On the campus of Williamsburg University in 2006, a popular fraternity house holds an upscale house party, filled with the most beautiful students dressed in formal wear, liquored with martinis and gin and tonics, and customized to fit the luxurious lifestyle the men of fraternal brotherhood. When the fraternity president Christian Roane conducts a round around to greet guests, he catches glimpse of Sarah Stein, a coed being a good sport by giving into her friends’ urges to party greek. Christian’s unhealthy obsession with Sarah starts innocent enough, but when Sarah doesn’t take that step toward sharing the same affection, Christian’s control goes into self destruction that not only threatens Sarah, but also threatens to unearth the true and ghastly nature of the brotherhood and the brothers aim to lockdown their secret by any means necessary.
“Somebody’s Darling” is the 2016, independent drama horror from the multi-faceted filmmaker, writer-director Sharad Kant Patel, churned out from a story by Sebastian Mathews. In his directorial debut, Patel, known more for his short film work, heedfully courses through detail and treads lightly on the coattails of a sensitive social issue. His film skirts on the subject of rape culture in the American college and university setting while also touching upon sexuality complexities and severe anguish in today’s youth. Basically, “Somebody’s Darling” is a higher education dissertation on the experiences of collegiate life with a horror twist and all the along the way, Patel slowly paints Christian and his brotherhood onto a canvas of ambivalent malevolence by deconstructing Christian to quickly reconstruct him in a ravaging roundabout. Patel throughout leaves a bread crumb trail of clues that don’t make sense at first, that might lead to other conclusions, and that doesn’t explicitly genre “Somebody’s Darling” as a horror.
Christian is the film’s central focus and with a dark and brooding character, a dark and brooding soul must ride parallel and Paul Galvan intently delivers a cryptic persona. Peppered erratic is Christian obsession Sarah Stein, a run-of-the-mill coed playing darlingly enough by Jessa Settle. Then there’s the brotherhood, whom are begrudgingly split on how to action Christian’s off course fixation, consisting of a youthful lineup of white, stuck-up preppy frat boys with an actor list to match including Fred Parker Jr., “Spirit Camp’s” Matt Tramel, and Mike Kiely. Sarah also has an entourage but not as prominent and, to be honest, the brotherhood weren’t just a hair more involved, but Kristen Tucker and Cathy Baron (“The Lights”), who play Madison and Riley, hit the stereotypical college coed right on the head as the two look to score big when scouring their hot boy wardrobe and provide unnatural sexual banter toward their goody-two-shoes friend, Sarah.
“Somebody’s Darling’s” independent genetic makeup doesn’t hide under a flashy production, but presuming an indie dramatic horror that’s more bark than bite isn’t worth wild should is the incorrect assumption as the climatic end will be attention catching. Granted, the dialogue’s overdrawn breathiness can bog down a regular popcorn viewer and turn away heads that have a disdain for immense screenplay scripture, but to comprehend the whole story and to become invested in the characters, being a viewer from start to finish won’t go in vain. Patel personal investemnt extends to much more than spitfire directions and scribing with a hand in producing, composing, editor, and digital effects with the latter being used sparsely to convey the Christian’s internal aspirations and quondam self. When effects do come into the real word, a practical, lifelike approach is taken and that intensifies the horror tenfold.
Distribber released Sharad Kant Patel’s “Somebody’s Darling” onto various streaming platforms such as iTunes, Amazon, Google Play, and Vudu on December 1st. I was provided a screener disc and can’t focus on or comment too much on the details of image or sound quality, but the disc did provide bonus material including the making of the score and behind-the-scenes in creating the dream sequence. Sharad Kant Patel’s “Somebody’s Darling” has an edgy appeal that draws you in like an unsuspecting moth to an alluring light and then zaps a fatal shock right into the nervous system as soon as the undertones are evidently a metaphor for something far more sinister.
