Category Archives: Evil Reviews

Reviews are important to read because what if you want to pick up an off-the-wall film and have no idea what to expect? Well, I just might have it in the review vault….

EVIL Will Scrape You Clean Right to the Bone in “Scavenger” reviewed! (MVDVisual – Cleopatra Entertainment / Blu-ray)

Posted by Steven Lewis on

A ruthless post-apocalypse world consists of killing others for their vital organs and sell them on the black market to earn a living or to score the next high.  The latter is the life Tisha lives as a bounty hunter assassin sustaining through a bleak existence of the next job and another hit.  When a new job brings her ugly past to the present, no payment is necessary as she gladly assassinate a smutty bar owner and brutal cartel head.  Things don’t go as planned when Tisha winds up naked on one of grimy sex mats of her target’s whore house after encountering and being seduced by Luna, the boss’s best laid side piece stripper and confidant.  The assassin must fight tooth and nail to survive on her filthy course to truth-hurting vengeance.

A complete ball of filth and fury is how I would begin to describe Eric Fleitas and Luciana Garraza’s sordid wrapped “Scavenger,” hailing from Argentina with wild west undercurrents in a post-apocalypse wasteland that makes George Miller’s barren lands look like Disneyworld.   Titled originally as “Corroña” in española,  the filmmakers also pen the violent screenplay alongside a third writer in Shelia Fentana to produce their very first feature length credit together that clocks in at 73 minutes, and 73 minutes is plenty enough to be entranced and be gorged by the anarchist sleaze, galloping gore, fast cars, and loose whores.  The trio financially self-produce “Scavenger’s” journey to silver screen fruition while Ronin Pictures provides special effects work that can rival the best independent productions. 

The role of Tisha is not a pleasant one, no role in where the protagonist being raped is pleasant to begin with, but to compound the character with a nasty drug habit, a gruesome vocation, traumatically scarred past, and be the objectifiable plaything for a bunch of society-fallen degenerates, Tisha’s fortitude had to be uncompromisable and her sensitivity dialed way down to zero in order to survive in her cutthroat world where not even your bodily organs are safe.  In steps Nayla Chumuarin, a fresh face Argentinian actress unknown to the majority of general audiences, ready to slip into a demanding role antithesis to Mel Gibson’s Max Rockatansky that’s only similar in a very few ways.  Geared in masculine attire, sporting a pixie cut, and gleaming with sweat and dirt from head to toe, Chumuarin offers up an intriguing anti-femme fatale in a more cold shouldered assassin vibe with a fast barb wired cladded car and who can handle herself around all types of antagonists, even those two times her size and are a disfigured mutant!  Tisha tracks down Roger, a brothel and bar owner who has ill-fatedly crossed paths with Tisha in a previous life.  Played by Gonzalo Tolosa, the mohawk-sporting Roger abides by his own set of rules unless they’re coming out of the sensual viperous mouth of Luna (Sofia Lanaro), Roger’s stripper girlfriend with a true sense of the femme fatale archetype.  Together, Roger and Luna call the shots and lust suck each other faces in the torment of Tisha who by the end of the film just wants to waste them both from the face of the post-apocalypse Earth.  Fleitas and Garraza purposefully and rightfully omit much of the backstories from most of the film and slide them in, crashing down like a house of falling cards, right on top of not only the characters but also the audience in a moment of realization and shocking truth from everything that has happened in the story up to that climatic end.  “Scavenger” rounds out the cast with Tisso Solis Vargas, Denis Gustavo Molina, Norberto Cesar Bernuez, Vanesa Alba, Rosa Isabel Guenya Macedo, and Gaston Podesta as the Mutant.

