EVIL’s a Face-Off to the Death! “Guns Akimbo” reviewed! (Saban Films / Screener)


Miles, a thirtysomething video game developer, remains stuck in an unfulfilling and lonely existence where being an internet troll gives him his only taste of dominance over those who normally succeed above him in all other life aspects. When he pokes and prods a popular and sadistic underground death match known as Schism, the virally trending sensation sweeping the internet nation comes knocking at his apartment door to officially install him into the next melee bout. With guns crudely surgically bolted to both hands, Miles, whose used to running from just about everything, now has to nut up against Schism’s most prolific killer, Nix, and save his kidnapped ex-girlfriend from the deviants behind the game.

Social commentary runs amok in this grisly balls to the wall, gunplay stimulating action-comedy, “Guns Akimbo,” from the New Zealander, “Deathgasm” writer-director Jason Lei Howden. Trading in doom metal horror for a crass bullet ruckus, Howden barrels down with an on fleek supercharged story like a runaway freight train or a 6,000 round per minute minigun, shredding through a high body count like in a high occupancy round of a first person shooter. Under the production wing of Occupant Entertainment and distributed by Saban Films, who released films such as “The Girl with All the Gifts” and Rob Zombie’s “31” and “3 From Hell”, “Guns Akimbo’s” edgy dystopian air gangling along nerdy humor scraps “Robocop” utilitarian veneer for a fresh coat of millennial trivialities, fleshing out, in a ream of firepower, relevant societal topics and facing their adversarial shades head on in a barrage of blood soaked bullets.

Spearheading “Guns Akimbo” is Daniel Radcliffe, who seemingly continues to distance himself from the world of wizardry of “Harry Potter” and focusing his current career on off-Hollywood and chic films that has gained Radcliffe a cult following alongside his cache of wizards and witches fandom. Feeling content stagnant, Miles lounges comfortably in the power of being a keyboard warrior and Radcliffe leads the non-exuberant charge until pushes comes to guns bolted to my and someone is trying to kill me-shove. Opposite Radcliffe is Samara Weaving as a brashly confident and hard-hitting character of familiar skin that’s similar to her Melanie Cross role in Joe Lynch’s “Mayhem.” Instead of being a mild-mannered woman infected to be a savage, floor-clearing combat artist, Weaving bares no dissuasion embodying another uncaged killer becoming the nitty-gritty, tattooed, and uncouth Nix, hard-nosed with violent tendencies stemmed by the fiery murder of her family. Together, Weaving and Radcliffe make engaging adversaries and friendlies who both end up on working on themselves while working with each other in a do-or-die game. Ned Dennehy plays the creator of Schism and overall bad guy Riktor. The Irish actor, who recently had a role in Nicholas Cage’s “Mandy,” finds himself just as tatted up as Nix, waving a nihilistic-revolutionist banner like its something to be proud of, but despite Dennehy’s best efforts in alleviating his cynical nature with a few sarcastic quips, Riktor comes off as bland and unfulfilled as a story’s aortic villain; instead, I found myself more curious about his fascinating short-lived henchmen played by Mark Rowley as a Zangief Street Fighter doppelganger, Racheal Ofori shelling out with double barrels, and Set Sjöstrand as a gimp mask wearing Fuckface. The international cast rounds out with Natasha Liu Bordizzo (“Hotel Mumbai”), a once in a lifetime hilarious homeless man act by funny man Rhys Darby, Grant Bowler, and Edwin Wright (“Turbo Kid”).

“Guns Akimbo” could have been pulled straight from the crimson flashy illustrated pages of a popular graphic novel and, most definitely, would have worked as one too, soon to come for sure, but as a feature film is concerned, as fun as Howden drapers it with explosions, expletives, and executions, “Guns Akimbo” ultimately shakes at the knees with acute breakneck, 24-hour speed that clocks in at a 95 minute runtime. While that’s the standard runtime of choice for movies, average around 90 to 100 minutes, consequences from flying through backstories (Miles, Schism, Riktor, Nix) in a blink of an eye at the story’s expense to hastily push for gun blazing glory puts all the pressure on the viewer to keep up. The story’s non-linear moments also factor into being an onerous barrier for audiences which are shiplapped together egregiously just for the sake of going against the atypical plot structure design and interspersed with flash backs and wishful thinking near death pipe dreams all jam and crammed packed into the sardine can that is the very eye-candy combat of “Guns Akimbo.” Yet, enough time was mustered for symbolism where Miles finds himself ensnared in the sticky negativity that is the social media sludge, fueled by the sadistic voyeurs enjoying the show in a violence-porn tapestry. From troll to titan, Miles rises as the unlikely gladiator presence in Schism, pushing him toward being a viral sensation from which he can’t escape despite the lack of enthusiasm to anything related to Schism and his skyrocketing social media status. The whole showdown thrusts him into controlling his own life whether he likes it or not, a kick in the ass for a lack of a better phrase, to get him motivated.

