Journalists, and lovers, Amy and John are assigned to scope out a potential story about Earth’s first evil feminine. Before Eve was made from the rib of Adam and who was born from the soil, Lilith lived upon the Earth before being exiled as a demoness and the reporters search to hunt down the legends of her spawn, the Crossbreeds. Crossbreeds start out as twins in the mother’s womb, but only one can be born while the other whither and dies and the birthed child will either be good or evil. The folklores recently stem from an small, isolated village now made popular by Lilith’s ghastly tales, drawing the attention of tourists, acolytes, and the religious groups. The atheistic John shares his distaste for other’s devout beliefs and thinks the village is a scam attempting to lure money out of faith blinded followers, but Amy, a Catholic, feels it differently as she’s drawn to the village by indiscernible brief visions of the past. There’s also the fact that she just aborted her and John’s 14-week unborn twins without informing him of the radical decision, but the guilt burdens her immensely, and when she’s in the loins of the village, a wicked presence washes over her and enlightening her that the Devil’s spawn will soon be born and purge all of Adam and Eve’s kindred children, paving the path for the children of Hell to rule the Earth.
“The Crossbreed” is a 2018 released demonic baby and cult film that’s made in America, but crewed and funded by Turkish nationals including Biray Dalkiran, the film’s writer-director. Co-written with Safak Güçlü, Dalkiran, who has been credited into developing original horror films in Turkey, has extended even further the Turkey horror movement that’s now spilling into the States with his upcoming release distributed by Breaking Glass Pictures. The “Cennet” (“Heaven”) and “Cehennem 3D” director gets biblical with his spin on Jewish mysticism in the tale of Lilith by putting definitive, loyal, and deceitful acolytes around Adam’s first, and most fiendish, wife created by God from the same dirt as Adam and these followers seek to summon the devil through the love child of two of Lilith’s crossbreed children. Sounds interesting, right? Biray Dalkiran might have brought horror to Turkey, but in the States, the director is a single cell trying to make a statement in a melting pot of an overcrowded horror cinema organism.
Angela Durazo stars as Amy, the surrogate mother to Satan, and this is Durazo’s sophomore film, but her debut in a lead of a feature film. As a leading lady, the Nevada born former catalog model has a lot going for her: talented actresses, stunning beauty, and an overall multifaceted person. She only has one problem, she’s surrounded by an uncharismatic and unskilled American cast that unfortunately dilute her performance. One of the more important cast members is Nathan Schellerup in his first credit role and it shows. Schellerup is terribly unconvincing and stiff that his opposite Amy role of John is utterly, and unintentionally, hilarious whenever anything comes out of his mouth. It’s like trying to watch C-3PO try to act and that’s probably offensive to the gold plated droid. Amy’s friend Rose, played by Katy Benz, felt unnecessarily wasted that’s not entirely Benz’s doing as the character’s written into the story sporadically or referred to in past sequences that were never hinted or shot during linear storytelling. Benz has the dark, brooding features that these horror thrillers are built upon, yet Biray is unable to capitalize on the actress’s memorizing eyes or succulent succubus-like lips to really sell the character as an evil abiding force. Malinda Farrington, Danny Winn, and, Marqus Bobesich, and Lou Cariffe round out the remaining cast.
To be blunt, “The Crossbreed” is an unfocused effort by Biray Dalkiran. The concept premise is there, but the execution was sorely blundered in the worst possible way produced by not only the clunky performances, but also with a meandering story that just flounders with underdevelopment, super-cheesy digital effects (i.e. a crawling and crying cinder baby demon), and detrimental or kamikaze editing consisting of electrical interference flashbacks and/or visions complete with a slapped together and tepid soundtrack stuck on an endless loop. The digital manifesting demon crying baby crawling toward characters or the two aborted babies frying in a shallow cooking pan duly note how unintentionally campy “The Crossbreed” can be in Biray’s all too serious devil cult flick that won’t afflict any ounce of terror or suspense. Even the pre-credit opening scene is a detached segment, an island scene, that goes unexplained to pay it credit and feels just another waste of time.