“Scavenger” is pure debauchery nonsense.  A gore loaded free for all.  The story is about as ugly as you would expect with the exploitation of carrion from those slowly succumbing to death in one form or another.  “Scavenger” is an entertainment juggernaut doused in corrosive material that will either disgust or amuse, depending on your temperament, with no middle ground to balance.  Characters are driven by unadulterated greed or rage, even the heroine of vengeance who just a few scenes prior stabbed a man in the back to harvest his organs, without one morally redemptive character to relieve the incessant current shocking the mind’s nipples with searing voltage.  Fleitas and Garraza slather in a laissez-faire fashion the exploitation veneer of grindhouse muck to serrate the unsavory snaggleteeth even sharper, but there are points where too much of a good thing becomes bad to the film’s health.  As such is with the licking of the face motif.  Like Quentin Tarantino and his obsession with closeup shots on female’s feet, Fleitas and Garraza shoot a handful of scenes of sexually engaged males lapping the sweat and pheromone droplets from the faces of their carnal conquests in all types of scenarios from rape to consensual.  The saliva wet, grainy muscle just slides right across the soft flesh covered cheekbone in more scenes that I cared to count in what seems more like a filmmaker fetish than an object necessary to overboard the obscenities.  It’s a weird action to call out but happens more than just a couple of occasions and between different characters.  The pacing’s fine albeit a few nauseating slice and dice editing that doesn’t take away or hinder in abundance understanding the progression of Tisha’s journey, but definitely causes a bit of blurriness on the heroine’s perspective of whether what she’s experiencing is a nightmare, a flashback, or a bad trip from whatever narcotic she withdrawals from that once injected speeds her into a kill monger. 

If what I’ve gone over doesn’t entice you, I can tell you this much.  “Scavenger” is perhaps the best Cleopatra Entertainment film release I’ve seen up-to-date.  The subsidiary of the independent record label, Cleopatra Records, Inc, in collaboration with MVD Visual release the South American grindhouse-fest film on a 2-disc Blu-ray and Compact Disc set featuring the film’s soundtrack, including music from Rosetta Stone, The Meteors, The 69 Cats, Philippe Besombes, Damon Edge and more with a full artist list on the reverse side of the cover liner along with alternate cover art of the film.  Presented in a widescreen 16:9 ratio, don’t expect a high-definition output with a homage to grain and a warm high-key contrasts to augment the desert outward show under the eye of Sabastian Rodriguez.  Negative space is only used for intense shadows to cloak the lurking menace around every corner.  There’s a variety of shots, including some great wide shots and crane angles, that sell “Scavenger” beyond the frenzy of blood-soaked and furrowed brow closeups.  There are four audio options available:  a dubbed English 5.1 surround and a 2.0 stereo as well as the original Spanish dialogue track in a 5.1 surround mix and a 2.0 stereo.  Unfortunately, the Spanish tracks do not come with option English subtitles so if you don’t understand the language, you’ll need to sit through the always awful English dub; however, this particular dub track is not obviously horrendous.  With all the Cleopatra Entertainment titles, the soundtrack sticks out like a sore thumb to promote their investments with high quality sound but also in true Cleopatra Entertainment titles, the lack of bonus features continue with “Scavenger” with only a theatrical trailer and an image slideshow.  “Scavenger” is a particular breed of film where you just flip your mind’s decency switch to off and gladly watch the world burn in depravity to get your jollies off.

Own “Scavenger” on Blu-ray and Soundtrack CD combo Set!

First There Was a Good Guy Doll. Then, There Was a Turkey. Now, EVIL Comes In the Form of a “Killer Piñata” reviewed! (Darkside Releasing / Blu-ray)

Posted by Steven Lewis on

A father purchases 3 piñatas for his young child’s birthday party the day before going on a weekend getaway.  His college age eldest child, Lindsay, stays behind to have a night of drinking with her best friends, one of them being her ex-boyfriend who hasn’t figured out that her romantic interests no longer lay with the entire male sex.   With the pink piñata done in at the party and the other Captain American-resembling one bashed to smithereens by Linday’s friend, the surviving donkey piñata, possessed with the bullied and vindictive soul of a piñata factory worker, is fueled by bloodthirsty vengeance and on a campaign of death as one-by-one Lori’s friends fall casualty at the paper macheted hooves of the candy-filled sinister piñata and it’s up to Lindsay and a hook for a hand, old Latina piñata shopkeeper to stop the carnage.

