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: Her Heart Still Beats (2011)

Directed by Christopher Di Nunzio
Staring Fiore Leo and Leighsa Burgin
Director of Photography James Sullivan

When a husband looks into his wife's eyes one day and to him they've suddenly changed he becomes paranoid with the sense that something isn't quite right with her while also teetering on whether he's sane or not. Based on Edgar Allan Poe's classic horror of madness "The Tall Tale Heart", Her Heart Still Beats is a suitable modern take that captures the maniacal nerve of the original character. The story traces along the edges of its original inspiration but spares a few details differently and ultimately pays off as a update. There's an askewed effect as the differences in the two materials can set you off, but no additional content really feels out of place in the story, just an extension of the directors vision. The character in Poe's work is indicated that his urge to kill the man with the vulture eye was a test of time where as Nunzio's character is seemingly fit with a burst of mania at no explanation. Because of this it plays out a little rough at first but smooths itself out later in the half hour run time and works as an anchor for the film's hitch. 

There's no real way around it as I have to be honest but I was not a fan of the acting. I felt the main character was forced and played way too over the top, though other reviews have praised his expressions and intensity. As where the rest of the cast was bland but not necessarily bad, however no one in particular stood out. It's a matter of perspective though and you may judge for yourself. As I praised the idea of the script there's faults in there too as the basic dialogue was a little weak. However the exception was Nunzio's decision to include the original haunting dialect of the character in Poe's story at the beginning and end of the film that attributes to the strength of the concept. It added an extra chill to the madness and is an ode of Poe's words. Cinematography is adaquete, there's a few nice shots and the overall set design mimics a modern married couples home. Her Heart Still Beats is a quality adaption on the Master of the Macabre's most famous work and is thoroughly recommened by me.

Her Heart Still Beats will be streaming this fall and will also be available on DVD. Keep updated at the film's production company's site http://www.creepykidproductions.com/index.php.

I have quite a bit of short films to review but I always care to mention that if your interested in me reviewing your film send it to me at bleedingdead22@yahoo.com.

A Love that Kills

There's a certain comfort instilled in me that even though I am now in a relationship I still find Valentines Day to be a useless holiday that in all actuality is just a Thursday to everyone else. I'm nauseated by on screen romance and am often fit with impulsive giggling whenever I have to watch two actors awkwardly gaze into each others eyes and say lines that only writers could make up. My favorite love story is Leaving Las Vegas, so I believe you get a sense of exactly what I'm looking for in a love story. There are exceptions such as Benny & Joon. But generally any love film I own results in either one or both of the characters dying.

Love is a devouring emotion, and I don't really need proof to convince people of that. Therefor it's really only a fitting story-line for any horror film. And as bitter I may be I'll even admit that love and horror have been happily together since the Silent Film era. The plot of Phantom of the Opera is romantic (later abandoning its horror roots to become a musical romance, eck). The ever present vampires, new and old have always offered a Casanova side to their prey. And as of last week now zombies are contaminated with the emotion. It's a sub plot in a lot of films and if not there's at the least a happy or non happy couple lurking about somewhere in the script. But I wanted to take focus to those that have it at the heart of the film. For Valentines Day here are my Top Five Horror Love Stories:

#5 May (2002)

At the surface May doesn't appear to be a classic boy meets girl love story, but it's the film that desires the most of human connection. It's hard to say what the exact intention of the film is, as the film trades off comedy to romance to horror without a thought. And the intention of May herself is unclear; is she looking for love, a boyfriend, or just wants to be loved in herself? Her sexual exploits with her co-worker Polly weren't really under union terms, and her and Adam never really developed far past the friendship stage. But May takes her rejection further past the real nature of her friends and the ends the film in a heartbroken, albeit gory revenge that finally gives May what she's been longing for.

#4 Bride of Frankenstein (1935)

The classic horror love story about a monster and his bride that portraits the unrequited love to a tragic end. Bride of Frankenstein has an old school romanticism popular to its time. Not present in modern horror as they're unfortunate is to mimic the watered down love stories that are plagued in current romantic comedies and teen dramas. There's a quiet humility to the ending of Bride as essentially "We Belong Dead" may be the most tragic but beautiful love lines of film. A no more appropriate reaction than when the Monster finds out his Bride doesn't share the same feelings he does. And as brief as his time with her was there is an irreparable sadness as the monster destroys her, himself and the doctor, as his small light of not being alone the rest of his life is blackened in an instant.