While at a Spanish night club, Lucy meets a darkly tall and handsome gentleman who takes her back to his luxurious yacht and spends a romantic night with him inside his cabin on the sea. The next morning, Lucy suffers from a terrible case of amnesia, unable to recall where she’s met this mysterious man before or even remember her own past and as she relaxes in her hotel room after a soothing bath, a past life vision of herself entangled with her one night stand, otherwise known as Dracula, establishes her place amongst Dracula’s side as his undead love, but vampire hunters, Doctor Van Helsing and his faithful assistant Seward, are hot on Dracula’s scent toward his brooding castle in order to save Lucy from succumbing to Dracula’s cursed evil forever.
“Apostle of Dracula” is a Spanish retelling of the classic Bram Stoker “Dracula” tale, versed in Edgar Allan Poetry, and is directed and co-written by Emilio Schargorodsky. Also known more in other parts of the world as “Dracula 0.9,” Schargorodsky’s film boldly tiptoes through a minimalistic approach regarding the mythos of the legendary vampire that dabbles in some special effects when required and uncomplicated imagery that still relishes in wondrous imagery. The “Spirits of the Dead” poetic works of American macabre writer Edgar Allan Poe reinforces the Gothically garnished settings and costumes and heightens the gloomy sensationalism in Schargorodsky’s melodramatic horror soap opera that redesigns slightly Dracula’s origins and his infatuating love interest that isn’t Mina Murray.
Instead, Dracula’s focus is resuscitating the undead cursed life into Lucy dreamily and elegantly portrayed by model-actress Nathalie Le Gosles. Le Gosles has ghostly grey eyes that pierce vividly on screen through her Lucy Westerna performance that’s quite different than what audiences might be typically used to in the character. Lucy is the titular character, being the “Apostle of Dracula,” and Dracula (Javier Caffarena) spares no expense or time and effort in making Lucy his forever. Caffarena’s Dracula is very much overshadowed by Le Gosles’s beauty and performance as Caffarena’s acting experience before his freshman film only credits him in on other role in a short film directed by Schargorodsky, but Caffarena’s a busy body on this feature, delving into many facets from cast to crew as also one of the three co-writers and also donning not only the cape and fangs of the vampire but also creating a composing soundtrack, editing the film, and acting as a producer. In all honest, Paul Lapidus stole the show with his role as the most famous vampire hunter that was ever created – Van Helsing. Virtually embracing every facet of his time hopping character, along with the rest of the cast, Lapidus’s steadfast approach toward a more conventional Van Helsing relieves many anxieties of jumbling up Dracula’s mythology. Antonia Del Rio, Francisco Del Rio, Jose Luis Matoso, and Virginia Palomino round out the cast.
Schargorodsky’s indie Gothic Dracula feature is not immaculate; however, because Schargorodsky is an experienced photographer, a silver lining in his filmmaking playbook is his impeccable eye for cinematography. Whether in the framing or capturing the organic beauty of the landscape, Schargorodsky blends a dream with classic styles that had once scared the pants off people by incorporating shadow imagery that pays a dear homage to that of F.W. Murnau’s “Nosferatu” alongside Caffarena’s Dracula shaving his head and extending his fingers to be a lookalike Max Schrek. Captivating as many of the frames might be, the juxtaposition to the story doesn’t hold water as the story hops from one century to another without much regard for exposition. Lucy’s passionate yacht fling with a daylight walking vampire not only raises many vampire mythos questions, but also leads into Lucy displacing much of her memories of herself and her past. She then goes into a trance after returning to her hotel room, envision her great lineage self intertwined with Dracla and that story unfolds for a good portion of the film from the time Lucy’s bit to when Van Helsing and Seward interject at Dracula’s Castle. The story then returns Lucy’s back to present time where she then fights to urge to be a bloodsucker, but can’t stop her desires to be with her undead beau all the while a modern day Van Helsing and Seward, sporting sleek Secret Service-issues shades and wardrobe, seek to protect Lucy at all cost. Lost somewhere in the midst of the story is an important pice of the puzzle that goes unexplained.
