Yachtman Georgia Perry aims to be a part of the best of the best by joining a handful of women who’ve sailed around the world. The rules are simple: don’t step on land, don’t let anyone step on your boat, and don’t turn on your outboard motor. As Perry heads out into the open ocean, the 25-year-old carries with her a burden of lifetime baggage stemming from her mother’s acute depression and gruesome suicide, her father’s accident and deteriorating health, and the bond between her and her boyfriend Luke coming unraveled. Combine all that weight with complete isolation, loneliness, and no wind to push her sails, Georgia quickly spirals downward into a turbulent state with her only traveling companion being her cat with whom she has conversations on her becalmed sloop. All her fears come to fruition, blurring the line between reality and disturbing fantasy that threatens her voyage and, maybe, even her life.
Bayside Pictures presents “Visitors,” the last helmed feature by the late Richard Franklin of “Psycho II” and “F/X2” fame. “Razorback” writer Everett De Roche penned the 2003 psychological thriller and is able to conjure out some wicked mind buckling material of a woman subjected to cabin fever in the form of a volatile, non-linear story. Franklin adds his two-cent charm with impressive visual sets and effects from the early turn of the century, implementing CGI where appropriate, being practical when deemed, and, by golly, the effects resulted didn’t come out too shabby. The ocean has always been beautiful, yet terrifying mystery that has yet to be fully explored, and Franklin’s able to capture the ominous anomaly that associates with the deep blue sea under an overwhelming guise of mental health and severe isolated confinement.
Before she wandered into “Silent Hill,” but after becoming forsaken in “Pitch Black,” Radha Mitchell showed strength in solitary by playing the headstrong, nautically ambitious sailor, Georgia Perry. Mitchell, who was slightly older than her 25-year-old character, fabricates a troubled young woman willing to risk it all, even her life, even if it meant to leave to escape all her woes and that she holds dear at home. The “Rogue” and “The Crazies” remake actress from Melbourne has a sensationalized and systematic dynamic with her on-screen mother, played by the late Susannah York, in what’s considered to be a disturbing role of manipulative motherhood that forced Georgia to be extremely close and clingy to her endearing father, an underrated role bestowed upon Ray Barrett. A young and upcoming Dominic Purcell (“Blade: Trinity” and “Primeval”) costars as Georgia’s lover and business manager who may or may not have other underlying intentions with Georgia’s sponsors. Appearing never together and putting Mitchell at the epicenter of their lives, the foursome played their roles beautifully by stretching the limits of reality without being overly absurd to the point of being unbecoming of a thriller.
By no means is “Visitors” a woman versus nature premise. Yes, Georgia faces any elements that would plague any sailor who ventured into the ocean alone, but nature was only accessorial. “Visitors,” for the sake of being funny, is more of a film about a young girl embarking on a journey of self discovery. Georgia must get away from negativity that has been eating at her zealous spirit ever since the terrible childhood accident that had crippled her father and destroyed her parents’ marriage. Her embattled mother’s constant belittling, berating, and blaming is the brunt of that that has been burdening. At sea, Georgia battles her onshore demons, which also includes her father’s failing health and her failing relationship with Luke, and coinciding is her ever present looming and underlying fears that lurk out into manifestation, or a visitation if you will, during severe cabin fever. The trip around the world won’t kill her, but her inner demons just might which begs the question if “Visitors” is more of a mental health film and the answer is a firm yes without salty doubt.
Umbrella Entertainment releases “Visitors” onto a region 4 home entertainment DVD. The DVD is beyond an upgrade from it’s region 1 counterpart in the image and audio departments. The anamorphic widescreen, 2.35:1 aspect ratio, renders a cleaner image with slightly more natural color tone as well as offering more film flesh on either side from the 35mm negative. The English Dolby 5.1 audio track offers a range of diversity. The dialogue is clear and fine, the ambient track syncs with ample depth, and the brooding and perilous soundtrack from composer Nerida Tyson-Chew (“Anacondas: The Hunt for the Blood Orchid”) provides a delectable varied score to Georgia’s though process. The extras are thin, not much different from the Stateside release, including a photo gallery, cast and crew bios, and the Palace Film’s theatrical trailer. Considered widely as an Australian ozploitation film, “Visitors” is deep-seeded, mental trench warfare on the high seas set on a course of psychological doom. A fine film for being Richard Franklin’s last hurrah.