Breaking Glass Pictures presents the BD America and DFGS Production produced “The Crossbreed” onto a not rated DVD. The 85 minute single-sided single-layer DVD9 is presented in a widescreen 16:9 aspect ratio. The image quality varies from night and day sequences, pending on whether Dalkiran’s choice blue tint. The night shots are inarguably blotchy at times, especially on background walls and floors, resulting in less definition. The English Dolby Digital 5.1 surround sound has zest behind it with clear dialogue quality. The soundtrack, though poorly timed and repetitive, maintains an above par level grade. There are times when the dialogue looses fidelity; an example would be during scene with John playing a round of solo darts and the quality notably differs during a phone conversation with another character. Bonus features include a look at Biray Dalkiran’s career in horror, a showreel of Biray Dalkiran’s films, a behind-the-scenes look (sans dialogue) of “The Crossbreed,” and the trailer. Breaking Glass Pictures conventionally pushes the limits with edgy independent filmmaking and “The Crossbreed” is a stray outside their cache that includes a great lineup of shocking gems like “Tick-off Trannies with Knives,” “Hanger,” and “Someone’s Knocking at the Door.” Yet, Dalkiran’s goreless demonic thriller has no bite and is so tame, with minimalistic explicit material, that whenever profanity is used it doesn’t settle well into the film’s biblical-riddle totality.
You can’t keep these damn kids out of the corn fields! If you didn’t know this, “Children of the Corn: Runaway” is the 9th installment in this undying Stephen King spawned franchise and was helmed by “Feast’s” John Gulager!
Here’s the press release from Lionsgate:
From director John Gulager (Piranha 3DD, Feast) comes a horrifying new chapter in the Children of the Corn series when Children of the Corn: Runaway arrives on Blu-ray™ (plus Digital), DVD, Digital, and On Demand March 13 from Lionsgate. Based on the original story “Children of the Corn” by Stephen King, the tenth installment of the legendary horror series follows a young woman who can’t escape her nightmarish past. Written by Joel Soisson (Children of the Corn: Genesis, Dracula 2000), the Children of the Corn: Runaway Blu-ray and DVD will be available for the suggested retail price of $21.99 and $19.98, respectively.
Children of the Corn: Runaway tells the story of young, pregnant Ruth, who escapes a murderous child cult in a small Midwestern town. She spends the next decade living anonymously in an attempt to spare her son the horrors that she experienced as a child. Ruth and her son end up in a small Oklahoma town, but something is following her. Now, she must confront this evil or lose her child.
BLU-RAY/DVD/DIGITAL HD SPECIAL FEATURES
· Deleted Scene
Marci Miller (“About Abigail,” “Viper,” The Ringer of Rimachi)
Lynn Andrews (“Borderlines 2” the Video Game, “Ghost of Goodnight Lane”
Mary Kathryn Bryant (“Hellraiser: Judgment”)
Jake Ryan Scott (“Bunnyman Vengeance,” “Warning Label”)
Experience a terrifying new chapter in the legendary Hellraiser series when Hellraiser: Judgment arrives on Blu-ray™ (plus Digital), DVD, Digital, and On Demand February 13 from Lionsgate. The tenth film in the classic horror series tells the story of three detectives as they struggle to solve a horrifying murder, but instead find themselves thrust into the depths of Pinhead’s hellacious landscape. Including horror icon Heather Langenkamp (A Nightmare on Elm Street, Wes Craven’s New Nightmare), and written and directed by Gary J. Tunnicliffe (Hansel & Gretel), the Hellraiser: Judgment Blu-ray and DVD will be available for the suggested retail price of $21.99 and $19.98, respectively.
The dreaded Pinhead returns in the next terrifying chapter of the classic Hellraiser series. Three detectives trying to stop a diabolical serial killer are sucked into a maze of otherworldly horror, where hellish denizens including the Auditor, the Assessor, and the Jury await to pass judgment.
BLU-RAY/DVD/DIGITAL HD SPECIAL FEATURES
· Deleted & Extended Scenes
· Gag Reel
Randy Wayne – “Escape Room” and “Death Pool”
Heather Langenkamp – “Star Trek: Into Darkness” and TV’s “Truth or Dare”
Paul T. Taylor – TV’s “Sheltered” and “Alternative Math”
Rheagan Wallace – TV’s “Malcolm in the Middle”
Police detective Eric Hughes and his pregnant American wife Katrina strive to find their own place and withdraw from Eric’s father’s home. A hot tip leads them to small, slightly rundown, midwives maternity facility just out on the rural outskirts of Crystal Springs. With help from their friends and a lot of elbow grease, Eric and Katrina rehab the structure into their dream home to settle down in hopes to raise their first born, but Katrina quickly discovers that her dream house is more like the house from hell when shadowy figures suddenly appear through the walls with an apparition of a midwife nurse bellowing, “Give me Scarlett!” – the name of Katrina’s unborn child. The Hughes turn to the Church to plead for assistance and an unorthodox demonologist, hearing their call for help, tends to their aid in hopes to cease the languishing torment, but rushing into the situation, eager to rid the supernatural forces from plaguing the Hughes, has escalated the pending doom for their unborn child.
