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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.

Enter “The World of Kanako” On Blu-ray Now Available at Amazon!

Poor Quality Dynamic Effects That Have a Horrendously EVIL Bite! “Bad CGI Gator” reviewed! (Full Moon Features / Blu-ray)

Posted by Steven Lewis on

“Bad CGI Gator” is an Amazon Choice item! Order it Here!

Six college students end the schoolyear with a long weekend at a lakeside cabin in rural Georgia.  Looking forward to the youthful debauchery of drinking themselves into a stupor and engaging in lots of sexual hanky-panky, they each throw their school issued laptops into an alligator’s lake habitat for an Instagram moment to go viral and also in a moment of jovial release to be finally done with school and kick off Summer.  When the small gator encounters the laptop’s electrical current, the gator grows into a monstrosity and has the unique ability to float through the air.  Now larger than man, the gator is ravenous for his next meal and the college students are an easy, convenient dish.  Trapped inside the cabin, brawn stupidity won’t save them against the mutated reptilian that circles outside, and they have to use every ounce of their brainpower to outsmart the insatiable beast. 

You’ve (probably) heard of “Bad CGI Sharks!”  Now, get ready to sink your horribly rendered jaws into “Bad CGI Gator,” the latest alligator creature feature comedy-horror from Charles Band’s camp of Full Moon Features.  Helmed by resident Full Moon filmmaker, “Deathbed” and “Dark Walker” director Danny Draven, the 2023 film removes practicality and plausibility for the sake of following in the wake of the badly rendered shark film from brothers Jason and Matthew Ellsworth.  “Bad CGI Gator” is also a family affair with Charles Band’s son, Zalman Band, in his first full-length feature writing credit that, like “Bad CGI Sharks, gives into itself and doesn’t take itself seriously with genre tropes, the gore and nudity one-two punch, and, of course, bad computer-generated imagery.  Shot in the location state of Georgia as well as in Charlie Band’s Full Moon estate in Cleveland Heights, Ohio, “Bad CGI Gator” is produced by the father-son duo of Charlie and Zalman with Nakai Nelson (“Evil Bong 420,” “Don’t Let Her In”) picking up the rest of the producing slack. 

If there was ever a time to root for a visually vexing constructed alligator and not the young people trying to save their lives from its floating ferocity, the time would be now.  The cast is compromised of the very worst caricatures of millennial youth with their “bros,” Instagram virality, and overall toxic behavior.  As a whole it’s all purposefully scripted to be painted like pure putrid of personas that sodomize the very essence of heroic protagonists.  Ben VanderMey (“Malicious”) and Cooper Drippe are impeccable at being gym bro chads, even VanderMey’s character is named Chad, and their on screen slay honeys, in Rebecca Stoughton and Sarah Buchanan, are social media influencing prejudgers with thigh-high skirts and low cut blouses.  The obnoxiously coarse foursome becomes grounded by contrasted counterparts in Sam and Hope, played by Michael Bonini (“#ChadGetstheAxe”) and Maddie Lane (“Monster Mash”), and this clues in audiences of the two more level-headed potential gator bait as the likely, predictable heroes who will either survive with their life or end up destroying the floating gator.  While the Chads and Paisleys are an exaggeration of arrogantly crass people, led with the worst of qualities for easy kill digestion, Sam and Hope are also to the extreme in a polar opposite manner.  Sam’s cautious philosophy makes him the butt of many jokes while the neutral Hope, a rival hottie shoulder-to-shoulder with the other ladies, can whip Chad into place with almost a stare being his stepsister.  The common dislike for tasteless jerks force Sam and Hope together with the gator being a keynote in closing the door on the once ajar flirtations.  Lee Feely rounds out the cast as a fisherman badmouthing the gator’s size, but the opening scene doesn’t do much for the rest of story nor does it come back to bite, literally, with the lack of Feely’s return in his short-lived moment. 