I, personally, never whacked a sweet-treated stuff piñata on a joyous, celebratory occasion in my 37 years of growing up (in retrospect, my childhood didn’t seem very fun) and after watching Stephen Tramontana’s farcical horror-comedy, “Killer Piñata,” the 2015 release, receiving an enhance 2021 Blu-ray director’s cut, has now instilled a crippling fear of the inanimate that secures the fact that I, and probably my kids and my kids’ kids, will never take a baseball to those cute little piñatas ever!  With a penchant for the worst-of-the-worst horror movies and being an acolyte of the Jordan Downey’s brazen killer holiday turkey masterpiece, “ThanksKilling,” Tramontana, along with his entrepreneurial cohorts who started out in the healthcare field and have turned into amateur B-horror filmmakers, helms his crowdfunded sophomore feature, but first donkey piñata bloodbath, and co-wrote alongside fellow screenwriters Nick Weeks and Megan Macmanus who spun a wild fantasy into cinematic reality.  The 8 day shoot around Chicago’s Logan Square employs Tramontana’s investment partners Jennifer Kunkel as producer and Paul Summers as cinematographer, editor, and score artist under their pun of a production banner, Angry Mule.

“Killer Piñata” casts Chicago regional actors who thought starring in a film about a murderous piñata would be a once in a lifetime opportunity as well as a challenge to broaden their craft by working with puppets and, boy, were they right!  Stage actress Eliza-Jane Morris stars as Lindsay, battling not only a party donkey figure but also her sexual preference ignorant ex-boyfriend, Scott (Billy Chengary).  Much as Lindsay in herself is a trope of what is known as the final girl in horror, the script is riddled with trope characters just to make it abundantly clear “Killer Piñata” means funny business. Scott is the clingy, insecure ex who can’t see between his legs why Lindsay is no longer interested. His pal, Chad (Nate Bryan), resides on the opposite side of the spectrum as the confidently shameless, hypersexualized, and vain best friend who is equally matched in being confidently shameless, hypersexualized, and not terribly vain with Lindsay’s bestie, Rosetta (Lindsay Ashcroft). Martin (Daniel Hawkes) rounds out the group of the ill-fated soirée as Rosetta’s much hated bothersome cousin who is perhaps the only character out of the five to feel any morsel of pity for as he’s incessantly bludgeoned by insults, especially by his own Rosetta, and doesn’t have a single clue what’s in store for him. The most seasoned talent on set played a fiesta Latina shopkeeper with a “I Know What You Did Last Summer” hook for a hand; “High on the Hog” and “Asylum of Fear’s” Joette Waters gives an over-the-top Dr. Loomis performance. Cast rounds out with a fair amount of bit roles from Elvis Garcia, Sheila Guerrero-Edmiston, Steven James Price, and Elias Acevedo who all indulge in the nonsense of a superficial inanimate villain horror.

A piñata running rampant in a suburb home with poisonous candy being expelled from it’s paper and cardboard rectum and able to mechanize corpses like in Gundam with a simple transfer of hoof-to-spine energy awards Tramontana and his thinking outside the box team a 9×9 baking dish full of creative brownie points. “Killer Piñata” can also be funny indicative to all by the nonsensical title and if you’re not stiff as a board in the humor department, you’ll find one scene to be unsettling shocking with a lingering piñata blowjob death that’s literally jaw-dropper and a teary eyeful. While the film is by no means an in earnest attempt at a serious plot, continuity mistakes, in scene goofs, minor equipment quality issues, and narrative pacing drag down Tramontana’s quaint pintsize slasher and even drags a little more apathetically with tired jokes, farting gags, and formulaic routines albeit some okay puns and a smirk inducing making weapons montage. Not until around the plot point of the third act is when the death scenes start to hit the fan, briefly hovering up to the “ThanksKilling” gore-and-gags level, splattering the blood splatter here and there while the first two acts barely register on the oh, damn Geiger counter in what’s an interior imbalance of how to set the tone of a killer piñata video diagram.

