Category Archives: psychological horror

Beware of Friendly Strangers, They Just Might Be EVIL! “Speak No Evil” reviewed! (Acorn Media International / DVD)

Posted by Steven Lewis on

“Speak No Evil” has Speechless Horror! Now Available at Amazon!

A Danish family on holiday in Tuscany meets a family from Holland.  The two families hit it off enjoying each other’s company on the final days at the getaway villa.  Weeks after returning home, a postcard arrives from the Dutch family, inviting the Danish family to stay with them for a weekend at their home.  What starts off as the pleasant beginnings of friendship slowly degrades to an unsettling suspicion something is not right with the Holland family.  Abel, the Dutch couple’s mute son, is held to a higher standard with uncompromising, punitive measure, the husband and wife’s acute uncouth behavior sets an uncomfortable stage, and their attention toward the Danes’ daughter, Agnes, is unconscionably overstepping parental boundaries.  An attempt to call out or even leave the home altogether has been met with disbelief, guilt, and pleads for stay and enjoy under their guise of sincerest apologies soon to be dropped for something far more sinister. 

Before James McAvoy grew a beard, got jacked, and attired himself in buffalo plaid for his manly maniac performance in the 2024, usurpative family thriller, “Speak No Evil,” directed by “Eden Lake’s” James Watkins, the Netherlands and Denmark were the original blunt forces behind the sociopathic caprices of those assumed normal and amiable adults.  Only released two years ago, the 2022 film that spurred the American remake and the feature’s namesake is directed by the Copenhagen-born Christian Tafdrup (“Parents’) and co-written between Christian and brother, Mads Tafdrup, as one of their numerous collaborations since 2017, beginning with a manipulative tale of a viperous female in “A Horrible Woman.”  Profile Pictures (“Holy Spider”), in a co-production association with OAK Motion Pictures, serves as the production companies on the Jacob Jerek, of Profile Pictures, and Trent, of OAK Motion Pictures, produced motion picture shot primarily in the southern portion of Netherlands in the Friesland region.

The Danish father and mother, Bjørn and Louise, are played by Morten Burian and Sidsel Siem Koch and before becoming ingrained into the crux of the story, the couple reflect a complicated complexion all on their own, especially and specifically with the focus toward Bjørn who seems unsatisfied or unhappy with his life as he’s shown staring off in the distance or mentally checking out at the dinner table.  The Danish are represented as a couple who are too nice to a fault, unable to say no most of the time, and try to keep to themselves mostly when a problem arises, skirting away without notice in a dust of avoidance.  That’s not so much the case with the Holland father and mother, Patrick and Karin, bordering as an equally amiable couple performance by Fedja van Huêt and Karina Smulders.  That is until the outer appearance of friendly strangers turns into an uncomfortable nightmare of being caught between a rock and a hard place of how other people live and do things, especially from another culture or country.  Patrick and Karin show more passionate displays of anger, sexuality, and bohemianism that wasn’t on display on their shared holiday with the Danes.  Then, there are the children.  Agnes (Liva Forsberg) is a lovely young daughter perhaps too coddled by her parents, especially by Bjørn who can’t resist saying no in going to find Agnes’s beloved stuff animal when she constantly loses it.  Abel (Marius Damslev), on the other hand, is shy and can’ talk due to a tongue malformation, but the overly critical parenting by Patrick and Karin keeps Abel on a silent edge.  The Holland family’s outer haul slowly regresses, facades drop, but still the Danes are reeled back in by their own niceties despite all the red flags.

I can’t help but think those comportment particulars are somehow a reflection of the Denmark peoples’ true nature as a statement to their culture and social relations between themselves and, in this case, their neighboring countries.  The Tafdrup brothers prelude the script with verbal contrast between the two countries, such as their similarities, but the Tafdrup’s firmly stamp that just because you’re similar doesn’t mean you’re the same.  The notion can be applied to anybody of people from groups to individuals living amongst each other in a neighboring fashion and that their differences are being conducted right under your noses.  Of course, the script then embellishes more a distributing sensationalism of a spider leading the innocent moth to it’s sticky web by an attractive, orienting glow of light.  The analogy is right up Bjørn’s alley as a man who is looking to loosen the chains of parental and marital, perhaps even inherent to his nationality, suppression in a misguided notion that his promises have put a limitation on freedom; he finds himself attracted to Patrick’s freewheeling way of life and wants to emulate that in some sort of way.  The psychology behind “Speak No Evil” runs rampant with a paralyzing inability to let wicked do what it wants without confronting it head-on or without fighting it.  “Speak No Evil” is a chilling story of the all too familiar Edward Burke phrase, the only thing necessary for the triumph of evil is for good men to do nothing. 

