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Those Little EVIL Buggers Ruin Everything! “Ankle Biters” reviewed! (Dark Star Pictures / Digital Screener)

Posted by Steven Lewis on



Injured hockey goon Sean Chase has severe on-ice anger issues but leave from the game curbs his temper for the better after meeting an internally distraught Laura Haywood.  Enamored by the mother of four who enjoys rough sex as much as he does, Sean decides to willingly plunge into marriage by asking Laura for her hand against his friends and family passive advise him of the hefty, multi-kid baggage in Laura’s tow.  To set the romantic mood, Sean takes Laura and her young kids to his family’s lakeside cabin where all the locals know him, personally and professionally, but when the girls discover cell phone footage of Sean and Laura’s bedroom exploits and interpret them as Sean hurting their mother, they devise mischievous retribution on Sean in order to protect mommy. 

From being a bare knuckler enforcer using the rink as his boxing ring to becoming the haplessly smitten and blind to four little girls’ perception of him as the bad guy, the once penalty box denizen Sean Chase is now the penalized good guy in the Canadian dark-comedy “Ankle Biters” from writer-director Bennet De Brabandere.  Also known as “Cherrypicker,” the title used in the film, the film is Brabandere’s first feature length film based off a story by lead actor, Zion Forrest Lee (“Hit It”), who oft puts delicate notes of misperception as the main theme in his tale.  Shot primarily in the harbor village of Ontario’s Tobermory “Ankle Biters” is produced by Michael Flax of Flax Films, director Bennet De Brabandere, long time makeup artist Sean Sansom with credits from “Land of the Dead” and “eXistenZ, and special effects company, Mindwarp Productions’, Francois Dagenais (“Saw” franchise, “Chucky” SyFy series).  The film is presented in part by APL Films.

As if seeking some sort of self-punishment, story originator Zion Forrest Lee takes the form of a punching bag for four overprotective little girls; four real life sisters, in fact, played by Rosalee, Dahlia, Violet (“Bad Santa 2”), and Lily Reid, the latter Reid having played a significant role in Johannes Roberts’ recent “Resident Evil” reboot as young Claire Redfield and will be involved in another Lee and Brabandere collaboration in the upcoming apocalypse thriller, “Salvation.”  As a father of three girls myself, the Reid girls are nothing short of genuine, killing their roles with tweaked difference in each of their individual personalities as cute and morbidly curious children and siblings.  Lee offers up a rather over-the-top approach toward Chase’s Mr. Perfect in a way that doesn’t come across naturally as the performance is stuck somewhere between Phil Hartman in “Jingle All the Way” and Chevy Chase in “Christmas Vacation” (I’m in the Christmas spirit with my films, if you can’t tell) with a suave sexy toward the women who swallow it up and dorky goofball toward kids who don’t understand it. Chase’s legendary hockey status has been interweaved into the community surrounding his family’s lakeside cabin, such as the local cops with Officer Brian (Gareth Moyse), local shopkeepers like Jordy (Jordan Mills), and even other vacationers, a pair of lakeside neighbors in Anthony (Doru Bandol) and Caprice Gaddis (Maria Sant’Angelo) with their blossoming teenage daughter Matia (Matia Jackett, “Crimson Peak”). By far one of the more interesting characters, Matia doesn’t actually progress the story with her flirtatious crush on Chase as she’s used as more of a device to propel the Haywood girls into full-blown psycho-kiddies as Matia bites off more than she can chew on a what should have been a routine babysitting gig. The biggest name in the film is the “Who’s Line is it Anyway?” comic Colin Mochrie in an unfunny role as the town’s police chief. “Ankle Biters” houses many curious characters come and go, adding little to story or not adding enough, with select bit performances from Evert Houston, Michael Copeman, and Jani Lauzon amongst the Canadian cast.