Come February 28th, Saban Films’ “Gun Akimbo,” produced by Occupant Films’ Joe Neurauter, Felipe Marino, and New Zealand film producer Tom Hern, will go full blown trigger happy into select theaters, on demand, and on digital. Since this movie is yet to be officially released, is a screener, and doesn’t have a home video release just quite yet, there will be no audio and video critique portion of this review nor were there bonus material. There have been many great dual wielding action heros in our lifetime, including John Weston from “Equilibrium,” Selene from “Underworld,” and even that Counter-Strike terrorist avatar with the option to wield Dual Berettas. Now, we have Miles from “Guns Akimbo,” an immense ball of New Zealand vitality, un-tapered exploitation, and twofold in gun fun.

Pre-Order “Guns Akimbo” on Amazon Prime!

The Dead Don’t Stay Dead in EVIL Burial Grounds! “Pet Sematary Two” reviewed! (Scream Factory / Blu-ray)


After the accidental and traumatizing death of his beautiful actress mother, happening right before his eyes, Jeff Matthews and his veterinarian father move from Los Angeles to his mother’s quaint hometown of Ludlow, Maine to start over. The father and son are met with small town hostility from an arrogant, abusive Sheriff and the high school bully, but the ease of settling into their new surroundings with a new veterinarian business going well and Jeff gaining friendship with the Sheriff’s stepson, Drew, provides some inkling of comfort after their loss. When the Sheriff’s hot-headed temper murders Drew’s dog, the disconsolate Drew, along with Jeff, buries his beloved best friend in a sacred Indian burial ground with a smidgen of hope of the dog’s return, as the town’s urban legends suggest, but the dog becomes the first to return in a series of deaths and catastrophic returns that stagger to a family reuniting climax Jeff and his father won’t ever forget.

With Stephen King removing his name and separating himself from the overall project, the sequel to the 1989 “Pet Sematary” raised a few eye brows from the general public, and I’m sure some anxious investors, of how just would a non-adapted sequel to one of Stephen King popular novels would pan out come release. “Pet Sematary Two,” released three years after first film, would follow the predeceasing story a few years later with an entirely new cast of characters while still evoking the presence of the first film to linger about with director Mary Lambert to return to the director’s chair and helm a script by a relatively unknown writer, Richard Outten. Yet, Lambert’s return didn’t necessary equate to the reimplementing a broody, ominous, darkness facade as the well versed music video and television director flipped the script on a film she might not have any control over albeit financial backers did. Instead, “Pet Sematary Two” garnishes a scoffing rock’n’roll polarity that’s a raiper-like obverse approach of merriment morbidity doused with flammable fun and demented delight.

Hot off the presses of his first major role as a young John Connor fighting man-killing machines from the future in “Terminator 2: Judgement Day,” Edward Furlong stars as the scathingly broody Jeff Matthews. While Jeff Matthews isn’t as punk, off the street, as the delinquent turned hero John Connor, Furlong is about to turn Jeff back into being a kid with real life problems such as bullying, father-son quarrels, and dealing with the death of a parent. That screeching cry, those sunken eyes, and that bad boy attitude from “T2: Judgement Day” convinced thousands of young teenage girls that Edward Furlong was a desired heartthrob and “Pet Sematary Two” continued to showcase those attributes even further. However, in my humble opinion, Clancy Brown is the real heartthrob of the sequel with his over-the-top performance in the abrasive Sheriff Gus. The New England twang instantly sells Gus’s malignancy and crimson temper without even lifting one ill-fitting moral finger. From another King adaptation in “Shawshank Redemption” to being a bug hunter Commander Zim in “Starship Troopers,” Brown’s distinguishable deep and resonating voice, square jaw, and tall with broad shoulders has made the veteran actor the picture of law enforcement and military type and while “Pet Sematary Two” played into that typecast, Brown, who didn’t want to venture into horror, saw the laughter in the darkness and came out on top with a stellar exaggerated and unforgettable Sheriff Gus as a full blown undead maniac. Furlong and Brown stands out immensely over the rest but the remainder of the roles are just a grand with performances from “Revenge of the Nerds'” Anthony Edwards, Jared Rushton, Darlene Fluegel (“Freeway”), Jason McGuire, and Sarah Trigger.