“Speak No Evil” arrives onto UK DVD from Acorn Media International co-presented as a Shudder Exclusive and IFC Midnight production.  The MPEG 2 encoded, upscaled 1080p, DVD9 is presented with an anamorphic aspect ratio of 2.35:1 that encompasses an array of landscapes from vast fields, rocky dunes, and Tuscany vistas.  Contrastingly, director of photography Erik Molberg Hansen goes for an austere, harsh grading with little less light to give everything surface a rough edge from skin to fabric to natural to synthetics.  Colors a held at neutral browns, tans, grays, and blacks to accentuate the severity that continues to increase as the story progresses when moving away from holiday in Italy to the morose, rock-strewn dunes in Holland and while details are generally lost in dense nighttime exteriors, the more brightly lit corners excel in isolated spots.  The Danish-Holland-English audio comes in only one format, a lossy Dolby Digital 5.1 surround sound mix.  Adequate for this type of interpersonal awkwardness, the score and sound design offers a plentiful mix free from compression issues or physical obstacles on the recording in post.  “Speak No Evil” is person-on-person violence in the most primal form that leaves the possibility of added effects from violence next to nothing in what is more of a less is more design under a suppressive audio format that’s akin to trying silence a low-talker.  Dialogue is clean, clear, and at the bow of all the other layers in the audio boat.  What’s interesting about the encoded English subtitles is that they’re only available for the Danish dialogue and not the Netherlanders’, which adds an additional layer of intrigue and suspension as the non-native Dutch speakers with not understand what Patrick or Karin are communicating between each other.  The static menu offers no special features option and there is no stinger at the end of the credits.  The clear DVD case showcases that austere black and gray look with one of the story’s most engagingly odd scenes involving Abel.  The insides are standard edition bare as well with this disc pressed with the same primary image.  THE PAL disc is hard coded with region 2 playback, has a runtime of 93 minutes, and is certified 18 for strong violence and injury detail.

Last Rites: The original “Speak No Evil” speaks volumes of the dangers of societal pleasantries that turn a blind eye to caution for the sake of not hurting the feelings of others, but those subconscious hints are a part of the innate, primal early warning system in us all. Once we ignore those insinuations, we might as well dig our own grave.

“Speak No Evil” has Speechless Horror! Now Available at Amazon!

EVIL’s One Brush Stroke Away From Losing It! “Spiral” reviewed! (Ronin Flix / Blu-ray)

Posted by Steven Lewis on

The New “Spiral” Now on Blu-ray!

Mason, a socially awkward painter and car insurance telemarketer, struggles to cope with a seemingly bad breakup that might have turned into a misdeed, but a quick call to his only, childhood friend Berkeley helps keep his anxious emotions from spiraling out of control into nightmarish allusions.  As Mason gradually works to purge his previously relationship, a woman who was also his inspiration for his artistic work, he suddenly meets Amber, a new amiable hire in his company, sitting with him on his lunchbreak outside bench.  Amber’s able to slowly break down Mason’s guarded wall of insecurity and two begin an innocent, romantic relationship as Mason continues to push his haunting past aside for Amber to fully step into being his modeling muse, but the further imbed she becomes into his life the more enigmatic secrets are revealed surrounding Mason’s life, even the darkness that slowly spreads and loops into it.

Actor Joel David Moore had established himself as an actor in early 2000s, usually portraying the lanky, awkward, if not ungainly trope in comedies most notably in “Dodgeball” and “Grandma’s Boy,” playing a supporting protagonist as well as lead antagonist.  Director Adam Green quickly became an overnight success amongst genre fans with his release of the Cajun miscreant slasher in “Hatchet” that would spawn a pair of sequels.  Having worked as actor and director respectively on “Hatchet,” Moore and Adam became good friends and decided to take a step further to not only expand upon an acting career and expand upon the objectivity of storytelling but also to co-direct their next project entitled “Spiral.”  The script, that orbits around the romantic-psychological thriller purview, is cowritten between Moore with debut feature writer Jeremy Boreing.  The 2007 film revolves around and enters the disconnected mind of an emotionally compromised individual and how he copes and handles everyday life while in constant fear.  “Spiral” is executively produced by Moore and costar Zachary Levi along with Boreing, David Muller, Kurt Schemper and Cory Neal producing under the Balcony 9 and ArieScope Pictures production flag.