Only five years after the initial release of “Killer Piñata,” Darkside Releasing proudly releases an enhanced Blu-ray director’s cut of the film that saw an overhaul and rejuvenation on the color grading, a brand new sound mix, and a quicker pacing, which I still think could have been tweaked better.  Presented not rated in a widescreen, 1.85:1 aspect ratio, with a runtime of 84 minutes (originally 87 minutes but trimmed in the new director’s cut for pacing), there is some early on banding in the opening shot’s blue sky over Chicago, but for an indie production on a budget less than 5k, or now maybe more with a facelift in the new release, the coloring has a brighter glow and is not as flat some of the original footage appeared. The anecdotal animation nicely becomes an intermission to the story and a change of pace in the par quality with simple, but well illustrated, sketch animated backstory.  I never knew the original score, but the Paul Summers pulsating electro-club rescore homages the works “Killer Piñata” is inspired by with an upbeat soundtrack mingled with a traditional minor key soundboard.  Special features includes a new audio commentary, a recollection of pre-, post-, and during production in “A Look Back at Killer Piñata,” a reason why we never saw a sequel follow up title “Whatever Happened to Killer Piñata 2?,” the making of featurette with a few key scenes, and bloopers & deleted scenes.  Stay put after the credits for a bonus scene that aims to piece together things for the potential sequel director Stephen Tramontana promises.  The future for “Killer Piñata” is not yet certain and I firmly believe, in what I consider to be the promising next steps for the murderous inorganic party-pooper, is that the genre needs and should receive a crossover of Turkie vs Piñata in a showdown of the possessed puppets or in an egregious alliance to take a good chunk of mankind’s population down a peg!

https://vimeo.com/462262941

Take a Whack at the Killer Piñata Director’s Cut on Blu-ray!

 

When EVIL Runs The Show, That’s When the Reality Sets In. “Funhouse” reviewed! (Magnet Releasing / Digital Screener)

Posted by Steven Lewis on

Eight C-grade social media celebrities sign a contract for a new reality show, Furcas’s House of Fun.  The reality show streams worldwide on all electronic devices in an exhibition of different and standoffish personalities locked together in apartment-size living quarters.  Contestants will have to face challenges and weekly viewer voting to be the last one standing for a chance to win a 5 million dollars cash prize  Instead of sexy making out sessions, drunken brawls, and contestant melodrama to boost viewer ratings, Furcas’s House of Fun is in actuality a syndicated snuff reality show where a contestant is voted out is a contestant receiving a brutal death in front of the entire world.  Survivors watch behind paned glass as one-by-one their castmates are dispatched in the most gruesome way possible, directed by a screen animated panda bear helmed by a sadist eager for the show to go on.

Ready to have a little fun?  The “Funhouse” is open for what is a variety show of horrors in this 2019 shot, 2021 released reality show of encroaching aggravation and gore from writer-director Jason William Lee.  “The Evil In Us” filmmaker plays his hand at personifying internalized resentful rage for hack, do-nothing, inconsequential to society celebrities by feeding them gladly and enthusiastically to the bloodthirsty wolves.  “Funhouse” isn’t your typical social media or tech horror film as Lee dishes out a thought-provoking disgust covered in a powdery sugar and popcorn veneer that’s surely to please the broad range of horror fans.  The co-ventured Canadian-Swedish story of shallow fame nihilism is shot in the Providence of British Columbia and in Stockholm, home base of Ti Bonny Productions under executive producer Henrik Santesson, in collaboration with Lee and producer Michael Gyorl’s Sandcastle Pictures.

With the surname Skarsgård, acting is in certainly in the blood.  Valter Skarsgård, the youngest son of “Nymphomaniac” and “Deep Blue Sea’s” Stellan Skarsgård’s first marriage and the brother of terrifyingly frighteningly Pennywise actor, Bill Skarsgård (“It”), branches out following his ancestral destiny by headlining as the lovable and misjudged Swede, Kasper Nordin, who leeched fame by being the ex-husband to a renowned singer.  Nearly the spittin’ image of his older brother Bill, Valter brings his name and family looks to the table while showcasing his own talent amongst a motley crew of nationalities.  That’s one of “Funhouse’s” main messages about social media stardom as a plague that has spread to every corner of the world symbolically infecting each contestant from a different country:  Dayleigh Nelson (“Island of the Dolls”) of Britain, Khamisa Wilsher of America, Gigi Saul Guerrero (“Puppet Killer”) of Mexico, Amanda Howells of the Philippines, Mathias Retamal (“The Source of Shadows”) of Chile/Canada,  Karolina Benefield of Poland, and Christopher Gerard of Ireland.  The roles of wannabe celebrities is an ostentatious representation of click bait influencers who will sell essentially their soul and show their skin to be noticed and this turns the clear antagonist villain, a merciless gamester and contract abider with business dealings more vile than from the Devil himself, to be a subtle antihero of sorts as the cast rounds out with Jerome Velinsky’s wickedly sophisticated performance as Nero Alexander that is urbane nihilism at its best. 

