The Boogeyman (2010)

The Boogeyman is an Irish short film adaptation of Stephen King’s tale. Directed by Gerard Lough, the film opens with bereaved father Andrew (Simon Fogarty) explaining his story to a psychiatrist and saying how he is responsible for his three children’s deaths at the hands of “the boogeyman”. As Andrew recounts his tale, we see what unfolded through flashbacks.

To be honest, I haven’t read King’s story, so I can’t account for how faithful Lough’s adaptation is. Unfortunately, I found this to be a fairly dull short that lacks action, likable characters and tension.

The first problem was with the character of Andrew. Though King’s characters are usually rough around the edges, they are ultimately likable in that “everyman” way. However, Andrew comes off as inherently unlikable, complaining about his wife and expressing how he never really wanted kids. This is quite a shaky way to start a story, especially since it takes a while for Andrew to (sort-of) redeem himself. By the time he actually does express some love for his family, it was already too late and I was already anti-Andrew and couldn’t care less what happened to him.

I also thought it odd he wasn’t suspected more by the police in his children’s deaths. Perhaps if more people suspected him it would have upped the ante and made him a more sympathetic character, but by his own admission he is only telling the story to the psychiatrist to get it off his chest. I think the intention of the filmmaker was to create tension in the viewer, making them wonder if Andrew had really killed his children instead of the boogeyman. However, this intention fell flat and I really never felt the tension or urgency to find out who the true murderer was.

The story unfolded at a languid pace as well, and I just didn’t feel any sort of suspense while watching it. It would have helped if more had been shown of the flashbacks, but instead the story focused more on showing Andrew talking to the psychiatrist. I did read that the production had issues finding child actors for the roles due to the subject matter, but I think the story could have been shot around those problems.

As for the direction, it was okay…nothing too special except for a lot of blue and grey muted colors on display. The direction and editing were fairly plain, and since the story was a bit slow it could have used a little more punch.

Another problem was the silly boogeyman costume design, which was anything but scary. Instead, it just looked like a dude wearing a cheap, plastic Halloween mask. I wish the boogeyman character had been shown less, because a shadow on a wall or eyes peering from a closet would have been much more effective and creepy rather than seeing that ridiculous costume.

The Boogeyman is a slow-paced short that unfortunately couldn’t keep my attention. It lacks tension, likable characters and any sort of scares.

Desdemona 6 (2011)

Rev your engines, kiddos, because this short film from director Johnny Priest will blow your lid off. I’m talking about the low-budget Desdemona 6, which takes its inspiration from 70s hot-rod flicks while throwing in some terrifying twists that land it squarely in horror territory. While the film’s gritty grindhouse look gives the film a dirty, scratched up look, it’s definitely the story of the mysterious driver and his pursuit of the couple that kept my eyes glued to the screen for its short 10 minute run-time.

The film is about a couple, Travis (Jason Mac) and Chrissie (Katie Bearden), on the road one night. Travis is driving Chrissie to work in his “baby”, a sleek hot-rod, when they encounter a menacing muscle car that taunts the hot-headed Travis into a drag race. After the young couple becomes stranded on a dark country road six miles outside the town of Desdemona, they find themselves in the fight of their lives while being relentlessly pursued by the demonic car and its mysterious driver (Bruce Rowland).

At different points in the film I was reminded of Christine, Jeepers Creepers and Death Proof, Tarantino’s homage to all grindhouse-era hot-rod flicks. However, the film never felt derivative and continued to keep things fresh and interesting throughout. It featured several surprises that made me jump in my seat and the direction by Johnny Priest was flawless.

I’ve already mentioned how Priest dirtied up the film stock to make it look grindhouse authentic, but he also managed to set the entire film at night. You might think nothing of this, but filmmakers on a limited budget usually don’t have the best track record with night shoots, as without the proper equipment most of the action is lost to the dark. I’ve seen plenty of low-budget films that were ruined just because you couldn’t SEE anything happening on screen if it was set at night. However, Priest overcame this obstacle and the entire short is crystal clear, with the dark night giving it just the right amount of menace without obscuring any of the real action.

The special FX were also very impressive, especially considering the film’s small budget. There is one startling scene (I’m saying as little as I can so I don’t give anything away) that comes out of nowhere and definitely gave me quite a start! It looks pretty dang perfect on-screen, too. And though the “mysterious driver” is (wisely) kept in the shadows, when we do see his scarred up face it is downright chilling! Plus, the driver’s car has quite a personality of its own and becomes like another character in the film.

Speaking of characters, I was also impressed by the performances in the film. Katie Bearden (Chrissie) and Jason Mac (Travis) easily convinced me they were a bickering couple and Bruce Rowland gave a menacing performance as the driver. And, of course, the beautiful hot-rods had personalities all their own, which you don’t need to be a gearhead to appreciate!

I never know what to expect when sitting down to watch an independent film, but I was absolutely stunned at how much fun I had watching Desdemona 6! Desdemona 6 is an impressive short that lovingly replicates the grindhouse feel while jolting the viewer with a terrifying ride down a highway to hell. For the thrill ride of your life, hop into Desdemona 6!

For more information, including upcoming screenings, check out the official site and Facebook page!

Damn Your Eyes (2009)

 

Damn Your Eyes is a short film that emulates the gritty stylishness of spaghetti Westerns by faithfully recreating the feel of the classic Italian-lensed Westerns, complete with a mysterious desperado out for revenge, a distinct score, old-school shootouts and plenty of bloodshed.
Sam (Jakob Von Eichel), a mysterious stranger, arrives in town to exact revenge on the men who wronged him when he was only a child. He encounters Louisa (Marisa Costa), a prostitute who dreams of a better life. Meanwhile, Dennis (Ray Reynolds), the town’s lawman, is familiar with Sam’s past and makes it his personal duty to stop him before the violence escalates.

Writer/director David Guglielmo has created a stunning short film with Damn Your Eyes. While not strictly horror, Damn Your Eyes has that outlaw aesthetic and plenty of violence that will no doubt attract horror fans. The visuals are impressive, creating a faithful-looking Wild West even on the film’s tight budget (the short was supposedly filmed for just $5,000), and the direction is sharp and focused, really engaging the viewer. While the film has limited locations (mainly a saloon and two different houses), it never feels like this negatively impacts the film. Instead, it shows how the film overcame its budgetary limitations while still delivering a visually arresting story.

While the visuals used really capture the feel of a spaghetti Western, I also must mention the excellent use of music throughout that gave the film a haunting, lonesome quality so associated with Westerns. The score really gave the film that extra polish and feel of completion.

As for the acting, it was top-notch. I really loved Jakob Von Eichel as the mysterious sharp-shooter Sam. Equally impressive was Marisa Costa as saloon prostitute Louisa, exuding equal parts vulnerability and tough-as-nails attitude.

I loved the authentic feel of the film and the vivid world it created. With dashes of grindhouse grit, Western bravado, gallows humor and even a few gruesome bits sprinkled throughout, not to mention the engaging story that unfolds on-screen, Damn Your Eyes was an absolute joy to watch. My only complaint is that it wasn’t long enough. However, the short has been receiving rave reviews, and hopefully this will allow filmmaker Guglielmo to push forward with a sequel or perhaps even a full-length feature.

I certainly hope to see more of writer/director David Guglielmo, because this is one of the best (and one of my favorite) short films I've seen!!

For more info (and to watch this amazing short yourself), please visit the short film's official site!

Monomaniacal (2011)

Monomaniacal is a short film from writer/director Michael Sharpe. The description from the film’s Vimeo page (“A young woman flees for her life after escaping a killer's wrath”) didn’t tell me too much, so I just decided to click play and hope for the best.

The film starts with a typical scene of a girl being tortured by a faceless killer (Tim Ross) in a dark, dank basement. You can be certain that plenty of screaming and bloodletting ensues. Once the killer leaves his victim alone, she notices other victims strewn about the room and, surprisingly, one is still (barely) alive. The two scheme a way out and soon the victim’s newest victim, whose name is Sam (played by Katie Bearden), tries to help the injured victim Jess (Brittany Bass). However, the killer comes back and only Sam escapes. Then she is on a run for her life through the woods as the killer pursues her. Will Sam survive the horrors of the night and can she overcome the new terrors daylight reveals?

Monomaniacal doesn’t tread any new ground in the horror genre, but it is an enjoyable short with several strong performances. Katie Bearden gives a fierce performance as the victim who decides to fight back. Her spunk, strength and perseverance reminded me a lot of Eliza Dushku’s performances. Even though Brittany Bass didn’t have that big of a part, you could tell she put her all into the performance. Her portrayal of her character is so realistic you can nearly feel her pain and suffering! Lastly, Catherine Trail gives a shocking performance as a character called simply the “Woman”. While not completely unexpected, she spews some vitriol that is quite startling coming from her prim appearance.

