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We Are All Just Playing Characters in an EVIL Movie! “Virtual Reality” reviewed! (Artsploitation Films – Kino Lorber / Blu-ray)

Posted by Steven Lewis on

Believe Everything You See.  “Virtual Reality” on Blu-ray at Amazon.com

A horror movie about a supernatural Celtic killer has just wrapped production and goes into post.  The cast and crew what to succeed at all costs, not only in the movie but also in their stagnant careers.  However, the director, Matias, craves fame and legacy to the point of committing his soul to whatever it takes to cement his film in acclaimed success.  Matias and the arcane producer form a pact with a diabolical computer program and artificial intelligence that’ll bind their movie to esteemed infamy as well as bind their cast and crew to their characters.  When Matias invites select cast and crew to a private screening at his home, they realize the movie has scenes of their characters that weren’t shot during principal photography and that whatever happens to their characters in the movie, being chased by the Celtic killer, will happen to them in real life.  The only way to survive the movie is to last the full 90-minute runtime.

Hailing from Argentina, the South American country that brought us “Terrified” and the “Plaga Zombie” films, comes another tale of terror with the metaverse horror “Realidad Virtual,” aka “Virtual Reality.”  The 2006 “Director’s Cut” and 2009 “Breaking Nikki” shot caller Findling continues his traipse through psychotronic land with a story that couldn’t be more relevant today than if artificial intelligence synthesized the narrative itself out of binary ones and zeros.  The script comes from Findling and cowriter Lourdes Prado Méndez, an Argentinian romance novelist.  Having virtually no romance in “Virtual Reality” whatsoever, the 2021 film stretches Méndez’s range into crafting characters with a foot in two planes of existence while under immense fear and pressure to survive a supernatural slashening.  “Virtual Reality” is produced by Gabriel Lahaye under Lahaye Media, who has supported and collaborated on a number of Findling’s previous films, such as “Breaking Nikki” and “Impossible Crimes,” and is also a production of Wit Producciones, Cine Argentino, APIMA, FilmSharks, and INCAA of Argentina.

The story circles around a selectively small and independent film cast and crew finishing up a concluding scene of another to-be-forgotten horror movie by director, Matias (Guillermo Berthold), who has had multiple failed films before now.  Yet, the production team remains positive, hopefully the film with jumpstart careers as desperately expressed through the first act, especially with the film’s final girl star Guadalupe (Vanesa González, “Hypersomnia”), or Guad as she’s called by her friends, and her director’s assistant brother Pablo (Santiago Magariños).  Berthold plays the sneaky-sadistic director about as a well as most with a fervent penchant to do anything for his creative filmic art even if that means colluding with a shady, mysterious producer in César Bordón (“She Wolf”) whose performance’s obscured or lack of purpose is due in part to the character’s flimsy connection to the diabolical computer program.  Bordón can’t help but just be an inhuman human, violent by necessity instead of being violent with a purpose.  The producer seeks success for every single one of his films with a subsequent plotted course for the next idea – whether be a sequel or a brand new story – yet his connection to the network of evil of unexplained runes, sporadic pixilation, and artificial intelligent adaptations that can re-edit recordings into a new and inexplicable account of the story has been sorely severed in regard to understanding his background and his motivation of mortal sacrifice for movie fame.  Other connects that were left on the cutting room for, so to say, were between the siblings Guada and Pablo and their dying mother in what I suspect was an attempt to shove the sister and brother some sympathy, clearing the way for the two to be the unambiguously heroic duo, but the scene with their mother on her deathbed offered little-to-no compassion, producing a gelatinous lasting effect in what was a more visual one-off of two children spending the time they have left with their mother versus an incentive or arc scene that would hopefully rally up character expectations to look after each other.  “Virtual Reality” rounds out the cast with Frederico Bal (“Impossible Crimes”), Francisco González Gil (“El último zombi”), Sofia Del Tuffo (“Luciferina”), and Christian Sancho in a Johnny Depp inspired dressed part of a self-centered actor with a suspected pill addiction. 

As far as plot designs go, “Virtual Reality” has an interesting concept that involves filming two different harrowing situations and joining them into one parallel plight with the actors reacting more to the events happening on the television screen, which in itself becomes living, breathing character of sinisterism, rather than what’s happening outside the box in the present.  Both realities are virtually live and in play for their very being and whatever happens in one, affects the other.  “Virtual Reality’s” state of duality, not only in character, but also in linear lines of an alternate universe with lifeline connections, is smart, fresh, and terrorizing to know that your life depends on an A.I. created character coursing through a maze for their very lives.  This mirror-meta-effect continues to evolve as the story plays out that leave survivors questioning reality and questioning their individuality of some higher force that has used them like some free-thinking avatar for filmdom fame.  This is where “Virtual Reality” starts to become complicatedly crisscrossing as instances of a distorted reality spiral down a rabbit hole of what we thought was true.  Findling is nonapologetic for his layered universes that spins and wraps a narrative around another in what is a show of forced fantasy subsisting in that gray area of reality.  The Celtic slasher storyline is just a sublevel to the story’s higher level view that defines greed and worth amongst people longings for more and also models itself to reflect that thin line some people cross between reality and fantasy, as foreshadowed early on into the film during the shooting of the final girl scene when method actor Julian gets into the headspace of his Celtic killer character and really starts to strangle Guada in a climactic moment.  By the finale, you’re comprehensible pencil might have wandered off the connective dot trail in trying to see the bigger picture of Hindley’s meta-movie but “Virtual Reality” is innovative tech horror that just requires a smidgen of tweaking to be impeccable.