Outrageous, fun, and gory – “Funhouse” has all the hallmarks of a 90’s horror on cruise control.  With a bedazzling rudimentary shell of a panda bear avatar animation and blend of practical and digital blood over the simplicity of a small location and indie production, Lee is able to fly through the narrative at whiplash speed and still drop animosity-awarding and empathetic traits to believe in the cast of characters.  In the middle of the chaos of axe splitting heads and being dunked into a barrel of highly corrosive acid, a topical theme of the detrimental social media and influencer stardom to society really positions “Funhouse” on the frontline for inflammatory and anti-social media messages, harping on the noncontributing and unbeneficial role of these money-generating, like-focusing, click baiters in culture and society other than selling to their audiences sex, gossip, and violence.  Speaking of violence, I was pleasantly surprised by the right amount of gore that didn’t shoot for extravagant levels despite some smoothing around the digitally added sinew and guts, keeping a modest amount of realism to the dystopian gameshow construct.  Initially, there are dubious first act moments that quickly shuttle hapless soon-to-be-casualties into the same location, much like in “Saw II” when characters all wake up in the room together and we have no idea who they are, where they come from, and what their backstory is, but as the film progresses we learn more about them and the roles they play in the maniacal puppeteer’s design.  The twist, almost meta-like, ending leaves “Funhouse” on a low note that doesn’t fulfill any void for its existence, but a good chunk of the story is really meaty with a revolving door of plights and a small, yet efficient, compassion outpouring spicket.

Not your traditional participatory surprise-laden and mirror maze attraction, “Funhouse” will still bring old-style thrills with some new blood spills in it’s grand opening release in theaters and on demand on May 28th courtesy of Magnet Releasing. Shawn Seifert (“Dead of Night”) lays out a smorgasbord of cinematography techniques that includes rich, un-matted color filters, isolating characters in darker, dim rooms in making them seem centerstage for their own grand demise, and cultivates stationary, handheld, tracking, and some drone shots for an extremely vibrant and glossy approach and feel for reality television version 2.0. Lee edits the digital reel himself and, honestly, the pacing wanders quickly to the overly rushed section like a quick-spit-it-out story wanting to be finished before it even begins and is compounded with another intrusive quality in the hyperactive back-and-forth of shots that aims to resemble the irksome flight in and out of reality shows that speed up and slow down like a nervous teenager behind the wheel of their parents and continuously presses down on the brake pedal. Stay tuned after credits for a gag bit scene that ties into the main story but promises nothing more. No more being voted off the island or nixed by expert judges, “Funhouse” cleans house with deadly eliminations and a message of the unyielding power granted to many so easily through a rapidly reshaping medium that has become too influential on a braindead scale.

I Think We’re Going To Need Bigger EVIL! “Deep Blood” reviewed! (Severin / Blu-ray)

Posted by Steven Lewis on

As kids, four boys were warned with an anecdotal tale of an ancient Native American spirit that took the shape of a killer shark malevolently stalking and killing the native villagers for their overfishing ways.  Now adults, the four friends pursue very different lives as all four return home for the summer with interests in rebuilding family relations, girls, colleges, and avoiding the local punk, Jason, hellbent on making their lives miserable, but when a shark turns up and kills one of them during a solo dive, they recall the ancient tale and sound off to the authorities who take little heed to the incident.  Their small beach community thinks they’ve killed the man-eating shark causing the ruckus, but when more chewed up bodies color the ocean red, the friends must take the task upon themselves to see the shark never devours anyone else again. 