While the short has a predictable story, at least Sharpe’s direction is, well, sharp. Scenes are well lit, the viewer is engaged by varied camera angles and he definitely knows how to capture the action. His story isn’t that original, but at least he knows how to tell a story in an interesting manner.

I didn’t expect much from this short after its torture porn-esque opening, but was pleasantly surprised by Michael Sharpe’s strong direction and the impressive performances from the cast. If you get a chance to check out Monomaniacal, do so!

For more information on the film, including upcoming screenings, check out its Facebook page!

Demon Divas and the Lanes of Damnation (2011)

A little disclaimer here: I loathe bowling. Maybe it’s cuz I suck at it, maybe because I hate lugging around heavy balls (*snicker*) and the funky foot-odor smell of most bowling alleys, or maybe it’s because I find bowling so boring, but for these reasons and many more it is just not my thing. However, perhaps if bowling was a little more interesting, say, with a few evil demons involved, bowling would certainly appeal to me a little more.

Lucky for me, Demon Divas and the Lanes of Damnation features a cast of sexy demons who own bowling alley Coventry Lanes and who are intent on devouring their customers. However, there is a catch…the demons must wait to satiate their appetites until someone asks them for a wish. That someone happens to be waitress Lisa (Nikki McCrea), who is fed up with a group of sorority sisters who have made her life a living hell. To get her crush Johnny (Aaron Bernard) to notice her and to give the sorority sisters what they deserve, she asks Coventry Lanes owners (played by Brinke Stevens, Debbie Rochon, Amy Lynn Best, Lilith Stabs and Robyn Griggs) to help her get payback. However, the hellfire and bloodthirsty demons she brings down on the bowling alley isn’t quite what she expected…

Inspired by ‘80s horror-comedies like Sorority Babes in the Slimeball Bowl-O-Rama, Demon Divas and the Lanes of Damnation is a fun, low-budget film from Happy Cloud Pictures. It takes a lot of cues from Sorority Babes, including plot points (i.e. demons and wishes) and naming its characters after ones from the ‘80s cult classic. It even features Brinke Stevens, who actually starred in Sorority Babes.

The majority of the film takes place in the bowling alley, which limits its story a bit, however filmmaker Mike Watt does an excellent job of keeping the action moving and doesn’t allow the audience to really get bored. The character development is adequate, with several quirky characters nearly stealing the show! I thought Nikki McCrea as the beleaguered Lisa did an excellent job as the lead, and found Sofiya Smirnova, who played her friend Taffy, to be absolutely darling! I just wish a bit more attention had been focused on the demon characters; I would have loved to see Debbie Rochon and Brinke Stevens have a bit more to do.

All in all, Demon Divas and the Lanes of Damnation is a fun horror-comedy for fans of independent cinema. It certainly doesn’t reinvent the horror genre, but it is a pleasant enough way to spend a breezy hour and some change.

Buy it on Amazon!

For more info, please visit www.happycloudpictures.com!

Interview with Filmmaker Adam Barnick

If you’re not familiar with the name Adam Barnick, you soon will be! Adam is the director and writer behind the short film Mainstream, which was released via Fangoria’s Blood Drive II: America’s Best Short Horror Films DVD as well as producing, directing and editing the behind-the-scenes documentaries and featurettes for the films Frozen and Grace.

Adam is a long-time fan of the horror genre, and has contributed to many horror websites, including Icons of Fright and Dread Central. He is currently working on the exciting experimental horror documentary entitled What is Scary?

Sarah Jahier: Hi Adam and thanks for joining us today! Tell us a little about your background and how you first fell in love with the horror genre. 

Adam Barnick: I grew up in a wooded, spooky area in central New Jersey that gave me a deep appreciation for mood and atmosphere, both in its isolation and in the textures of Fall and Wintertime. Being forced through years of Catholic School as a kid definitely brought room to daydream and become familiar with talks of damnation and fear. And Halloween was always a big deal in our house. But I was introduced to the fantastic through a book on classic science fiction films that my Aunt gave me when I was 5 or 6. And my diet was primarily sci-fi for the next few years, whether through books or films. But I always enjoyed scary movies, I think we’re either wired to love this stuff or we’re not. My mother is a big horror fan so while I wasn’t, say, watching The Exorcist at 7, I was definitely seeing what I could on TV growing up and nobody minded within reason.

I think I was 12 or 13 when I got to see A Nightmare on Elm Street on cable one night, which scarred me good…but then I found out there was a part 3 coming out and managed to coerce my folks into taking me to see it. That’s really when the full-on obsession kicked in. Soon after that I had the Fangoria subscription and was diving in head first to catch up on any and all forms of horror.  That’s the best time in life as a horror fan, when you first jump in and discover classic after classic.

Sarah Jahier: After falling in love with the genre, what made you want to actually get involved in the horror industry and how did you go about accomplishing this goal? 

Adam Barnick: Well what Dream Warriors did was kick off an obsessive love for horror but also for practical makeup effects. Both the execution/artistry of them as well as the surrealistic ideas they depicted. That really got my brain cooking with all sorts of bizarre distortions of reality, human and inhuman form, etc. Originally I was thinking that as a career path. I absorbed everything I could that had to do with special makeup effects; started mold making and learning…And of course I began “attempting” films with neighborhood friends. But the preparing for filmmaking, brainstorming story ideas and capturing ideas on film/video really took over. It felt right and correct, and by the time I was 16 I knew it was filmmaking, not FX, that had really become my passion. But I’m obsessed with all genres of film…horror just happens to be the favorite.

I was always a fan, went to film school and worked on sets…and began doing genre interviews on my own website and for a site named Entertainment Insiders in an effort to meet more people in that area and learn from them. But it was my short film Mainstream getting picked up for worldwide DVD distribution that creaked open the doors a bit.

Sarah Jahier: How did you come up with the idea for your short film, Mainstream? 

Adam Barnick: The idea for Mainstream (the short) came about at a time when I was working in a video store, at the start of college; because that’s a requirement if you’re going to be a filmmaker, right?  While the film did deal with a lot of the themes that obsess me as a person that has shown up in other work (conformity, individual vs. a group, artists vs. non-artists), it was the clientele from the job that inspired it. I think maybe two percent of the people who I dealt with in the store were the types who were open to anything different or out of the mainstream, or who had a good attitude towards themselves and their lives. Two percent who didn’t have an angry/powerless/victim mentality. 98% seemed like whatever had made them unique at some point had been literally drained or burned out of them, that they’d given up. Anything creative or different, they’d snap at.

One day while at home I was contemplating this and the entire short film hit me all at once. Every image, sequence, beginning to end. I think only 2-3 times in life have I had “visions” like that for a project I wanted to do where it showed up fully formed. And I became obsessed with that surgical sequence that could be interpreted as symbol, or literal. As time went by I was able to articulate/understand every image in it as it pertained to the things I was haunted by as a creative person. And it still took like seven years from when I had the idea before we actually got to shoot it.

Sarah Jahier: As Mainstream was your first short film, how did you go about getting it from page to screen? What challenges did you face? 

Adam Barnick:  It wasn’t my first short, but it was the first to get out there and do well or be distributed. I’d prefer my older student films never get out there.

We never got the budget or resources to do it anywhere near the level I’d imagined, but for next to no money we were able to shoot something on film that affected people and got them thinking. While it’s “small” for a short film, it was the most ambitious project I’d done at the time; I was barely in the film business then, didn’t really know anybody well. Going about producing something like that without the resources/aid of a school, and trying to get talented people involved for next to nothing was the big challenge. Instead of waiting several more years, can we possibly do this on what we have now? As cheap as that short is, it took years to get to where we could afford to do it. Biggest challenge was just raising the meager funds. Getting people who don’t know you excited about what you’re doing was certainly a new and vital area a director needs to cultivate.

I don’t think we had many production-related snags once we got going though, once I’d accepted it had to be done at this scale or not at all. A few props malfunctioning, a few shots that had to be cut or combined, some minor personality conflicts on crew…but other than that, there weren’t many troubles we didn’t push through. I’m happy we accomplished it after so long, but I’d make it totally differently now, even if we were stuck with the same budget again. You almost make a film to figure out the way to properly make it!

Sarah Jahier: You’ve worked on the horror journalism side of the industry with several online publications. Do you have a favorite article or interview you’ve done? 

Adam Barnick: Interviewing Guillermo Del Toro for Pan’s Labyrinth was a highlight.  That was a brief but a seriously joyous moment. I saw him the following year again at the premiere of The Orphanage; we ended up nerding out over DVDs with some friends near the coat-check room when he should have been on the main floor doing press photos! He’s the world’s greatest geek.