#3 Fatal Attraction (1987)

Fatal Attraction serves as a lure to the darker desires of the human conscious. When a married man has an lustrous affair with a colleague it goes awry when she refuses that the affair is over and then dangerously pursues his family. Of few films Fatal Attraction really does have the proof that it literally scared dishonest lovers back into fidelity, as history recounts the public's reaction to what was considered a 'shocking' film at the time. Glenn Close's Alex is a smart play as the classic tantalizing mix of alluring and deadly isn't at first present, she subtly displays normality and then carefully unravels to insanity. Douglas is of course a great co-star and the two have a strong chemistry in their more explicit scenes. And despite his character faults at the beginning of the film you gain a sympathy as Alex begins to take it too far, where the horror inevitably occurs. The bunny in the boiler among the worst and more iconic references.

#2 Midnight Son (2011)

There's an illimitable amount of praise I can have for Midnight Son as I've said everything under the sun about it (and yet you still haven't seen it have you?). But really it is a beautiful depiction of what a modern day vampire romance should be. With Jacob's condition based in reality and his love interest Mary addicted to drugs. What I really do appreciate is the build of the initial relationship in Midnight Son, as it is a repressed appetency the characters struggle with. But not in the sense that Jacob can't be with Mary because he desires her as an appetite but rather pushes away as his weirdness is always a factor. The chemistry is tight and the film never achieves corny love level as is often fit with this sub-genre. And of course as said with my review I absolutely love the final shot.

#1 Let the Right One In (2008)

Let the Right One In is of the few films that has a real genuineness. The premise itself simple as it focuses to a bullied twelve year old Oskar who falls in love with Eli, a child vampire who's been about killing people in the area. The film discusses the horrors of growing up and then offers a sweet love story that can only exist in this manner. There's a acceptance in which they can see past the differences without thought or reason and accept each other simply for who they are. Of course outside the tender half of the film we are offered a vicious little creation of a vampire, in her own right she's intimidating and appropriately scary. Maybe it's because it occurs innocently between twelve year old's or isn't sappy in any way but Let the Right One In is a love story horror I can appreciate.

HM: Candyman (1992), a grad student writing a thesis on legends comes across a one armed ghost that appears in the mirror when the name is said five times. Play Misty for Me (1971), Clint Eastwood's directorial debut about a radio DJ's one night stand being a dangerous stalker. Bride of Chucky (1998), the eighties killer doll reunites with his real life girlfriend to reek hell on a young couple in love.

If your reading post your own.

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.

Hatchet for the Honeymoon - Il Rosso Segno Della Follia (1970)

May contain spoilers

I went with another Bava film for the second of Italian Horror reviews because I've been wanting to watch this for a while. Also while I don't care for the holiday February, among other things, is the month of love and I thought what no better than a bride murderer to bring in the spirit of Valentines Day?

John Harrington is a wedding dress designer by day and moonlights as a serial killer of newly brides by night, and on occasion he'll kill their grooms as well. By each murder John is able to unveil a bit more of the mystery of his mother's murder, which he's blacked out for the most part and likely awoke the demon inside him. Though John is able to cure his urges with killing he struggles with another complication in his life, his wife Mildred. Mildred is a co-owner of the shop and refuses to give John a divorce, despite that she equally hates him. At the edge of his sanity John kills his wife in an attempt to put an end to her nagging. But Mildred will not leave so easily and starts to haunt John long after the murder. Even more intriguing is one of his new bridal gown models, who's been showing an interest in John. But with Mildred hanging around like a bad smell and the police zeroing in on the murders of the young brides his life is becoming more entangled in insanity than he could ever imagine.

John Harrington has very much a pre Patrick Bateman in his self-aware ritualistic murder. His monologue is not unlike Bateman's and the sexual kick he gets from killing virginal brides downed in the wedding dresses he makes, which also draws a reference from Norman Bates with the possible titillating fixation on his mother. I may be making Hatchet for the Honeymoon sound more in depth than it is, while Harrington is disturbed and the original title The Red Sign of Madness (Italian) proves more fitting the film wasn't as breaching as I had hoped. Not to attest that nothing holds interesting as the eloquent yet galling murder of one of the brides in the secret showroom is fantastic, at the least. Also as Santiago Moncada's script starts to ring a common tune of a theme murder he throws in a unique spin with the supernatural haunting of Harrington's wife. Which not only in itself turns on the Italian horror film but also the basic structure of the ghost story, meaning that I liked how everyone was able to see Mrs. Harrington but John himself. Unique and different for sure.