Italian shark-on-a-loose romper helmed by the legendary serial Italia horror and erotica trash filmmaker, Joe D’Amato (“Emanuelle in America,” “Anthropophagus: The Grim Reaper”), cashes in on the monster, man-eating shark celluloid frenzy with an uncredited directorial of the 1990 sharksploitation, “Deep Blood.”  Originally to be Raffaele (Raf) Donato’s directorial debut, the George Nelson Ott script was salvaged by the then producer and cinematographer D’Amato after Donato’s change of heart and professions in the film industry.  “Deep Blood,” that went under working titles “Wakan,” the designation for the Native American evil spirit, and just simply “Sharks,” was shot mostly with an English cast in the sunshine state of Florida with various underwater scenes filmed in Italy.    D’Amato’s production company, Filmirage, supported the film in collaboration with Variety Film Production that has dipped it’s toes into another killer shark flick, Enzo G. Castellan’s “The Last Shark,” which some footage was utilized for D’Amato’s film nearly a decade later.

“Deep Blood” circles around the opening of four friends innocently having the time of their lives with a normal ocean side firepit, roasting wieners, being told horrifying campfire stories of the black finned Wakan by a mysterious Native American (Vans Jensens) who hands them a relic piece of oblong driftwood with noteworthy carvings about Wakan and slicing their wrists to make an impromptu blood pact to fight against Wakan whenever the time comes.  You know, the usual stuff you do with your friends.  As grown men, Miki (Frank Baroni), Allan (Cort McCown), Ben (Keith Kelsch), and John (John K. Brune) find themselves back home, reunited to only have their friendship ripped to shreds when John becomes Wakan’s tasty snack on a solo dive.  Ott’s script really, really, and I mean really, tries to add depth to the characters, such as Allan’s spoon-feeding Mayor of a father handing out life advantages to his son every possible moment or with Ben who struggles between fulfilling his parents’ wishes of going to college or starting his professional golf career.  There’s also some backstory about the death of Ben’s sibling at sea that has had some psychological torment on his father, Shelby (Charlie Brill, “Dead Men Don’t Die”).  D’Amato crumples up character development like a piece of scrap paper and shoots a fade away jumper into the waste basket.  My personal favorite in the shallow end moment is the local lout and head of a gang, Jason, who senselessly disparages the four friends, for whatever reason we don’t know, acutely 180’s from I’m-going-to-kill-you to becoming a good friend (out of respect?) and takes an active participation in hunting down the shark.  All the relationship dynamics seem to just culminate right into the big, explosive deep-dive and pursuit for shark blood in the guys’ booty shorts and cut off sleeve shirts.  Talking roles are aplenty but nothing worth the empathy or sympathetic emotional baggage surrounding the remaining cast of characters played by actors James Camp, Margareth Hanks, voice actress Mitzi McCall, and Tom Bernard as Sheriff Brody…I mean, Cody.   

Only slightly echoing acts of Steven Spielberg’s flawless “Jaws,” “Deep Blood” also begs, borrows, and steals scenes to piecemeal together a semi-coherent story.  In the wild Great White shark snippets from National Geographic video clips and shark scenes plucked and reused straight from another Italian schlocker, there lies a nonexistent sliver of thought in creating an original piece of footage that puts the resemblance of a monstrous shark and an actor in the same scene together with D’Amato relying burdensomely on editor Kathleen Stratton to handle the fragmentary bits of different look and feel shots and turn it into single profit linear narrative gold. But honestly, what do you expect? D’Amato was to be the director of photography but ended up in his lap directorial duties, taking on the extra work like any good producer. Many of the shark attack scenes are spliced together with the actors bobbing and turning up and down in the water with the iconic bubble and splash sequences that solidly create the allusion and the illusion of a frenzied blood bath, but some locations are blatantly amiss shots, especially those of the actors snorkeling and scuba diving inside an obvious aquarium vivarium in clearly an exterior beach scene, that are more of a blow toward our intelligence than anything else. When the movie magic shark finally does make an appearance, a rigid, clean cut, my 9-year-old nephew could draw better shark effects sells little amazement, wonder, or pelagic terror of the open water. “Deep Blood” is a see-it-to-believe sharksploitation disaster-piece with the Joe D’Amato Midas touch.