Wild Eye Releasing MVDVisual present the 2012 “Apostle of Dracula” onto DVD for the first time in the U.S. The DVD, graced with a cover illustrating an unrelated naked female vampire crotched down and glaring outward, widescreen presentation sports a digitally shot transfer that fairly mediocre throughout despite soft details, faint aliasing, and spotty moments of digital noise during darker scenes. However, the worst technical aspect lies with the dialogue audio track that’s horrendously dubbed in non-optional English in such a flat, monotone voice that all the passion behind the actors is lost. If you watch close in the special features, clips of untainted portions of the film can be caught with the original Spanish track, bringing a whole new life into the scenes. There are no options to play the original language or even optional subtitles. Caffarena’s looming score comes out clean with subtitle details in the LFE emitting from Stereo audio which can be seen discussed on the bonus material about composing the score. Another special features contain a pleasant surprise with a never before scene interview with the late Jess Franco, who looked to be on his death bed, conversing his positive thoughts and praises on Emilio’s film that does have a faint resemblance to Franco’s work consisting of elements, but not limited to, the gothic, dream-like, and slightly sleazy. Bonus material comes full circle with Wild Eye Releasing trailers. Emilio Schargorodsky’s self-funded Dracula film proves any filmmaker can be a auteur without losing focus despite some flaws being on the grand stage of an iconic horror monster and while “Apostle of Dracula” flips the script on Bram Stoker’s telling of one of the greatest villains ever scribed, there’s something to be said for the multiple ways to skin a cat in this and still able to construct a solid story in this European horror.
Bathor, the great vampire conqueror and provider of peace, had established a serene vampire village, driving out disorderly vampires from impeding conventions and rules. After two millennia, civil unrest has stricken the village. A plague has struck the male population, leaving nasty sores that disfigure their faces. With a religious and superstitious, power hungry megalomanic named Grando exploiting the plague and the name of Bathor, an uprising cult of desperate men seek to destroy all Bathor’s female vampires thought to be the cause of the mens’ ill misfortune. Lovers Élisabeth and Fantine survive brutal attack after brutal attack with the aid of banished vampires and the hunted vampires attempt a last chance endeavor to quickly preserve their once lost belief system instilled by the great one, Bathor, and rid the lands of Grando once and for all!
“Blood of the Tribades” is the 2016 homage powered, melodramatic social commentary vampire film from co-directors and co-writers Sophia Cacciola and Michael J. Epstein. As much as a micro-budget film as “Blood of the Tribades” is on paper, certain important attributes surface through the money constraints and convey a larger footprint such as elaborately classic locations in Massachusetts, Rhode Island, and New York that bring out the beauty in penny-pinching productions. Another notable quality from “Blood of the Tribades” is the large cast that exemplifies the scale of the story by tenfold and with an abundance of roles, there will follow a plentiful of deaths in a vampire film. Truth be told, Cacciola and Epstein’s film doesn’t have one single human in the bunch. That’s right, “Blood of the Tribades” is 100% vampire casted. Which, come to think of it, do vampires drink their own kind? In this film, the answer is yes and, as well as, staking their own kind.
Associate producer Chloé Cunha stars alongside another associate producer, Mary Widow, as the lesbian vampire couple Élisabeth and Fantine who seek to thwart Grando’s unwitting and cultish coup d’état. The characters represent two different, and well crafted, styles of vampiric women that are the dream-like, wanderer, such examples are pulled from films by Jean Rollin (“Fascination”) or Jesus Franco (“Female Vampire”), as well as the hard-nose, dark seductress from Hammer films that channel some great actresses such as Ingrid Pitt or Barbara Shelley. Cunha and Widow perfectly capture the essence of the distinctive styles more so than I could have ever thought possible. Élisabeth and Fantine are pitted against one of the more over-the-top performances of a villain I’ve seen in a while. Grando’s presence amounts to every inch of the screen from a very talented Seth Chatfield, who not only becomes a clear cut antagonist but does so with infectious enthusiasm. Topping of the main characters comes Bathor, who only receives a handful of screen time minutes. Tymisha Harris meshed well with the outlined characters, being equally extravagant in her own manner, and delivering the power Bathor must bestow upon her children. Kristofer Jenson, Zach Pidgeon, Stabatha La Thrills, Sindy Katrotic, Simone de Boudoir, and Dale Stones, plus many, many more, round out the cast.