If you haven’t gathered already, “Spiral” is Joel David Moore’s baby.  Moore’s idea natural earmarked him as the executive producer and the project is the first to land him a directorial and a writer credit, so unsurprisingly, the role of the socially recluse and mentally scarred Mason went to the Portland, Oregon born actor, likely a role he wrote with himself in mind.  As Mason, Moore breaks the mold that has trapped him in previous films that were relegated to what producers might have considered not leading man material, leaving much to be desired when stuck in a second of third string supporting role.  Then Adam Green puts Moore in “Hatchet” and in the principal protagonist role.  The opportunity proves Moore had more than just comic, sidekick relief and he really cements Mason’s depth with ticks, tantrums, and a taste for tenterhook romance.  Meeting Mason in the ambiguous opening stirs internal conflict for how we’re supposed to receive this hyperventilating wailer confessing to something vile we’re not privy too just yet.  From there, we meet the philandering, go-with-the-flow, and Mason’s best bud, only friend at that, Berkeley (Zachary Levi, “Shazam!) and the quirky cute and Mason-eyer Amber (“Amber Tamblyn, “The Ring”) that develop upon Mason’s home-work relationship that highlight his interests – painting and jazz – as well as his disinterests – basketball and speaking about his past.  The very opening scene compared to the heart of much of the story has stark contrast and, so much so, that audiences will tend to forget Mason’s late-night phone call ramblings and fear to his friend Berkeley, his wake-up screaming nightmares to wear he looks at his hands for blood, and his overall highly anxious persona when he’s talking shop and girls with Berkeley and breaking out of his shell of solitude with Amber in a lengthy string of normalacy.  Ryan Chase, David Muller, Annie Neal and Lori Yohe fill out the cast.

“Spiral” is all about the trauma, a fiercely common theme inside the heads of the mental thriller subgenre.  With deeply troubled lead character, an at interval switchboard that lights and darkens between the protagonist and ambiguous antihero storyline, watching Mason grow, fall, grow, fall, grow, and then finally collapse in a heap of his own trauma is terrifyingly satisfying, mostly to the thanks of Moore’s added plummeting nuances that spit his character back into abnormality.  Mason’s arc circulates in a circular pattern and the evidently timebomb is ticking away but in the middle of that circulation forms a bond, a friendship, an affair, hope, compassion, and every affirmative adjective you can think of to bring happiness to what shouldn’t be a happy trajectory because in the back of our minds, darkness lies.  That’s the sublayer of this trauma-laden yarn with a repressive factor and the key to unleash years of pent up unlocks a whole new side of Mason, one that isn’t completely illuminated upon until the shocking, device-destroying end.  

Ronin Flix rekindles Joel David Moore and Adam Green’s “Spiral” back to Blu-ray with an AVC encoded, 1080p resolution, BD50. Comparatively to the Anchor Bay 2010 Blu-ray release, which also presents the film in a widescreen 1.78:1 aspect ratio, Ronin Flix edges out the now decade previous release but not by much. The back cover only notes the label went through a film restoration with no other details or specifics to elaborate but from a spectator’s view, the 2024 restoration handles a sharper delineation that provides excellent depth that plays key to the various scenes of Amber and Mason’s painting sessions, Mason’s guilt-ridden obsession with the bathroom door, and Mason’s overhead cubicle viewpoint to name a few examples. Details are much more specific in brighter, ambient-lit scenes than the darker shades of key lighting or night sequences not only because of the innate lack of illumining exposure. Blacks tend to crush slightly, bleeding in the details and washing them out in blank of black. Skin and textures particularize better on Ronin Flix’s upgrade that uses a newer codec for compression, elevating the elaboration for this under-the-radar indie. The English DTS-HD Master Audio 5.1 manages the lossless mix much in the same was as Anchor Bay’s with greatly clear articulation on the forefront, a spacious and spatial ambient track, a patterned sound design dynamic to the progression, and a supporting soundtrack that while isn’t overly worthwhile does aid the varying moods, especially when Mason turns on a dime intertwined with jazz brass. Decent sound diffusion through the back and side channels to harness surrounding elements while the fronts tackle the predominant dialogue until an occasion acousmatic turns our heads and our attention. English subtitles are available for selection. The static menu offers special features that includes exclusive content, such as a newly put together making-of “Spiral” entitled Paint it Red, an audio commentary with Adam Green and Joel David Moore, director of photography Will Barrett, and editor Cory Livingston an a behind-the-scenes documentary featurette with interviews from Green, Moore, Livingston, Barrett and co-star and producer Zachary Levi. Archival content includes an audio commentary with the co-directors, director of photography, Levi, writer Jeremy Boreing, and actress Amber Tamblyn, and rounds out with the theatrical trailer. A cardboard O-slipcover sheathes the Blu-ray Amaray case and both contain the same more-gruesome-than-it-really-is cover art and David Levine package design. Inside the case is just the disc pressed with a third copy of the hand dripping blood, or paint. Ronin Flix release is rated PG-13 for disturbing behavior, violence, some partial nudity and language, has a runtime of 91 minutes, and also unlike the Anchor Bay release, this release has region free playback.