Not one single member the cast had that it factor that sparks allurement, intrigue, laughter, hate, or any other kind of emotion they’re trained to extract from you or intent on to make you feel in certain crucial points in the story. As a dark comedy, “Ankle Biters” lacked, well, comedy with an overreaching and flat satire on the innocence of mistaken circumstances. When the opening credits roll with the Gary Glitter “Rock and Roll” sampling “The Hey Song,” a track used for decades at sporting events, and we’re immediately exposed to a confrontational and bearded hockey player punching the eye out of an opposing team player into the title sequence, investing myself was easy as the synch of melodious Jock Jams and brutality is promised for the horizon; however, quickly skating from the ice is our beloved bloody-knuckled goon gone in a matter of oddly edited and sequenced scenes and is rarely seen again, even in flashbacks, as we’re dumped into post-hockey career, clean shaven, and on the behavior mend of Sean Chase trying to quickly nail down a woman with four kids who obviously dislike him a whole lot. I fail to see the transition, I don’t want to see the transition, and I’m angry “Ankle Biters” ended up in this transition whereas having Chase continue to be the injured, but still a fisticuffing and bearded enforcer, going toe-to-toe with brats would have been much more (Canadian) of an amusing watch. The better side of this genre blending coin is the darkness portion that really elevates during the latter half of the lakeside trip. Dead bodies, baby spiders crawling out of an ear, open wound fractured skull, a knife to the eye are just a few of the effective practical and composite applications from Francois Dagenais’s special effects company, MindWarp Productions, that keeps the story grounded with destroying the human anatomy as well as keeping up with the human fallibly in order to not have the film fall completely on its face with everything else erroneous.

Released back in mid-November, “Ankle Biters” landed onto On Demand platforms and DVD home video courtesy of Dark Star Pictures. Even though I’m unable to fully cover the audio and video details from any digital screener, I don’t think what was provided was even a finished version of the film that came complete with top left corner running timestamps and some obvious missing special effects, such as the missing prop knife tip when removed from the eye socket and then the tip is back whole on the next shot. No information on the DVD specs was given to me either. Brabandere and Lee do tease with a follow up sequel involving the “Son of Cherrypicker,” named after the lakeside penned “Cherrypicker murders” in the film which, again, was never made a solidifying connection to other than a brief news report ticker on television. If comparing a film close to “Ankle Biters,” Peter Berg’s “Very Bad Things” fits that gruesome bill with one gross misstep in front of another that eventually culminates to a shocking and even deadlier kill or be killed ending with a grown man versus four little girls.

Watch “Ankle Biters” On Amazon Prime Video

When Marriage Sours, EVIL From Within Manifests. “Possession” reviewed (Umbrella Entertainment / Blu-ray)

Posted by Steven Lewis on

After his return from a lengthy time abroad, Mark finds himself in a contentious and spiteful relationship with his skittish wife Anna unveils her infidelity.  Unable to pry any kind of information from her before her sudden disappearance, Mark results to all the stages of grief and heartache:  denial, isolation, anger, bargaining, depression and, finally, acceptance.   Anna comes-and-goes from Mark and their son’s life, but their spats continue, increasing in anger and violence which each encounter.  Mark hires private investigators to track down Anna’s whereabouts.  He evens confronts her flamboyant and Zen-mastering lover.  But when Mark comes face-to-face with Anna’s sinister secret, a sub rosa affair unlike anything Mark has ever seen, he will go to unimaginable lengths to protect the wife he obsessively loves. 

Polish filmmaker Andrzej Zulawski’s “Possession” spans over a number of parallels that, in abstract theory, reflect social political matters of a post-war, Berlin wall divided Germany and the personal matters of Zulawski as a mirror of his ugly and bitter divorce from actress Malgorzata Braunek.  The 1981, Berlin shot, inimitable horror is a speeding melodramatic bullet train racing down a tracklayer of surreal rails and planks, ripping toward destruction with two turbulent people who about to slam, engine first, into an unforeseen mountain façade of towering despondency. That unforeseen mountain takes form from the tug-a-war of within, materializing duplicity, in every sense of the word, unnaturally. Frederic Tuten cowrote the emotionally florid and easily post-grad thesis dissecting film with Zulawski that was French mounted by Gaumont Film Company under producer Marie-Laure Reyre. Two other French companies, Oliane Productions and Soma Films, co-produced.