I’m particularly happy I was able to interview Coralina Cataldi-Tassoni (Opera, The Third Mother), who’s since become a good friend. You learn a lot working on sets, but I’ve learned a lot as well with every interview I’ve done. Particularly from the interviews I did on the sets of Frozen and Grace…that’s one thing I think really helps those behind-the-scenes featurettes stand out. We didn’t settle for less when really getting into detailed questions on craft. And by then I’d worked enough in film to be able to interview actors/crew on their level instead of just asking for random anecdotes. And that was really the impetus behind getting into doing interviews in general…to get to know people and pick their brains while helping promote them.

Sarah Jahier: As mentioned, you’ve worked on the amazing special features for Grace and Frozen. How did you become involved with filming the special features for these films?

Adam Barnick: Thank you! I’m glad you enjoyed them. That started when I met Paul Solet. Fangoria and Koch Vision both picked our short films to go on their Blood Drive II: America’s Best Short Horror Films DVD. That was a big break for us both, and he and I really went to town promoting that. I read and did coverage on a bunch of his scripts, so I knew about Grace. And he was gearing up to do the short-film version of it to pitch the feature. He’d asked if I wanted to work on it and suggested doing a behind the scenes doc for the disc. I hadn’t done one before, but figured between my thorough interviews and having been a DVD geek I could stumble my way through it.

It’s really rough compared to ones I’ve done recently, but it did what they’d hoped it would do. While the short-form Grace showed Paul could direct a high profile project, the BTS showed who he was, what he was about and how he could pull it off. I know it helped in Adam Green wanting to meet him in the first place about producing this. Obviously he wanted to because the script was great but at least he knew Paul was a good, smart guy from seeing him work. That BTS also helped Paul get his world premiere of the short at the Fangoria Weekend of Horrors in LA, since I’d already given it to the heads of Fango and they were excited to see what was coming…but we’d hoped if the feature got going that I’d come on board to do more of the same.

It was a bit of a fight to get me on board for the feature because of the Canadian tax credit issues, limiting the amount of Americans you can hire…and we had almost no resources at all to make those special features. I didn’t care. I’d been involved since the start of that project on some level, and needed to make sure I was involved at its end. They weren’t as technically proficient as I’d desired but they had the smarts/visual finesse I was hoping to have. Green gave me a great compliment after seeing them, that you could tell a film director did them and not just an EPK guy brought on the job as a random hire, and that he was dying to see what shorts/features I would do in the feature. He and ArieScope brought me on board for Frozen soon after that, and I tried to kick it up a notch even higher than Grace. The response to the Frozen DVD/Blu-Ray has been overwhelming!

Sarah Jahier: Do you have any funny stories from behind-the-scenes of Grace and Frozen that you can share? 

Adam Barnick: We had fun on set even while busting our asses, but the strangest thing I can think of from working on Grace was the one night we went out, when I was there.  (Adam Green tells part of this story on the Grace DVD commentary). On our night off, several of the crew, Paul, Green and I went to a tavern in the middle of Moose Jaw, Saskatchewan. We walked into this place, and quickly realized we were right in the middle of Cerebral Palsy Karaoke Night. None of that statement is a joke. But it made for a unique backdrop for the rest of the night’s quirks.

The rest of the night’s events remained offbeat to say the least. This older, Wilfred Brimley-esque guy came over to Green and asked if he was interested in fighting. Keep in mind he says it in the most kindly way…I was sitting next to him when this happened and I thought he meant it like “do you like boxing?” But no, he clarified that he wanted to know if Green was interested in going outside to fight, just for the hell of it. Green politely turned him down. Then he asked if anyone else at the table was interested in fighting…We respectfully declined. But then at the next table, he found another older man who was like, “sure, I’ll come outside and fight!” And they went outside and fought.

So we decided to try out a different bar after that, and this one was supposed to be the one where the younger folks hung out. We get to that one, there’s a dozen flat-out hammered people falling down in the parking lot, and one girl trying to open a pocketknife to attack some other guy’s girlfriend. We sidestep this and go inside and it was just a whirlwind of strange Canadian drunkenness. And a lot of people beating each other up. Set to a drum and bass beat. People are really nice up there, but they let their hair down in a very unique way on the weekends it seems.

We told this story to other crew members on Monday and one of them explained the ‘Moose Jaw handshake’ to me. You break a bottle on your bar table, stick out the jagged end and go ‘pleased to meet you.’

Sarah Jahier: That sounds like quite the experience! You are currently working on What is Scary?, an experimental documentary. Can you tell our readers about this project and where you got the idea for it? 

Adam Barnick: After Mainstream I was trying to get several other projects going while working on other people’s films and developing my own work. As you probably know, everything’s built on sand and projects often take forever to come together…What is Scary? came about from being frustrated at a lack of resources to pull off bigger ideas I was developing. And after a few lean years where even getting a camera and lights was out of the question for any no-budget ideas I was trying to think of something that didn’t need anyone else but myself, really.

I’d participated in a similar project in which I was asked to call a voicemail and answer the question “What is sexy?” which right there can generate a ton of varied, thoughtful answers. I thought about taking a similar approach and asking people to answer ‘What is scary?’ however they saw fit, and it was an idea I could begin with just an answering machine. The answers are being edited into a visual tapestry of stills and possibly animations, akin to a Ken Burns documentary but with its own offbeat approach.  I invited people in and out of the horror world to call in with the answers to their questions.

So it became a project I could do on my own but I do have photographers including Paula Burr (Killer Eye Photography, Dread) involved; she’s been featured on your site a few times. It’s still a done-for-nothing passion project but it will be a bit more polished and involved than what’s been seen. I imagine it on the wall in a multimedia art gallery with a pair of headphones where you can drop in on this little world. There’s been a terrific response, both in the answers I got and in the film community/fans who’ve seen the teaser. I think it’s unique enough to grab people in and out of horror fandom who are open to something different. It’s become a smart dialogue between myself and the callers, though I only ask one question. I was concerned at the start that it might get too repetitive, but it’s the distinctive takes on what “scary” means to people that has made it fascinating to me.

Sarah Jahier:  I know the horror community, myself included, is extremely eager to check out this project! When can we expect to see What is Scary?
 
Adam Barnick: I only recently started postproduction and I’ll know what it’s truly going to take to wrap it up by this Spring/Summer…I’m kind of letting it tell me what it needs and it could keep changing- but I hope to wrap it up by the end of the year. I’ll be making more announcements about it at that time.

Sarah Jahier: The horror landscape is always changing, but right now mainstream Hollywood seems stuck in the remake rut with the only original ideas coming out of the independent scene. What’s your take on the current horror climate? 

Adam Barnick:  I think the past decade or so of horror’s been a complete 50/50.  Which is still better than the completely stale, sterile ‘90s in which I can only think of maybe four worthwhile horror films.

I can’t shit on remakes just because they’re remakes though…we all know some that surpass the originals and will remain classics. I recently read a script for an upcoming remake that was one of the best scripts I’d read in years. Scripts in general, not just remake scripts. You can’t really scream at Hollywood for playing safer bets, it’s completely rational from a business standpoint. But the fact is, if you look at what’s making money, they’re not seeing the support financially for a lot of original genre films.

A film on 50 screens isn’t going to make a huge dent, but it can make an impact and a decent per-screen average, which counts. And there’s ways to support original films, financially or promotionally even if you’re not fortunate to live close enough to see one you’re interested in. Sure, the Elm Street redo is going to have 30 million in marketing behind it; and a smaller film can’t compete…but it’s not hard to find what’s out there these days if you’re a serious horror fan. But every horror fan/filmmaker I know went to see Elm Street opening night last year, knowing they wouldn’t like it but they went because “they had to see it.” And then they went online to complain they didn’t like it.  Why bother if you’re certain it’s terrible?  And many of them just sit and wait for DVD when something unique comes out. So Elm Street made a ton of dough and people continue to be angry because they can’t get their scripts made and they don’t see enough variety at the theater. Every once in a while we get a gem, and overseas filmmaking continues to take chances, but I still believe people can vote with their wallets. Good horror may wax and wane but it doesn’t die.

Sarah Jahier: Who are your favorite horror filmmakers that really excite you today?

Adam Barnick: Not counting friends/people I’ve been fortunate to work with that I’m fans of…well obviously Del Toro is at the top. I wouldn’t call Neil Marshall strictly a horror filmmaker, but I’m up for whatever he’s interested in. Christopher Smith is another one who’s impressed me from the start who I’ll continue to watch. I will follow Tom Shankland around for life after he kicked me in the face with his film The Children. And I’m still down to see anything that the old-school masters of horror come up with.