Luckily, seeing every story blighted nook and cranny and experiencing all the dysfunctionalities between characters have never looked better with Severin Films’ worldwide inaugural Blu-ray release of “Deep Blood.” Newly scanned in 2k from the original 35 mm negative and presented in a pillarbox 1.33:1 aspect ratio with a high definition 1080p transfer, the image clarity is about the only thing flawless in the film with natural looking color grading for a richer hue presentation. Aside from the wonkiness of equipment quality differences with Nat Geo’s stock footage, there wasn’t much in the way of image imperfections aside from faint speckle damage and a slight scratch briefly visible in one of the later scenes. Details are phenomenally crisp in the face, as you see every sagging wrinkle on Van Jensens’ mug, and even the slight white capping of the waves renders clearly across. The English language 2.0 mono track features a clean, discernable dialogue albeit some slight hissing. Carlo Maria Cordio’s synthesized score doesn’t invoke fear of the water, but does contribute to the Italiano-charm of D’Amato’s underwater thriller with a seducing melody of lo-fi chords to accompany the shark attack scenes. Optionally, a parallel Italian track provides a dub that isn’t typically as elegant in syncing with American actors. Special features for the 91 minute film include a trailer and a listed multi-region playback; however, I could get the disc to play on the region B setting. If you’re a shark film aficionado like myself, no matter how undeniable cheesy (and I’m looking at you “Bad CGI Sharks”), then “Deep Blood’ is an enjoyable serrated chomp into a chum soaked sandwich good to the last morsel.

Own Deep Blood on Blu-ray from Severin Films!

For One Exhausted Truck Driver, EVIL is on the Move! “Goodbye Honey” reviewed! (Freestyle Digital Media / Digital Screener)

Posted by Steven Lewis on

Dawn has been driving for over 30 hours straight schlepping a customer’s belongings from point A to point B. Unable to keep her eyes from closing, she pulls over and parks in an empty lot of a state park. Before Dawn could close her eyes, a mysterious and frightened woman approaches her asking for help, informing Dawn that she has been held captive for months. Treating with suspicious eyes, not fully trusting this young woman’s thinly laid out accusation, the exhausted truck driver is eager to protect her truck from would-be thieves and vandals, but decides to assist though her phone is broken and her truck keys are lost, leaving the two women stranded in the middle of nowhere with a radical abduction story and the captor is not too far behind. What seemed to be a quiet night of deserved rest and relaxation for a truck driver who just drove straight-through without much as taking a break is about to unfold an eye-opening, harrowing ordeal that puts the two women in for the long haul.

Would you trust a harried and jonesing-looking straight knocking on your day cab door of your straight moving truck in the very early AM hours of the night? This iffy scenario plunges audience into that exact pressure point of Max Strand’s feature film directorial debut of “Goodbye Honey.” The 2020 abduction-thriller is also written by Strand and co-written alongside Todd Rawiszer, collaborating for a second time since 2011 for their cannibalistic-comedy, the family kills together, eats people together, “The Labbinacs.” Generally most abduction thrillers takes the viewpoint of the captive, but for “Goodbye Honey,” Strand and Rawiszer take the perspective of an outsider with unlucky happenstance and makes persevere over their own hang-ups in the dealt lousy hand called life. “Goodbye Honey” is produced by Joshua Michaels from the Examined Dots Pictures, a subsidiary of the video media company, Examined Dots Media, and is the first feature length film production from the company.



The point of view from the trucker sparks a clean slate inception of events as Dawn is oblivious to the entire occurrence that has scared and scarred this young woman whose animal instincts have kicked in and is working against her advantage with Dawn as desperate spurs her to act instead of thinking logically about what to do.  Pamela Jayne Morgan (“The Manor”) headlines “Goodbye Honey” in her first breakout role of 2020 stepping into not only an impromptu lifesaving moment but also into the steel toed shoes of a trucker’s life behind the wheel that features sleeping in her cab, eating lunch in her cab, and being driven into the ground by a demanding, world’s most dangerous, profession.  The only uncouth trucker habit Morgan does not do in her cab is urinate into a bottle.  Oh wait, she does bottle potty!  However, the circumstances surrounding that moment is not because of her profession and only adds to the many layers, including her tragic background and lost ambitions, that makes Dawn a complex character working the mental gears to do what she can to survive and save a life in terror’s grip.  And just like Dawn, we’re weary to believe the fantastic accusations coming out of Juliette Alice Gobin’s lip-quivering mouth who sizes up to the very still with fright the shaken and traumatized abductee in Phoebe as she narrowly escapes her captor, played by Paul C. Kelly (“Devils Prey”).  Gobin debuts her talents in horror with flawless strokes that paints Phoebe more of a misunderstood threat than a distressed victim of kidnapping.  Morgan and Gobin’s hot and cold dynamic perfectly rouses doubts as nothing, at first, is entirely clear.  “Goodbye Honey” has an indie size cast, but the performances are robust with layered intensity from the principle roles to the momentary characters played by Peyton Michelle Edwards, Rafe Soule, Jake Laurence, and Keara Benton.