2020.  That was the last time I reviewed an Artsploitation Films title.  The long 3-year hiatus was due in part of King Lorber purchasing the boutique Philadelphia label that specialized in bringing independent global horror to the U.S.  Artsploitation Films and Kino Lorber continue that pursuit with Hernán Findling’s “Virtual Reality” from Argentinian now on a Stateside Blu-ray disc courtesy of the joint label.  The AVC encoded, 1080p High-Definition, BD25 is presented in a widescreen 1.85:1 aspect ratio.  Cinematically, the format storage is able to capture the true quality of the image with hardly any compression artefacts.  There’s not a ton of visual augmenting but what’s presented is a draining of color to a near black-and-white image with pigmented primary color lighting to give the scenes a dash of color that’s in contrast to the moderate-to-heavy in-movie, trope-heavy lack of lighting to create deeper shadows for that gloomy horror movie effect of interior trapped victims running for their lives in the dark.  Two Spanish language audio options are available on the release, a DTS-HD 5.1 Master Audio surround sound and a DTS-HD Master Audio 2.0. The 5.1 track has good balance between the ambient, soundtrack, and dialogue tracks albeit a little heavy on the score to clutter, at times, a clear exchange, especially when everyone’s yelling at the television set.  Other than that, no technical issues throughout the multi-channel output. English subtitles run at startup but can be turned off.  The unrated, region A encoded release has a runtime of 84 minutes but doesn’t come with a menu for special features; however, there is the film’s trailer and, if you stay tuned after the credits, there’s a bonus scene where you, the viewer, becomes the star of your own movie.  Artsploitation Films is back, baby!  Courtesy of Kino Lorber, “Virtual Reality” is barely tapped meta-horror, that has become all the craze nowadays, and Hernán Findling unboxes that fine line between real and unreal to only merge them together to be one and the same in a twisted interpretation of when art imitates life. 

Believe Everything You See.  “Virtual Reality” on Blu-ray at Amazon.com

Bruce Lee Fought EVIL for Justice. Mark Swetland Follows Lee’s Footsteps in “Blood and Steel” reviewed! (SRS Cinema / DVD)

Posted by Steven Lewis on

Hiyah! “Blood and Steel” – the Lost Kung-Fu Film now on DVD!  

The brutal murder of his sister and her husband sends Mark Swetland into a vengeful fury.  Behind the heinous act, a drug smuggling organization, using a steel fabricating warehouse and a dojo school as a front, had sent a merciless assassin to take out Mark’s sister after a previous incident with the organization’s personnel that could bring down the whole drug shipment operation.  As Mark investigates for answers and track down those responsible, he’s greeted with hostility and uses his extensive martial arts experience, and a little help from a few of his closest allies, to bring the syndicate down once and for all, but the cruelty conscious conspirators don’t plan to go down without a fight as they kidnap Mark’s girlfriend and hire a mercenary fighter to bring the fight to them on their own terms. 

If you’re a martial arts film connoisseur or just an aficionado of the action-packed genre, here’s an obscure title from 1990 you desperately need to get your hands on, today if at all possible!  “Blood and Steel” is the Bruce Lee dedicated crime and martial arts actioner from producer, writer, and director, Mark Swetland.  Yes, Mark Swetland plays himself, Mark Swetland, as the unstoppable, vengeful vigilante hero in his own production that pits him going solo against a scumbag kingpin and his narcotic import-export empire.  Only recently discovered after being lost for decades, “Blood and Steel” breathes fresh 2023 air with a new DVD release and institutes a brand new, never-before-heard maxim, created by yours truly, of though white men can’t jump, they can certainly Kung-Fu.  Perms, handlebar mustaches, and tight fitting and unappealing fashion grace the screen as nunchakus and hook kicks pave the way for this seriously gratifying choreographed Kung-Fu spectacular to be resurrected from the cache of forgotten films of the cinematic cemetery, shot in and around upstate New York complete with the N.Y. accented, short-a phonological vernacular.