Last Rites: “Spiral” paints Joel David Moore in a whole new light, colored in vague tones that just nip at nerves, and slaps you square in the face just when things start to feel warm, cozy, and safe.

The New “Spiral” Now on Blu-ray!

You’re Not Going Crazy. EVIL Has Snuck in Its Egg! “Cuckoo” reviewed! (Neon / Blu-ray)

Posted by Steven Lewis on

Fresh Horror for the Taking! “Cuckoo” Available on Amazon!

Moving to the Bavarian Mountains can be breathtaking, relaxingly scenic, and peacefully remote.  For Gretchen, however, the involuntary move comes shortly after the death of her mother, and she’s forced to leave the U.S. with her father, stepmother, and half-sister to now live at the base of the German Bavarians where an isolated vacation resort is overseen by Herr König who has hired Gretchen’s father to architecturally design an extension to the resort’s vast campus.  Reluctant to make the best of an undesirable situation, Gretchen attempts to run away with another woman and go back to America but on the way, an accident lands Gretchen in the nearby hospital and the odd, omnipresent and oppressive sensation that has surrounded her upon her arrival begins to unravel around Herr König and the resort grounds.  Disorientating visions and sounds, entranced female guests vomiting in the hotel, and an aggressively cloaked women pursing her in the shadows, a battered and bruised Gretchen can’t convince her family of the oddities around her or the ones that have plagued her mute half-sister without warning like a flash flood but with the help of a police detective, the only other person who believes her, the two investigate the strange threat that’s closing in on Gretchen’s family.

For fans of the 2018 under-the-radar, mighty mite demonic possession film “Luz,” director Tilman Singer helms another inimitable horror that’s literally for the birds.  “Cuckoo” is Singer’s this year’s released production in which he penned the script.  His sophomore feature-length film, a plotted preservation of a quickly diminishing deadly, infiltrating species, keeps in line with his Germanic heritage by filming on site at the base of the Bavarian Mountains around the North Rhine-Westphalia region of Germany.  “Cuckoo” is a production of Neon, Fiction Park, and Waypoint Entertainment, spearheaded by producers Thor Bradwell (“Saint Clare”), Emily Cheung, Maria Tsigka, Josh Rosenbaum, Ken Kao (“Rampart”), Markus Halberschmidt, and Ben Rimmer (“Midsommar”).

Having established himself as a refined and charming British actor in the widely popular BBC series “Downton Abbey,” Dan Stevens has slowly but surely infiltrated himself in what Lydia Deetz might describe as strange and unusual films.  Shortly after the untimely demise of the Matthew Crawley character, the principal love interest to Lady Mary (for those who know, know), Stevens jumped right into the Adam Wingard thriller “The Guest” where the then slightly over 30-year-old actor proves himself capable of portraying so much more than a stiff socialite.  As resort owner, nature preservationist, and the overall prototype of Zen in Herr König, Stevens displays another side of his deranged splits while showcasing his perfection of the German language.  Opposite Herr König in the teen heroine role is the rising star from “The Hunger Games:  The Ballad of Songbirds & Snakes” and the provocative HBO series “Euphoria,” Hunter Schafer.  As Gretchen, Schafer instills a grappling of grief for a mother she was not ready to let go, institutes steadfast judgements about her father’s new family, and impresses a level of loneliness when having to move away from familiar America to the foreign and alienating grounds of Eastern Europe which all evoke the epitome of teenage angst who can’t see beyond her music, her longing for home, and her new family aversion to see that all those negative, destructive traits innately push her away from what’s important, her family.  Herr König embodies Gretchen’s impediment to move forward while another, Henry the detective (Jan Bluthardt, “Luz”), is stitched to ground Gretchen as the past representation of events you can’t change and the anger it has over you.  Jessica Henwick (“Love and Monsters”), Marton Csokas (“Evilenko”), Greta Fernández (“Embers”), Proschat Madani, Kalin Morrow, Astrid Bergès-Frisbey (“Pirates of the Caribbean:  On Stranger Tides”), and the introduction of Mila Lieu as the mute Alma rounds out the cast.