Watching Mark (“Jurassic Park” and “Event Horizon’s” Sam Neill), and Anna (“The Tenant” and “Diabolique’s” Isabelle Adjani) go at each other’s throat in a vicious cycle of matrimony madness can be in itself, maddening. Neill and Adjani radiate such loathing and desperation that’s seeing the two interact could possibly ignite World War III right there in the heart of Germany. What makes the contentious and hyperventilating scenes more interesting and alluring are the actors’ stage-like, full of hyperbolic melodrama, performances that somehow don’t quite register as the feisty interactions playout in what can only be concluded being pinpoint precision. Even Heinrich (“A Young Emmanuelle’s” Heinz Bennent”) is blatantly over-the-top with erratically wild movements of his body during scenes of emotional and physical struggle. Zulawski and “Possession” embraces the international cast with individual methodology on acting from Britain, France, Germany, and with even Zulawski who’s Polish and though you know the film is set in a divided Berlin between East and West Germany, there’s never this sense that “Possession” is strictly locked down to be anything but German. Aside from the Berlin Wall and some signage, maybe even the architecture, the multinational cast thins out the inklings of thinking, “oh yeah, this is filed in Germany!” “Possession” cast concludes with Margit Carstensen, Shaun Lawton, Johanna Hofner, Michael Hogben and Carl Duering.

Being that this was my second sit down with Andrzej Zulaski’s “Possession,” the first being Second Sight Films’ DVD release over 10 years ago, you begin to fathom the pattern of surrealism Zulaski aims to bombard viewers with through incessant bickering and an unspoken love-and-hate undertone. The doppelganger theory that’s attached itself to “Possession” from over the years warrants merit because those in a relationship on the precipice of implosion always wish the other person to be a better version of themselves, of who they want them to be, or of who they fell in love with in the first place. One can’t go deep into the doppelganger theory without totally exposing all of “Possession’s” secrets, surreal or not, and that infestation of preference takes shape for Zulaski as, ironically enough, a shapeless creature. The desire is tremendously powerful for Anna she can’t avoid being away from it for long stretches of a time, popping in to her and Mark’s old apartment for just enough time to have Mark stir the pot with his own manifested infernal creature, himself. Anna, an extremely passive woman, rarely confronts Mark about her infidelity and is always Mark who has to extract that information with every tooth and nail. “Possession” will forever be hailed a film that can analyzed over and over again without ever finding a concrete interpretation and, you know what, we can live with that.

As I said, last time “Possession” was visited by these aging eyes was over a decade ago on a UK DVD. Now, I had the fortunate opportunity to sit down with a new Blu-ray release from Australia. Umbrella Entertainment, in conjunction with The Film Institute (TFI) Films Production, releases a single disc, full 1080p Blu-ray, registered as their volume #11 on the spine, as part of the banner’s Beyond Genres collection. Presented in European widescreen 1.66:1 aspect ratio, this “Possession” release has a giant leap of negative exposure in comparison to Second Sight’s DVD, retreating away from a more natural and textural palpable transfer, full of detail and good amount of grain, to a blue-tinged headscratcher with a higher contrast that renders details and shadows nearly wiped out. The transfer is also conveyed with slight damage seen in approx. minute 14 with a vertical scratch and some image destabilization that makes discernability dematerialize right before your eyes near minute 44 and 57. The English language DTS-HD 2.0 master audio renders better with cleaner tracks seeing little-to-none hissing or static. The dialogue’s apparent and unobstructed thought slightly isolating without much depth. Despite some limited capacity with the dual channels, “Possession’s” more adrenalized scenes/ranges – i.e., speeding car flip, shoot outs, apartment explosion – sound effective and robust. Special features include an archival audio commentary with director Andrzej Zulawski and co-writer Frederic Tuten, an archival interview with the late Zulawski The Other Side of the Wall: The Making of Possession from 2011, a U.S. Cut of the film with a following featurette Repossessed, a location featurette A Divided City, the musical compositions in an interview with composer Andrej Korzynski The Sounds of Possession, an interview with producer Christian Ferry Our Friend in the West, a poster analysis, and the international and U.S. theatrical trailer. What’s presented by Umbrella is the fully uncut 123-minute version in a region B-code format though, weirdly enough, rated 18. Another weird note about the release is the back cover credits are displayed in French on the cardboard slipcover housing the reversible DVD artwork featuring a new illustrated snapcase cover art by Simon Sherry. I’m a clear fan of “Possession’s” clear ambiguity despite being not sure positive about the new Blu-ray release. Zulawski’s tale of corrosive dissolving of wedlock definitely fits the Beyond Genres banner and is a fine edition to Umbrella’s celebratory bank of classic horror.