“Pet Sematary Two” might have been profane against all that is (un)holy from the Stephen King’s novel and Lambert’s first film, but truth be told, the sequel is a whole lot of fun, a shell of the name worth watching, and provides substantial brutality with gory leftovers including skinning stark white rabbits, shredding the face off a young punk with the back wheel of a motocross bike, and an electrocution that ends with a head eruption. The Steven Johnson effects had range and bite, but unfortunately, the full brunt of the “Videodrome” and “Night of the Demons” effects artist’s work was perhaps not entirely showcased with some hard cuts to obtain a R rating, even unfortunately keeping the age-old rating with the new collector’s edition from Scream Factory that’s also the feature’s Blu-ray debut. Lambert certainly wanted the sequel to bask in a different kind of darkness that’s more comedic than gloomy and the schism between the two gulfs compares like a night and day, but the core principles of what makes “Pet Sematary” “Pet Sematary” remains faithfully intact. In hindsight, the sequel should have been labeled something else other than “Pet Sematary.”

Back from the physical media graveyard comes Paramount Pictures’ “Pet Sematary Two” onto a full 1080p, High Definition, collector’s edition Blu-ray from Scream Factory, hitting retailers February 25th. The release sports a new 4K scan of the original 35mm camera negative and presented in the original aspect ratio, 1.85:1 widescreen. The fact the source material remains unblemished becomes a plus that renders the newly scanned transfer with complementary darker shades of Autumn foliage and outerwear, delineating the burial ground and town nicely, and offering a range over hues that amplifying the perilous circumstances ahead. Still leaving some natural grain, the scan chisels through the softer portions and really does offer some nice details toward facial finishes, even in the dog’s mangy and matted blood stained fur. A few select poor edit choices, such as slow motion techniques, counteract against the detail naturally by disrupting the frames per second and causing a bit of a smoother finish than desired. If the English language 5.1 DTS-HD Master Audio could be described as one thing, that would be a menagerie of ambient gratification. The crinkling of leaves and the subtle cries of wildlife really set the primal and augury atmosphere. Dialogue clearly comes through and Mark Governor’s score shutters as a gothic western, an oddity for sure, mixed with wolf howls and Native American percussions, that fits the in the film’s black argyle pattern. All new special features accompany the single disc release, sheathed in an Laz Marquez illustrated cardboard cover, including a new audio commentary by director Mary Lambert, new interviews with Edward Furlong, Clancy Brown, Jason McGuire, special effectors advisor Steven Johnson, and composer Mark Governor, and a standard edition theatrical trailer. While not a fully uncut, “Pet Sematary Two” for the first time on Blu-ray is paramount to the genre the feature serves, swerving far from the antecedent, and evolving into a promising guilty pleasure.

Zowie Wowie! Check Out Pet Sematary Two on Blu-ray come Feb. 25th!

Death Fears No EVIL in Takashi Miike’s “First Love” reviewed! (Well Go USA / Blu-ray)


Orphaned boxer Leo grows up to be an up-and-coming star in the sport. After losing a match by TKO from a soft punch, Leo is diagnosed with an inoperable brain tumor that sends himself into despair. In another part of town, the established yakuza and the imported Chinese mafia boil toward an inevitable war over turf and drugs. When Kase, a junior enforcer, betrays his yakuza family, scheming with a crooked cop to steal drugs for profitable gain, the tide turns blood red as the yakuza naively blames the Chinese. Caught in the middle is a drug addicted prostitute named Monica, a slave to the yakuza for her father’s past mishaps, who is kept locked away in a small apartment overseen by a yakuza lackeys, romantic couple Yasu and Julie, that also use the apartment to control drug flow. When Kase plan to raid the apartment and steal the drugs goes array, Yasu winds up dead and Monica escapes, running into Leo who has nothing left to live for except to protect Monica. A distraught-induced psychotic Julie, the deadly yakuza, the Chinese Mafia, a double-crosser and his crooked cop partner, a delusional girl of the night, and one apathetic boxer clash in a single night’s ultraviolet web.