“Out of the Shadows” is the 2017 released, ghostly-demonic horror from Australia, directed and co-written by Duncan “Dee” McLachlan along with co-writer Rena Owen (“The Last Witch Hunter”) from a story by Eric Nash. McLachlan’s atmospherics can compete with the best, toying with the shadowy figures passing behind frosted windows and door panes in a glimpse of a moment, demonic tongue ripping through the ears of the latched upon victim that is Katrina, and conjuring up vivid and haunting figures that are airy and grim. All of which is backed by sound cinematography by Viv Scanu in creating a personality, essentially giving breath, toward the Hughes home of destined damnation. Set location speaks for itself being a countryside, rundown hovel, but the innards bare an unsecured unsettling with many windows in a well ventilated structure fenced around by obscuring foliage that creates a gloomy prison for a tormented Katrina.
Kendal Rae stars as the stalked Katrina Hughes who goes from happy-go-lucky to a panicky mess in less than sixty seconds from the first inkling of trouble. Rae has a fine performance being the frightened house wife to the never-at-home husband, but that inability to transition, with time, Katrina’s slow burn into insanity or supernatural plunder is a blight on her performance. That never-at-home and naive detective husband finds an actor as the first feature film for Blake Northfield. Northfield’s has naivety down pat with Eric’s dismissive attitude and a penchant for not caring. Eric and Katrina seek the help from a renegade exorcist Linda Dee (Lisa Chappell) whose a biker relative of Father Joe Phillips (“Matrix’s” Helmut Bakaitis) with a checkered past and on thin ice with the Catholic Church for practicing unauthorized exorcisms, but that’s about how far the script takes us when delving into Linda Dee’s backstory. Jake Ryan, Jim Robison, and “Alien: Covenant’s” Goran D. Kleut, as the Hat-man Demon, round out the remaining cast.
As with the Linda Dee character, a noticeably uncomfortable underdevelopment of major roles put divots into the, what should have been, a cut and dry storyline whose only complexity would be if Katrina’s harrowing ghostly encounters are caused by either a sudden loneliness with her husband leaving her by herself for work, the fluctuation of pregnancy hormones, or an acute combination of both. Dee’s wavering stance with the Church, and also with her uncle, is hardly touched upon with brief exposition and doesn’t convey the severity of her actions that warrant being on the outs with the Catholic officials. Concurrently, Katrina suffers with a tangent subplot with unspoken tension between her and her State side mother that never gets explored, leaving the scenes left detached like an unhinged satellite orbiting the planetary story.
Umbrella Entertainment releases the Bronte Pictures produced “Out of the Shadows” onto DVD that’s presented in an 2.35:1 widescreen. Image quality has some nice outlined details without sizable DNR, especially during night sequences in the midsts of constructing a formidable shadow army. Though tinted in more of a blue and yellow hue, the overall color palette is pleasing, even if staged like a “Saw” film. The computer generated effects are where the details go awry dipping toward a softer side that perhaps exhibits the production value. The English Dolby Digital 5.1 soundtrack has no defining qualms with a even spread of low and high level ranges to where even the muttering demonic chanting is audible. There are no bonus material and the DVD doesn’t even have a static menu for guidance as the movie plays as soon as the opening credits roll. “Out of the Shadows” has a premise that’s been through the horror mill before, but director Dee McLachlan holds the thrilling line, maintaining a collectively strong start to finish to only stray from one or two key subplots that would wholeheartedly tie the entire film together.
Paul and Jennifer Hemdale snag a great deal on their dream home withstanding an ugly past considering the previous homeowner who disappeared without a trace and a woman ending up badly burned. Despite the stigma surrounding the house, the Hemdales vow to turn their first home into a marital love nest, but every instance in which one of them is ready to break in the new home underneath the sheets, the other falls flaccid, as if something is keeping them from making love. Beneath the first floor, in the darkest part of the basement, there lies a locked black room with ritualistic pagan writing sprawled inside every wall, floor, and ceiling surface and an demonic incubus, lying in wait for the perfect opportunity to reinstate a master plan to take over the world. When Paul becomes a host for the incubus, the body count rises when repairmen, friends, and family come calling to their home and Jennifer must discover what’s causing her husband to act like a perverted jerk before she too falls into the incubus’s malevolent grip.
“The Black Room” mixes dark demon humor with perversions in a butt-cheeky horror comedy written and directed by Rolfe Kanelsky, whose credits in “Nightmare Man” and “Emmanuelle 2000: Emmanuelle’s Intimate Encounters” have sure to have aided in the director’s seamlessness in blending an erotic tone with an aggressive horror element. Kanelsky’s cavalier approach to the 2016 film, “The Black Room,” hints at the Sam Raimi approach with the unexpected and the bizarre mischief of the demon and a violin heavy folk-artsy soundtrack style with jump scare after jump scare techniques, but without going full blown with “The Three Stooges” antics as Raimi is well-known to implement. Instead, Kanelsky’s far more subtle and isn’t afraid to be verbally pun awful, even during more positionally vulnerable scenes involving actresses. Whereas most horror films uses horror as an exploitative tool or an ultimate means to be hacked to pieces, “The Black Room” transforms nudity, and sex, into a running joke much like a Troma production would gravitate to, with “Tromeo and Juliet” being a prime example, and then punch the joke into hyper drive by either being overly gory or ridiculously impractical.