Possess Your Own Copy of Umbrella Entertainment’s Blu-ray Release of “Possession” Today!

Being Dismissed is EVIL That’s Hard to Choke Down. “Swallow” reviewed! (Second Sight Films / BD-R Screener)

Posted by Steven Lewis on

Newly pregnant housewife, Hunter, putters around the house while her workaholic husband enjoys the fruits of success and friendship with colleagues.  When she’s not cleaning the house or preparing a meal for herself, Hunter stares into the oblivion of her isolating environment.  The country girl who really had nothing to her name has fortunately found an opportunity to never be worried about financial insecurities and with every material thing a person could want in their right at her fingertips.  All Hunter has to sacrifice is her control.  Feeling lonely, powerless, and trapped, Hunter discovers swallowing inedible, dangerous objects gives her great joy and something she can control.  As she goes deeper into this obsession and her perfect world begins to crumble, she’s confronted with reexamining her dark past that stems her unusual eating habit.

Sometimes it’s our strange quirks, our self-destruction behaviors, and our subconscious need to be noticed, or in control, or out of the pockets of others that can deliver horrid outcomes that, ironically enough, can be also our incognito liberator.  As such displayed in Carlo Mirabella-Davis’ written and directed introductory feature film, a blend of family melodrama and interior body horror, with “Swallow.”  The 2019 released psychological thriller is difficult to digest, literally, as the protagonist struggles coping with external control issues in a seemingly perfect life, a life that has never quite felt like her own, while also encouraging an alarming new physiological appetite for what is known in the eating disorder circles as Pica.  Set in upstate New York, shot around the idyllic Hudson Valley area, “Swallow” is produced by the award-winning “Nomadland’s” Mollye Asher and “Black Box’s” Mynette Louie, who have a long history in investing into bold and interesting emotional depth tales, and is a production of the France based companies, Charades and Logical Pictures.

Undertaking the daunting task of Pica emulating is Haley Bennett.  “The Haunting of Molly Hartley” and “Hardcore Henry” actress tethers a line to the core basis of her character Hunter who has to gradually chip away portions of her blank exterior of a person subconsciously suffering from similar symptoms of Stockholm Syndrome.  Hunter very much believes in the social saturation of wifely duties at an attempt to please her bread-winning husband Ritchie (Austin Stowell, “Colossal”), constantly gathering reassurances and happiness from him.  I also like the play on words with the husband name Ritchie that speaks to his haughty behavior.  Bennett, in great detail, captures Hunter’s disfigured, uncertain happiness and wholehearted attempts to join the ranks of a proud housewife, an area mirrored by silent authority from her mother-in-law Katherine (Elizabeth Marvel, “All the Little Things We Kill”).  As soon as Hunter swallows that very first foreign object, Bennett derives true delight from the bizarre action.  From then on, blistering is away is being a slave to Ritchie’s wealthy ties as that little object, that spherical inkling of hope, gets the marble rolling down the gullet of taking back what’s hers, her life.  Bennett and Stowell finesse their characters’ relationship with a teetertotter of genuine sympathy and ingenuine gratification in what’s a blurry line of compassion or a total fake façade for the allusion of appearances.  The weakest character, for me, is Luay, the Syrian expat who fled the turmoil of homeland war and has become something of a caretaker to Hunter.  Played by Laith Nakli, Luay’s sympathy for Hunter runs deeper than her psychological disorder, and Nakli can dish out awkward, slow burn compassion with the best of them, but that connection between Luay and Hunter misses the timely mark with a blank and acute switching of allegiances gone unspoken and with inaction.  Luna Lauren Velez (“Dexter”), David Rasche (“Cobra”), Babak Tafti, Nichole Kang (“Ten Minutes to Midnight”), Zabryna Guevara, and “American Horror Story’s” Denis O’Hare rounds out the cast.