Sarah Jahier: What are your picks for the 5 scariest horror movies?

Adam Barnick: This changes often since there’s usually a list of 20 from various eras that rotates…so I will pick 5 that are on my mind right now…not necessarily my favorites, but ones that continually freak me out.

Invasion of the Body Snatchers (1956) – Probably where I got my fear of “a group vs. an individual” in films…you can read so much into this film regardless of the period of history you’re from. A big unconscious influence on Mainstream.  The ‘70s follow-up is equally amazing but my heart remains in the original.

Don’t Look Now (1973) – A waking nightmare. This film made me nervous from the start and didn’t really ever let up. Literally two minutes in, it was unsafe.

The Shining (1980) – No explanation needed.

The Blair Witch Project (1999) – I grew up surrounded by woods and understand the primal scariness of them, all too well. The perfect film to me to utilize your imagination to scare the crap out of you. Plus, my friends and I were obsessed with exploring abandoned houses in high school…that film’s ending is like watching us get what we deserved back then. One of the few films that truly made it tough for me to sleep at night.

The Mothman Prophecies (2002) – I don’t know how much of a following it has, maybe people avoid it because it seems like a giant glossy star-driven horror film? But it’s seriously smart, has a visual approach unlike any other studio picture, has probably the most overt yet absorbing sound design I’ve heard, and it’s conceptually daring and quite subtly subversive for a big-ticket movie. It’s seriously eerie to see this film flirt with its spiritual concepts and ideas of the bigger picture behind the curtain that no human ever sees ‘til they die.  And then it doesn’t resolve much of the questions it poses about them.

Sarah Jahier: What horror movies (besides your own!) are you excited for in 2011 and beyond? 

Adam Barnick: I was beyond over the moon for At the Mountains of Madness and will remain hopeful the stars align someday and that film happens. Aside from projects directors I know or have worked with have brewing, I’m seriously excited for Insidious.  Any kind of supernatural tale always wins over real-life psychos with me. I’ll probably have seen Chris Smith’s Black Death by the time this interview surfaces. I know I’m not alone in thinking he’s consistently underrated. Bereavement is a seriously disturbing film just coming out now, though I saw that last year. Other than that, I’m definitely down for Don’t Be Afraid of The Dark’s redo even though I love the original…and there’s a film in prep called American Mary by the Soska sisters that won’t be out till 2012 but has already got me seriously intrigued from what little I’ve heard about it.

Sarah Jahier: How do you get inspired for ideas for your films? 

Adam Barnick: Music is a big help. And just trying to remain active and interested in people and life around me. Catching bits of conversations and imagining what came before and after. Spending too much time thinking about themes and ideas that obsess me. Traveling. As for developing scripts, and adding to the ideas I start with, I generate inspiration and ideas just through the process of working. And music helps a lot at that time. I used to wait till I was fired up and inspired before doing anything or working on any random ideas, but that resulted in basically losing ten years of being productive. It wasn’t until Summer 2009 that I kind of figured my own creativity out, and how to get the most out of it and demand of myself that I put the time in daily. The more digging I do, the more I find…but I rarely, if ever, find something before I’ve started digging. I’m still not at “full strength” yet, but I’m working out all the time now, if you get what I mean.

Sarah Jahier: What are your favorite things about the horror genre? 

Adam Barnick: It has no limitations. In terms of visuals, atmosphere, sound, subject matter, depth of intelligence. You can go anywhere and there’s an audience that can roll with it.  From the nastiest slasher to gorgeous, poetic films like Eyes Without a Face, there’s so many shades to horror and how you can approach it or what you can say with it.

Sarah Jahier: Besides horror, what makes Adam Barnick tick? 

Adam Barnick: Nature, Twin Peaks, French Onion soup, being around and having smart conversations with artists of any type, kickboxing/fitness, friends, reading, learning, New York City, London, pumpkin carving and dachshunds.

Sarah Jahier: What projects are you working on next? 

Adam Barnick: Besides what I’ve mentioned, I’ve got half a dozen scripts in various stages of development, in different genres. Though the main focus has been the feature-length version of Mainstream. It’s much more story/character based than the short was but still has a layered, smart and experimental vibe. I didn’t have an idea for a feature when I did the short, but came up with a take on it last year that has obsessed me, so I’m shaping that. I’ve got two music videos I’m in various stages of planning right now, and have written two other shorts I’m hoping to get funds for so we can shoot them this year. There are a few other behind-the-scenes docs I’m supposed to begin soon, but the films they’re for still need to get started, so I’m waiting at the starting line for the trigger to go off. And there’s a few other “maybes”, in and out of horror films, that are circling. I’m just trying to make up for lost time and continually improve myself, as a filmmaker and a person.

For more info, visit www.adambarnick.com!

The Weeping Woman (2011)

The Weeping Woman is a short film adapted from a short story by Paul Kane. It is about a man (Stephen Geoffreys) taking a short cut home to his family one snowy afternoon. After nearly running into a woman (Melissa Bostaph) standing in the middle of the road, he gets out to see if she is okay. She begs him to help “her children” and so he follows her into the isolated woods that border the side of the road. There in the snow-bound stillness he makes a shocking discovery…

I’ve been a big fan of Mark Steensland’s work, from his horror anthology Beyond the Pale, kick-ass graphic-novel adaptation Dead@17 (he should IMMEDIATELY be hired to helm the feature, hear me big studios?!) to his more recent short films Peekers and The Ugly File. This is a man who actually got me into critiquing horror films when I was lucky enough to take his horror movie film class back in college, so I have a huge amount of respect for Steensland. I think he has improved with every single one of his short films and The Weeping Woman is no different!

Firstly, I enjoyed how Steensland decided to set the film in winter instead of the summertime setting of Kane’s original story. I loved the desolate atmosphere the wintery setting gave the film.  Adding to the eerie feeling is Fabio Frizzi’s effective score. The Weeping Woman is the first short film Frizzi, who most well-known for collaborating on the horror films of Lucio Fulci, agreed to score. His distinctive sound fits very well in the film.

The film is also heightened by Steensland direction, which is polished and high quality. Many people think of short films as a filmmaker’s gateway to feature-length movies, but Steensland has shown time and time again that short films can be an art form in themselves and can be every bit as high quality and effective as full-length films. Besides boasting a professional look, The Weeping Woman also has a variety of camera angles that keep things visually interesting.

Equally deserving of praise is Stephen Geoffreys’ and Melissa Bostaph’s performances. Geoffreys’ is most known for his memorable side-kick acts in films like Fright Night, and while some of his goofiness is on-screen in The Weeping Woman (gotta love one of the first scenes that features him singing along to “Turn Up the Radio”), he delivers a wonderful “everyman” performance that makes you genuinely like, and root for, his character. Melissa Bostaph is also wonderful as the titular character “the weeping woman”. At first she displays such a sense of dismay and sorrow that, were you in Geoffreys’ character’s shoes, you also couldn’t help following her into the woods. When her true nature is revealed, you gotta admire her chutzpah in taking care of her nasty little monsters…errrr, I mean children. I gather this is her first film, but she really pulled off an amazing performance.

Hopefully The Weeping Woman will be making appearances at film festivals or otherwise be available for people to see soon, because this is one you do not want to miss and shows that Mark Steensland will soon become an even more well-known and respected name. Right now Steensland is horror’s best-kept secret, but I’m sure his talents will soon be discovered and appreciated by a far larger audience!

Wanna get in on the secret? For more info, visit www.marksteensland.com!

Enter the Dark (2011)

Enter the Dark is a short, 17-minute film from writer/director Todd Miró. To be honest, I was thinking this was going to be another Paranormal Activity-inspired flick, and to some extent it does share a similar style, but surprisingly it isn’t a cheap knock-off, but rather a creepy and effective short film.

Charles (Charles Yoakum) has a problem. There’s something in his house scaring his family and it just won’t leave them alone. They’ve all heard voices, seen dark shapes moving in the shadows, felt that uneasy sensation of being watched. Finally Charles captures something on his audio recorder that proves they’re not all going crazy. He decides to make a stand, enlisting the help of his long-time buddy, Rob (Rob Sandusky), to delve into the mystery of his unwanted guest and hopefully send it on its way. If they can somehow figure out what the entity is and what it wants, maybe they can all finally have some peace.

Rob’s worried about his buddy. He’s been acting really strange lately … well, even stranger than usual. Rob knows that things have been rough for Charles – struggling to make ends meet in a down economy, dealing with the unexplained disappearance of his brother-in-law, Marcus, and now these claims of some ghost harassing his family. Rob is skeptical that there’s anything paranormal going on, but he agrees to help his friend out if only to find out the real nature of the problem.