Actually, “Blood of the Tribades” is a feminist movie that just happens to have vampires. Male oppression to keep the women from being themselves, from being outspoken, and from being open with their sexuality is clearly combated through the social commentary symbolism. Plus, touches on the suppression of sexuality and the outward projection of a society forbidden love, but however exposed the feminist versus complacency and closeted angst message might be, the script’s dialogue, despite the film’s 78 minute runtime, is extremely long winded with an unapologetic amount of exposition to explain the messages in various scenes where dialogue is not needed; one of the early scenes, with a man peeping outside the window of a very naked woman bathing before shooting an arrow through her bloodsucking heart, had the right message with that actioned a tone conversing the unspoken subplot of men against women. There’s also no telling which time period, or even universe, the story is set with various era styled garments from conservative nightwear, to bright red band-leader tops, to skin-tight, scantily night club outfits. The latter felt really out of place with Sindy Katrotic’s fighting wear.
Production company and distributor, Launch Over, presents “Blood of the Tribades” on high definition Blu-ray and is available for pre-order before the April 30th release date! Image quality of the 1080p picture, despite the number of filters used, still manages to pull off balanced and vivid hues of the forest and castle rooks, skin tones look too good for the plague makeup’s own well being, and thick black tones highlight the right amount of mise-en-scene without much aliasing or compression issues. Bonus features include a theatrical trailer and an in-depth behind-the-scenes with interviews from the directors, cast, and crew. Chock full of nudity and delivering a high body count, “Blood the Tribades” is an adoring, beautiful, and slightly satirical homage to the multifaceted 1970s female vampire by way of dogma masculinity and righteous fanaticism that isn’t far skewed in reality’s present day!
A cursed countess has returned home to the Madeira Island. Countess Irina Karlstein has an insatiable thirst, deadly to any man or woman she’s comes in content with on the scarcely populated island. By day and night, the beautiful mute countess, wandering the terrain more than half naked, enjoys the islet’s amenities, including sucking the blood, or the sperm, out from her erotically hypnotized prey and zapping their life essence right at the point of climax. Discredited Dr. Roberts and a mystical blind Dr. Orloff aim to track down the creature practicing vampirism, despite the local authorities unwillingness to aid them and wishing to debunk the outlandish theory. Amid the rising death toll, the countess unexpectedly falls in love with an aspiring writer on holiday and she fears her curse, her hunger, her need to be filled will consequently overtake the love she has bestowed upon the writer.
Classic European schlock from the greatly candid and voyeuristic director Jesús Franco, “Female Vampire” goes by many interesting titles, just like Franco himself who also has a cache of various, widely used monikers. “Erotikill.” “Loves of Irina.” “Lustful Vampires in Sperm Frenzy.” These are just the tip of the enigmatic iceberg that is of the English titles associated with Franco’s film with “The Bare-Breasted Countess” and “Female Vampire” the better suited for the version reviewed by Its Bloggin’ Evil. Oh, did I forget to mention there are multiple cuts and versions of this film? The 1975 sleazy vampire flick has numerous renderings from an XXX version with sexy-time vampire scenes to a 35-minute reduced cut where many of the sexually graphic material has been removed and more of the horror either remains or second, more conservative, takes are introduced. Whether “Female Vampire” is a good film or not ultimately determines to be an unnecessary factor as Franco’s film can be rather an interesting case study in how one story or, in this case, one reel can be reworked and reconstructed to emit a completely different sensational perceptive.