Extreme Japanese auteur Takashi Miike fastens a lively tongue-and-cheek and supremely savage crime thriller in his latest mad yakuza film, amiably entitled, “First Love,” also known “Hatsukoi.” “First Love” is anything but friendly and pleasant as the street of Tokyo run red with blood or else the 2019 released film wouldn’t be a Takashi Miike trademark special. Penned by Miike’s long time collaborator, Masa Nakamura, the filmmaker’s affection for horror eludes this title that hones more toward the unpleasantries of clan betrayals, snarky criminal shenanigans, and, of course, a flavor for mega violence that become a maelstrom angrily surrounding a demoralized boxer and the victimized forced-into-prostitution young woman he aims to selfishly protect while in his mental clout regarding his mortality. Produced by OLM, Inc production company headquartered in Tokyo takes a step away from manga with “First Love,” a step that has been evolved over the last few years, but may have contributed to some of the illustrated content that seemingly has infiltrated into the third act with an initial explosiveness in the beginning portions of a car chase scene.

Cast as Leo Katsuragi, the boxer, is Masataka Kubota, a familiar face from another Miike film, “13 Assassins,” and most recently from the heavily Japanese cultured specter feature, ‘Tokyo Ghoul.” Leo’s lighter weight physique and fresh face has Masataka look the part of a promising fighter whose positioned for fame early into the story, but that framework comes to a screeching halt when he’s destined for a tumorous death. When Leo is coupled with Monica, a drug addicted forced in prostitution plagued with crippling hallucinations side effects, the repressed Leo finds himself sheltering someone with more burden on her shoulders than upon his own. Monica’s portrayed by Sakurako Konishi in what’s essentially her first major role and being paired as a scared, lonely, and crazy character coupled with a stoic vet in Masataka makes for an easy dynamic. Shôta Sometani’s chin deep in trouble Kase goes without saying that Sometani’s unfathomable range and charisma adds an aloof comic relief along with Kase’s dishonest detective slipped covertly into by “Ichi the Killer” himself, Nao Ohmori and pursued by a retribution spirited girlfriend, Julie, of her slain yakuza boyfriend; a role spearheaded with such energy and gusto from Rebecca Eri Rabone, credited solely as Becky, who has a slight Cynthia Rothrock vibe. “First Love” is no slave to boorish performances from Takahiro Miura (“Shin Godzilla”), Cheng-Kuo Yen, Sansei Shiomi, and Mami Fujioka.

“First Love” emerges as a smart and fun battle royal of decimation in the anarchist criterion. One would think a prolific director such as Takashi Miike would wear out his welcome with tired and stale filmic bread, crumbling with every soggy rinse and repeat. That’s not the case with “First Love.” Why is it entitled “First Love” anyway, you ask? The question’s open for viewer interpretation, much like most of Miike’s suggestive elegant style, and presents an illuminating unexplored journey in itself. A ventured guess would be that Leo and Monica have never experienced the feeling previously in either content or a labored life with Leo being an impassive athlete and Monica an escort since high school. The corollary of bumping into each other by chance results in the unorthodox dismantling of two rival criminal organizations, baring then an age-old theme of love conquers all and renders the mystics of destiny fueled from from within all the way easter egging sexual taboos inside his brazen, sometimes insane, transgression storyline. Either way, Takashi Miike helms a tremendous brutal-comedy that brands him as being the Martin Scorsese of Japanese filmmaking.