With the lights out, two friends are led on an adventure of paranormal encounters: cold spots, an eerie children’s book, unexplained apparitions and a final mystery that leads to a disturbing conclusion.

For a low-budget short, Enter the Dark looks polished and professional. The film is shown from multiple perspectives – from the hand-held, night-vision camera the men carry to just a regular “third-person” camera view. I liked how the perspectives switched back and forth from these cameras, keeping the viewer interested and the action tense. I also enjoyed how the majority of the film was lit by either the night-vision on the hand-held camera or a single flashlight. This gave the film a more claustrophobic, and therefore suspenseful, feel. Indie filmmakers should take note, because a high-quality look can be achieved on a budget, and Enter the Dark is a prime example.

The quality of the film isn’t just in the visuals, though. The acting is also top-notch, with actors Charles Yoakum and Rob Sandusky putting on convincing performances. I completely believed them as the two friends and I also really enjoyed their character development in the short. Kudos to the actors and to writer/director Miró for giving us realistic characters that were also nicely fleshed out, all within a very short running time.

The film also has some awesome creepy moments. The whole story starts slow with focus the character development discussed above, but it quickly builds to eerie scenes that lead up to a startling ending. I liked the overall subtle creepiness of the film plus the psychological aspects that were explored.

Enter the Dark is an entertaining, scary and thought-provoking short film that makes me look forward to future projects from writer/director Todd Miró. It is currently scheduled to screen at several film festivals, and I urge you to check it out if you get a chance! You won’t be disappointed…

Visit the film’s official site!

Absentia (2011)

According to Wikipedia, “Death in absentia (or presumption of death) is a legal declaration that a person is deceased in the absence of remains (e.g., a corpse or skeleton) attributable to that person. Such a declaration is typically made when a person has been missing for an extended period of time without any evidence that the person is still alive.”

Furthermore, in the United States, “The law calls people who disappear ‘missing’ or ‘absent’. There are several criteria for declaring someone dead by assumption. One, if he/she has been missing from his/her home or usual residence for a period of seven years (amount of years will vary state to state); or such absence has been continuous without explanation, or when those persons most likely to hear from him/her have heard nothing; and the missing person cannot be located by inquiry and by diligent search.”

The film Absentia bases its plot on this and tells the story of Tricia, whose husband has been missing for seven years. Tricia is now pregnant and trying to move on from her missing husband and is going through the process to legally declare him “dead in absentia”. Her younger sister Callie comes to stay with her to help her move on, but is drawn to an ominous tunnel near Tricia’s home. While Tricia is haunted by terrifying visions of her presumed dead husband, Callie begins to research the tunnel and comes to believe it might be linked to Tricia’s husband’s disappearance, as well as other missing persons cases in the area. Could the tunnel, or whatever inhabits it, have something to do with all the disappearances? If so, who or what is making people disappear? Can Callie and Tricia solve the mystery before they too go missing?

Absentia had an intriguing premise, but with most independent productions I was apprehensive that its low budget would hinder it in some way, whether it was bad acting, poor quality, bad direction and so on. However, I first noticed that the film was of an exceptional quality, with high production values. Not only that, but I could immediately tell that the direction and cinematography were top notch. Definitely a good sign for a horror movie, independent or not.

I was hopeful that the acting would be equally impressive, and again I was surprised. The acting was excellent and it was refreshing to see such strong female leads in a horror film. Actors Courtney Bell (“Tricia”) and Katie Parker (“Callie”) did a fantastic job with their characters. They were very believable as sisters and really pulled off the complicated emotions stemming from the stressful situations their characters were put through. Even the secondary characters, including some detectives (one who has a close relationship with Tricia), the brief (but powerful) appearances by Tricia’s husband and some others, including a victim played by none other than Doug Jones (Abe Sapien from the Hellboy flicks and tons of other genre films), gave very effective performances.

The film Absentia bases its plot on this to craft an unsettling, intelligent and unique horror film. It isn’t your usual horror film, but is far more subtle and character-driven. The “evil” within the tunnel is never explicitly shown, which actually works in favor of the film’s limited budget. One of the most effective scenes involves Callie in the bathroom brushing her teeth when she realizes something might be behind the shower curtain. Though we never really see anything, this scene was INTENSE! The horror is more implied than explicit, with the shower curtain slightly fluttering and the odd noise or so. The fear stems from the unknown, and not knowing what might be lurking behind the shower curtain sent shivers up my spine!

The story is a very slow-burn, and while I appreciated the character-development I do wish the film had gotten to the “good stuff” a little sooner. In the first hour the creepy moments are too far and in-between and I really wish more time had been spent on the history of the tunnel and the disappearances surrounding it. The tone also felt more melancholy and more like a drama rather than a horror film. The droning score could have had something to do with this, and I felt the score was used far too much and actually took away from the tension and scares of the film.

However, Absentia was an engrossing film that immediately drew me in and kept me engaged through to the downbeat ending. While it has room for improvement, it is definitely an example of a well-crafted, intelligent horror film and really shows that if independent filmmakers work within their budgetary constraints they can create an excellent horror film.

Buy it on Amazon!

Visit the film’s official site and Facebook!

Night of the Punks (2010)

Small town punk rockers The Brain Deads have their first out of town gig. But there are a few problems: The venue is totally deserted, the promoter is a creep, their bass player has gone missing, and the only kids in the audience are bloodthirsty monsters from hell. It’s gonna take a lot more than a few power chords and teenage angst to survive this night.

Night of the Punks is a sweet little slice of short film heaven packed full of gore, goo and groovy tunes! This is one of the most fun short films I’ve seen recently and it is a really fun throwback to films like Return of the Living Dead and Night of the Demons. It has such a manic, gleeful tone and perfectly balances horror and comedy. With a run-time under 20 minutes, the only flaw of this film is that it is not feature-length, because I would have loved to see the cast of lovable losers face off against more demons while trading witty lines.

Everything about this film was enjoyable, from the energetic punk soundtrack to the colorful characters to the direction to the gory effects to the overall high production value!! Director Dan Riesser (who also produced, edited and co-wrote the film) has created an instant cult classic with Night of the Punks. His direction really brought the story, written by himself and Mike L. Kinshella (who plays the lead singer “Spike” in the short and in real life is the singer for the horror punk band Murderland), to raucous life.

The cast also does a wonderful job with their characters and there wasn’t a bad performance in the bunch! I especially enjoyed Nick Mundy, who plays “Hooch”, the drummer, Luke Edwards as “Kenny” the guitarist and our underdog hero, and Aubrey Wood, who plays the band’s merch girl “Sarah”. Everyone else was wonderful as well, from the sleazy promoter played by Dominic Deleo to the band’s lead singer (Mike L. Kinshella) and bassist (John Bobek) to the actors that portrayed the gooey demons.

The gore displayed was also impressive, with the special effects and makeup design being done by Dizzworks Designs. You get your usual blood and guts, but there is also a gruesome face peel that was extremely well done! I also liked the demons’ makeup design, which makes them look like they’ve got a gangrenous skin condition. And their gooey green bodily fluids were pretty icky as well (I mean that as a complement, ya hear?).

Plus, the script is peppered with hilarious lines riffing on everything from the music industry to horror. Quips come fast and furious, and it’s worth a re-watch just to chuckle over the hilarious one-liners, such as:

Hooch: How do you stop a f*cking demon?

Sarah: I dunno Hooch, you’re the one who listens to Misfits!

Night of the Punks is an ode to ‘80s horror films filled with musical mayhem, demonic punks, gooey gore, colorful dialogue – all happening at a fast and furious pace. If there is one short film you see this year, make it Night of the Punks!

P.S. Word on the street is that the filmmakers are attempting to make a feature-length version of this film. My fingers are crossed that this happens!

Check out the film’s official site!

S&Man (2006)

Though the DVD cover of S&Man is extremely misleading (it makes it look like a crappy slasher), rest assured that the actual film is pretty damn brilliant, challenging and powerful. I was surprised to find that director J.T. Petty (The Burrowers, Soft for Digging) made this film and that I hadn’t heard of it sooner. Though it had a festival run way back in 2006, the film wasn’t released on DVD stateside until October 2010.

S&Man (aka Sandman, not S & M Man, like I originally thought!) is a film that explores the seedier side of horror that encompasses the “hardcore” mock-snuff films like the August Underground or Guinea Pig series that are infamous for their shock value and hyper-realism.

Set up like a documentary, S&Man was originally supposed to be a vehicle for Petty to do a film on a local peeping tom from a suburb he grew up in, but this plan fell through when the man refused to do the film. However, Petty still wanted to pursue doing a film on voyeurism, so he turned to the underground horror world and found three purveyors of low-brow horror films to feature.