There are no Coco Puffs to go for here in what will be Tilman Singer’s signature breakthrough hit in the cult genre.  “Cuckoo’s” unique spin on the certain genus of the titular bird is next to none as it radicalizes extreme measures to save a mimicking, infiltrating, surrogate-forcing species from extinction.  The story, which takes on the play God and find out narrative, is a perfect prefect of cutting your nose off despite your face in both the sensationalized horror element and in the rite of passage of teenager squabbles that oxymoronically favors a contrasting parallel.  “Cuckoo” falls into area of weirdness that could be an episode of the “Twilight Zone” in its earthbound peculiarity hidden from public view for decades, if not centuries, blending the once unforeseen man and animal into one and trying to keep that unity intact no matter what the natural process of survival decrees; the story goes between the shadows into its lockbox of nature’s little dirty secrets left in the dark recesses of the forgotten closet and what’s found there is unnatural, wrong, and perhaps even prehistoric.  “Cuckoo” might be too weird.  Understandably, audiences may find “Cuckoo’s” birdy thriller too intractable and maybe too, too far-fetched for a horror film that tiptoes around political hot topics, such as with the violation of women’s bodies and the pregnancy genetics that ensues.  Yet, that controversial conversation starter inside a soupy mixture of on-your-toes tension and the solid acting from Schafer, Stevens, Bluthardt, Bergès-Frisbey, Lieu, Henwick, Csokas, and Morrow develop a much needed off-the-wall and cacophonous-stirring horror that offers a new breed of horror.

The unbelievably scary ordeal arrives onto Neon’s standard Blu-ray set with an AVC encoded, 1080p high-definition resolution, BD50, presented in the anamorphic widescreen aspect ratio 2.39:1 CinemaScope.  Graded with a lower contrast, “Cuckoo’s” antiquated, perhaps wall-to-wall 70’s or 80’s veneer, elevates the finish with bolder conventional colors, enriching wood paneling, gaudy wallpaper, and the like to pop out rather than blend in.  Textures are retained in finer fabrics but appear to be lost on much of the skin surfaces with the revolving door of lighting.  Cinematographer Paul Faltz’s play on light, shadow, and depth creates tension, mood, and a lasting impression.  The lossless English (and some German, which isn’t listed) language DTS-HD Master Audio 5.1 mix provides favorable fidelity, especially when a partial of the film’s story revolves around immersive sound – Gretchen’s music, vibrating vocal sirens, Herr König’s recorder tune, etc.  Depth and range hit on the exact spatial amalgam, diffusing nicely and dynamically into the back and rear channels when scenes play out to a chase or civilly devolve into gunfire.  The second, accompanying audio option is an English Descriptive Audio 2.0 mix that provides same quantity without much of the immersive quality.  English and Spanish subtitles are optionally available.  Bonus features include the making-of “Cuckoo” with snippet interviews and behind-the-scenes look, a video diary series, on-set interviews with actor Hunter Schafer, costume designer Frauke Firl, and production designer Dario Mendez Acosta, a handful of deleted scenes, and a teaser and theatrical trailer.  Neon’s hard-encoded region A, standard Blu-ray comes in the traditional blue Amaray case with the poster art as primary cover design.  Disc is pressed with a black background and “Cuckoo” in red font.  There are no inserts or other tangible features.  The R-rated film, for violence, bloody images, language, and brief teen drug use, has a runtime of 102 minutes.

Last Rites: “Cuckoo’s” a devouringly devilish and deranged nightmare discording from the pattern to breach onto a new form of terror.

Fresh Horror for the Taking! “Cuckoo” Available on Amazon!

EVIL Lies in Ancestral Ties! “Dogra Magra” reviewed! (Radiance Films / Limited-Edition Blu-ray)

Posted by Steven Lewis on

“Dogra Magra” on Limited Edition Blu-ray! Purchase Here!

A young man wakes up in an asylum cell, unable to remember how he got there, his name, and doesn’t even recognize his face.  The asylum supervisor, Prof. Wakabayashi, has been overseeing his condition ever since the suicidal passing of former experimenting director, Dr. Masaki, nearly a month ago.  Disoriented, the young man is toured around the hospital grounds where Wakabayashi tells him the tragic tale of a 9th century man who kills his bride the day before their wedding day to capture the stages of her decomposition recorded onto a sacred scroll.  Distancing himself from the possibility of being murderous man, Wakabayashi informs him he is Kure Ichiro, the direct descendent of the groom and he enacted the very same events his ancestor committed long ago.  When the sudden reemergence of Dr. Masaki covertly corners Ichiro in his office, Masaki divulges his and Wakabayashi’s theories about Ichiro’s case but how the events came to fruition just may be plain and simple murder. 

Nature versus Nurture and the psychosis that ensues when discussing Pre-World War II context of Empirical Japan and their either inherent tendencies to repeat a violent past or to be triggered, poked, and prodded toward repeating history is the surmised and experimental plot of writer Yumeno Kyūsaku and his psychoanalytical novel “Dogura Magura.”  The title rearranged to “Dogra Mogra” is used for the film adaptation of Kyūsaku’s novel with the script written-and-directed by the avant-garde filmmaker Toshio Matsumoto (Japan’s “Demons” of 1971).  Matsumoto cowrites the script with Atsushi Yamatoya (“Story of David:  Hunting for Beautiful Girls”) written primarily from the distressed perspective of the protagonist Kure Ichiro only to switch hands when the experimenting Masaki enters the fold.  Shuji Shibata and Kazuo Shimizu inpendently produce the 1988 film under production companies Katsujindo Cinema and Toshykanky Kaihatsu AG.