“Krokodil is a homemade drug. It combines codeine, lighter fluids, gasoline, paint thinner, alcohol, and other ingredients.” This fast growing Russian street drug gnaws along the inner layers of one man’s insides and clawing its way out. Also, the drug deteriorates his mental stability, invigorating extreme hallucinations from his damaged cerebral equilibrium and manifesting faux body images of himself as well as inviting humanoid demons into his tattered reality. The powerful opioid, if fabricated haphazardly, induces prolonged and deathly ill effects, both physical and mental, and as his body has survived in a post-nuclear world, his mind is as much of a ramshackle as the rest of the world is in ruin. As he spirals down, out of control, through the opioid rabbit hole, he becomes only a shell of himself, transforming into the purest toxicity of the drug that creates alligator scale-like sores over portions of his body.
The need to put the definition of Krokodil” first and foremost, in front of the plot summary above, felt necessary. Director Domiziano Christopharo made it essential to do the same prior to the credits of his 2012 film “Red Krokodil.” To the average joe, the very mention of “krokodil” means nothing other than a seemingly skewed, alternate version of the English word crocodile, but the gore and shock director, best known for his debut work “House of Flesh Mannequins,” wanted the background behind the street drug to sink in, to be injected, to be snorted, and to be smoked before audiences continue with their trip through the breakup of the body. Based off a script written by Francesco Scardone, the Italian director had set the stage with his grippingly ghastly tale telling talents toward the dominion of body horror combined with ample psychological manipulation from substance abuse and while Christopharo is no David Cronenberg, the eclectic filmmaker cycles the story through a poetic flow with mostly an off-screen monologue approach that gives glimpses of a degenerative mindset.
Co-producer of the film, Brock Madson, also stars as the withering drug addict. There are hints Madson plays the character named Arthur, but the film only credits the character as simply him, and theoretically, that’s proportionate to the storyline staged as a post-apocalyptic world where it’s just him, ensnared and isolated. The role’s non-verbal role leaves Madson to go full-throttle in physicality with a semi-to-fully nude performance and he maintains an animated disconcerting fear and aloof glee whenever the moods start to swing. For most of the duration, Madson is solo, but a couple of minor characters, fabricated by his addiction, freakishly gloom over him. Viktor Karam, as the Bunny Man, and Valerio Cassa, as the Monster, positions themselves as enduring internal calamities that plague the Madson’s character.
“Red Krokodil” is laced with themes and symbolism, especially in a religious sense with the resurrection of Jesus Christ that parallels the trials and tribulations of the addict, mainly with going through the withdrawals. In order to save himself to be reborn, he must first sacrifice himself and Madson literally dons the crown of thorns and self-inflicts a stake through his feet. However, this self-crucification is all in his head, but when he awakes he’s able to ignore the heavily influential calls of the krokodil. Christapharo had kept the addicts apartment a dull, colorless prison, growing with filth and decay, but once the addict has saved himself, the room brightens, the outside sky has illuminated, and the near-death abuser has a little life left to be jovial, but to keep the grim themed tone against this man’s struggle to live through strife, Christapharo invokes false hope that ultimately becomes the addict’s concreted freedom from it all. The addict’s inner monologue goes through the steps how recovery, rekindling good memories from the past and wanting to not feel himself as it’s painful to feel your own skin be on fire from the corrosive drug, but rather be a personification of the wind, sun, water, or the grass, an element of the film that touches upon how humans mistreat the Earth much like they mistreat their bodies.
Unearthed Films and MVDVisual present “Red Krokodil” on a director’s cut, high definition, 1080p Blu-ray. Sporting a macabre, yet gorgeously illustrated cover, the release also has the same attributes in the image quality presented in a widescreen 1.85:1 aspect ratio. Like most film distributed by Unearthed Films, the grime and the disgusting reign as supreme and “Red Krokodil” has ample muck with bleeding orifices and an unappetizing uncleanliness about it, but the picture quality is clean and detailed with very little electrical interference. Color palettes, when the addict dreams to escape to nature, is a potent reminder that “Red Krokodil” isn’t just transmitting two-toned, gray and black, scale and displays exquisite landscapes. Even the computer generated Chernobyl like waste land of a city going up in an atomic fashion is well done with only a slightly glossy feel. The Dolby Digital 2.0 track broods with the ideal amount of LFE from composer Alexander Cimini that’s not acutely jarring, but still manages to showcase the detriment. Bonus material includes an alternate musical ending, deleted scenes, photo gallery, the CGI test of the nuclear explosion, teaser trailer, two theatrical trailers, and Unearthed Films tailer reels. “Red Krokodil” is a total out of body experience. Overwhelmingly brutal with muscular and mental breakdown, director Domiziano Christapharo’s indie picture of ill-effects of drug abuse has done what “Requiem for a Dream” has done for the mainstream with the matter-of-fact implication that manufactured street drugs are the purest evil that we could voluntarily do to sabotage ourselves.