First and probably the most well known is Fred Vogel of Toe Tag Pictures, creator of the August Underground series. Vogel is certainly not the originator of fake snuff films, but over the years his extreme films have probably become the most well-known. Featuring brutal violence on grainy film, stunts including real bodily fluids (vomit, feces, you name it), graphic nudity and so on, Vogel’s films, most of which he stars in, really do look like home movies of serial killers.

The next filmmaker is the seemingly perpetually drunk, middle-aged metalhead Bill Zebub, whose films usually feature  busty women in distress, some blood, and not much else. Zebub’s films aren’t really fake snuff or as extreme like Vogel’s and come off as little more than exploitation. He states he makes films for perverts and not much else, which is pretty much echoed in all the scenes shown from his films. In one sad scene he putters around a set in a bar for hours while one of his actresses is forced to lie ass up in a spread-eagle position wearing a thong, bikini top and not much else. The exasperated and bored look on her face pretty much says it all!

The last filmmaker interviewed, Eric Rost (Erik Marcisak), is the only fictional one, as Vogel and Zebub do exist in real life and you can purchase their films. At first, Eric appears like any other horror fan-boy with dreams of making it big with his own “vision” for horror films. He shows up at a horror convention Petty is attending and gives Petty his own horror films, called the S&Man series. The series is very voyeuristic, and features women being filmed seemingly without their knowledge before they are kidnapped and killed. The films look entirely realistic and Petty spends the documentary trying to get more information from Eric, like if he can contact the actresses that appeared in S&Man, but Eric isn’t very forthcoming. In fact, Eric won’t give Petty a straight answer on whether he obtained consent from the women before stalking and filming them. Petty soon becomes suspicious and thinks Eric may be a real snuff filmmaker who is killing his victims.

In between talking with these three filmmakers, Petty interweaves interviews with psychologists, a self-professed “scream queen” (can just any woman that bares her boobs in a few crappy horror movies be considered a “scream queen” nowadays?), and feminist author of Men, Women and Chainsaws Carol Clover (yay, one of my favorites! I adore this woman!). These interviews add to the overall weight of the faux documentary, but the most interesting scenes occur when Petty turns his camera on the three filmmakers.

I found S&Man to be a challenging film to sit through at times, but the issues it addresses like voyeurism, gender, exploitation of actresses and how this exploitation eerily mirrors the exploitation of real-life victims, how far is too far, etc., etc. are what ultimately makes it rewarding. If you are anything like me, you’ll be equally parts repulsed and intrigued by Petty’s film, though in the end it will hopefully make you think and question your own personal limits.

Buy it on Amazon!

The Bunny Game (2010)

The terror you witness on-screen of The Bunny Game is real. Let me clarify…it’s not just realistic…it actually happened. It’s like watching a snuff film, only no one really died during filming (as far as we know). The actors weren’t merely acting, but they were subjected to most everything you see on film. Ballsy actress Rodleen Getsic gives a graphic blowjob, pees in public, is shaved bald and is actually branded in the film, not to mention the preparation that went into her role as an emaciated, drug-addled prostitute. Getsic fasted for over a month to prepare for her role! As you probably have guessed by now, The Bunny Game isn’t your ordinary horror movie. In fact, it feels more like a brutal snuff film coupled with avant-garde performance art.

The film is about a hard-knock prostitute named Bunny (Getsic) who trolls the streets of LA turning tricks and snorting coke whenever she gets the chance. This prostitute certainly doesn’t have a heart of gold, but nonetheless you feel pretty bad for her as you watch her engage in graphic sexual acts, get high, get raped and get robbed. Things go from bad to worse when she is picked up by a trucker (Jeff F. Renfro) who takes her out to the desert and brutalizes her for days on end.

While the plot might make it seem like just another torture flick, let me assure you that The Bunny Game is anything but. Is there torture? Well, yes, but it’s more the nasty psychological kind that sticks with you for days, rather than straight-up blood and guts. And the intense psychological wringer that the film puts both the victim (Getsic) and viewer through makes the film seem that much more realistic, which, believe me, will further raise the audience’s anxiety! And after all the things the cast (namely Getsic) went through, it is no wonder the film feels so authentic!

Director Adam Rehmeier, who co-wrote the film with actress Getsic, says the film wasn’t written with a strict script (there is very little dialogue) and most of the performances came organically from the actors. They were just sorta let loose on one another and given license to go as dark as they could…and, boy, did they ever go dark! Not only were the performances spontaneous, but so was the camerawork. Most scenes were filmed in only one take (usually unheard of in a film), which only adds to the immediacy and realism of the film.

The film also has a very voyeuristic feel, which adds to the snuff-like, performance art quality of it. The shaky camera angles, the constant zooming in and out and so on really make you feel like you are right there with the characters. And no matter how hard you try and get away (or look away), you just can’t.

Despite its shocking brutality, there isn’t that much blood and gore, if that’s what you’re hoping for. Most of its terror comes from psychological torture. Bunny is just as mentally broken down by the trucker as she is physically abused. He locks her up for days and submits her to all kinds of torment – stripping her down, humiliating her body, flashing a spotlight in her eyes, chaining her up, taking her for walks on a leash, shaving her head, etc. And that doesn’t even begin to detail the physical and sexual abuse he perpetuates against her. It is this kind of damaging psychological horror that is most effective, at least in my opinion. Anyone can do gross-out blood and guts, but it takes real talent to get into the audience’s brains and truly disturb them.

Congratulations are in order for director/co-writer Rehmeier and co-writer Getsic, because they have crafted a hauntingly unsettling film! It may be intensely difficult to sit through, but at least it looks stunning and isn’t just a point-and-shoot affair. There are even some beautifully dynamic shots in the film that momentarily relieve you of the brutality on-screen. It is filmed completely in black and white, which gives it a monochromatic and artistic look.

However, even the way the film is shot echoes the manic madness of the film, for juxtaposed against the gorgeously framed shots are choppy, disorienting edits, frantic shaky cam shots, voyeuristic zooms and more to make the viewer experience even further discomfort. Even the music, which features chaotic metal in the first few scenes but devolves into a creepy score as the film progresses, adds heightened emotion to scenes that are already difficult to watch…And just when you think you can’t possibly take anymore the next scene comes up to further test your limits.

I can only use “disturbing”, “unsettling” and their derivatives so much to describe The Bunny Game, but hopefully by now you get the point. This film definitely isn’t for most people, but if you like challenging films that push limits, you should give The Bunny Game a view. It’s probably the closest you’ll ever get to a snuff film!

The Bunny Game on Facebook!

Zombeak (2010)

Zombie chickens are one thing, but how about zombie-chickens possessed by Satan?! That’s the general gist of Zombeak, a cheap but fun low-budget film. It is about a group of Satanists who kidnap a trash-talking waitress. They have plans to conjure Satan and have their master impregnate the waitress with the Antichrist. However, the waitress’ hick boyfriend, a gun-happy cop and her boss bust into the Satanist’s decrepit house before the ritual can be completed…but not before Satan has been summoned. Satan soon takes over the body of a sacrificed chicken and all hell soon breaks loose.

Zombeak is a fun, low-budget film. I liked how it wasn’t just a straight-up zombie poultry flick (we’ve already got the great Poultrygeist and Thankskilling for that!), but actually adds more dimension to the story by incorporating the Satanic subplot. And how can I pass up a film whose tagline is “Murder Most Foul”?!

I guess my biggest gripe with this film was the slim plot, which led to a lot of repetition. The flick is only 70 minutes long, but unfortunately takes 20 or 30 minutes to get going and get to the good stuff involving the Satan-possessed zombie chicken. When it finally gets to that point, I finally got engaged in the movie but the limited scope of the plot made me lose interest again.

However, I did like the schlocky feel of the film and enjoyed the characters, especially the trash-talking waitress as well as the Satanic priestess. Props to both actresses for their wonderfully spot-on performances! Films like this usually don’t have much character development, and Zombeak was no exception, however these two characters were the only ones I was really rooting for!

While the special effects are obviously low-budget, I thought their look actually fit well into the overall tone of the film. The zombie-chicken itself is pretty hilarious, but it works well with the goofy feel of the movie. Victims get pecked to death before becoming possessed themselves, and their makeup looked pretty cool.

The film is so over-the-top and shouldn’t be taken too seriously. Despite its issues with pacing and plot, I still felt that Zombeak was a commendable effort from those involved in this indie production. It’s a fun, nitty-gritty film that would be fun to watch with a group of friends and several frothy beers.

Check out Zombeak’s official site!