Mark Swetland, proprietor of a safe and vault cracking company in Cheektowage, New York, was once a martial arts instructor.  At the current age of 62, Mark has looked to cracking open safes instead of cracking open heads with his mixed martial art skills but Swetland also once dappled in film, developing his own low-budget Kung-Fu caper, inspired by his martial arts idol, the late and legendary Bruce Lee.   Ponying up much of the funds for what would be “Blood and Steel,” Mark poured every ounce of his soul and craft into the film that displays his range as a fighter as well as getting his chops busted in delivering lines and acting out emotions.  The former was more of his forte with asserting a magnetic presence as both an onscreen fighter and a competent choreographer to have the fight sequences appear realistic and quick against a slew of antagonistic opponents.  As a thespian, Mark often borrows too heavily from Bruce Lee with overzealous fist poses to even echoing Lee’s idiosyncratic short and elongated kiai sounds.    Swetland’s one-on-one scene with fellow martial artist David Bobnik, as the hired hitman Steiner, is well thought out coordination with lighting punch-kick combinations that would rival the best genre films of its time.  Neither Swetland or Bobnik are overly muscularly cut bodybuilders or the zero percent body fat of Bruce Lee’s rail frame as both men are in an ideal, physically fit shape to add to scenes test of time and doesn’t yell amateur hour of wannabe martial artist attempting half-hearted roundhouse kicks for their low budget movie.  “Blood and Steel” round out with a cast that includes Joanne Gargliardo as Mark’s girlfriend, David Male as drug kingpin Mr. Patterson, Elaine Arnone as the slain sister, Diane Zdarksky as the sister’s best friend, Rick Swetland as the sister’s slain husband, and cinematographer Al McCracken has the role of Mark’s best friend and sidekick to the end, Roy. 

Influenced by quintessential Bruce Lee films, “Blood and Steel” is entirely an homage to the exceptional action icon.  Mark Swetland’s film derives elements from “Enter the Dragon” with a plotline of the protagonists’ sister being killed by a drug trafficking enterprise as well as straight down to Mark Swetland’s yellow tracksuit, the same Bruce Lee wears in “Game of Death” with black lines down the arms and legs.  Despite the derivative aspects, Swetland still manages to output an entertaining reel in what has resulted as a passion project that has been stowed away and forgotten only to be unearthed as a transmogrified time capsule of awesomeness.  Swetland, who wore many productional hats, also edited, scored, and did sound design with a fair amount of adequate know-how.  Transitionally between scenes, “Blood and Steel” works to segue into the next scene with various connective images or fade away dissolve without appearing abrupt or muddled.  The additional Foley work, such as the whipping sound of the nunchakus, are done on a synthesizer with an unquestionable audio yield.   “Blood and Steel” has a little bit of everything that is very indicative of a Bruce Lee actioner.  Dirt bike chases that soar from off of a cliff into an exploding heap at the bottom of a ravine, forward and reverse car chases involving a 80’s Corvette Stinger, practical effects from throats being cut to spike cleats becoming lodged into the back of skulls, ridiculous over-the-head, over-the-knee backbreaking fatalities, helicopter entrances over the colossal Niagara Falls, shotgun squib explosions, and much, much more blood-churning excitement can engage the viewer into “Blood and Steel’s” edge of your seat conflict. 

Emerging victorious as a SRS Cinema home video release is the obscure revenge-action thriller “Blood and Steel” on DVD.  Presented in the boxy 1.33:1 aspect ratio, the standard definition 720p resolution, plus the type of camera being used seen in the bonus feature’s outtakes and the impurity characteristics of the image quality, all point to a super 8 shot feature.  Lined left with barely visible sprocket holes and occasionally lined right, a visible magnetic audio strip, often blue in hue, “Blood and Steel” is without a shadow of a doubt a glorified home movie in the right hands of Mark Swetland.  The washed look is a tell sign of no overlay grading, the tri-color emulsion layer remains as the original, natural grading, creating less shadowy contrast but remaining consistent and more-or-less delineated.  The English, single-channel mono track is about as flat as a pancake, if a pancake could make noise.  With hardly any depth, a steady crackling throughout, and depending on the camera mic placement in the shot, some scenes’ dialogue can barely be heard under what sounds like a soft breath or mumble while others are clearly audible and render no issue with understandability. SRS Cinema’s special features include a Fight Analysis with Mark Swetland and David Bobnik going over scene-by-scene, sometimes in slow-motion repeat, their fight sequences and explaining in commentary fashion how the crew set that all it up. Also included are outtakes, the original trailer, the new trailer, and other SRS trailers! The physical DVD sports the original “Blood and Steel” poster plastered inside a standard DVD case of an 80’s retro-rental mockup with color-coded round stickers of the genre action and of the Please be Kind & Rewind phrase. The disc art is a blowup of Mark Swetland from the original poster art. The film runs at a brisk 87 minutes, is region free, and is not rated. “Blood and Steel” has the independent spirit of the dragon, a fierce and fire-breathing martial arts film with fervent laudation for the late Bruce Lee, and is a white knight knockaround and Kung-Fu Flick that is vengeance glorious.

Hiyah! “Blood and Steel” – the Lost Kung-Fu Film now on DVD!  

Down the Path of Darkness is EVIL. “The Long Dark Trail” reviewed! (Cleopatra Entertainment / Blu-ray)

Posted by Steven Lewis on

“The Long Dark Trail” on Blu-ray at Amazon.com

Set in the idyllic boondocks of Northwestern Pennsylvania, two young brothers plan to escape the abusive grasp of an alcoholic father in search for a better life.  Without a plan and nowhere to go, they go around the small town to collect money from the odd jobs the brothers worked in preparation for their abscond.  While doing so, they come upon information about their mother, who abandoned them at a younger age, that sparks an desire to track her down in hopes that once she’ll lay eyes on them, she’ll want to rekindle the relationship with her two sons, but the trek deeper into the northern woods would be long and arduous through abandoned aqueducts, pine forests, and numinous burial stones belonging to an inimical cult of women controlled by a sadistic leader.  It is the cult where their mother left them to reside and it is there where they are headed on their haunting journey in hopes for a better life.