A title like “Bad CGI Gator” doesn’t come with any strings attached; there is no subtext, no character development, or convoluted storyline to really tickle and tease the brain in a sophistication of foreplay.  What you get are dumb, unlikeable characters for a deathroll of laughs and gnarly kills.  What you also get is a badly rendered giant floating alligator that on a one to ten on the badly rendered scale, this poor design is a four, resulting in a not too terribly layered and not the worst we’ve seen to date but obviously stands outs as a cut and pasted fake with animated movements.  Also entailed, in complete Full Moon fashion, is the alligator’s transmogrified size and supplied new abilities that allows it to chomp heads clean off, savagely gnaw on half-naked beauties, and swallow hole it’s biggest, most arrogant opponent.  What castrates the story is the limited locations with much of the cat and mouse play at the house and around the only vehicle for escape.  The adjacent lake is virtually untapped for watery carnage, an area of helplessness for prey, aka people, to float in suspension while something more dangerous lurks below the surface or meets them at eye level.  “Bad CGI Gator” is swampy camp at its best and, at the same time, at its worst but never pretends to be anything more.

Not only an ode to the monster movies of yore and a lampoon hit to the gross, schlocky creature features of more modern times, “Bad CGI Gator” emerges onto an AVC encoded, high-definition Blu-ray from Full Moon Features. The 1080p resolution on the single-layered BD25 of Full Moon’s feature number 395 has no digital discord regarding sharpness around the details. Gator POVs remark good pixel counts under and above water, delineating around the aquatic ecosystem including the plants and lake’s mucky floor. Night sequences bathed in a softer, illuminatingly spreading blue see equal amount of definition where the, what is considered to be, moon light hits and transition into the exterior cabin juxtapositions nicely with a warmer, shadowy outlined tone. The release’s audio mixes include a LPCM 5.1 surround sound and a LPCM Stereo 2.0. Early on, dialogue has a conical sound with reverberations that seemingly bounce back almost immediately. Though not totally free of audio fallibility, the dialogue does come across prominent and clean of distortion. Conical echoing dissipates later in the runtime and is replaced with the impenetrable sounds of a growling gator and its stomping around the cabin property that doesn’t seem to occupy the same space, much like the gator, ridiculing this particular creature feature sub-subgenre even more. English subtitles are optionally available. Special features include an audio commentary from director Danny Draven and screenwriter Zalman Band, a Screams from the Basement Podcast interview with the director, A second director interview on the Dead Talk Live Podcast, an isolated Jojo Draven musical score that sounds just as carnivalesque, humorous horror blend as Richard Band would compose, a blooper reel, a cast table read at the Full Moon mansion in Ohio, and the original trailer. The standard Blu-ray comes a fairly telling illustration of a savage-looking gator mouth agape just below a bitten-ripped Spring Break banner. There are no insert or other tangible bonus content alongside a humorously standing upright gator, slight smirking with the catalogue film number. “Bad CGI Gator” Blu-ray comes region free, has a runtime just under an hour at 58 minutes, and is not rated.

Last Rites: Full Moon’s satirical take on lousy alligator anarchy is spot on and though the cast of characters deserve every rendered tooth ripped into their flesh, the glossy gator pales in comparison to practical effects of its predecessors, and the story stinks as much as gator bait, “Bad CGI Gator” doesn’t false advertise this uncanny predator’s X-factors and that’s brownie points in my book.

“Bad CGI Gator” is an Amazon Choice item! Order it Here!

Wake Up and Get Lost in the EVIL Flowers. “Terror Firma” reviewed! (Dark Arts Entertainment / Blu-ray)

Posted by Steven Lewis on

“Terror Firma.” The First Dark Arts Entertainment TItle Now Available!

Having no place to go during the middle of an unexplained, national Marshall Law event where citizens must remain indoors or else face imprisonment, Lola bunks in with her fellow adopted brother Louis and his bizarre tenant Cage. Though Lola and Louis have not seen each other in years, they quickly bond to deflect Cage’s peculiar persona that has honed in on Lola. After receiving a government issued drop shipment of food, Lola discovers a seed packet wedged in between the boxes. Her curiosity sows a single seed that results a hole in the ground next day, a hole that produces a jelly that conforms to their individualized favorite flavors, and they become addicted to its intoxication, but when Louis disappears, seemingly trapped between dimensions and communicating underneath an alien flower where the hole use to be, Lola is stuck alone with Cage who’s more and more becoming twisted by the transcendental jelly.