There’s always been this uniquely bizarre fascination of which story angle an abduction thriller should play from and in “Goodbye Honey’s”, the story doesn’t follow a linear narrative of the abductee but backtracks with anecdotal flashbacks as Phoebe divulges the events leading to her snatching and how’s she’s been isolated in a small room for months to her only hope and savior, an emotionally downtrodden and physically fatigued Dawn.  While not entirely new, as we’ve seen a structure similar in John Oak Dalton’s “The Girl in the Crawl Space” that relives the victim’s held captive experience through mental flashbacks and therapy sessions, “Goodbye Honey,” bills far superior dread unlike the 2018 film, which suffers from monotonous exposition and topical offshoots.  Strand plops us in the unravelling thicket of action with gripping what-ifs potentially lurking in the midnight shadows surrounding Dawn’s painted white beacon of hope on wheels.  Character curveballs also hit empathetically hard with twist and turns coming out of the ears of all the narrative pawns and not just confined to the black and white abduction that brings them together. As much as Phoebe needs Dawn’s help to escape the clutches of her captor, Dawn also needed Phoebe’s accidental life purpose healing that fills the void in Dawn’s life left by the passing of her husband and reaffirms her passion for helping people no matter her personal circumstances.  Oddly enough, I found Kelly’s captor lacked substance to the story other than the characteristic ploy of revenge that agitates the action as his endgame for Phoebe isn’t exactly clear other than spouting, “she needs to pay.”  The serendipitous connection between Dawn, Phoebe, and the abductor has designer destiny stitched into the natural fabric of life in an almost comical happenstance of events, but makes for good entertainment nonetheless knowing that there is a circle of connectivity, a sense of purpose, and a reason to fight back in “Goodbye Honey’s” pressure cooking recipe.   

On May 11th, “Goodbye Honey” was released on digital HD and on cable VOD in North America from Freestyle Digital HD after a successful stint of festival wins including Best Thriller Feature, Best Actress (Pamela Jane Morgan), and Best Supporting Actor (Rafe Soule) at the Garden State Film Festival, Best Lead Performance (Juliette Alice Gobin) at the Nightmares Film Festival, and Best Actress (Morgan) at NOLA Horror Film Festival. Todd Rawiszer didn’t just co-write the film he also shot the film, his first feature film credit at a cinematographer. Inside 96 minutes and with a narrative taking place over a single night, Rawiszer casts a variety of hard lit shadows with glimmers of intermittent portable lights and neon reds kept tight with medium to closeup shots and rarely venturing out beyond that range with clarity as much of the wide shots or long shots are obscured, in a haze, or blurry to the eye as Rawiszer never wants you to know what’s exactly out that far. A pair neat editing montages by Jay Yachetta, with the meal plate and door slamming alongside Phoebe going mad with stir crazy is some of the best work I’ve seen a long time that can trigger an epileptic episode and still be insanely cool in the cruelty. Top those montages with an aggressive sound design and you’re head will surely pop off with unsettling jubilation. No bonus scenes during or after the credits are included. Regardless of budget or the stigma of low budget pictures, nothing but good vibes and good things to say generally about Max Strand’s “Goodbye Honey,” a startling trembler of persistence to outlive a night of terror that stars two stellar leading ladies at the heart of the film’s success.

Rent or Own GoodBye Honey on Amazon Prime!