Blades, guns, and a fresh score on Rotten Tomatoes, “First Love” has mainstream aptitude with a carnage driven crime syndicate finesse and is now available on a two-disc, dual format Blu-ray and DVD release from Well Go USA Entertainment. Encased in a slipcover, the not rated feature is presented in full HD, 1080p, and in a widescreen, 16:9 aspect ratio. This review will focus it’s review on the Blu-ray quality. Much of Miike’s style is neo-noir basking in very grounded color palette that’s occasionally adorned by the neon brights of Tokyo. Often does Miike composite in his work and “First Love” is no exception with a brief manga nearly a rallying ending; the illustration is super sharp, a visual pop of blue and white, and, obviously, clean. Ultra-fine details add to a prizing fatalism and even the tasteful gore, on a granular level, passes the screen test. Some scenes appear sleeker than others inside a dark scope coded with darker shades of green and yellow, but the overall result smothers any kind of inconsistency. The Japanese and Chinese 5.1 DTS-HD Master Audio tracks savor every last audiophile morsel. The clear dialogue renders nicely, big effects and action sequences offer a wide range, and the depth covers more than enough ground surrounded by hustle and bustle of the urban element. Kôji Endô’s enchantingly lethal score will immerse you right into the mix and provide a slick culture twist upon classical composition. The English subtitles are well paced and mostly accurate as I did catch one grammatical mistake. Incased inside a slight embossed titled cardboard slipcover, the release also offers a teaser and a theatrical run trailer. Cynical on the surface and romantically submersible to the core, “First Love” is a Takashi Miike instant favorite of amusing antagonism and shorn almost completely of genial garments.

Own Takashi Miike’s “First Love” on Blu-ray+DVD combo set!

The EVILs of Drugs, Addiction, and Art in “Bliss” reviewed!


Dezzy Donahue, a struggling Los Angeles artist, lives life ferociously with hard drugs and heavy drinking despite the cautionary advice of her quasi-boyfriend, Clive. Her current masterpiece falls behind on schedule and she hits a formidable creative block that results in being fired by her managing agent and with cash quickly dwindling, Dezzy’s losing the battle for inspiration that turns to an increasing narcotic intake surging through her system where any and all substances are fair game to explore. When she snorts a line of Diablo, a blissful, out of body experience drug, she finds herself in a rapturous three way with friend Courtney and her on-off side piece Ronnie that leave her with a post-high, post-sex altering inner body inexperience of opening the flood gates on her creativity to draw again as well as pang her with an insatiable need for a fix when no longer riding the high. Soon, Dezzy discovers the Diablo might not have been the drug that lit the fire inside her when a strong craving for blood becomes an inescapable addiction and a means to finally finish her greatest triumph work of art.

An audio/visual besieging rabbit hole shiplapped with braided beleaguering addiction and vampiric pathology in the stimulating aggressive, Joe Begos written and directed visceral horror, “Bliss,” set in the sordid Los Angeles metal scene. The “Almost Human” and “The Mind’s Eye” filmmaker hypnotizes on a stroboscope wave with his latest take on the vampire mythos with a drug-fueled, warmongering hell on a canvas tale of sex, drugs, and diabolical fiend cravings. Produced by Channel 83 Film, as are all of Bego’s works, “Bliss” is the director’s next notch up on the crazy, unrestrained belt that’s already garnished and weaponized with razor wire and three-inch cone spikes and while the story itself isn’t fashioned for originality, the way Joe Bego’s exfoliates the overripe garbage of rehashed formulaic filmmaking from the excessively strained eyeballs, sheepish with mawkish and dull stories, will be a new design to treasure as cult status.

Where’s “Bliss’s” 2019 nomination for best actress in a lead role!? Dora Madison seizes the performance of Dezzy Donahue by storm inside a role of careless abandonment that coils into viperous mode and lashes out with a deadly strike of unconventional fangs. Madison embraces the exotic Joe Begos route covered in blood, paranoia, and a sleazy shade of florescent neon and runs a willingness to express his mesmerizing vision with body cam harnesses. “Bliss” quickly establishes a hard-hitting tenor and Madison, whose credits include “The Loft,” “Night of the Babysitter,” and in the next upcoming Begos release, “VFW,” exacts a fortified layer of extreme sovereign, a do-what-I-want policy with a zero complaint department attitude, while stowing away what little hope and compassion Dezzy has in the forgotten corners of her plainspoken mind until the moment is too late to turn back. The story solely follows Dezzy’s perception of events as she encounters and reencounters characters before and after needing a junkie’s fix, an exaggerated play on an abusers volatile relationships. The cast affixed to roles of Dezzy’s vexing fix are Tru Collins, Rhys Wakefield (“The Purge”), Jeremy Gardner (“The Mind’s Eye”), Graham Skipper (“Carnage Park”), Chris McKenna (“King of the Ants”), Rachel Avery, Abraham Benrubi (“Wristcutters: A Love Story”), and that lovable “Cheers” regular, George Wendt.