Tackling impoverished, ill-treated youth haunted by their past and uncertain about their future, directors Kevin Ignatius and Nick Psinakis write-and-direct “The Long Dark Trail” as a tale of resiliency for two close brothers relying on each other to climb out from a pit of despair.  Ignatius and Psinakis have collaborated previously together as writer-director and cowriter-actor in the misfortunate happenings comedy “My Best Friend’s Famous.”  The 2022 drama-thriller marks the first feature film for the filmmakers who explore coming-of-age through trial by fire, or by the supernatural psychological manipulation of enchanted rocks and by the coarse portents of a blood sacrificing cult.  Shot in Ignatius’s birthplace home of Warren County, PA, the two New York filmmakers shoot the low-budget venture under their independent production company, Four Eighteen Films, in association with El Jean Productions and with associate producers Michael Kraetzer (“The Slaughterhouse Killer”) and Nicholas Onetti (“Francesca”) of Black Mandala presenting the film.

“The Long Dark Trail’s” story follows two brothers played by real-life brothers, Brady and Carter O’Donnell, debuting in their first feature film.  You can tell the brothers don’t have a ton of acting experience as their dialogue is very mechanical and their movements are bit stiff and hesitant, but since the narrative revolves around their characters, antisocially bred by the abusive father’s impropriety, being socially awkward on screen, even between each other despite their off-screen brotherhood, doesn’t necessarily feel far-fetched.   “The Long Dark Trail” isn’t a heavy on the dialogue narrative, leaving much of the plot to unfold with the brothers’ wondering the forest grounds, natural and unnatural visual imagery, and the hypnotic folksy score.  From start to finish, Brady and Carter carry the entire storyline from start-to-finish with intermittent spliced in scenes of hooded cult acolytes doing obscure and violent things in what looks to be the upstairs of a vacant barn or with the earlier scenes of the boys visiting and conversing with a purpose with Mr. Barrow as he rambles on about his veteran war stories while the boys take full advantage of his porch sitting to steal food form his cupboards; a role undertook by Kevin Ignatius’s father, Paul “Doc” Ignatius.  The O’Donnell siblings shepherd much of the trail journey’s harrowing phantasms to the best of their ability but are also not limited to being just reactionary to the spooky woods.  Practical makeup effects and some visual compositions are chartered for divisive inducing dynamics in order to drive a wedge between the brothers’ already contentiousness of wanting to traverse a dark corner of God’s country to see a mother that has already forsaken them once.  Trina Campbell plays the indoctrinated mother now embedded into an outskirt cult led by Paul Psinakis’s version of a cult leader in Zeke.  Psinakis has the maniacal wild eyes and brooding aura demarcating him as a clear cut bad guy with a bunch of vary-in-age women in tow but the cult is not very clearly defined as a whole or with a purpose and when the boys stumble into their isolated camp, near that aforesaid barn full of now chopped up body parts and hunting game skulls, the exposition to follow is not presented and the real sense of danger is only palpable from Zeke and Zeke alone. 

While cast and story struggle to make ends meet with relative clarity, what Ignatius and Psinaki do really well in fashioning for effect is depicting the rural folk horror elements of vast natural landscapes that can turn looming and inescapable.  As a resident of Southeastern Pennsylvania, convenience and concrete genetically makeup my quasi suburban-urban scenery, but I can appreciate the opposite side of the state with greenery up to your neck and beyond, the solitude of a different way of life, and how one could also appreciate how menacingly engulfing that can all feel as well.  We’re also not completely stuck to the forest setting as the directors’ use riverbeds and lakeshores, sprawling grasslands, and the quaint town structures to enlarge the presence of a smaller shoot.  Kevin Ignatius isn’t just the co-director of “The Long Dark Trail,” he’s also the film’s composer, another aspect of highlight, amongst other hat wearing titles.  The catchy and mesmeric folk/bluegrass score is a real tribute to Ignatius’s musical background, having formed a band, Das Tapes, with brother Mark, by adding a layering combination of vocal sounds and banjo strumming.  The latter banjo reminisces a little bit of “Deliverance” but with an elongated cadence integrated into the brothers’ long road tour, becoming a mainstay importance to the overall lingering feel of backwater chills.  Where “The Long Dark Trail” fumbles is at the heart of project – the story.  Never really tying the elements all together, the narrative often feels abstract and unhinged in a series of randomized events between the cursed rocks, vivid hallucinations, the boys’ trauma, the women stuck in a cult of a madman, and the message on blood ties.  Was the father’s verbal and physical abuse the root cause of psychological and family brokenness?  Are the brothers’ bond and endurance being tested on the trial trail toward their last form of hope, their abandoning mother?  “The Long Dark Trail” is in a long, dark well of questions without any return of answers in a conclusion that can’t be roughly swallowed along the course of an exceptionally scored and formidable atmospheric thriller. 