Hunter’s fixation can be compared to the likes of any other vice and soul-swallowing addiction – gambling , drugs, sex – but the very fact that it’s Pica, and on a certain level of the OCD spectrum, makes Mirabella-Davis’ script somewhat of a curious oddity as the filmmaker builds a story around a dysfunctional family and one’s own personal grasp on destiny.  Though set in modern times, “Swallow” very much has a 1950s-1960s vibe with the dynamic of the working husband and the wife stays home to spruce up the house; there’s even a particular scene of Hunter vacuuming in a 50’s-ish tea length swing dress.  Despite the story’s curious and odd nature and the stuck in time antiquated gender inequality veneer, Mirabella-Davis utilizes these aspects to shape and shed light on the more diabolical of inner detriments with Hunter’s lack of confidence and autonomy stemmed from a difficult to swallow past and a financially affluent relationship that actually disallows personal freedom.  “Swallow” is oppressive in ways as Ritchie and his family and friends attempt to squeeze every ounce of value out of Hunter with value being the unborn child amongst other things.   The psychology of “Swallow” melds past and present together to form Hunter’s dangerous method of taking over the reigns of a life she never steered and Mirabella-Davis crafts an exquisite niche thriller to encourage us to gobble up.

Second Sight Films, a label known for it’s substantial and lavish re-releases, snacks on another high profile film with their profound limited edition Blu-ray of Carlo Mirabella-Davis’ “Swallow.” The single disc, PAL encoded, region B BD-25 is presented in the original aspect ratio of a widescreen 2.39:1 aspect ratio. Since a BD-R was provided for review purposes, I am unable to comment on the true characteristics and qualities of the audio and video, but do note Katelin Arizmendi’s stunning cinematography that’s full of palpable texture to every minute piece of inedible edibles Hunter puts down her throat and the gorgeous long shots of Hunter being engulfed by the depth with the isolating forest setting that looks to be lurking in the background. The limited edition release hit shelves this past Tuesday, the 22nd, and has a ton of features to check out, including a new audio commentary by director Mirabella-Davis and producers Moilye Asher and Mynette Louie, A Personal Story exclusive interview with the director that’s seriously in-depth and passionate about his work on “Swallow,” Something Bubbling Underneath exclusive interview with producer Moilye Asher, The Process exclusive interview with editor Joe Murphy, Metal and Glass exclusive interview with composer Nathan Halpern, Alexandra Heller-Nicholas’s take on “Swallow” A Room of One’s Own, Mirabella-Davis’ short film “Knife Party,” and a rigid slipcase with new artwork by Haley Turnbull along with a soft cover booklet with an introduction by the director and containing essays by Anne Billson, Jordan Crucchiola, and Ella Kemp. Lastly, at the tail of the special features are 6 beautiful collectors’ art cards. “Swallow” is rated UK 18 and runs for 94 minutes. Bennett wins the prize for making “Swallow” a throat-clearing success and bravo to Mirabella-Davis for being brave enough with an unusual story set around an uncommon eating disorder and directing the hell out of it.

Limited Edition Blu-ray from Second Sight Films Available at Amazon.com

EVIL Strikes at the Stroke of “Midnight” reviewed! (Blu-ray / Severin)

Posted by Steven Lewis on

Teenager Nancy searches for forgiveness through reestablishing her faith in God after being dumped by her sexually active boyfriend.  When her alcoholic, police officer stepfather learns of the relationship’s abrupt ending, he moves in quickly to take advantage of Nancy while under the heavy influence of the bottle.  Escaping his grasp, she flles home and hitchhikes a ride with two men travelling South on a getaway from Pennsylvania to sunny Fort Lauderdale, but when facing trouble with small town local law enforcement after attempting to steal groceries, the three find themselves right in the middle of a Satanic cult’s sacrificial ritual that requires the killing of three women for eternal life, one a night at midnight for three days.  Held in a dog cage, Nancy anxiously awaits her turn at the bloodletting alter surrounded by the cloaked-cladded cult and their decomposing mother’s corpse  Praying to God to save her soul, little does Nancy know that her stepfather has tracked down her whereabouts, leading to a bloody showdown of one cop pitted against a family of satanic psychopaths. 