At this point in the review, an overabundance of praise for Joe Begos’ “Bliss” has been logged by this reviewer, who is obviously a fan of the film, but more can be unquestionably explored. From previous reviews and comments I’ve come across regarding “Bliss,” a minority have displayed a disdain for the indistinct theme of drug withdraws and vampirism that resembles Abel Ferrera’s 1995 film “The Addiction,” but instead of being set in shadowy alleys of New York’s urban jungle, Bego’s relocates to the wayward esse of L.A. life. Perhaps Begos was inspired by Ferrera’s undiluted struggle and violence that makes “Bliss” a clone to “The Addiction’s” chief thread, but the film’s are artistically polar opposites. “The Addiction’s” black and white photography and slow-burn air tunes more into the story of the Shakespearian tragedy variety, especially when Christopher Walken provides lengthy life stance and coping monologues to establish his eternal dominance over Lili Taylor. “Bliss” proclaims a stimulus trip from the very beginning with a favorable thrashing metal soundtrack and an psychedelic filmic presence that comes with an opening epileptic warning. Both films compliment the figurative comparison for a fix in their own poetic ways and would make a fantastic double feature release or double bill midnight movie.

If this writeup has a jonesing affect, “Bliss” is cut and lined ready for blipping on an Umbrella Entertainment DVD home video presented by Dark Sky Films. The Channel 83 Films production is presented in a widescreen, 2.35:1 aspect ratio, being shot with a ARRI/ZEISS Super Speed Lenses, as credited on IMDB, that would explain the sharp image and stark contrasts on the colors. The visual perception of the seemingly humming-on-your-eyeballs neon lighting barely lets you experience the film in natural lightening during night scenes and only in the daytime that resembles the little normalcy left of Dezzy’s life, fade away with natural light the more she succumbs to blood cravings. “Bliss” feels and acts out like a 90’s film, slightly grainy for grindhouse seduction by way of shooting of actual film stock (35mm!), and forgoes the bubbly shine of perfection, coinciding damningly with Dezzy’s inner circle of sleaze, grime, and gore. The English language Dolby Digital 5.1 surround sound has a lot of kick and energy with a prevailing metal and punk/post-punk soundtrack feature Doomriders, Deth Crux, and Electric Wizard just to name drop a few. Dialogue is clean with an appropriate depth in the midsts of hard partying and live bands. Range is a little harder to discern since the soundtrack really is overpowering and dialogue sops up the remaining amount of audio track space, but when opted, the ripping of flesh and breaking of bones doesn’t disappoint. No subtitles are offered. Like many of Umbrella Entertainment’s standard releases, the single sided, singer layer DVD has no static menu or special features to offer other than the 80 minute runtime feature. “Bliss” is one coked-out, blood hungry hell of a vampire tangent from the norm that rectifies the optic and audible sanctuary for shock brilliancy to flesh out the Machiavellian in all of us.

[https://www.youtube.com/watch?v=5KdXU-n7qSg]

You want it, You need it, You desire it! Own “Bliss” today!

Follow EVIL’s Design! “A Psycho’s Path” reviewed!


In the sleepy Californian desert town of Brownsville, the peaceful way of life has been upended and thrown into chaos when a savage murderer embarks on a path of a seemingly random killing spree. Previously apprehended and transferred to a psychiatric hospital by court order, the psychopath’s easy and violent escape places him back into an already frightened society to the likes the town has never seen. With no leads to pursue and the townsfolk fearfully blaming the ill-equipped police force, Captain Peters and his squad of deputies must establish a pattern of slaying in order to track his next move, but all kill sites lead to being arbitrary – a motel on the outskirts of town, a isolated gas station, and a suburban home. Are these killings at random or is there a path the killer is following?