“The Long Dark Trail” path leads to at home Blu-ray release from Cleopatra Entertainment, the film banner of Cleopatra Records, and MVD Visual.  The AVC encoded BD25 provides high-def resolution in 1080p of a widescreen presentation.  The Cleopatra Blu-ray does not list the aspect ratio and IMDB.com lists the film at 2.39:1 which is accurate in accordance to the release.  A combination blend of natural and lowkey lighting doesn’t appear to present too many issues with the format storage.  A few signs of pixilation in deeper negative spaces cease to only a handful of decoded moments stark contrast.  For a digital recorded film that’s churning out an average of 25Mpbs, par for the course for Hi-Def, the details don’t display to the fullest sharp potential but are certainly on the edge of so.  You can get better visuals from the brightly lit of primarily color contrasting scenes for a film that’s remains in natural grading.  Also not listed on the Blu-ray back cover is the audio specifications, but according to my player, the release comes with an English Dolby Digital 5.1 surround sound and an English LPCM stereo. The five-point multi-channel audio mix studs the soundtrack with piquant notes, harmonies, and twanging banjo chords. Dialogue is pleasantly defined through the robust soundtrack and the ambience has a nice range of rustle and depth. I’m quite surprised by this Cleopatra Entertainment release that doesn’t come with a second disc, a CD, of the soundtrack, likely due to the score not produced by the parent record label. English subtitles are optionally available. The bonus features include blooper outtakes and behind the scenes footage, an image slideshow, and the original trailer. The back cover also notes an interview with the director, but what’s on the disc is a featurette surrounding artist R.L. Black’s graphic novel artwork for the film and for the forthcoming comic based off the film. There is no interview with the director. The rest of the bonus material rounds out with Cleopatra Entertainment trailers of “The Ghosts of Monday,” “Frost,” “A Taste of Blood,” “Escape from Area 51,” Baphomet,” and “Scavenger.” The film is housed in a traditional Blu-ray snapper with a rough and ready composite of a skull looking to swallow the bicycling boys on the dark path with a dark lit moon overhead; a missed opportunity in my opinion as there’s a better poster out there for the film, a more graphic poster, of one brother’s bloody head split down the middle and opening for the other’s brothers face to show. The Blu-ray is region free, unrated, and has well-paced runtime of 78-minutes. Likely not to please by or understand by most, “The Long Dark Trail’s” coming-of-age narrative wrangles with what’s most important for a folk horror film of its kind – either to be an apparatus for breathtaking countryside imagery or of trauma that is tense-laden and tearing families to pieces – and unfortunately, the feature couldn’t be both.

“The Long Dark Trail” on Blu-ray at Amazon.com

The Death of a Daughter Leads Down to a Psychological Path of EVIL! “The Haunting of Julia” reviewed! (Imprint / Blu-ray)

Posted by Steven Lewis on

Limited Edition of “The Haunting of Julia” Available at Amazon.com!

This morning was like any other as the Julia rustles up breakfast for her all-business husband Magnus and their lively vivacious daughter Kate, but when Kate violent chokes on a piece of apple and Julie performs a bloody, untried tracheotomy in a state of panic in order to save her daughter’s life, their lives are forever changed as Katie dies in Julia’s arms. For weeks, Julia’s melancholic depression commits her to hospital care. When she’s ready for release per the Doctor’s recommendation, Julia avoids returning to Magnus as their relationship was never a mutually loving one but rather a normal route connected by the presence of their daughter Kate. In order to restart her life, Julia separates from a controlling Magnus and purchases a magnificent London house only to then be plagued by ghostly occurrences she suspects is the work of her late daughter. What Julia comes to find out is the troubling history of her newfound home.

Mia Farrow solidified herself as a genre actress by starring in the archetype for films revolving around the prince of darkness, Satan, in 1968 with “Rosemary’s Baby.”  Unlikely seeing herself as a prominent woman of a notable rite horror, Farrow quickly understood her value in the genre as a complex female lead in the unsettling and gothic protuberance atmosphere style.  Nearly a decade later, Farrow stars in the Richard Loncraine directed “The Haunting of Julia,” similar only to the menacing supernatural child component but digs deeper in manipulative complacency, psychological guilt, and of that distorted reality created by the stout motherhood connection.  The “Slade of Flame” director set his sights off of Rock’N’Roll inspired dramas around the ugliness of the music industry and onto the filmic adaptation of the Peter Straub novel “Julia,” penned by the Dave Humphries and “Xtro” trilogy director Harry Bromley Davenport.  The joint United Kingdom and Canadian production, titled originally as “Full Circle” in the UK, is produced by Peter Fetterman (“The Exorcism of Hugh”), under Fetterman Productions, and Alfred Pariser (“Shivers”) of the Canadian Film Development Corporation. 