Based of his 1980 novel of the same title, “Midnight” is known to be John Russo’s heart-and-soul project that ended up suffering one mishap after another in the two years of its production and post-production until it’s final release in 1982.  Also known as “Backwoods Massacre,” the “Night of the Living Dead” co-writer Russo helms the low-budget occult slasher out from his usual stomping grounds in and around Pittsburgh, Pennsylvania.  “Midnight” showcases a story themed with a depraved sense of race intolerance for African Americans and all varieties of religious convictions to be innately false in an atheistic Russo viewpoint amongst a glorified surface level of enrapturing inhumane violence seasoned by brainwashing.  This West Pennsylvanian born and bred grindhouse exploitation found producers in  Sam Sherman and Daniel Q. Kennis of “Blazing Stewardesses” and “Blood of Ghastly Horror”) along with Donald Redinger under the now defunct Independent-International Picture Corp.

In a sea of smaller fish of Pittsburgh actors in “Midnight’s” casting tow is a larger and rougher around the gills grouper embodied by the singular Lawrence Tierney (“Reservoir Dogs,” “The Prowler”) in the Officer Bert Johnson role. Tierney’s no stranger to the horror genre, flaunting his thick New York tough guy accent that typically typecasts the veteran actor into authoritative roles. In being no exception, “Midnight” has Tierney playing a sleazy, alcoholic, police officer who winds up more-or-less unearthing sense in his old age and utilizing his skills for good to fully satisfy his character’s arc, but Tierney alone is wonderful to behold and easy to be disgusted by as he solicits his underage teenage stepdaughter with a perverted proposition. That stepdaughter, Nancy (Melanie Verlin), is the face of “Midnight’s” protagonist whose attempting to get back on track with God after a sinful bedroom relationship with an ex-boyfriend, but her plans are slighted by a brood of young Satanists keen on keeping their now long deceased mother’s irreligious convictions intact. David Marchick, George Romero regular Ted Amplas (“Day of the Dead” 1978, “Martin”), Robin Walsh, and the face of “Midnight” on many of the posters, Greg Besnack, size up as the Satanic terrible and merciless foursome. The cast fills out with Charles Johnson, John Hall, Bob Johnson, Lachele Carl, Jackie Nicoll, Doris Hackney, and Ellie Wyler.

After the success of a collaborated run with George Romero on a handful of projects, John Russo ultimately branches off to do his own creative output after their production company, Latent Image, brought on newcomers’ and the shared ideas on the direction of their company didn’t sit well with Russo – an irk that Russo still harps upon to this day, according to the special features’ new interview from the latest Severin Film’s release.  Yet, I digress into the review of “Midnight” that has feral narrative with an irregular plotted blueprint of teenager exploitation, racial injustice, and backwoods barbarians.  Somehow, Russo’s able to juggle his jotted down on a budget scrambler with a threadbare satanic family baseline that unsettlingly feels snagged in a randomizing generator spitting out scenes to see if they cohesively connect into the next.  Nancy’s traversing into the thicket of terror story cuts into and undermines more of the sibling’s unholy ritual, which the title “Midnight” becomes an important piece to the ceremony, with a subplot of the teen running away from a handsy stepfather and into the Mystery Machine modeled van-driving hands of a pair of cavalier friends on a road trip and then find themselves in an endgame of rotten luck with bad company.  The whole lead up to the two groups running into each other is suddenly dropped like a bad habit, forgoing much of the racial tensions, the youthful subverts, and even the attempt at pedophilia when the main, overarching theme of cult mayhem and religion inadequacies come to the forefront.  “Midnight” inarguably a gargantuan piece of good ole American hicksville victimization with some underappreciated manic performances by John Amplas and Greg Besnak, but there’s difficulty in shaking “Midnight’s” stark story division that leaves much to be desired.