In all honesty, “The Black Room” is the second Cleopatra Entertainment title reviewed at Its Bloggin’ Evil, with the first being a clunky deal-with-the-Devil thriller entitled “Devil’s Domain” by director Jared Cohn, but Cleopatra’s latest entry into the demonic hierarchy enrolls more star power to provide legitimacy in the horror realm by casting horror hall of famed actress and “Insidious” series star Lin Shaye as the snarky previous house owner with a dwelling secret and as well as “Species” series and “Ghost of Mars” actress Natasha Henstridge as the lovely Jennifer Hemdale. Shaye’s dedication to any project, big or small, places the four-decade-careered actress as a beacon of hope for the indie project and Henstridge, still oozing that blonde bombshell of sexiness image, is the proverbial cherry on top. Shaye and Henstridge bare a heavy cast presence without having to bare much skin, but there’s a fair amount of nudity to behold from actresses Augie Duke (“The Badger Game”), Jill Evyn, Alex Rinehart, cheesy horror goddess and “Killjoy” actress Victoria De Mare, and a full frontal nude debut by Milena Gorum in her first credited film. When you’re done ogling over the female roster, a tall, baritone voiced Lukas Hassel illuminates as the sleazy parasitic host of an sex-crazed incubus, embracing every tall, dark, and handsome aficionado to dream of Paul Hemdale in a variety of gore-raunchy segments while maintaining a straight face about the filth that seeps from his character’s mouth. Rounding out this cast is a “Skarkansas Women’s Prison Massacre’s” Dominique Swain as the film’s third headliner on the Blu-ray cover and intro credits, one of my personal favorite supporting actors James Duval (“Cornered!”), Caleb Scott, Robert Donovan, and with genre favorite Tiffany Shepis.
While the story’s nuts and bolts of “The Black Room” consists of demons, possession, and world domination, lots of sex, sex talk, and sexual situations litter every scene. Yes, the demon is an incubus and by very definition of the term, a demon who makes sexual advances on women while they sleep, whole-heartedly defines the amusing premise. Maybe with Kanelsky’s background in softcore erotica, sex comes second hand and writing all the associations with the act is easier for the filmmaker who installs both main characters, Paul and Jennifer, with an insatiable sex drive from beginning to the end. Even with side characters untarnished by the incubus’s powers, such as the perverted water heater repairman, become a slave to the story’s grossly sexual tension. Now, I’m not complaining, but the continuous play on sex is odd without the slither of a moral growth. After all is said and done and the characters walk away from a deadly supernatural cluster-you-know-what, neither Paul and Jennifer progress, knowing nothing more from when they first started, and plateau to a level right from the start when first purchasing the dreadful dream home.
Cleopatra Entertainment and MVDVisual present “The Black Room” on a region free Blu-ray with 1080p on a 2.39:1 aspect ratio. Coloring is everything and the range of hues in “The Black Room” vividly crisp off the screen and the filter lighting smoothly goes unnoticed when sudden changes from natural to red flare up. For most of the 91 minute runtime, a clean image plays out a levelness throughout, but film grain presents itself in last moments of said titular room and the digital effects are gaussian soft that it’s penalizing. The English Dolby Digital 5.1 mix has a compressed audio that’s not up the spec when considering Cleopatra is a major record label. The dialogue is clean and prevalent, but sorely soft at times with ranges between ambient, soundtrack, and dialogue fluxing more on the lower volume totem poll rather than being beefy and in charge. Audio is passable, being free from damage and distortion, but a little more range would do this demon dance some justice. Bonus material includes commentary with director Rolfe Kanelsky, star Natasha Henstridge, supporting actor Augie Duke, and producer Esther Goodstein, a slew of extra and extended scenes, a severely anemic behind-the-scenes short, a brief blooper reel, slide show, storyboards, and the film’s trailer. When considering between the two demonically-charged Cleopatra Entertainment productions “Devil’s Domain” and “The Black Door,” there’s no contest as the latter is technically a much better film and a lot of fun to watch and sure to be every gore and sex-hound’s wet dream with titillating special effects, especially with an invisible entity seducing a sleeping Alex Reinhart with a major titty-twister, and a dark sense of humor of unholy pleasure.