Principal players of “Dogra Magra” boil down to a three-prong outfit centered around Kure Ichiro and his theorized amnesia.  Before being the lead voice actor in “Prince Mononoke,” a decade earlier Yôji Matsuda was waking up with an inexplicable unawareness of who he was or what he had done as Kure Ichiro.  Matsuda feigns forgetfulness with shock and surprise, that will too place audiences in situational darkness, with the young Ichiro arousing in a powerful moment of unfamiliarity.  A shaken, discombobulated Ichiro becomes the object of obsessional mark between two theoretical and experimental-competing psychoanalysts in Prof. Wakabayashi and Dr. Masaki, played respectively by a collectively calm and bearded Hideo Murota (“Rape and Death of a Housewife,” “Original Sin”) that emits a sense of academia and medical security and reason and a hyenic-laughing, bald and glasses-wearing Eri Misawa who is more maniacal and unconventional to the likes of a mad-scientist   Yet both men have motivation that stirs the enigmatic pot of Kure Ichiro’s plight, stemmed from the very same source that drives the brutal murder of his beautiful bride one day before their wedding that eerily follows the footsteps of his macabre ancestral history.  There’s an inarguable difference between Wakabayashi and Masaki’s approach handling the curious case of Kure Ichiro; Wakabayashi’s hides in the clandestine shadows that aims to subvert the thought dead Masaki’s work whereas Masaki, under his blunt-force mania, is straight forward, almost apathetically.  In either case, both psychoanalytical professionals are indifferent to the crux of human life by focusing solely on whether either one of their theories is correct in an odd game of deception and death.  “Dogra Magra” rounds out the cast with Kyôko Enami (“Curse, Death & Spirit”) and Eri Misawa.

An attribute for audiences to become lost in “Dogra Magra’s” ethereal can be contributed by Toshio Matsumoto’s accosting avant-garde disorientation that swallows Kure Ichiro past, present, and future, plays tricks on his mind and eyes, and that also fishes patiently for a conclusion that rarely seems apparent.  The experimental qualities of “Dogra Magra” seep out of the tap of dark comedy and amnestic thriller and into a basin of spreading horror and exploitation.  “Dogra Magra’s” surreal storytelling and interesting, visceral visuals often reminds us of an old-dark house film a decade prior with the Nobuhiko Obayashi film, “Hausu,” and while not based in satirical foreplay like “Hausu,” “Dogra Magra” begins to unravel more questions than answers with a fleeting sense that nothing is real, nothing is as it seems, and maybe perhaps were all stuck in Kure Ichiro’s herded and scrambled mind that may or may not be his inherent, innate doing after all and that changes the narrative entirely.  Themes of historical repetition, ancestral culpability, forgetting the past, and empirical brainwashing are churned intrinsically into “Dogra Magra’s” constitution as well as within Japanese legacy with a formidable and prophetical proposition for no hope on horizon through a chimerical lens of learning and growing into the truth.

Radiance Films continues to starkly highlight underscored and wayward films from around the globe and “Dogra Magra” is no exception with a beautifully curated Blu-ray release.  The AVC encoded, 1080p high-definition, BD50 features the original widescreen aspect ratio of 1.85:1 filmed by cinematographer Tatsuo Suzuki.  The Radiance print for the limited-edition Blu-ray is pulled from the original 35mm elements and transferred in Hi-Def by producer Shuji Shibata and supervised by Tatsuo Suzuki.  The stunning upgrade leaves nothing to the imagination with a starkly harsh color grading that appears rawer than air or bright, leaning into grayscale more with darker tones of a greenish-yellow to accentuate the morbid, maybe even grittier, side of this tale, but often has naturally flourishing landscapes, such as the beach cove and the asylum yard that provides a good stretch of depth when not filtered through a POV celluloid handheld.  What’s a real winner here are the textural details that emerge through a blanket of consistent, healthy stock grain with dust and dirt retained to an extreme minimum.  The Japanese LPCM Mono mix disperse a sure-designed composition between natural audio elements layered upon or spliced with the incongruous tunes of one going through a hallucinogenic and dissociative state.  Dr. Masaki’s maniacal laughter has a sharp authoritarian jest that makes it even more frighteningly surreal.  Dialogue withholds that same sharpness and clarity throughout channeled through a single output, harnessing all the action into a funnel but clearly distinct.  English subtitles are optionally available.  The static menu’s special features store an achieved commentary track from late director Toshio Matsumoto, a 2003 interview with the director, programmer and curator Julian Ross’s visual essay on the cinematography Dogra Magra Through the Eyes of Tatsuo Suzuki, a featurette Instructions on Ahodara Sutra on the subject of the chant used in the story, a still gallery of production sketches, and the trailer.  A 51-page, color book weighs the Blu-ray package with contents that include a director’s statement from 1988, exclusive essays and an interview by Hirofumi Sakamoto Late-Period Toshio Matsumoto and Dogra Magra, Jasper Sharp The Pen is Mightier than the Sword:  The Life of Atsushi Yamatoya, and Alexander Fee and Karin Yamamoto Memory traces:  Interview with Producer Shuji Shibata, and rounding out with transfer credits and release acknowledgements.  The reversible sleeve is housed in a clear Blu-ray Amaray with new illustration compositional art and the original, more traditionally composed, Ukiyo-e artwork on the reverse.  Encoded only for regions A and B, Radiance Films’ limited-edition release to 3000 copies has a runtime of 109 minutes and is not rated. 