Mia Farrow’s distinct reactions and acting style very much engulfs the majority of horror experienced in “The Haunting of Julia,” as well as exhibited in “Rosemary’s Baby.”  The glassy eyed, long stares, the frightened, coiled emotions that swirl seemingly out of control, and the switch-gear ability to be strong and compliant in tense-riddled situations that just only involve herself in the scene.  While “Rosemary’s Baby’ and “The Haunting of Julia” may exact the same gothic aperture for child-themed horror and both are adapted literary works, “The Haunting of Julia” unfolds not in the anticipating of child birth but rather postmortem with the aftermath affliction of a child’s sudden and terrible demise that occurred in the frantic mother’s misguided embrace to take a knife right to her child’s jugular in hopes of dislodging an air denying obstruction.  This opening scene shocks us right into a grim framework that simultaneously divides trust and empathy for Julia as circumstances unveil what we might suspect all along, that Julia’s mental health suffered immensely.  What pushes Julia into undue stress is her controlling, dispassionate husband Magnus. Played by “Black Christmas’s” Keir Dullea.  Dullea pulls off the unsympathetic impassive father who just lost a child and can’t see the underlying psychological unrest his wife suffers.  In short, Magnus attempts to gatekeep Julia’s damaged psyche by trying to strong arm her back into normalcy, even going as far as manipulating Julia and his own sister Lily (Jill Bennett, “The Skull”) into slipping his foot into the door with a wife who fled from his grasp as soon as released from the hospital for essentially shutting down after their daughter’s death.  That toxic pressure is coupled with the seemingly unnatural incidences in her new home that clash her old life, chained to an unconsciously broken family, with her new life that seeks to decompress from a pair of diverse traumas.  “The Haunting of Julia” rounds out the cast with Tom Conti (“Blind Revenge”), Mary Morris (“Prison Without Bars”), Anna Wing (“Xtro”), Pauline Jameson (“Night Watch”), Peter Sallis (“Frankenstein:  The True Story”), Susan Porrett (“Plunkett & Macleane), Edward Hardwicke (“Venom”), and Sophie Ward (“Book of Blood”).

More or less forgotten by U.S. audiences due to no fault of the film’s own acclamatory measure or the audiences willing participation, the international produced “The Haunting of Julia” wasn’t publicized in the U.S. despite the two American leads – Mia Farrow and Keir Dullea.  Richard Loncraine’s film has incredible merit to the idea of a mother’s loss within the construct of gothic horror, which, in another aspect of unfathomable irony, resembled more closely to the American gothic style of the supernatural sequestered dark house.  Yet, this house is in London, wedged in like row homes, but as mentioned numerous times in the film, the house has distinction and grandeur that overlooks the buried ghostly history of the previous owners.  Julia absorbs the stories, filters through them, and comes to believe her own daughter is either trying to reach out to her or is hellbent on revenge for the amateur hour tracheotomy.  Loncraine does the phenomenal job of shocking our core with the early choking death scene of Julia’s daughter but once that dust settles, the pacing becomes more rhythmic to the point of building, slowly, Julia’s encounters with unknown forces that, at first, are just seemingly bizarre happenstances of left on bedroom plug-in radiators and playground visions of a girl that resembles her daughter cutting up another kid’s pet turtle.  These events play into their evident conspicuousness to push audiences deep into Julia’s mysterious milieu, officially sealing something isn’t right with the clairvoyant Ms. Flood’s scarred-screaming vision of a bloody child.  Julie become engrossed into learning the truth, eager to determine if that child is her late daughter and is fed tidbits of the house’s history that not only continues her own investigation but other research into other house tragedies that fork-split her presumptions.  As all this noise tornadoes around Julia, the stories, the occurrences, the deaths, viewers will never deduce to a reason closer to home, to Julia herself, until possibly too late at the end with a grisly open-ended finale that what Julia has been experience may have been done at her own forlorn hand. 

Atmospherically sound, undoubtedly creepy, and spearheaded by strong performances, “The Haunting of Julia” is the unspoken heroine of late 1970s supernatural horror – until now.  Imprint and Via Vision of Australia release a limited edition, high definition 1080p, 2-disc Blu-ray set with an AVC encoded BD50 of a new 4K scan transfer of the original 35mm negative. Presented in an anamorphic widescreen 2.35:1, the 4K scan is super sharp with virtually no compression issues on the formatted storage. Blacks, and negative spaces in general, are rich and void, despite Peter Hannan’s low-contrast and hazy surreal veneer that definitely plays into a psychotronic dreaminess. The resolution goes unaltered, and the natural grain maintains the original theatrical presentation for a revered 4k transfer. The English LPCM 2.0 mono track mix audibly delineates a viable one input split to make the dialogue and all other tracks comprehendible. Despite some slight here and there hissing, dialogue is amped up nicely for better resolved results that still remains mingled with the ambience in an all for one, one for all audio format. “Space Trucker’s” Colin Towns’s insidious and distinctly composed soundtrack reaches into the recesses of soul and strikes at the very nerve of fear with an unsettling score, perfectly suited for a mother drowning in the pitfalls of a supernatural sanctum. Optional English Hard-of-Hearing subtitles are available. The first disc special features include two audio commentaries – one with director Richard Loncraine and Simon Fitzjohn and the second, brand new, commentary with authors Jonathan Rigby and Kevin Lyons, new interviews with composer Colin Towns Breaking the Circle, cinematographer Peter Hannan Framing the Circle, and Hugh Harlow Joining the Circle, a new video essay by film historian Kat Ellinger Motherhood & Madness: Mia Farrow and the Female Gothic, the original trailer, and an option to play the film with either “The Haunting of Julia” or “Full Circle” opening title. The second disc is a compact disc of Colin Town’s 11-track score featuring 20 minutes of previously unheard music out of 60:52 of music. The limited-edition set comes with a neat lenticular cover on front of the hard box of what we assume is Julia’s ghost glaring at you from all angles as her eyes follow you. Inside is a clear Blu-ray snapper that’s a little thicker than your traditional snapper and comes with a built-in secondary disc holder. The cover art is simply Mia Farrow cowering outside the bathroom door but the reversible cover displays an original “Full Circle” poster as the front image. The disc arts are illustrative and compositions with the feature presentation disc the same as hard box lenticular without it being lenticular and CD pressed with Mia Farrow’s face in the background and a child’s cymbal banging toy in the foreground. Also in the hard box is a 44-page booklet feature an historical background essay by critic/writer Sean Hogan that has black and white and color photos and various poster art. The film, which comes in as Imprint catalogue # 218, runs at 97 minutes, is unrated, and, is assumed, for region A playback as it’s an Australian release – there is no indication on the package. “The Haunting of Julia” is Mia Farrow’s shining, yet lost effort post Roman Polanksi and is a remarkable look at subtle disconnection from extreme guilt when in every corner, every sign, is thought to be about your lost child.