From being stuck in stand still Floridian hurricane traffic to waking up in a hospital without any recollection of how she got there, Amy Barrett finds herself in a seemingly evacuated sanitarium on the verge of being hit by a category 5 hurricane. When she finally makes contact with the limited hospital staff, Amy discovers that the staff are not in the position to help, but desire to perform unnecessary surgeries. Then, she finds herself in traffic again. Then, she wakes up in hospital…again. Amy, and other patients, find themselves trapped in a nightmare loop forged by the powers of the massive hurricane. Before the storm passes over, Amy must find a way to end the corkscrew of timelines that propel her limbo hell or else she will be trapped in the hospital forever.
To the O.R. stat! From writer-director Christopher Lawrence Chapman comes “Inoperable,” the horror equivalent to Bill Murray’s exceptional dark comedy “Groundhog Day.” As Chapman’s sophomore directorial, first in the realm of horror, the director takes “Inoperable” to rebrand the quantum paradoxical plight by introducing a medical butchers with hours upon hours, days upon days, years upon years of experience with exploratory surgery and ghastly invasion procedures. Behind the wormhole of terror script with Chapman is co-writer, the b-horror screenwriter, Jeff Miller whose extensive credits include “Axe Giant: The Wrath of Paul Bunyan” and “Jolly Roger: Massacre at Cutter’s Cove.” In this go-around, Miller explores the space-time-continuum, or does he, with Amy reliving the same moment, experienced slightly differently, in an endless loop of grisliness.
Starring in “Inoperable” is the “Halloween’s” franchise third favorite star, behind Jamie Lee Curtis and Donald Pleseance, being Danielle Harris (“Halloween 4,” “Halloween 5,” and Rob Zombie’s “Halloween” remakes). Harris keeps and maintains the tension, supplementing an increasing annoying and frustrating tone with each and every reset, and does superbly in extended takes running through the hospital’s dark corridors. Amy’s center storied character really puts Harris to work on her ability to flex in sequentially illogical scenes that go in various tangents and come to a dead halt in the end, flipping the script that forces the modern day scream queen to relive some of those killer “Halloween” moments. Harris is accompanied by Katie Keene and Jeff Denton, both whom worked with Chapman previously on the clownsploitation slasher “ClownTown.” Keene and Denton’s characters are also caught up in the same situation as a Denton plays a beefy good looking cop named Ryan who brings in a witness, Keene’s JenArdsen, a dolled up blonde who while in his custody, to the hospital following a multi-vehicle pile up; the very exact incident Amy in which Amy was involved. The two fall for each other more and more with each and every restart and that pain coldly passes over when to bare witness to each other’s demise over and over again is disturbingly twisted. Rounding out the cast is Chris Hahn “Axe Giant: The Wrath of Paul Bunyan”), Cher Hubsher (“The Amityville Terror”), Michelle Marin (“Bloody 27”), Philip Schene, and Crystal Cordero.
The trio of resetters formulate a wildly speculated theory that a nearby military compound, experimenting in spatial physics, was ravaged by the hurricane that oozed out their experiments that disrupted timelines, affecting this particular hospital, and the only way to escape the madness is by displacing the same energy that was put into it; so for example, since Ryan and JenArdsen arrived together, they would have to escape together. As long as Amy doesn’t die, every trapped soul is eligible for escape. Wait, what? Like aforementioned, Amy is the centerpiece to the puzzle and the whole entire situation actually revolves around Amy, intentional or not. Even though clues try to put a monkey wrench in that notion, the story always seems to revert back to Amy much like the loop she’s caught in. That in itself is the biggest hint of all that funnels to a underwhelming ending in null and voids the rest of the story.
ITN Distribution presents “Inoperable” onto DVD and VOD. The DVD is presented in a widescreen to “preserve the aspect ratio of its original exhibition” and, yes, this was done so. Nothing too particularly to note about the image quality being a modern release, but the color palette is balanced and vivid. The English language 5.1 Dolby Digital track has some good range and clear dialogue that effective communicate all theories and explanations on why this is happen to Amy, Ryan, and JenArdsen. Extras are slim that include a cast and crew commentary and the theatrical trailer. The Zorya Films and Millman Productions’ “Inoperable” is open heart surgery gory and is unique in a deadfall environment that’s sublimely refreshing for the over saturated genre, but culminates flaccidly with a conventional finale too predictable for comfort.
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.