Barcelona born actress Lina Romay exposes herself as the Bare-Breasted Countess Irina Karlstein. Her striking dark features and piercing eyes make her resemble your typical lady bloodsucker and with vampires being naturally attributed with strong sexuality and influential powers, Romay doesn’t need the omitted dialogue as she instills beauty, sex, and power into the body and the expression of her character. The untrained actress leads by being an extrovert, uninhibited by conventional proprieties, and Romay wins at being Countess Irina Karlstein just by naturally being herself. Her longtime collaborator and future husband, Jess Franco, had developed, whether intentionally or not, this role for his free-spirited companion and, as well, stars himself as the inquiring Dr. Roberts. As the countess’ love, cult genre favorite Jack Taylor brings his tall, dark attributes to be a soft spot for the unquenchable cursed and an Amazonian built Anna Walican gets hanky-panky as a islander journalist with Lina Romay in a sensual scene of unchained lust. Alice Arno (“Justine de Sade”), Monica Swinn (“Hitler’s Last Train”), Luis Barboo (“Conan the Barbarian”), and Jean-Pierre Bouyxou round out the cast surrounded by Romay’s eroticism.
On the outside, Jess Franco directs like the utmost perversity, deep-seeded with gratuitous nudity and filled with revamped versions of the same scene. On the inside, “Female Vampire” is tragic love letter with Countess Irina Karlstein’s wretched curse stretching beyond her power. Her curse is more than just yearning from blood (or semen), but also an ache of the inability to be sexually gratified. Even when her victims are dead, she continues the carnal ritual of graphic grinding, tantalizing touching, and manic masturbating. Aside from being mostly nude throughout the entire feature, and if not, semi nude through a see-through blouse, Lina Romay’s perfectly shaped apple bottom is constantly upended, flaunting her pheromones in more way than one, with each conquest more exposed than the other.
Screenbound Pictures has released “Female Vampire,” aka “The Bare-Breasted Countess,” as one of the first United Kingdom DVD titles from the new Euro cult label, Maison Rouge, who specialize in Euro trash and sleaze. I was offered a DVD-R screener and can’t comment on the quality or the bonus features, but with release, with excellent cover art, contains two versions of the film: the highly erotic version with as much body part exposure as one can handle and the “Erotikill” which has alternate scenes and less sleaze. The main feature dons no blood, except the countess in a blood tub, and allows Countess Karlstein to roam in sunlight, non-typical traits of the conventional vampire and as the “Erotikill” version still lets the countess be exposed to ultraviolet rays, there’s more blood that’s more than enough to barely gentrify the horror genre. “Female Vampire” is an usual bird of love and lust, a perfect example of Jess France’s body of work, in an awful take on an iconic horror villain legend.
In 1933, the heart of prohibition-era regulation, a corrupt Southampton, New Jersey police department shakedown the illegal alcohol distilleries and bootleggers, forcing establishments to cough up payment for police protection. Chesterfields, the hip new brass club in the sleepy town, falls into the sights of enforcement officers, an alcoholic with post-war issues, Jack Malone and his partner Sam, who want the club owner, a ruthless black bandleader named Chester, to pay for his establishment’s booze sales and bootlegging, but Chester, and his conspicuously strange henchmen, are more than just bootlegging booze runners. The nightclub is a front for a vampire den that’s draining, bottling, and shipping the blood of Southampton residents and master vampire, Chester, operates the business with his human associate, Victor Renfield. An invasion of bloodsucking gangsters seep into the affairs of not only Jack Malone’s baffled police department, but also into the resident brothel that homes Jack’s longtime beloved lover, Rosie. Only Jack, the deranged town priest, and Willie, a boy caught in the middle, stand in between the corrupt, yet still innocent, souls of Southampton and the terrorizing dark forces that scratch at the town’s door.
Hybrid genre film “Bloodrunners” blends a spin of classic tale vampirism with early 20th-century gangsters that concocts a bad batch of cinematic bamboozlement. Filmed in West Chester and Marcus Hook, Pennsylvania, director Dan Lantz, who helmed adult film star Alexis Texas in “Bloodlust Zombies,” does construct a marvelous speakeasy, prohibition-era world out of the greater Philadelphia region’s most popular and historical locations. From the period piece costuming to the acquisition of an antique 1921 Ford Model A car, Lantz’s ability to build a story around such facets on pocket-sized finances that help bring 80 years past back to the present can certainly compete with settings of many big-budgeted Hollywood productions. Being a previous recent resident of West Chester, the landscape was convincingly alien to this reviewer. Co-star Michael McFadden co-wrote the script with Lantz and, together, they input a girth of 1920s to 1930s terminology and slang into a script that can’t quite coherently string along a narrative that works under cut and dry filmmaking involving anemic mains characters.