A pun play on the idea of terra firma, defined as the Earth’s ground or surface, “Terror Firma” is a prismatic and cosmic hell hole of a psychological and interdimensional thriller from writer-director Jake Macpherson. Macpherson, a regular music video director of photography and a short film filmmaker, debuts his 2023 feature film with a broader, elephantine story under a bantam budget, reduced to a singular location, and uses the idea of terra firma as the basic premise for natural Earth horror blended with the pandemic confinement of COVID-19 in which the story was conceived and how that isolation acceptance, thralldom from authoritarian instruction, and broken family bridges originate the internal dysfunctions outward toward a destructive, maddening outcome. “Terror Firma” is a production of the Los Angeles based Capture Theory company with Macpherson, John Angeli, Forrest Clark, Theo Linder, Katie Mamie, and Bryan Wilson serving as mostly first-time producers.

Keeping in line with a low-cost production, the story takes root at mostly one location, Lou’s rundown, multi-story house with creaky old floors and compact rooms, extending the location beyond the walls and into the house’s minute front yard where a pile of dirt with a strange jelly hole metamorphizing into an even stranger looking flower becomes the catalyst of weirdness.  Thai-American actress Faye Tamasa is Lola, the weary sister of Louis, played by Burt Thakur, who invites her to come stay with him during the beginning of a nationwide shutdown of unexplained purpose.  Lola and Louis, both once orphans and adopted by the same parents, haven’t seen each other in years and have rarely spoke.  Repeated motifs of isolation, such as the extension of their orphanage, and an awkward disconnect between them display their relationship instable without having an obvious clash to outright scream incompatibility between the two who don’t share bloodline but grew up together.  There’s still an affection quality between them but it is damaged.  And, then, in comes the third wheel that becomes the wedge between Lola and Louis’s relationship rekindling.  Cage, a dodgy spiritual pseud and played with monotonic sleaziness by Robert Brettenaugh (“Strange Blood”), interjects his numinous nonsense as a façade to impress Lola but as Lola sees right through him, Cage diverts his attention to the Jelly that drops the façade and unleashes his true spirit, a sociopath with an obsession.  The trio works to relay a significance in loneliness and isolating desperation in a sensationalized, supernatural way in finding a pathway through the lockdown blues.   Rounding out the cast with a small role that wouldn’t even be considered turning the trio into a quartet is Max Carpenter as a former love interest to Lola.

Not to be confused with or have any similarities to Lloyd Kaufman’s 1999 burlesque slasher titled “Terror Firmer,” Macpherson’s debut is born and bred out of the woes of a global pandemic by formulating a fantastical escape from the reality as we knew it before everything went into an abrupt lockdown.  The sudden stoppage of the world and social gatherings certainly began a snowball effect of emotional distress, some more external than internal that gradually drew to head an uneasy amount of stir crazy.  For the trio of roommates, and like most of us during the beginning of the lockdown, we’re excited and thrill for a break in the norm but as time marches on, those you’re stuck with without anywhere to go is an unusual alienating feeling.  “Terror Firma” expediates the sullied sensation to cosmic proportions with gateways to upside down worlds that mirror our own and develop cultish acolytes to the Jelly’s mystical powers.  Granted, no much of Jake Macpherson’s story makes a whole ton of sense and is very open to interpretation, but one possible avenue I’ve concluded is that the Jelly is a convenient, sweet-tasting poison that one can easily fall for its pseudo-tranquility and limitless euphoria to solve all our immediate problems as a quick fix but ultimately it’s our will and the power within ourselves to reconnect, re-establish, and revitalize what’s missing from ourselves.  Macpherson’s hallucinogenic rabbit hole of a thriller is an abstract course on preservation of relationship and connections while overwhelmed with obstacles.