“Midnight” is the particular video nasty that’s surpassing all of it’s other formatted counterparts with a Severin Film’s 4K scanned Blu-ray of the full uncut negative.  The 1080p Full High Definition, region free BD50 is presented in a widescreen 1.85:1 aspect ratio with a respectable color correction, but the correction sees unstable moments regressing near the cuts revealing the lifeless yellow tinge of unmastered quality. A right amount of grain, a great amount of detail, and hardly any damage to the thought-lost uncut negative proves Severin found buried treasure of the John Russo shocker. Two audio options grace the release with an English language DTS-HD 5.1 surround and an English 2.0 Stereo. While the 5.1 offers a more robust audio option of funneling individual tracks through their respective channels, I wouldn’t necessarily say “Midnight” has an overwhelming yield for audiophiles. Soundtrack comes across just enough to know it’s there, the dialogue is clean and unimpeded, but what unfolds out of clarity is the wonky foley ambience that just render solemn scenes silly. Severin offers up a new interviews under “Midnight’s” mediocre cult status with director John Russo – Making Midnight – as top bill in a lengthy discussion about his long career, his acquaintances including George Romero, and, of course, his recollections about “Midnight.” Other interviews include producer Samuel Sherman – Producing Midnight, actor John Amplas – The Midnight Killer, and special makeup effects artist Tom Savini – Small Favors – who barely remembers working very little on this film by providing pre-fabricated headshots and sliced throat prosthetics. An isolated score selection with audio interview with Mike Mazzei, an alternate title card for “Backwoods Massacre,” the trailer, and radio spot round out the bonus content inside the blackout snapcase. Prolific as John Russo may be in horror literature, filmmaking, and in legendary regards with his work alongside Romero, “Midnight” reflects poorly on his cinematic vocation and while many problems plagued production and post-production, Russo somehow managed to root out a passable working cut of crazed satanic panic.

“MIDNIGHT” available on Blu-ray from Severin!

The Earth is Healing with EVIL Intentions. “The Feast” reviewed (IFC Midnight / Digital Screener)

Posted by Steven Lewis on

Glenda is frantically planning a dinner party for seven people at her newly constructed, modern rural home in the Welsh countryside. In order to quickly prepare, Glenda hires a young waitress, Cadi, from the local pub-restaurant as a pair of extra hands, but becomes intertwined with Glenda’s eccentric and dysfunctional family and friends who are drug addicts, sexual deviants, narcissists, and greedily apathetic in respecting local Welsh traditions and lands. However, Cadi keeps her own secret, one that’ll will transform the joyous dinner party into a night of deadly retribution for all their sins upon Earth.

For a language once on the brink of extinction and only spoken by less than a million people, probably even more less than that estimate, director Lee Haven Jones’ debut feature film, “The Feast,” reintroduces the language to many of us with revitalizing the Celtic-tradition Welsh tongue by implementing it as the entire dialect for his introductory from the United Kingdom. Jones’ eco-horror clashes archaic Welsh lore and traditions with the newfangled inattentive and neglectful modernism from a script by Roger Williams, a frequent collaborator with Jones on previous credits such as the split-heritage documentary “Galesa” and the short-lived drama series drama series, “Tir,” about foreign invaders intrusively adding financial hardships Welsh landowners. Also known as “Gwledd” on script in Wales, “The Feast” is executively produced by Jones and Williams as well as Gwenllian Gravelle, and Paul Higgins under an amass of production companies in the British Film Institute (with funds stemming from the national lottery), Ffilm Cymru Wales, S4C, Fields Park and, in association with, Great Point Media and Melville Media Limited.

