Of Silence (2012)

WARNING: May Contain Some Spoilers

Colby is man confined by his past horrors and the current ones that invade his broken life. After an accident causing damage to his ear Colby's love of scuba diving is lost, as well as a steady pay. And with the death of his wife following in recent wake it doesn't help as Colby becomes more withdrawn from family and life. Debt collectors, a worried family, and no other job passion Colby is falling further into depression. And to make matters worse he begins to hear strange and frightening noises, ones his family and the people around him cannot hear. As Colby divulges further into isolation and deeper into his wife's death, he's to uncover a horrifying presence that could take away the only meaningful thing left to him, his sister Haley.

Of Silence is a different kind of horror film. A simple but aesthetic piece that looks more to a sophisticated level than that of something floating around the indie circuit. Although I can see where a few people may not care for it as writer, director, and star of the film Jeremiah Sayys pays more attention to the subtler build than to a hellacious climax. There's not much visually occurring as the director wants you to listen rather than see the nightmares that surround Colby's life. As any void of dialogue is filled with unique sounds that don't attest to the common horror noises. There's an unsettled sense in your incapability to define what they are. However, your not denied entirely of a monster as the final product does offer a creature but still yet it remains mostly in the shadows. The special effects department creates creatures that look rather interesting, a bit of shame as you never get full exposure but that of course adds to the effect. Less detail is attended to some of the smaller effects, i.e. the smoke, but an overall professional effort on their part.

Usually when a person tries to write, direct, and act in a film they tend to be mishandled, with the qualities varying between the fields. But Jeremiah Sayys seems to have it down as he's preeminent in all aspects. There's a small moment in the film where Colby shows a remote bliss, one that really isn't seen throughout the rest. A smart directorial and acting choice for the film as the slight act elevates both the performance and the character. It let's way to a Colby that the audience never really gets to know, but at one point did exist. And of course the rest where he's imprisoned by his melancholic temper is acted out in a a believable and appropriate manner. The supporting cast is good with noteworthy Ashlee Gillespie as Haley, who acts as the somewhat brighter note of the film. And Matthew Lawrence as the brother, who I recognize from my nineties childhood. On a visual standpoint Of Silence in flawless in cinematography. Scenes in blackness appear intentional and not because of misused lighting. And the set design is captured in a serene gloss that I personally care for as a visual palate.

Outside of the strong technical structure there's also a lovely score that fit to the film perfectly. A defined and disturbed lullaby of sorts that I could recognize in an instant if played again. Not all may like Of Silence, as I said it's a cautious film that paces itself before any horror moment. Some may not personally like the surreal world Colby's life becomes as it fades in and out of memories, visions, and overall bizarre occurrences. Which is a weaker point in the film as it's often hard to decipher exactly what happened and what didn't. I hope to watch it again some day to maybe fill in some of the blanks that it left for me. It's also tending to characters before action, as your often more involved in Colby's state of dejection than the weird noises. But don't let it mislead, Of Silence is a stunning little film that I quite enjoyed. I'd watch again and I'd recommend as a watch for any slow burn horror fan.

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.

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.

Paranormal Activity 3 (2011)

Dennis has recently married Julie and is now step dad to her two girls Katie and Kristi. He's a struggling videographer, a business which he runs out of his home giving him access to a lot of video equipment. While filming arguably the most dull sex tape ever between him and Julie an earthquake happens on film. But the natural disaster pales next to what Dennis sees after the quake has stopped, a spirit standing in their room. Immediately he wants to pursue this further and sets up cameras around the house to see if he can find anything else quite like it. It doesn't take the spirit long, or rather Toby, to make another appearance on tape as he's not shy. But as the haunting becomes more evident Dennis is discovering that this isn't harmless as Toby has a plan for his family, particularly the youngest Kristi.

I enjoyed both one and two in the franchise, finding them properly paced and effectively jumpy but as a whole I'm not necessarily a fan. That's not to say I don't like them, because I do, its just I appreciate them more for their technical plots and story buildup rather than have an actual love for the series. Where the first two relied on the subtly paced and what you don't see, the third takes the opposite approach and bares all. In the end it works rather well, this is by far the most terrifying of the series and I was in constant dread knowing that every time they were on camera something was going to happen, you just didn't know what. Which is a brilliance behind the writing, you've come to expect a certain set of rules to the ghost that's been stalking this family but they essentially throw away all previous behavior and throw you off with new bits of horror. Paranormal Activity 3 made more ploys towards the typical haunted house film (I saw that babysitter peak her head around the corner), where the ghost became physically violent and manifested itself in front of us for scares. The last fifteen minutes not only change how you see the spirit but how you see the series as a whole, it will literally alter your viewing experience. I immediately wanted to go back and watch the previous two films.

Dennis the likable hippie bum of a step dad is essential in pissing this ghost off with his camera taunting. Am I the only one who noticed Katie basically grew up and started dating her step dad? The parallels between Micah and Dennis are endless down to camera obsession and not having any clear manifestation of a job. While cute, younger Katie and Kristie are not young prodigy actors I hate to say. But I don't necessarily expect much from such so I won't pry further. Lauren Bittner and Christopher Nicholas Smith are fine as the parents, they seem convincing as a couple and that's all that really is needed. In this film the focus is less on the family's emotional struggle and more about the spirit and setting up what's to happen. Therefore acting is incidental and things such as camera placing are more prominent. In addition to two bedroom cams directors and DP set up a living room camera with its base on a fan to give a wide scope moving effect around the room. A very adept approach in creating a new way to scare the audience, as we see what the characters in the kitchen don't.