Prominent genre filmmaker Brian Yuzna, well-known for his behind-the-camera roles on Stuart Gordon’s “Re-Animator” and “Dolls,” as well as his own directorial credits “Society” and “Beyond Re-Animator” to revolutionize the way we see horror in the 80s and 90s, teams up with John Penney, writer of staple cult classic “The Kindred” and “Return of the Living Dead III,” to form a new at-home physical media label known as Dark Arts Entertainment.  “Terror Firma” is the first title to be released by the joint partnership with MVD Visual for distribution.  The AVC encoded, 1080p high definition, BD50 houses the widescreen, 2.39:1, aspect ratio presented blossoming madness.  Picture image varies with the refracting coloring within the polychromatic lenses and in contrast to the post grading of a slightly coarse tone.   Yet, that isn’t to say quality is subpar and we’re treated to a fine digital image compressed without compromising the encoding on a double layered disc.  The English LPCM Stereo 2.0 offers a lossless reproduction of true audio fidelity and while not be a powerful mix course isolated layers through individualized channel outputs, “Terror Firma” isn’t necessarily powerful in range.  There’s only a handful of psychedelic moments of discord tunes and notes to emphasizes the crossing between dimensions and a few minor key moments to evoke fear out of Cage’s madness but other than that, “Terror Firma” specializes mostly in exposition and silently witnessed moments.  Dialogue is clean, clear, and prominently placed with depth dialed in where needed, especially when Lou begins to speak beyond the plane.  English subtitles are available for the feature only.  Inside the bonus material, a second version, an extended director’s cut, of the film is available and does not have the subtitle option.  Also included is Jake Macpherson’s commentary with main feature, a behind the scenes gallery, and the theatrical trailer.  The maiden Dark Arts release package is standard fare with a traditional Blu-ray casing containing no inserts or other tangible material ride alongs.  Release cover art leaves enough to the imagination to be lured in with Faye Tamasa crawling through a dirt hole and coming upon the alien flower.  The not rated feature has a runtime of 84 minutes and is encoded region free.

Last Rites:  “Terror Firma” is a bold first impression for not only writer-director Jake Macpherson as his debut full-length feature film but also for Brian Yuzna and John Penney inaugurating their distribution label with a film that might not strike a likeable chord with most but will certainly leave a relatable lasting impression on us all. 

“Terror Firma.” The First Dark Arts Entertainment TItle Now Available!

A Little Blow Evokes the Curse! “Cocaine Werewolf” reviewed! (Cleopatra Entertainment / Blu-ray)

Posted by Steven Lewis on

Snort “Cocaine Werewolf” Up! Purchase Here!

A haughty and unpleasant stock trader taking an Uber to a late-night business meeting stumbles upon a drug deal gone bad.  Monstrously bad.  A werewolf intrudes into the exchange, killing three people and biting the trader on the shoulder.  Stumbling into the nearby woods disoriented and with a pocketful of cocaine, his desire to relieve the pain from his shoulder as well as to escape the nightmare of being lost and confused in the woods lies within the white as snow narcotic housed on his person, but every time he takes a nasal hit, his addiction curses him into becoming like the wolf that attacked him.  Happening across a film crew shooting a microbudget horror film and having no clue what’s happening to him, he partakes with the director’s cocaine habit that fuels his inner beast to come out and hunt them down one-by-one to rip them to shreds high on nose candy. 

Much the same way the farcical “Sharknado” gave birth to a few analogous action-horror spoofs with similar ridiculously punned titles, such as “Clownado” or “Lavantula,” that combines a vilified thing with one of the many wraths of mother nature, 2023’s “Cocaine Bear” too began the same conceptual nonsense that spewed out “Attack of the Meth Gator,” “Cocaine Shark,” and now, we’re treated to the next level of hopped-up creatures with “Cocaine Werewolf.”  Helmed by longtime microbudget horror filmmaker Mark Polonia, under the Polonia Bros. Production banner, and penned by first time screenwriter Tyger Torrez, the 2024 horror-comedy cuts the werewolf’s bane with powdery coke, spiraling the legendary lycanthrope into a stimulated frenzy of blow.  “Camp Blood’s” David S. Sterling of Sterling Entertainment funds the in-and-around Wellsboro, Pennsylvania-shot project with fellow producers Ford Austin (“Dahmer vs. Gacy) and Cleopatra Entertainment’s Tim Yasuni and Brian Perera (“Frost,” “The Black Mass”) serving as producer and executive producer. 

