Evil Takes Form in the “Terror 5” review!


In the wake of a tragedy that resulted in the loss of life, a small Argentinian funeral procession progresses in tandem with the court hearings of a supposedly corrupt politician, the governmental figurehead indirectly responsible for the deaths of innocents. When the verdict of not guilty surfaces over the news media waves, the grief-stricken family and friends, praying at a cemetery memorial, shrill in anguish their displeasure that becomes a calling for the undead to rise up and exact revenge toward the capital. In the midst of the resurrecting chaos, others simultaneously face terror in other forms such as exacting sadistic punishments in a backwards universe of role reversals, the elaborately ill-fated plan of swapping girlfriends on the streets of the city, a night of sordid carnalities at a hotel becomes a night of horrendous violence, and a group of candid friends indulge in a snuff film comfortably and safe inside an apartment, but an evil is slowly boiling to ahead right before their very unsuspecting eyes.

“Terror 5,” a title that one would assume on first thought that five horror icons team together for utter slaughter of hapless cheerleaders or, perhaps, clash in one epic villainous mêlée of monumental proportions, but the film is actually an Argentinian anthology of urges and terror and for the record, if “Terror 5” was a collection of the top five horror icons, this reviewer’s enlistment would include Michael Myers, Freddy Krueger, Pinhead, Predator, and Charles Lee Ray aka Chucky. Jason Voorhees is a bit of a mama’s boy, if you ask me! Let’s get back on the topic of the brothers Sebastian and Federico Rotstein’s helming of an interweaving, anthological horror film from 2016. The Buenos Aires born siblings collaborate with the “The Vampire Spider” writer, Nicholas Gueilburt, to construct five tales that plant the seed of danger from the sordid impulses that motivate impure, and sometimes supernatural, malevolencies. The five tales digs into the depths of quivering human interaction and the immorality of their choices that inevitably leads them toward their own gruesome destruction.

The complete South American cast will be more than likely unknown faces to audiences of the United States, unless broadening your film library is a must-do compulsion. In which case, Gaston Cocchiarate is a familiar face who had a supporting role in Gonzalo Calzada’s devilishly feministic empowering thriller, “Luciferina.” Cocchiarate’s character goes from being a naïve college kid in “Luciferina” to a bullied simpleton that gets pushed too far by his peers in “Terror 5.” Nicknamed Cherry for his plump figure and, more likely, his untapped virginity, Cocchiarate’s character seems like a nice enough guy, but powerful when provoked and Cocchiarate embraces the oppression punishment-to-maniacal psychosis well. Another fascinating actor to look for is Walter Cornas as the KISS-cladded Juan Carlos on a night of costumes, drugs, and booze during a small get-together. The dirt-bike riding jokester has a hard on for it all: booze, women, Cherry, and even snuff porn. The character is brutally charming like that one asshole guy who always manages to get with the girls no matter how much of a douchebag they are and the character is very relatable to us all because we all know someone like Juan Carlos. Under the black and white makeup and reckless cruelty is Walter Cornas whose versatile demo reel on IMDB.com and performance in “Terror 5” gives a great insight into his vibrant character performances that make him so enjoyable to behold. Cocchiarate and Cornas stand out with the better and most chilling performances amongst the remaining cast that includes Augusto Alvarez, Juan Barberini, Nai Awada, Magdalena Capobianco, Cecilia Cartasegna, Rafael Ferror, Lu Grasso, Flavia Marco, Jorge Prado, and Marcos Woinsky,.

As far as anthologies are concerned, “Terror 5” favors a string of scary stories to be strung together being each a cataclysm spun from the negativity produced by the outer story that includes blazingly blue-eyed revenge zombies and the result is, on the surface, quite convoluted. What doesn’t help “Terror 5’s” case either is that the Rosenstein brothers decided to interwoven all but one of the stories together, creating a multi-narrative mesh. Instead of individual chapters or title card introductions, the stories have a lattice blueprint and the audiences are forced to go back and forth between the dissimilar story lines that, on initial viewing, would be assumed that one story is a fraction to the other. The stories also didn’t have that killer kick in the pants that makes you go , “WTF!” Each tale ends rather abruptly, leaving morsels of the carnage to be further imagined rather than be digested in full and I’m sure, though couldn’t locate any background about it, that these tales are based in part of an Argentinian, or even in a broader South American sense, contemporary urban legends that are unfortunately not explored in detail. If approached positively, the human thirst for flesh, morbid curiosity, and unflinching corruption is well laced throughout and that’s the real terror behind the surface level macabre.

Artsploitatoin Films and Reel Suspects introduces Sebastian and Federico Rotstein’s “Terror 5” onto DVD home video presented in an anamorphic widescreen, 2.39:1 aspect ratio. Director of photography Marcelo Lavintman works in the shadows with a very cloaked and dark alleyway approach. Some minor digital jumping in the blacks that’s underwhelming at best and in more lit scenes, clarity reigns with promising detail and natural coloring, despite not being variably hue heavy. The Spanish language 5.1 Dolby Digital surround sound has prominent dialogue and a balanced, foreboding score by Pablo Borghi, but the tracks lack a range and a depth magnitude and, essentially, all the sound is right in front of you without the bulk of the surround sound too enhance the effect. English subtitles are available and though generally translated well, there were some slight typos. The only bonus material included is the trailer. As far as Argentinian horror anthologies go, “Terror 5” leads the pack with directors, Sebastian and Federico Rotstein, pulling from familiar filmic influences and gutter cravings with turnaround consequences and mortal coil tussles. Schematically, “Terror 5” has profound leap frogging narratives that challenge the conventional way we view anthologies or overall films, creating a bit of havoc on the tale or tales at hand.