Last Rites: “Dogra Magra” psychosomatic surrealism is mind games on methamphetamines and Radiance Films does the 1988 Japanese picture justice rekindling its worth to the world of cinema.

“Dogra Magra” on Limited Edition Blu-ray! Purchase Here!

A Father Goes Looking for His Missing Daughter but All He Finds is EVIL! “The World of Kanako” reviewed! (Drafthouse Films and MVD Visual / Blu-ray)

Posted by Steven Lewis on

Purchase “The World of Kanako” From Drafthouse Films and MVD Visual

A washed-up former lieutenant detective now working as a lowly security guard becomes the first person to stumble into the aftermath of a gruesome, convenient store triple homicide.  After being questioned by police who suspects him of being involved because of his manic-depressive disorder, stemmed by his historical violent behavior and ugly divorce that virtually left him with nothing but his medication, the indecorous alcoholic floating through life receives a frantic call from his ex-wife about their teenage daughter, who he hasn’t seen in years and has suddenly gone missing for nearly a week.  Eager to have his family back in his life, he takes on the responsibility of investigating his daughter’s disappearance but the deeper he digs into her whereabout the more of the ugly truth surfaces between his daughter and the criminal underworld where deception, prostitution, and murder tells a different story than the one in his muddled head. 

In 2004, novelist Akio Fukamachi wrote “Hateshinaki Kawaki,” the rummaging into a lurid and pulpy underbelly of crime network through the eyes of one charismatic high school girl and her former detective father pursuing answers to her disappearance.  Fast-forward a decade later to 2014, director Tetsuya Nakashima (“Kamikaze Girls,” “Confessions”) adapts the novel’s darkness into a visual descent into lunacy under the title “The World of Kanako” from a script by Nakashima cowritten with collaboration writers Miako Tadano and Nobuhiro Monma of “3 Year Pregnant.”  The adaptation retains fidelity to the original Fukamachi story filled to the brim with violence, yakuza, sordid themes, and coldness that translates effortlessly and is well received in the likes of Japanese cinema that has decades of trenchant crime films under its wing.  “The World of Kanako” is no different yet still stands alone as an engaging entry produced by Satomi Odake (“Himizu”) and Yutaka Suzuki (“Confessions”) under the production of Gaga Communications.

The film interweaves the past and present with a bi-story to help unearth cruel intentions from what starts off as a seemingly routine plotted mystery with a degenerate, deadbeat father looking to make recompences using his investigative skills to find his daughter to quickly spiraling recklessly into an abyss of bombshell revelations.  Yet, Akikazu Fujishima continues his crusade out of his own self-pity to a more deserving, rewarding, and if not, diverting objective that reveals just about as much of his cataleptic state of being than the exhuming of his daughter’s disappearance from out of the criminal underground.  Veteran, international actor whose had roles in such films as “Memoirs of a Geisha,” “Pulse,” and “Babel,” Koji Yakusho gives a conscious performance of a flawed man with flawed tactical awareness charging headfirst and sternly stubborn into a complex web where the giant carnivorous spider of seediness hides behind the veil.  At the opposite end of the casting table is then newcomer Nana Komatsu (“Destruction Babies”) making her filmic debut in a past timeline as the titular Kanako, paralleling her father’s story by accompanying fellow high school student and constantly bullied narrator of the historical account in Hiroya Shimizu (“The Outsider”).  Kanako’s story unfolds a yakuza narrative that’s nasty and perverse while shepherding in Kanako’s role that teeters upon the audience’s perception throughout.  What Akikazu fleshes out and discovers is the reason for all the mayhem that has, more-or-less, started with him, retorting whatever sliver of moral intentions he had begun with with the fact we can’t change who we are and the children we raise in a Darwin nature or nurture, or perhaps in this case both, environment.  Akikazu and Kanako meet a variety of unsavory characters along the way that ends shockingly and cynically, completely obliterating the happy family and happy ending conventionalities.  Satoshi Tsumabuki (“Tomie:  Re-Birth”), Asuka Kurosawa, Ai Hashimoto (“Another”), Fumi Nikaidô (“Lesson of the Evil”), Aoi Morikawa (“The Killing Hour”), Miki Nakatani (“Ringu”), Mahiro Takasugi (“12 Suicidal Teens”), Munetaka Aoki (“Godzilla:  Minus One”) and Jun Kunimura (“Ichi the Killer”) portray some of those uncharacteristic archetypes.