Ninjas vs. Vampires (2010)

From the creator’s of the cult smash Ninjas vs. Zombies comes Ninjas vs. Vampires, a fun independent film that boasts plenty of action, comedy and horror! Written and directed by Justin Timpane, Ninjas vs. Vampires is full of hilarious one-liners, lots of sword-swinging, martial arts action, spilled blood and even a bit of magic.

It tells the tale of Aaron, who moments after he is rejected by the girl of his dreams is attacked by vampires. Luckily they are both saved by mysterious ninjas. Aaron tracks down the ninjas for answers and soon becomes involved in the ninja vs. vampire war.

As mentioned above, this was a fun independent film of pretty high quality. It did have its flaws, namely some over-acting and cheesy effects, but its flaws soon became part of its quirky charm! What really made me dig the film so much was the witty dialogue, delivered by aplomb by the leads. The dialogue really made me care for the good guys and made me want to keep watching.

I also thought the action scenes between the vampires and the ninjas were really well-choreographed and entertaining to boot. Sure, some of the special effects involving fire, muzzle blasts, etc. were unrealistic-looking, but considering the low budget nature of the film I was willing to let these flaws slide. Plus, the martial arts/action scenes were kick ass regardless of the weak CGI.

The storyline was well-written, with enough exposition to help us understand the “rules” of the vampires and the ninja’s accelerated training. I also liked how they incorporated magic into the plot without coming off as cheesy. Timpane did a great job developing the characters and giving them distinct voices. I really dug the lead of Aaron, played by Jay Saunders, but all the characters were pretty likable. The only one I didn’t really like was the lead vampire, who just seemed a bit too stereotypical to me. The actor who played the lead vamp came off kind of wooden as well.

However, overall Ninjas vs. Vampires is a fun, action-filmed romp that was surprisingly entertaining. It had awesome action sequences, characters we cared about and an engaging and unique storyline. Want to find out who wins this war? Then check out Ninjas vs. Vampires to find out!

Buy it on Amazon!

Mr. Mullen (2010)

Scott Goldberg is known within the independent film scene for his political films, and his newest short, Mr. Mullen, is yet another example. Goldberg is a passionate filmmaker who hopes that his films will shake up the status quo and make people take a harsher look at the U.S. government and politics in general. Though his opinions might differ from your own, at least his films will make you think and really question your beliefs. I love films that challenge you and have a deeper meaning and would much rather sit through an intelligent film rather than a brainless hack ‘n’ slash (though I love those films too!).

Mr. Mullen is about corrupt and hypocritical government officials and how one man becomes completely fed up with the system and decides to take his revenge. With the economy in shambles and the empty promises of politicians filling the airwaves, this film feels perfectly apropos for the turbulent times.

The film has a gritty look that meshes perfectly with the frustration of our lead character, a character that many can empathize with. This character has lost his job, his savings and seemingly everything dear to him while the politicians around him continue to lie and live like fat cats. With so many unemployed citizens in the U.S. right now, this is probably a familiar tale for many.

Scott Goldberg has taken a nation’s anxieties, anger, frustration, pain, hopelessness and despair and placed them in Mr. Mullen. Not only does he address the down-the-toilet economy, staggering unemployment and the desperate populace, but he also focuses on the seemingly lost generation of people who don’t care about politics and are more interested in the latest celebrity gossip than important issues that actually affect them. This issue truly hit home because I feel like one of those brainless people sometimes! It is definitely time for me, and others like me, to wake up and take note of what is happening in our nation and our world.

Not only does Mr. Mullen shake and wake you, but it is also beautifully shot and edited. In the beginning it feels a bit fragmented, but this only highlights the fact of how disconnected each of us are not only from each other but also from the government and our own elected politicians. I also loved the stark cinematography of the film and how it is shot in chilly grays.

Mr. Mullen is not necessarily a horror movie, but its message is certainly nightmarish! Just like in They Live, people need to wake up and get involved to really make a difference! People need to take back their life, liberty and pursuit of happiness and stop letting big business and government control them. I, for one, am definitely glad to get this wake up call and thank Mr. Goldberg for creating such an important short film.

For more information, please visit mrmullenfilm.com!

Something Just (2010)

After being impressed with Scott W. Perry’s film Insatiable, I was eager to check out his new short film, titled Something Just.

Something Just stars Alan Rowe Kelly, Jerry Murdock, Evan Robert Smith, Joslyn Jensen and Joseph Zaso. It was written, produced and directed by Scott W. Perry and co-produced by Jeremiah Kipp. If you are a fan of indie horror, more than one of these names is probably familiar to you!

Synopsis: In order to stop a child killer, the guardian of one of his victims seeks the aid of a shady figure from his past.

Alan Rowe Kelly, a regular figure in the independent horror scene, stars as the creepy child killer and delivers quite an imposing performance as a psycho. The first scene where he kills a young girl is very disturbing. It’s not that there’s a lot of blood, but the scene has more of a psychological impact with the disorienting score and echoing effects of the sounds and images on screen.

Don’t expect this film to be your cookie-cutter psycho story, though! Perry weaves a surprising twist into the proceedings with the introduction of one of the victim’s guardians who would do anything to stop the killer, including dealing with a mysterious man from his past. I like how this twist makes the film unique and gives it a much more layered, complex story. And the ending, which I won’t give away, is both surprising and satisfying!

The film also looks fantastic and the cinematography by Dominick Sivilli is great. In the beginning we are in the killer’s dingy house and dark basement, but later the film takes on a dreamier atmosphere with soft, washed-out colors and a park setting.

Something Just just goes to prove how much Scott W. Perry has grown as a filmmaker. Not only has he put together another fantastic cast, but the film feels more mature than previous efforts and deals with the more serious subject matter of child predators. With this steady progression, I can’t wait to see what Perry does next…perhaps a full-length film?

Brain Dead (2010)

Sometimes you just want to shut your brain off, grab a few beers and have a few laughs with some buddies…and that’s where a flick like Brain Dead comes in. I’ve been anticipating Brain Dead ever since I heard Kevin Tenney (Night of the Demons) was attached. However, when I saw the trailer it looked pretty bad, so I put off watching it until now. Big mistake, because I actually had a great time with this low-budget flick!

A small meteor falls to Earth and lands smack dab in the middle of a fisherman’s head in Hicksville, USA. However, inside the meteor is an alien parasite, which looks a lot like a black slug, and it immediately takes over the fisherman’s body and goes in search of brains. The invasion has begun!

Nearby, a bunch of different people (two convicts on the run, two lost hikers, a televangelist and his sweet little follower, etc.) all converge on an abandoned cabin in a convenient plot twist (hey, most movies have ‘em). Their personalities clash, but soon they find themselves banding together to fight the alien/zombie-hybrid threat.

Before I get started with this review, you’ll note the alien slug isn’t anything new – we’ve seen it in films like Night of the Creeps and Slither. I noted this too as the film started, but really, it didn’t make a lick of difference because I still enjoyed the flick! Yes, the plot may be simple and it may have been done before, but it is all in the execution, which Tenney pulls off brilliantly.

Now, back to your regularly scheduled review…

If I had to pick one word to describe Brain Dead, it would be fun…or maybe bloody…or boobilicious…is bloodyboobiliciousfun a word? Well, it should be, because that’s exactly what Brain Dead is! It has over the top gore, tons of lady bumps for the fellas and plenty of rip-roaring lines (Character 1: “I’ve been shot!” Character 2: “Is it bad?” Character 2: “Have you ever been shot when it was good??”).

The characters, though plenty are disposable, are all pretty likable or at least interesting. I’m glad the film didn’t stick with the formula of horny teens in the woods, because the varied characters make things much more interesting. Plus, characters you assume would make it to the end actually become alien fodder, so you are kept on your toes! Thanks to writer Dale Gelineau for keeping things interesting!

The film also keeps its tongue firmly in cheek and doesn’t mind winking at the camera. The fun banter between characters and the over-the-top gore means the film never takes itself so seriously and neither should you!

Speaking of the gore, it is the star of the show. People are split in half, brains get ripped out, heads get blown off and the squirmy alien slugs get busy invading their hosts’ bodies. For a low-budget flick, the effects (with the exception of a few shoddy CGI shots) are pretty impressive.

Brain Dead is one heck of a fun movie. Don’t let the trailer fool you, for the actual film is an enjoyable way to unwind after a long day. Just grab some brews, grab some friends and get ready for plenty of boobs, blood and alien slime.

Available from Amazon!

Eyes Beyond (2010)

Two brothers share the same house. One day they invite their next door neighbors over for a house warming dinner. What the neighbors don’t realize is that everything is not as it seems with the brothers and they soon find themselves in a game of ultimate humiliation and degradation. They’re at the mercy of their captors and the only thing that can release them from the nightmare is death – or is it?