Argentinian horror anthology available to purchase at Amazon.com

Fear is Evil. “A Taste of Phobia” review!


“A Taste of Phobia” brings together 14 international directors to the fold, executing their creative version of terror of various fears. From the fear of the dark to the fear of feces, each short compiled into this feature length film delves into what it means to be afraid of something that an average person regularly encounters on a daily basis. No ghouls, no monsters, and no ghosts stories here; “A Taste of Phobia,” or otherwise known as “Phobia,” explores the inherit human element, the everlasting internal struggle, and the mental conjuring of demons and the anxiety of the unknown that fabricates by and into fear itself. The psychological terror of phobias plagues each and every one of us and is never exclusive to a particular group or race of people, and that’s a haunting reality, especially in an time and age where suppressed personal emotions and issues lead to unfortunate suicidal circumstances. Some of the directors include Lorenzo Zanoni, Alessandro Sisti, Alessandro Redaelli, Alessandro Giordani, Rob Ulitski, Sam Mason Bell, and Davide Pesca.

A number of these filmmakers I’m not familiar with, but I do recognize a few names from the bunch by examining their previous work. Somniphobia is a sleep anxiety disorder which is the basis for the short written by Sophia Cacciola and directed by Michael J. Epstein, who also steps into the lead. “Blood of the Tribabes,” a vampiric melodrama, was my last experience with the Cacciola and Epstein duo, who have a passionate dynamic and chemistry when it comes to horror. Somniphobia is a whole different animal that’s more on a compact scale in comparison to their vampire feature and doesn’t necessarily tackle the perpetual fear of sleep; instead, Epstein portrays a contractor pushed to the limits, practically threatened by an employer, to finish coding a project to the point where he hasn’t slept in days. The lack of sleep and the various methods to try and stay awake by the power of suggestion have fried his brain to the point of self-inflicted harm. The writings good and the dark humor direction is a nice touch. Another recognizable filmmaker that stands out to me is Domiziano Christopharo. The “House of Flesh Mannequins” and “Red Krokodil” director has always exhibited a thirst for body horror and the Italian director places his talents in the kitchen with Mageirocophobia, aka the fear of cooking. Christopharo continues his brand of body-manipulation motif by telling a story of a woman, whose seemingly very good at putting together a tasty and savory fish dish, into a deeply disturbed woman who contemplates and nightmarishly fantasizes herself being the sliced, diced, and cooked to a crisp main dish.

Then, there are many filmmakers I’m not familiar with at all, but did enjoy their short entries. Sunny King’s Nyctophobia, aka fear of the dark, is hands down one of the best entries despite the slight ghost-like manifestation, but the Nigerian director fosters a tangible evil constructed by fear and his version of Nyctophobia is classic, very timeless, sans blood and shock to the point where the story plays out like a simple spook film. Very enjoyable, subtly powerful, and basically classic in tone, King reigns “A Taste of Phobia.” Now, that doesn’t mean Nyctophobia stands alone; UK’s Jackson Batchelor and his fear of politics, Politicophobia, has to be one of the more honest entries and, certainly, one of the more timely. The political undercurrent of two-faced politician is a phobia we can all get behind with their scummy, repetitive, and subliminal messaging campaign ads. Batchelor polar extreme sheds light on what a fear invoked person might experience when viewing just one of the hard-hitting, lying through the teeth campaigning juggernauts. The previous examples pinpoint heighten the emotional aspect of fear, but what if fear perpetuated madness, such as in Poison Rough’s Mysophobia, or fear of germs. The idea of bugs, dirt, or even microbes, crawling in the hair or on the skin gives one very particular man the creepy-crawlies to the breaking point where he’s forced to self-remove his own skin in order cease the sensation.

On the opposite end of the spectrum, some shorts didn’t make muster. Fear of feces, or Coprophobia, was just bizarre, daft, and, well, not even that gross for the titular phobia. The approach by churning schlock director Jason Impey was more juvenile than expected with a feces covered stuff animal rising out of the depths of a shit covered toilet and have actor Martin Payne portray a fight of physicality in a small bathroom that ends with Payne naked stabbing the metaphorical stuff animal. Dustin Ferguson’s Mazeophobia, fear of mazes, was another that flared out with a hispanic man driving around lost in America’s unforgiving conservative countryside. He eventually winds up in the hands of a pair of Trumpian wing nuts and the climax becomes a little fuzzy from there into editing shambles that hesitates to make sense of how the series of events play out.

Artsploitation Films, a Philadelphian based distributor seeking the dark and desolate corners of the world to bring to light international entertainment, releases horror-anthology “A Taste of Phobia” onto DVD home video. The anthology is presented in various ratio formats due to the different styles of filmmaking and, thus, a range of image qualities stand out to some that’s suffer from aliasing and blotching atrocities to others that surprising peak in picture value. The 2.0 stereo audio track, mostly English with some Italian and Spanish, have varied ranges, depths and balances as well. Bonus features include a bonus fear mini-movie entitled Achluophobia from director Jason Impey, a behind the scenes look at Michael J. Epstein’s Somniphobia and Chris Milewski’s Pharmacophobia, an interview with producer and one of the 14 fear directors Domiziano Christopharo, a little inside on the special effects for Pharmacophobia and Mageirocophobia, and a theatrical trailer. “A Taste of Phobia” pushes the limits to extremely visualize the niche fears in us all by packing 14 deadly phobias up into an anxiety-riddled anthology released by the good, but probably psychologically insane, people at Artsploitation Films!

Buy Artsploitation Films’ “A Taste of Phobia”