The film fells less realistic, as did the second, than the first despite having Henry Joost and Ariel Schulman (directors of the documentary Catfish) there to give it that more realistic approach. Though it had its slow moments the first film's realism was based off the sense that everything was on camera, even the pointless stuff. The third is not so much; everything that is on camera is relevant to the plot and set up so it comes off more as a film than that cleaver found footage effect. As of last time the trailer is deceptive, I don't believe that one clip in that trailer makes it to the actual cut of the film. A lot of reviews are claiming this as the best film in the series, I'm less kind. I'll admit while it's the most dire of the series (I jumped...a lot) I'm still accrediting the first film for being the best. Simply because I prefer the what we don't see to what we do. Still that's not to prevent you from seeing the third installment, without a doubt it'll be the scariest experience you've had in theaters for a while.

Deadgirl (2008)

Deadgirl is about two high school boys who break into an abandoned mental hospital and find a seemingly dead girl locked in the basement. When the supposed dead girl moves the two friends find themselves in an odd situation, sensibly Rickie wants to call the police but JT suggests a perverse taboo that hybrids necrophilia and rape fantasies to a horrifying extreme. Rickie rejects the idea but doesn't stop JT from delving into a sadistic addiction, or from encouraging others to join in. The boys now pressed even more as they are exploring dark passages and repelling against each other find that their new 'toy' is not all helpless, as a bite may give you her illness.

Deadgirl is a surprisingly deep horror film about the human mind paired with the desire of sexual need. It also has a supernatural element about it which adds to the films, surprisingly complex, layers. In one respect we see the chilling portrayal of the dead girl by Jenny Spain, a newcomer who has no films to date but this one, but she gives a creepy performance, and I'm not entirely sure if it's solely because of her facial structure or her ability to work her unconventional looks to her advantage. Then on the other end of the spectrum we have friends Rickie and JT who are committing a horrible act of rape repeatedly by keeping a sex slave, and while JT's true nature comes out under his fantasies Rickie's stays repressed and is fighting against his sanity. I have no idea if the writer and the directors had any intention of making Deadgirl more than just a disturbing film but it came out as a rather deep insight into human nature. The final scene with Rickie being strong proof of that.

As I've been doing research for the review I saw a few people mention how it was degrading to woman in it's brutal rape scenes. I have to disagree with both statements, degrading to woman would be more if they portrayed the sex slave aspect as a light subject that JT and Rickie should be proud of in contrast to the disturbing and sick one that was put out for us. And the rape scenes aren't brutal, in context yes, but highly explicit and graphic? No. There is really only two parts where we see any physical carnation of rape and the second one is treated so casually that it'd be hard to miss if you hadn't been following the film. The acting is also, surprisingly, good. And the character development, once again, surprisingly deep. The director of photography uses a color hue of greens and blues to capture the hospital basement in almost a musty feel for the darker scenes, and in contrast a cloudy sun day for the moments of character reflection.

I may be going too far for Deadgirl as I said that I have absolutely no idea if the film had any intention of being so deep, but seeing that's how I saw it that's how I'm reviewing it. There's also a bit of humor as the scene in the parking lot is good for a laugh. The soundtrack has an indie vibe to it which makes it feel more like a teen horror flick that may be tolerated. The negative I'd say about the film is that it's not a repeat watch, as good and as developed as it is, I don't have any desire to go back. But like all films about rape or a brutal nature as such you don't want to go back. A very good edition to the horror genre, one that I'd recommend to those who are looking for something unique.

Nightmare Cafe (1992)

Nightmare Cafe was a curiosity that developed into confusion and finally...an admiration for the show. I found this dated TV show on Chiller early one morning while getting ready. I begun watching half way into the pilot episode and in honesty the show at first looked like a vast mess but like I said it peeked my curiosity and six episodes later here I am.

The Nightmare Cafe is a 1992 TV show developed by horror legend, Wes Craven and Thomas Baum. The show is about two recently dead persons, Fay and Frank, who've been drafted to an all night cafe. The cafe is more than it seems, it's actually a supernatural...being (I suppose) that gives people second chances and its decided to give Fay and Frank a second chance at life, but only if they work in the cafe. As sort of a mentor there is Blackie, the manager to the cafe. People tend to wander in and out of the cafe, all mysteriously drawn to it for a second chance, and it's Fay, Frank, and occasionally Blackie's job to help them out, in what ever capacity that may be.

The show was canceled after six short episodes due to low ratings. This sad fact attributed to my initial confusion of the show. At first I wasn't even sure if I liked it, the cafe itself confusing me the most. I wanted to know more on how it worked, who it picked, why it picked them, and just generally why it was special. I'm presuming that if later episodes, possibly seasons, have been aired we'd of gotten to know more about the prominent character of the show.

The acting was also a little...baffling at first. Fay played by Lindsay Frost acting resembled that of a soap opera actress and that got on my nerves. But after the first episode it was toned down a bit and appeared more as Fay initial response to her new found fate. Frank (Jack Coleman) was the same, his acting was odd but that's the entire nature of the show and in fact he and Lindsay Frost were pretty much in tuned with the overall tone. Then there is Robert Englund as Blackie, he was the one who kept drawing back to the episodes, he's just great, as always. He has this perfect comedic timing and a certain sinister quirk to his character. Maybe my favorite thing about the show were the small innuendos that Blackie would throw out, hinting at his age.


The show has been related to a Twilight Zone episode, having that supernatural/horror anthology label to it. Which is a fair comparison, people show up at the "Cafe" and weird shit happens, only difference here is we have three solid characters. There's also a Sci-Fi like element to the show as Fay and Frank basically get beamed in and out of the cafe, and the final episode, "Aliens Ate My Lunch", amps that up a bit. The Nightmare Cafe does have a short episode list and that may turn off some viewers but it grew on me and I'm a bit sad that there isn't a few more episodes, at least enough for a full season, to watch late at night when there isn't much on.