When I first started watching this short 26-minute film, I figured it would be another boring torture flick. The two brothers do some pretty nasty things to their guests, but no matter how shocking the torture was, I just couldn’t seem to get into the film. Luckily, things get interesting pretty quick and any assumptions I had about the plot got turned topsy-turvy.

The film is best seen going in blind and I don’t want to give too much away, but I must mention that the filmmakers aim in making the film was to bring awareness to mental illness. In fact, the film is very personal to writer/director/producer/actor Daniel Reininghaus, as he himself deals with bi-polar disorder. He wanted to create this film to not only bring awareness to mental illness, but to also reach out to others with mental illness that could relate with the character(s).

Speaking of the characters, all of the actors did a superb job portraying them. Daniel Reininghaus was especially brilliant as Gabrielle, one of the two brothers who tortures the neighbors. I loved his character arch and the many surprises that are unveiled. All of the other actors did a fantastic job as well, not an easy thing to boast in an independent film, especially considering each character’s multi-faceted development.

As I mentioned before, there is a fair amount of gruesome torture at the beginning of the film. Ears and fingers are cut off, people are beaten and raped and other violence is meted out to the unfortunate neighbors. For a low-budget picture, the quality was impressive! Even for a seasoned horror fan like me there were instances where I was cringing.

Also impressive for an independent short was the overall high quality of the picture. The film looked professional without looking too slick. I also appreciated that there was an important message embedded in the film and that it aspired to do more than to just show bloody torture. Writer/director/producer Daniel Reininghaus and his cast and crew should be commended for tackling such a personal project and succeeding brilliantly.

Eyes Beyond is a very dark psychological film that is as disturbing as it is enlightening. Not only will horror fans be pleased by this hallucinogenic journey, but those that suffer mental illness will also appreciate its message of awareness. From the harrowing performances to the gruesome torture to the surprising twists and overall message, Eyes Beyond is a short film that shouldn’t be missed.

Visit the Official Site!

2:22 (2009)

2:22 is the new short film from Abyssmal Productions, written and directed by Steven Shea and produced by Tim Anderson. The short had its world premiere at the prestigious Stiges Film Festival in Spain and also screened at Screamfest Film Festival in L.A. as well as dozens of other festivals last year, and it looks like after securing distribution it will gain an even bigger audience now!

This seven minute short was shot in a whirlwind three days and spent three weeks in post-production before being rushed out for the fall festival run last year. The filmmakers’s are extremely proud of their cast and crew, and extremely excited to see their vision come to cinematic life.

A disclaimer before continuing: I’ve known fellow horror critic Tim Anderson for quite some time and was very eager to check out 2:22 after hearing so much about it before, during and after its production. Make no mistake, though, even though I am acquainted with Anderson I certainly won’t sugar-coat my review.

Here is the film’s official synopsis:

After an incredible night out with her girlfriends, Vickie Palmer (Tara Lightfoot) is wrenched from her peaceful slumber and cast mercilessly into a world spinning out of control.

Writhing half naked on the cold porcelain tile of her bathroom floor, Vickie desperately tries to piece together the tragic turn of events that has twisted her once carefree life into a nightmare of pain and suffering.

But when she discovers the truth, will it be too late to save her from eternal damnation?

After watching the short, I can tell you I was not disappointed or let down! The first thing I noticed about the film was its high quality. Most independent films, short or feature-length, usually look like they’ve been shot on a camcorder from the ‘80s. This poor quality doesn’t hurt my opinion of the film if the story is good enough…but it usually isn’t. So, it was nice to see a short film look spiffy for once!

It didn’t disappoint with the story either…from the first scene I was completely engrossed in Vickie’s story. She wakes up at 2:22 AM, hollering her head off, and rushes to throw up some fairly chunky blood…yeesh, what a hangover! As she tries to alleviate her pain by praying to the porcelain god, we are shown what really happened hours before, when she was carelessly dancing the night away at a club. Minute by intriguing minute we learn what has caused this waking nightmare for Vickie. There were so many red herrings to cause of Vickie’s malady that by the time the finale rolled around I was genuinely surprised (and delighted) at the twist at the end!

I also must mention what a great job the actors did…Tara Lightfoot as Vickie was the obvious standout (and I’m sure all you guys will appreciate her nekkidness throughout the short), and she really gave Vickie the perfect balance of sexiness, desperation and strength. Though the other actors didn’t really have any lines (but then again, neither did Tara, unless you count screaming), they did a great job conveying emotions through body language.

2:22 is a short film full of sexiness, seduction and surprises. Not only does it have an intriguing storyline, but it also has a professional polish that seems rare for short indie films. 2:22 is a masterfully crafted short film that grips you by the jugular and doesn’t let go!

Walking Distance (2010)

Ever since I first saw Mel House’s Closet Space a few years ago, I’ve eagerly anticipated his next project. Though Closet Space had its flaws, its story was engaging and despite its low budget it had rather impressive special FX. The unique story and effects work made Closet Space a memorable viewing experience and really made me sit up and take notice of “Texas Blood” filmmaker Mel House.

Now, a couple years later, House has completed Walking Distance, a film I’ve been eagerly anticipating since I first heard about it. Like Closet Space, House has written and directed the film, as well as picking up a slew of other duties (producing, editing, etc. – even making a cameo in the film). Would House be as successful with Walking Distance as he was with Closet Space? Read on to find out!

The plot to Walking Distance is very complex and so ambitious it’s hard to describe in detail without taking up a few pages. So, I’ll just give you the official synopsis, found on the Walking Distance website:

“An idyllic, small, self-sufficient community. On the surface, it seems like the perfect neighborhood. Everything you could possibly need is within walking distance. But…the pastoral exterior conceals a dark past and an even darker secret. As a group of individuals – each with their own ties and agendas with the town and each other-converges on the enclave, strange things begin to happen. Very strange things. Strange enough to test – and then break – the very fabric of reality itself.

Walking Distance really shows Mel House’s growth as a filmmaker. Technically, it looks absolutely fantastic. It still has a slightly low-budget look, but it’s much slicker and professional-looking than Closet Space. It also has a much larger cast with recognizable names (Adrienne King, Debbie Rochon, Reggie Bannister, Shannon Lark, Peyton Wetzel, Katie Featherston) and a more complex storyline.

This complex storyline is the film’s one big flaw. House tries to cram so many different backstories, so much character development, so many ideas into the nearly two-hour-long film that I felt a bit overwhelmed. This is a commendable flaw, however. I’d much rather a film attempt more character and story development than none at all! Still, there were so many ideas crammed into Walking Distance that you don’t really get a chance to take a breath, so to speak. I feel like some of the characters didn’t have any real purpose (the activists, for example), because towards they end they just ended up dying anyway. And the multitude of characters robbed me a chance of really rooting for anyone.

Despite the film being overcrowded with ideas, overall it was a positive experience. The acting was quite good from all involved and it was a pleasure seeing familiar faces! For example, we get Reggie Bannister as a pedophile, Adrienne King as an executive for an evil corporation, Debbie Rochon as an abusive mother, Shannon Lark as an activist against the evil corporation and even Katie Featherston (Paranormal Activity) as the lead’s girlfriend. Speaking of the lead, Denton Blane Everett did a fantastic job in his role of Cole Gray. In fact, I can’t really say there was one bad actor in the large cast, quite an achievement for a low-budget film!

Also impressive were the special FX, again handled by Marcus Koch of Oddtopsy FX. There are liquefied remains, people on fire, people melting into each other – pretty much the stuff of nightmares! And it all looks fantastic. My favorite scene is one in which the characters of  are sitting naked in a bathtub full of blood and their skin is sticking and melting together. Very impressive and freaky stuff here! Not to mention the main monsters in the film, who are people that look like they’ve been to Hell and back, complete with black, charred skin that is still on fire in parts. These mysterious entities appear and disappear, leaving a trail of liquefied bodies (or in some cases, no bodies) in their wake. These creatures look very creepy and when their existence is explained, it all makes sense!

Lastly, we have the fantastic story. Though it is crammed full of ideas, making it beneficial to watch the film more than once to fully absorb them all, the story is extremely unique. I love the different avenues of horror Mel House likes to explore and Walking Distance is no different. This is definitely an intelligent horror film and the kind of quality film that horror fans deserve!

Walking Distance is a huge step for indie filmmaker Mel House…it shows his amazing growth as a filmmaker and reaffirms my belief that he is definitely one of the top indie filmmakers to watch!

Walking Distance is making the festival rounds right now, so for more info on screenings and its DVD release, please visit its Official Site!