Mixed martial artist Quinton “Rampage” Jackson lives up to his professional epithet in Rocky Costanzo’s “A Psycho’s Path.” The credited writer and director filmmaker from Huntington Beach, California follows up his 2016 germane, American social, malignancy teenage thriller, “Ditch Party,” with the 2019 horror-slasher birthed from the spirit of independent filmmaking and produced by Noel Gugliemi, Matthew King-Ringo, and David Ramak. Despite the title’s wordplay on A Psychopath,”A Psycho’s Path’s” gritty and dark tone is anything but a pun-wit delineation as should be presupposed judged by the Mill Creek Entertainment DVD cover of a bloodied and wild-haired Jackson garnishing a blank death stare in the foreground of a moon and neon-lit ominous motel that just screams the trope scenario of nothing ever good is going to happen to that lady standing just inside her motel room’s doorway and wrapped in wet bathroom towels.

The former UFC lightweight Champion Jackson is no neophyte when concerned with the acting world. The big screen’s “The A-Team” adaptation proves just that with his break through rendition of the rogue militant, B.A. Baracus, famously portrayed by Mr. T in the early 80’s series of the same title and established the kind of role types Jackson’s built for outside the ring – large and in charge. In “A Psycho’s Path,” Jackson just has to appear like a 6’1″, 270lb monster without so much of one word of dialogue; it’s a role without a name other than John Doe and it’s a role Jackson was born to play as his physical attributes are naturally inherited and, dare I say it, scary. Character linked on the opposite side of the behavior spectrum is Captain Peters, played by Steve De Forest in one of the few prominent performances of his career, but Captain Peters doesn’t have enough oomph as a character to size up to John Doe. Thus, enters Noel Gugliemi, also known as Noel G., one of the most famous support character faces in all of the film industry from “Training Day” to “Bruce Almighty,” “The Purge: Anarchy” to “The Fast and the Furious” franchise, Gugliemi has the big name and personality in a joint forces operation with Steve De Forest as his on-screen right hand deputy, sergeant Torres. Barely recognizable with a bad wig and without his trademark facial hair, co-producer Gugliemi spits the snake tongued, whip-cracking lines of a jaded officer, lines that have solidified him as an all time fan favorite in his credentials. “A Pyscho’s Path” rounds out with Steve Louis Villegas (also in a bad wig), Kassim Osgood, Derrick Redford, Rowan Smyth, and with a lighthearted cameo from “Different Strokes'” Todd Bridges.

For fans of Michael Myers and the “Halloween” franchise, “A Psycho’s Path” has starkly obtained familiarities to The Shape’s universe with Jackson’s stoic performance of pure, unstoppable evil escaping a psychiatric setting intending to kill, kill, and kill and in also Costanzo’s ambitious direction, especially the track and follow camerawork that’s complimented by the cold tone cinematography of Dylan Martinez (“Ditch Party”), but that’s where the positives seemingly part ways with the rest of the film as a schlocky and campy shadow looming over what could possibly drive all these lunatics to the prospect of committing mass murder. Throw aside the already aforesaid production wardrobes with bad wigs and also ill-fitting deputy uniforms, “A Psycho Path’s” has lost more at stake with little string to yarn a strong woven story together that necessarily elevates John Doe’s affixed obsession to follow a blood-shedding zig-zag path loosely in a little-to-nothing conveyed context. “A Psycho’s Path” becomes a shell of other film’s former selves.

No One is Safe as the tagline warns on the DVD and digital download release of “A Psycho’s Path,” a production from Entangled Entertainment, Hourglass Pictures, and Stroboscope Studios, and distributed ITN Studios and Mill Creek Entertainment, a division of Alliance Entertainment. Presented in it’s original aspect ratio, an anamorphic widescreen 2.35:1, the image can be lost in a shadow-heavy contrast. Though praising his dark tone earlier alongside some well framed shots, Dylan Martinez, at times, goes full midnight at moments that hide events and eventualities from being discernible. The uplighting motif helps with cutting the overly dark picture and creates a sinister mood as slithers of shadows give a hard edged appearance. There’s also a menagerie of tint that doesn’t hone a theme. The English language Dolby Digital audio track renders palpable with clarity in dialogue and a decent range of ambience; however, the lack of depth throws some shade as characters, no matter whether in the background or foreground, live on an equal degree of volume. The release clocks in at 84 minutes, is not rated, and includes option English SDH subtitles. “A Psycho’s Path” has adequate acting, indie charisma, and one hell of a kill scene with a head in a vice like death grip and squeezed to pop like a ripe tomato in one’s hand, but can’t reproduce the slasher mystique well enough to earn it the trait.

Own it today on DVD!