Alongside McFadden, the “Law & Order: SVU,” or rather from one of my personal favorite films from 1994 entitled “Surviving the Game” co-starring Gary Busey and Rutger Hauer, star Ice-T takes on being a master, bootlegging vampire when he’s not busting heads of pedophiles on the streets of New York City. Ice-T maintains a hip hop persona that doesn’t translate well toward the 1930’s, but the legendary gangsta rapper has kept the hip hop schtick throughout this career and never in a hundred roles, eighty-seven credited roles to be exact, would I imagine Ice-T to break from a moneymaking image. Like his co-star, McFadden comforts himself in familiar roles that pigeonholes his career made up of authoritative figures such as cops or gangsters with examples including being a gangster in Fox’s hit television series, the Batman spinoff “Gotham” and also portraying the notorious real life gangster, Jimmy Hoffa, in the upcoming Tigre Hill film “American Zealot.” Then, there’s Philadelphia native Peter Patrikios. Patrikios’ phenomenal take on the iconic Renfield character is a break in the monotony highlight, reviving Renfield back to a sophisticated right hand man instead of a relapsing bumbling aid for his master’s whims of daylight chores and being more memorable than the “Bloodrunners'” main headliners. Airen DelaMater, Chris James Boylan, Julie Elk, Kerry McGann, Jack Hoffman, John Groody, and Dan McGlaughlin round up “Bloodrunners'” roster.
When attempting to examine “Bloondrunners'” vampiric special effects, only this descriptive phrase comes to the forefront of my mind: “Bloodrunners” pits vampire gangsters against crooked cops in a “Matrix” styled, slow-motion action-horror. While that sounds rather exciting, selling these particular creatures of the night didn’t enlighten a firm stance that the modern vampire is alive (well, technically undead) and well. Instead, the Dan Lantz and Michael McFadden story stays the routine course that fills the overstuffed and out of control vampire barrel that desperately requires genre damage control from the first moment a scofflaw vamp enters the scene. Vampire action films haven’t been popular since “Blade,” unless adapted to television as in the case of FX’s “The Strain,” and “Bloodrunners” doesn’t fit the bill, boozing in as a blasphemous contemporary day vampire film.
Paoli, PA based production company Impulse-FX delivers Dan Lantz’s latest schlock horror “Bloodrunners” with Speakeasy Films releasing the film out to the world and landing on retail shelves March 7th. The trailer held promise with vigorous action stamina, but, in the end, just turned out to be a well-edited trailer for an action-horror-thriller that needed a touch of stability in the story. Portions of the story are deemed absolutely unnecessary to motivate the characters or are place mats interjected to connect characters, such as Jack Malone’s encounter with a specific German vampire who just coincidently happens to be one of the henchmen in Ice-T’s vampire gang. The Speakeasy Films dual format 2-disc, Blu-ray and DVD combo, presents the film 1080p widescreen 1.85:1 aspect ratio in which the Blu-ray is on a AVC 26Mps disc. The image was a bit shaky under the compression, fizzing at times, more so during darker scenes, that outlined compression artifacts that remarked upon lighter shades of grey and black. The English Dolby Digital 5.1 track is fine through the 95 minute runtime. Jack Malone’s raspy gangster voice doesn’t become muddled and Ice-T’s epic hip hop swag comes through without even a hitch. The soundtracks fades in and out quite a bit over the LFE, during the “Matrix” slow-motion, that leaves much unbalanced when the soundtrack becomes warranted. Bonus features are nice, including a gag reel, deleted and extended scenes, filmmakers commentary, and an official trailer. In conclusion, “Bloodrunners” teeters on the edge of being a full bodied beverage that never really carbonates into a high-alcoholic contestant in being a good, modern day vampire thriller.