Returning to the schlocky world of penny-made horror is Brice Kennedy who has reconnected with Mark Polonia since “Razorteeth” and “Splatter Beach” from 2007.  Shortly after Mark’s brother, John Polonia, unexpectantly died in 2008, Kennedy returns to the in front of the camera scene in 2024 after a lengthy hiatus of 17 years.  Kenney takes the lead role of the cocaine addicted stock trader bitten to become a rampaging werewolf with a proclivity for nose blow.  The West Virginia native never lost a step in those 24 years of off camera with a smooth slip into an obnoxiously crass stock trader jostled to wander the woods and to be anxious to get to the next snort of his pocket narcotic.  Kenney plays on a fraction of the rubber masked werewolf, with Mark Polonia and others donning the snarling molded and faux hair stitched latex, but we don’t know or can’t tell which portion of the man-wolf Kenney portrays.  Brice carries much of the story until he meets the film crew halfway, through the muck of drug deals gone sour between actors James Carolus and Titus Himmelberger of “Sharkula,” a pair of unlucky drivers behind the wheel of their cars in Michael Korotitsch (“Motorboat”) and Marie DeLorenzo (“Sister Krampus”), and two hunters, from James Kelly (“Sharkula”) and Jeff Kirkendall (“Motorboat”) suspicious of the recent mauling deaths of their neighbors and find themselves way over their head with the animal that’s causing all the carnage.  Principal position shifts from being solo to a shared introduction of the film crew, exploring satire of making a low-budget, independent horror movie about a hackneyed clown slasher (Noyes J. Lawton, “Virus Shark”) chasing two girls through the forest.  Those two females leads, Jamie Morgan (“Motorboat”) and Greta Volkova (“The Last Frankenstein”), get put through the trope wringer with lesbianism tendencies and gratuitous shower nudity, not to also neglect mentioning being damsels in distress from a killer clown, and become centrically the focus toward heroine, aka the final girl, as the cocaine werewolf infiltrates their small band of filmmakers.  Hot on the savage beast’s trail is Ken Van Sant (“Virus Shark”) as the local sheriff baffled by what’s tearing people apart.  If you couldn’t tell already, the cast is comprised of Mark Polonia regulars, those who have worked together on numerous projects, and have a kind of inner circle rapport with each other from the various Mark Polonia Bros. productions and this also includes Cody Losinger, Tim Hatch, Yolie Canales, and Alyssa Paige that rounds out “Cocaine Werewolf.”

I had promised myself after reviewing “Motorboat” dismally, I would stay away from another Mark Polonia production but because of my personal philosophy and prejudge avoidance policy of not researching and previewing films before watching them for critical analysis, I burned myself into Mark Polonia’s world once again.  I was duped in part of Cleopatra Entertainment being partnering producers and the distributing label as they’re becoming well known for release moderately subpar horror product and have their own entourage line of actors, actresses, and filmmakers, such as Devanny Pinn and Brandon Slagle, with notable B-movie guest stars like William Shatner (“Star Trek”), Vernon Wells (“Commando”), and Udo Kier (“Blood for Dracula”) in some of their releases.  Additionally, I absolutely enjoyed “Gun Woman’s” Kurando Mitsutake from print-to-film manga adapted “Lion Girl” that recently saw the physical media light.  Unfortunately, I did not get the same pleasure out of “Cocaine Werewolf” under Polonia’s formulaic filmmaking and while Polonia does apply some effects techniques, mostly off-kilter visual f/x such as the added cold breath, the blood spurts, or the swirling faces that indicate human-to-wolf transition, but there isn’t a consistency to them and doesn’t blend into “Cocaine Werewolf’s” whole tone in what is more of a convenience choice rather than a unifying or connective element.  “Dead Ant” and “Psycho Goreman’s” Josh Wasylink’s werewolf mask design would be any kid’s Halloween wet dream in what has pretty remarkable detail contrasted against the microbudget.  Granted, there are not pneumatic or hydraulic components to the constant mask but a little blood here, a little blood there, and some glowing red eyes and you got yourself a damn good-looking, classic-feeling werewolf. 

From Cleopatra Entertainment, the film division of music label Cleopatra Records, comes “Cocaine Werewolf” onto an AVC encoded, 1080p high-definition, BD25 Blu-ray. Frequently lacquered in a CIG haze, the ungraded image manages to retain a solid definition of sharp detail presented in an anamorphic 1.85:1 aspect rato. This can be good and bad for the image quality that while really creates delineation around textural clothing and the ample foliage it can also really expose to a fault and emphasize the rubbery inanimate mask along with the large cut out eyes, blackened with dark makeup to try and make the mask and the actor seamless. Depth is fine and medlied across multiple locations and the color range has natural, varied pop, diffused into the smokey trope atmospherics and angled up and key lit cinematography by Paul Alan Steele. Blacks are slight washed but not crushed or with significant banding. Like most Cleopatra Entertainment releases, the soundtrack overwhelms enough of the other audio layers in this English language LCPM Stereo 2.0 that it slightly takes of the edge of the impact, but the lossless quality awakens the snarling, growling werewolf noises and the dialogue is amply consistent throughout that even the Gothic rockabilly score from The 69 Cats doesn’t fully immerse viewers solely in the band’s dark melodiousness. Bonus content includes a Mark Polonia commentary, which the director is usually pretty good about supplying and supporting for most of his work, an image slideshow, and the trailer plus trailers for other Cleopatra Entertainment releases. Physical attributes of the conventional encased Blu-ray include an uncredited but insane Red Riding Hood inspired illustration on the front cover. There is no reverse side of the cover nor are there any inserts included in his release and the disc is pressed with the same front cover image. The unrated Blu-ray comes region free and has a runtime of 80 minutes.