Stephen Forsyth is Harrington, and he's alright as far as acting goes but at surface value there's something about his dreamy, basically suave appearance that creates the insanity to his character. Maybe it's because you expect him more to play the James Bond type than the ravaging murder type. The rest of the cast is all lifeless as far as character development goes, with the exception of Laura Betti as Mildred. It's hard at times to judge an actor when the entire film is dubbed in a voice that doesn't fit the actor. As I felt with Betti, she's probably very good in the original Italian version but the voice in the English is 'off' and distracts her facial expressions. Of course Bava paints the film in a red cinematatic scope but a little flat actually next to his black and white masterpiece Black Sunday. Odd. Still lovely to look at, the makeup and costume design to the ghost wife in particular is capturing picture.

After that picture I'm fairly confident that Mary Harron drew inspiration in this film for American Psycho. I wonder if Bret Easton Ellis drew any inspiration from it though? This review feels a bit pretentious from my end, I apologize, but I'm only saying how I feel. I've noted all good qualities as the film is good but it still felt a bit average to me. Not really gory to compete with my favorites but not a bad watch. Bava is able to effectively capture the maddening sense of blurred reality and sure I'll say it, surrealism in John's actions and desires. But it's still just okay, and I have no idea why. As others I wouldn't recommend for those just becoming introduced to Bava, but rather as an average watch for a casual [horror] movie night.

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.

Midnight Son (2011)

In Midnight Son Jacob has suffered from a sensitive skin condition all his life where any exposure to the sun will severely burn him. As an adult he begins to notice that more symptoms seem to be appearing, specifically a thirst for blood. Tight for supplies Jacob has to resort to different, and creative, matters to curb his hunger which gets him involved with a blood dealer who provokes trouble in the security guard’s life. All this happens to align with his meeting of Mary, an attractive bar tender/candy cigarette dispenser who doesn’t appear to mind Jacob’s nocturnal lifestyle. As Jacob begins to divulge further into his vampirism his liking of Mary grows and the two begin to connect on an intimate level.

Midnight Son was the only full length film I saw at the Mile High Horror Film Festival and I'm glad I did. It was beautifully shot, beautifully written, and beautifully acted. Basically it was a sublime film that I want to own. It's what most modern vampire love films are not, romantic and horrifying; capturing the trauma of relationships and the inner desires, vampire and human alike. As much as I did love the film its not full horror, as the only truly terrifying part is the last five minutes and the aesthetic last frame. Up until then it’s mainly Jacob adapting to his life and falling for Mary. That’s not to attest that it’s not a horror film, it is but like another in its genre, Let The Right One In, its just not in your face. The subtle and kempt paced finale is a moving and violent build up, and the final image haunts you long after it fades to black.

Writer and director Scott Leberecht created a unique script where Jacob's conditions weren't just amounted to vampirism but diagnosed as actual illnesses (anemic photosensitive anyone?). The love story is not only convincing but quietly played between our two leads Zak Kilberg and Maya Parish. There's that struggle but desire to come back. Kilberg's Jacob is able to let way with his carnal changes in breathtaking pain but doesn't overplay the hatred of what he is. Parish plays a darker Mary with her drug habit, but it’s countered with her tending towards Jacob's unusual lifestyle. Both actors are deeply in-stitched in their roles, and with each other; there was never a moment where I didn't believe that Jacob liked Mary. The lighting and cinematography give way to a more gritty style; with a conducted base of grim tones and camera angles, several scenes stay in your mind from the art alone.

This review isn't particularly long as there isn't much to say about Midnight Son other than that...it's a beautiful film. If ever in need for a definition of the adjective and noun when used together this would be the film to render such. There were a few questions I had that went unanswered but another thing Leberecht did was set up the script so I was able to imagine what happened after the credits (my questions pertain to more of Jacob’s past). I’d also like to note that the image of Jacob holding a blood stained Starbucks coffee cup is really just waiting to become iconic. Midnight Son isn't available for direct watchers as of the current, mostly gaining its viewings at film festivals. Therefore access to this uniquely incredible film is limited. However, if there is a film festival within your range playing this GO SEE IT. Please do not miss it; you won’t regret what I find to be a gorgeously laid out film and what’s currently developing into a favorite of mine. 


Go to the film's website,  http://www.midnightsonmovie.com/, to get more info and try to get it in your area.