing) but often replay scenes we saw five minutes ago, rendering the technique pointless. The car crash doesn't intrigue you so when the big mystery is revealed you could care less. I'm usually able to excuse a plot less film if the characters hold strong, but they don't in this. Dylan, though having a tragic past, doesn't care about himself and neither do you. In general for a thriller it lacks thrills.

Rose McGowan is the only intriguing character, and she's well played, as McGowan rarely disappoints. Nick Stahl, who suspiciously looks like Michael C. Hall in this, is good. There's one rather dramatic moment between him and Decko and if it wasn't for Decko's acting it may have pulled through. Amy Smart is good too although I've seen her in better. The two Irish sub parents to Dylan, Decko and Liz, are awful. It's apparent that their accents are fake (or at least sounds thereof) and that the screenwriter gets a kick out of Decko saying Shit in the accent, so it sounds like sheit. The director and cinematographer try to hard to make the tone of the film dark and edgy, that has a lack of consistency as well. There were deep shots of grungy indie lighting and then scenes shot in clear day, neither which flow with the visual palate of the film.

I was done with it at an hour in and the last half didn't seem to end. There was no plot and hence no climax. The film does make sense though when the last minute twist is revealed and you understand what the purpose of it all was. That doesn't change how it tried to basically bore and drive you into insanity for the first hour, and not in a good way. Still the plot holes are immense and there are still unexplained elements (the detective anyone?). The film steals, not pay homage but actually steals, the tagline "Death is only the beginning" from The Mummy remake, and the poster is a clear rip off of the Twilight Saga posters. From reviews on Netflix and on IMDB some people acclaimed this as an indie Sixth Sense and found the story different but good. Personally I found it to be poorly written, poorly directed, and I hated it. It more or less just bored me, as it is managing to still do now. Not deserving of a recommendation from me, sorry.

Horror Short: The Cleansing (2011)

Written and directed by Gary Marino Jr.
Staring Kimberly Laurenne, Erika Robel, and Ashley McDonald.
Director of Photography Gary Marino Jr.

Initially I didn't set to do these on a weekly basis as I do not have access to enough short films to cover fifty two viewings, if not more. Therefore I hadn't anticipated a horror short review for you this lovely Sunday night but was led to a viewing of The Cleansing and decisively changed my mind, as of twenty some odd hours ago. As usual I pose caution towards raw sentence flow and bad grammar, begging you to pay attention to the context rather than the content. The Cleansing is one of six short films from Fractures Films, "a collection of short abstract films examining the macabre, the twisted and the obscure textures of life". This particular film takes focus to Michelle and her newborn son who's been possessed with crying, by natural or maybe unnatural means, leaving her sleepless and agitated. Lost in a post postpartum depression of sorts Michelle is at the edge of her sanity and the baby doesn't appear to be stopping anytime soon. The Cleansing covers a wide range of topics from new motherhood to depression but ultimately serves as a horror film. As I'm coming to find with these short films the idea is to capture you as an audience within their short running frame and the most effective way to do that is by shocking you. After the twist is revealed the film runs for a full minute, which converted to full film is rather like twenty minutes, and you're constrained to endure the reality that's been imposed upon you. It's an unpleasant feeling, one that left a pit in my stomach in all honesty.

Kimberly Laurenne is deeply disheveled (as a compliment) in her role as Michelle, she ranges from the annoyed mother, to the despaired, and then changes her tune completely for the ending. An ominous and almost empty slideshow of pictures account for the subconscious of the film and of Michelle's mind. The lighting, the brief abstract shots, and the music was all very reminiscent of the tone in The Ring. The film has a professional appearance to it but it doesn't have an IMDB page or any other signs of big studio release outside Fractures Films website; accreditation for Gary Marino Jr. who did the directing, writing, and served as DP for the film, three notes which I enjoyed very much. If I had to dissect and choose a negative for the film I'd say the baby was clearly not real, but seeing how I don't really care neither should you. In my argument I'd say The Cleansing is a really dark piece, it takes you back in nature but holds you in its cinematography. It's available, as well as their other five films, for a free watch on Fractures Films website. Also while you're there go to their About section for a unique description of what they've set out to do. I quoted a bit from it earlier, feeling it said more about the film than I could say myself. You may also follow them on Twitter for more updates on their films and such.

The Vanishing (1988)

WARNING: May contain some spoilers.

The Vanishing is a Dutch/French language film about a heart broken boyfriend's obsession over his kidnapped girlfriend and, a film about the obsession of a sociopath. Rex and Saskia are on their way to a holiday weekend when Saskia goes missing. Rex, torn by her disappearance, takes on a three year search to find out what happened to her. Raymond, our kidnapper, is a family man, teacher, and incredibly intelligent. The film derives into his preparation of the kidnapping, even taking a comical approach to it as his first few attempts are a bit of a fail. Raymond, in respect of Rex, has decided to send him postcards awaiting the moment where they can talk face to face. Eventually Raymond approaches Rex in person and offers him everything he's wanted to know but only if Rex goes with him. This poses the question, would you go?

I can't relay what kind of viewing experience for this film might be to someone else but for me it was calm. Surprisingly for a movie about kidnapping I never felt anxious or overtly scared for Rex. The only thing was after the movie ended a creepy feeling over came me and I became genuinely disturbed by the entire experience. That was the movie's underlying effect. I attribute these elements to our killer, Raymond, who's very precise and in complete control of the movie and the viewers experience, which if you pull away is the utterly terrifying nature of the film. The movie might be a bit slow for some but if you are patient you'll see Saskia's disturbing kidnapping and her horrifying fate, which evokes a certain phobia (I won't mention it because it'll spoil the ending).

I don't watch a lot of Dutch films, in fact this is my first, so I can't say for certain how the acting fairs but from just what I like I thought the two male leads, Bernard-Pierre Donnadieu and Gene Bervoets, were very interesting to watch. My favorite kinds of films are where the villain has more depth than just being evil and that's defiantly what we get with Raymond's character. His thinking process reveals to us that he doesn't kidnap out of sheer pleasure or from a psychological mishap during his childhood development. He just calculates that he can't be one extreme without the other. It's a bloodcurdling thought of a sociopath.

The directing and the writing are good. Tim Krabbe wrote the book and the screenplay and it's doubtful that he messed up his own novel, though I haven't read it. George Sluizer directs and later went on to direct the American remake which has mixed reviews. There's a lot of other little details that I appreciated about the film. Such as casual conversations about items that later show up in helps of the kidnapping.

If you can't tell I'm in love with this movie. From one horror fan to another, there are those who might be disappointed with the absence of gore. But the suspense, the ending, and the affair of watching these two men's obsession over the same woman compensate for it. It's a very good film, maybe of my favorites, but either way I'd say it's something to watch.