Limited Edition of “The Haunting of Julia” Available at Amazon.com!


Being Bored at Home Turns into an EVIL Enterprise! “Moonlighting Wives” reviewed! (Dark Force / Blu-ray)

Posted by Steven Lewis on

They’re Housewives.  They’re bored.  They’re…”Moonlighting Wives.”  Now Available at Amazon.com!

Unsatisfied with her distressed husband’s meager wage as a third shift switchboard operator, Joan Rand strikes up a new Stenography business to bring in a little extra cash for the household.  When her new boss makes salacious advances toward her, she explores the opportunity of making more money than just on a stenographer’s wage.  Roping in her only contracted typist, Joan begins to bring in beautiful, bored housewives seeking to earn dough no matter how sexually scandalous and instead of perfecting their short hand skills or their ability to read back letters aloud without error, the determined entrepreneur revamps her stenographic business as a front for perfecting prostitution.  Infiltrating her way into every bar, hotel, and country club, even partnering with the country club’s golf pro, Joan’s call girl ring rides a profitable high and expands into new men-oriented territories but how long can the lucrative venture last when two vice cops are inching to bring down the elusive ring and one of her girls become scorned by the affectional eyes of love. 

Sexploitation has come a long way since 1966 when director Joe Sarno helmed the scene-efficient and bored housewife subversion “Moonlighting Wives.”  Before embarking full-fledged into the adult industry, Sarno blazed the trail for the economically friendly dicey skin flicks of the 1960s through the 1970s, retrospectively finding a cult base amongst observers and academics of subversive cinema and underground exploitation. “Bad Girls for Boys” producer Robert M. Moscow serves as associate producer on the Morgan Picture Corporation production, founded by George J. Morgan, producer of “The Thrill Killers” and “The Lemon Grove Kids Meet the Monster.”

Credited as Diane Vivienne, Tammy Latour (“The Naked Fog”) plays the business savvy Mrs. Joan Rand turning her dictation craft as a storefront for a more provocative and promiscuous profession to keep men happy and her pockets plush.   Latour’s a cool and calculating in her performance that makes Mrs. Rand a pragmatic kingpin of her quick-to-success prostitution ring but in doing so with her performance, that is much like everyone else’s in the film denoting a sign of the time period in which the story is constructed, Latour comes off extremely monotone like her large 60’s hairdo houses a little green man at the control of her cerebral center, calling out commands flatly, coldly, and without a slink of emotion behind her absent inflections or thousand yard stares.  Instead, much of the emotion, if any, is produced by her ashamed-driven to alcohol abusing husband and emotionally exploited bored housewife (Gretchen Rudolph, “The Dicktator”) brought to shambles after cheating on her husband and losing her paramour at the same time due to Rand’s scheming into the operational fold to rake in more rakes and cash.  We’re treated to Mr. Rand’s bottoming out as he’s no longer the bread winner and he’s suspicions overwhelm him to drink himself into a stupor.  The emotional pull that the Rand swindled housewife goes through is callously cut deep when her country club lover, Al Jordan (John Aristedes, “My Body Hungers”), becomes in cahoots with Mrs. Rand, taking her own as not only a business partner but a side-by-side lover, and coaxes his former mistress’s desire for him into doing naughty things with other men to keep him out of a deceived lie of debt.  A rollercoaster of fear, doubt, acceptance, and emotional evolution goes to full arc spectrum with the one cog in the machine that ends up breaking down the whole organization into a crumbling heap.  Aforesaid, the other performances don’t stray too far from Tammy Latour’s matter of fact and is more just a sign of the times in which “Moonlighting Wives” is produced, especially on a microbudget as early sexploitation couldn’t break into mainstream or even with welcoming arms in a more accepting niche public as a more right-wing, puritanical society was starting to be on the brink of uninhibited free love model.  “Moonlighting Wives” has a sexploitation friendly cast with June Roberts (“The Pink Pussy:  Where Sin Lives”), Marla Ellis (“Sin in the Suburbs”), Joe Santos (“Flesh and Lace”), and George Winship (“Teenage Gang Debs”).