Stylish, pulpy, and darkly themed, “The World of Kanako” has a modern grindhouse pastiche of the hardboiled Japanese noir.  The story is a wrecking ball of all good ideals and hopes, a genuine cynical representation of an unpleasant situation.  An 80/20 mixture of live action and animation splice ins, Kanako’s world is certainly represented as a chaotic coup d’état over pedestrian storytelling and dissects the human condition to test family ties, reveal lost bonds, and really scrutinize hereditary genetics.  The film’s opening is a flurry of converging images, past and present, live and animation, and narration, soundtrack, and bits of dialogue that open with the gruesome convenient store murders of three people, seemingly strangers, setting the stage and tone for the rest of the Tetsuya Nakashima’s film that’s bleak to the dying core.  The rapid editing style doesn’t incur fluff or filler moments in a slimmed down for exactly what we’re supposed to experience.   While Akikazu Fujishima may not be the best example of a hero, a loafer with anger issues, physical abuse tendencies, glutton for food, alcohol, and manic-depressive pills, a rapist, and perhaps even engaging in incestual pedophile, the protagonist majority pushes forward with relentless determination and beyond the scope of being a good father to find his daughter, but for what purpose is about as ambiguous as the imbalanced human mind and Akikazu mind sizzles with insanity that affects his legacy to the point where he feels responsible for taking care of his own.  On the flipside of the protagonist narrative, Kanako begins as a savior of bullies, working to remove the threat from those too weak to defend themselves only for them to be exploited by that defenseless and vulnerability when the yakuza and more extremists take from their emotions and bodies.  

Tetsua Nakashima speaks an entirely new language in “The World of Kanako,” derived from a mix of the compellingly twisted story of “Old Boy” and the appalling violence of filmmaker Takashi Miike.  Drafthouse Films and MVD Visual re-release “The World of Kanako” on a high-definition Blu-ray.  The 2024 release comes with AVC codec on a dual-layer BD50 and presented in a widescreen 1.78:1 aspect ratio.  The various animation styles spliced into the live action coupled with some choice primary color grading in the opening gives “The World of Kanako” a very nostalgic touch of passé pink films of the 1980s and slight arthouse surrealism feel to the likes of Nobuhiko Obayashi (“House”).  The mixture doesn’t meld into one another with detrimental effect and leaves a stark impression between the formatted visuals that creates definitive delineation.  Details also don’t bleed in the sharp textures of character faces and clothing with objects being distinct and well defined.  Darker scenes are enshrouded in intentional shadow amongst grittier interiors to better understand the gritty context, losing some details but no issues with compression, such as blocking or banding. Two audio options are available, and both are in Japanese with a lossless DTS-HD Master Audio 5.1 and a DTS-HD Master Audio 2.0. Presented with fidelity, “The World of Kanako” produces no issues with either audio track with a clear and absolute. The ambience denotes a nicely spaced standard fare of common routine movements and actions around the environment setting. Outside of that, punches and kicks knock with an authenticity and same goes with gunshots and the hit-and-runs during more tense and thrilling heights. Yes, there was a lot of hit-and-runs with Akikazu behind the wheel for most of them. English subtitles synch well and appear to be error free. Bonus features a making of featurette in Japanese with English subtitles, an equally as long interview with principal leading actress Nana Kamatsu, an interview with Akio Fukamachi, and the theatrical trailer and teaser for the film. Physical features pale in comparison to Drafthouse’s first release that came with a 11″x17″ folded mini-poster and color booklet with essays and acknowledgements. This re-release favors the slimmer model with no tangible goodies inside. The standard Blu-ray Amaray has a stark front cover image of Kanako starring forward with a blood smear behind her; the disc is also pressed with this image. The Not Rated presentation has a runtime of 110 minutes and has region A playback.

Last Rites: Welcome to “The World of Kanako,” a savage acceptance of responsibility down the rabbit hole of malfeasance. Family ties be damned as one father takes it upon himself to ensure the deed is done right by his own destructive hands.

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