Last Rites: “Cocaine Werewolf” is better than most of the contemporary Mark Polonia body of work, but the heart-pounded effects of his laced comedy-horror is not addictive enough to produce the euphoria to warrant another line hit, leaving this derived werewolf indie in withdrawals.

Snort “Cocaine Werewolf” Up! Purchase Here!

In the Canals, An EVIL Lurks! “Amsterdamned” reviewed! (Blue Underground / Blu-ray)

Posted by Steven Lewis on

The Horror of “Amsterdamned” Canals Are Now Available at Home!

A killer emerges out of the depths of an Amsterdam canal and mercilessly kills a prostitute, dragging her into the water, and suspends her lifeless, stabbed-riddled corpse over one of the canal bridges.  Detective Eric Visser is baffled by the canal killer’s unusual technique but aims to track down the bravado murderer while living the single dad life with daughter Anneke.  When another couple of heinous killings takes place out in the middle of the water and the mutilated bodies wash ashore, panic begins to creep into administrative officials with the thought of a scuba diving maniac swimming in the hundreds of Amsterdam canals.  Investigating the underwater hobby leads Visser to meet Laura, a diving enthusiast and museum tour guide who sparks instantly with the ruggedly handsome detective, but as the Visser gets closer to the truth and the killer, Laura becomes emmeshed in a crime that’s deadlier than an embolism. 

If scuba diving wasn’t already deadly enough, the murky waters of canal rivulets become the hunting grounds of a deranged, underwater killer in Dick Maas’s 1988 Dutch crime thriller “Amsterdamned.”   The elevator horror filmmaker of “The Lift” Maas wrote and directed the red-running canal of carnage with a fast-paced, action-packed, hard-boiled, giallo film outside the conventional Italia-construction.  Shot mostly in the red-light district capital of the world of Amsterdam, shooting locations also include Utrecht to accommodate additional speedboat scenes, plus studio work in Leiden and Heemstede, Netherland.  Maas self produces the action-horror alongside Lauren Geels, a longtime collaborator with Maas who’ve worked previously on comedies “Voyeur” and “Flodders” and subsequent projects, such as the English-dialogued apocalyptic drama “The Last Island” helmed by provocative feminist filmmaker Marleen Gorris and Maas’s own American remake of “The Lift,” known as “The Shaft” or “Down.”  “Amsterdamned” is distributed theatrically by First Floor Pictures.

Huub Stapel (“The Cool Lakes of Death,” “The Lift”) stars as the world-weary, tough as nails cop Eric Visser.  Also, as a single dad raising a small preteen and nearly self-independent child Anneke (Tatum Dagelet, ”Stuk!”), the setup doesn’t automatically constitute the detective as a cynically hardboiled man of the law but evokes more of a seasoned and skeptical vigilant persona of a man who is willing to leave circumspection at the door when duty calls.  Stapel wonderfully fits the bill of Eric Visser’s rugged and assured good looks with a force in tune with being a father and a police investigator when the occasion calls for it.  Being a single father also invites the opportunity to spark an exciting love interest to later put into danger.  The infectious smile of Monique van de Ven (“Turkish Delight,” “A Woman Like Eve”) fills that void as Stapel and Ven engage in teetering flirtation that makes us wonder how astute is Visser now on a case that’s causing havoc on the streets of, or rather the waterways of, Amsterdam.  Luckily, fellow police partners Vermeer (Serge-Henri Valcke, “Sl8n8”) and John van Meegeren (Wim Zomer), the latter a professional scuba diver and once jealous rival lover of Visser, keep the detective mostly focused with investigative conversation, joint crime scene speculation, and the gruesome death of one of them when they get too close.  That ancient rivalry between Visser and Meegeren stays put in the re-introduction of their assembly with no hard feelings and bygones will be bygones attitude, missing the change for any exterior or addition tension outside the murderer’s reign of terror.  “Amsterdamned” rounds out the cast with Lou Landré, Tanneke Hartzuiker, and Hidde Maas.