How does a racy U.S. cinematic story beat the odds of staying out from the sleazy cinemas, like the sheltered exterior and tacky carpeted 42nd Street of the 1980s, and from being blackballed from the blue balled public looking for a little titillating release?  Innuendo in film became a thing of the past once the film boards ruled film nudity was no longer to be considered obscene a few years before 1960 and this opened up an opportunity for filmmakers to tap into the salacious half of the American population, experimenting with primal carnalities depictions that burrowed into the deepest of desires.  Since financing was scarce as the newly appointed sexploitation genre was too much of a risk for return, movies like “Moonlighting Wives” were made for next to nothing and director Joe Sarno quickly became quickly an expert in churning out licentious cinema commodities on a dime at the turn of the decade.  Having completed moderately successful films of this nature with “Warm Nights and Hot Pleasures” and “Pandora and the Magic Box,” Sarno built a rapport with actors and actresses who would return film-after-film.  John Aristedes, Joe Santos, June Roberts, and Tammy Latour, to name drop a few, regularly frequented Sarno’s casting call – and, hopefully, not his casting couch. Much like the rest of the lot, “Moonlighting Wives” serves as a lesson learned, a steep cost if you will, when morals mingle with perversity and blur the lines of right and wrong.  However, these types of films didn’t come tense action either, or rather much of any type of action because of it’s hand-to-mouth (or in related terms – any orifice to mouth) leanness in funds.  Sarno masters the exposition scene with what I like to label as high school sexual education discourse in where talking heads explain in detail every single action and do it in a tone that’s somewhere between mundane and deadpan.  Objectively, “Moonlighting Wives” is a cold-hard look at cause-and-effect with the loosening of standards jeopardizing what’s most dear to you after the deed is done. 

As a 2k restoration from the uncensored 35mm original negative, “Moonlighting Waves” has been paradoxically upgraded by adding back in original content that initially hit by censors with the lost nude scenes, a summation of 5 minutes’ worth of film, has be reclaimed for the Dark Force Entertainment Blu-ray release.  Yet, Dark Force’s release also competes with a Sarno double feature in “The Naked Fog” from Film Movement that was coincides with a similar market date.  Unfortunately, we’ve yet to land our hands on the Film Movement version to compare.  The Dark Force Blu-ray is AVC encoded with high definition 1080p resolution and presented in the letterboxed 1.33:1 aspect ratio. Back cover lists the ratio at 1.33:1 but also list an anamorphic widescreen and while I concur with the anamorphic lens, the presentation is firmly in a square box of 1.33:1.  Prefaced with a black title card warning regarding the additional image quality, more than just the additional footage has weathered under the test time to sometimes appearing more yellowish and with vertical scratch lines and speckled dust. For the most part, the overall image presentation makes the grade with an unimposing, yet steady color grading and most of the frames free from visual blights. If there were any digital enhancements done during the restoration, DNR appears to be the present culprit as facial features often appear too smooth for 35mm stock that should be developed with a fine layer of grain. The English 1.0 audio mix furnishes the appropriate single channel output for an exposition heavy feature. Distinct sound relativity is shot and the Stan Free score is lounge music 101 with rhythmic snare and hi-hat raps but the dialogue fairs rather strongly with forefront, clean, and clear conversing. Film historian Michael Bowen bookends a pair of included special features with an audio commentary track and an on-webcam interview discussing Sarno’s life coursing the newfound sexploitation genre pre his adult industry tenure. Also included is a deleted nude scene that involves no familiar actors from the trunk narrative in a seemingly out of place couple swap of the topless kind. I’m a little taken aback by the loss of some of the special features that were a part of the Alternative Cinema DVD release that are not present here on the Blu-ray, such as the Joe Sarno interview before his death. What’s neat about the physical features of the Dark Force release, aside from the clear Blu-ray snapper, is the retrograded, stark yellow and black, low-key cover art that builds up the hype with exclamational points about how obscene “Moonlighting Wives” is and not recommended it for the modestly shy and most prude moviegoers. The bold marketing attempt really perks up interesting in checking out the title that ultimately finishes with antiquated impressions, but the idea is neat, and the word heavy front cover is very representational of the exposition drenched dialogue in the narrative. Disc art is pressed with a wanted ad for young attractive women, which is also a nice touch. the region free release comes not rated and has a runtime of 86 minutes. Without a doubt scandalous in any decade, “Moonlighting Wives” encapsulates the seedlings of sexploitation with Joe Sarno at the helm of cultivating ripe, round melons out of barely any dirt and succeeding with a lust-heavy pursuit under a profession that now, ironically enough, only exists mainly in law-abiding courtrooms.

They’re Housewives.  They’re bored.  They’re…”Moonlighting Wives.”  Now Available at Amazon.com!