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A dinner party fit for the scum of society comes to mind as Jones rounds the horn introducing Glenda’s passively confrontational family whom all are on display for having vices unsuitable for polite society. Beginning with her sons, two brothers shamed by their parents into hiding from out of the public eye by whisking them away to their rural abode, are portrayed by actors Steffan Cennydd as the drug addicted and party loafer Guto and Sion Alun Davies as the an intelligent and sterile sociopath with a sordid past involving accusing women. There’s also her husband Gwyn (Julian Lewis Jones, “Elfie Hopkins: Cannibal Hunter”) with a sleazy demeanor and an quenchable thirst for money. The family friend Euros (Rhodri Meilir) lives and breathes squeezing every ouch of worth from the dollar signs he envisions plastered on everything to the point that his pigheadedness will eventually get the better of him. Lastly, there is Glenda (Nia Roberts) herself who is a pursuer of the finer, material things eager to display them proudly no matter the cost of bloodshed. Roger Williams’ characters are written absolutely lush with cancerous class and a vague sense of their surroundings as they stew proudly being one boldly intense personality to the next; however, they become becomes cleaved by the house party help, Cadi, with a shark-circling simplicity by Annes Elwy. Elwy barely has any dialogue as she submerses Cadi, quietly like a submarine silently churning the waters, into the family’s eclectic affairs and studying their every movement with a naïve gaze, but there is nothing naïve about Cadi’s uncomfortable silence that becomes heedlessly unnoticed by, no surprise here, the group of narcissists. “The Feast” rounds out the cast with Lisa Palfrey, the only rational head with surprising little screen time after briefly unveiling a shocking revelation about just exactly who Glenda let in her home.

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2021 has been the year for under-the-radar, but oh so good, eco-horror.  Among the ranks following this years Ben Wheatley’s “In the Earth” and Jaco Bouwer’s “Gaia” comes the all-things-Welsh cautionary outlier that when pushed too far, when disturbed too much, and when reeking virally infused putrid, a vindictive reaper will come calling.  In this case, that harbinger of death takes the form of a landbound spirit rooted in lore with an insidiously coy wolf in sheep’s clothing mounting a strike with subtle, rancorous fangs by smothering them with their own debaucheries and vices.  “The Feast” will take a couple of viewings to fully digest the complete airy extent of Jones’ lax editing, under the cut and paste thumb of Kevin Jones, that can infrequently blur character timelines and presence in the story, as if plot points were forced into an unsure elucidation to connect the dots.  With a simmering horror on a spoke of unsettling imagery, the editing should have slightly been more binding to tighten gray areas; instead, “The Feast” has an abstract quality third act that not only chops up scenes, but also chops up bodies influentially consumed by the already self-destructing aspects. Some time must pass, a few days maybe, to let “The Feast” penetrate an understanding as it’s one of those flicks, wrapped loosely in cultural folklore or maybe told with the assumption non-Welsh viewers will grasp, the more thought about or written about, the more appreciation the film will disclose way after the credits roll.

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Funny how gravitating cultural folklore and nature grow an impeccable theme of doom as if shaping mythologies and a life-growing ecosystem equate to nothing more than a foreboding sense that one day mankind will become extinct at their own hand. “The Feast” portions a slice of that ominous pie, topped with Welsh lore and gore, coming to North America theaters and digital on-demand this November 19th, just in time for America’s feasting activities of Thanksgiving. The 93 minute, unrated film will be distributed by IFC Midnight, the sister label to IFC Films, owned and operated by AMC Networks Inc. Bjørn Ståle Bratberg serves as cinematographer who options to start with the fresh-air, blue-sky landscape of the Welsh countryside than slowly guide us, step-by-step into the character delinking from the natural, beautiful world into a more menacing night of harsh darkness and fervent flame to reveal true identities. Bratberg’s dim lighting seemingly imprisons the sordid family in the new and modern home that’s like a prison with a gray brick interior and has a room of relaxation for Glenda that is noted by a guest in resembling a prison cell. The message of revenge resounded loud and clear; “The Feast” lays down coruscating repercussions in reaping the land for one’s own benefit and Lee Haven Jones’ wayward timebomb evokes an upsetting fear and tension for a dinner party finale that is surely to go way-wrong in this different kind of revenge thriller.