The fascinating aspect of Dick Maas’s “Amsterdamned” is taking the idyllic, ingrained, and utilitarian that is a cultural and landmark staple of Amsterdam and turning into an unpleasant gateway of fear and anxiety.  Transferring soundbite cues and following a storyline that’s not terribly too dissimilar from that of Steven Speilberg’s iconic oceanic death-dealing “Jaws,” and toss in Dick Maas’s enthusiastic fervor for a heart-racing effervescence, and you have the singular crime-thriller “Amsterdamned” in a nutshell that’s doesn’t deliver trite and uninspired horror or thrills but rather spoils the innate grandeur of a worldclass city that’s soaked in splendor as well as carnal sin; a fact lost upon espionage thrillers who overuse “Amsterdam” as an assembly of salvo and high-speed chases.  Maas does add his own variation of high-speed chase with a lengthy and complex speedboat pursuit through the on-site in Amsterdam and Utrecht canals with gripping and well edited ramp jumps and fiery explosions that predate some of the more renowned speedboat chases of modern cinema.  What’s also interesting about “Amsterdamned” is the adversary that doesn’t have a lot of bells and whistles to make a convoluted story stick; instead, the killer is rather simply pieced together but descriptively held at bay until the finale for maximum suspense on unveiling the identity. 

Surfacing just beneath the depths is a 2K restoration from the original 35mm negative, approved by Dick Maas, from Blue Underground; however, these Blu-ray specs mirror the 2017 Blu-ray and DVD combo set and is more than likely the same transfer but for this standard edition, also labeled special edition, release.  The single disc, AVC encoded, BD50 is presented in high-definition 1080p and in a widescreen 1.85:1 aspect ratio.  Color saturation stands out here with a specified density that results in a pop of color and a diffusion of light that’s brilliant and revealing in the day without a bleeding wash and cold, wet, and with a noir-like steeliness at night, accentuated by inky solid shadows.  The original 35mm print has flawless approach into the restoration that makes the 2K scan candid and, perhaps, a walk in the park for another Blue Underground upgrade to high-definition in their established genre catalogue.  The original Dutch soundtrack is presented in a 5.1 DTS-HD, greatly tightened around the milieu and dialogue to isolate each track for separation and clarity.  Dick Maas, a filmmaker of many talents, scores his own feature with an unintrusive and dynamic soundtrack that ebbs and flows with the trepidation terror and tension-riddled action.  Dialogue is clean and clear but does have that ADR artificiality to it.  English subtitles render over promptly and error free.  Two other soundtrack mixes are available on the dual layer disc:  a lossless hybrid English-Dutch 2.0 DTS-HD and a French dubbed and lossy Dolby Digital 2.0 Stereo.  English SHD and Spanish subtitles are also optionally available.  Extras are pulled from the previous Blue Underground release and are an audio commentary from writer/director/composer Dick Maas and editor Hans van Dungen, a making of “Amsterdamned,” an interview with star Huub Stapel Tales from the Canal, an interview with stunt coordinator Dickey Beer Damned Stuntwork, the Dutch and US trailer, the Lois Lane music video directed by Dick Maas, and poster and still galleries.  Behind the wild ride illustrated composition of the Blu-ray front cover, the reverse cover lists the encoded scene chapters on top of one of Huub Stapel’s stunt work performances. The disc is pressed with the masked scuba diver head holding a gleaming diver’s knife cover art from Blue Underground’s limited-edition Blu-ray and DVD combo set of 2017. The all region encoded disc holds a 113-minute feature and is rated R.

Last Rites: If looking to save a buck against purchasing the limited edition, dual format combo set, the standard special edition Blu-ray of “Amsterdamned” is worth it, especially since the film has been absent from U.S. home markets up until 2017. Dick Maas is a premier Dutch horror filmmaker with the ability to keep us engaged as well as on edge.

The Horror of “Amsterdamned” Canals Are Now Available at Home!