Peter coerces his begrudging wife, Marcia, to forgo the luxurious hotels and chauffeured holidays for a long weekend of camping on a remote beach in Australia. An enthusiastic Peter packs the jeep with thousands of dollars worth of outdoor gear, including a surf board, a spear gun, and a hunting rifle. Marcia loathes the outdoors, can’t stomach the very thought, and she lets Peter know her distaste of his plan every other second while on holiday. Yet, this trip for them isn’t just a routine getaway, but, instead, a trip to get away from the swinging friction of close and very intimate friends, to rekindle their relationship, and save what little is left at a frayed string. The already awkward and complaint-riddle holiday turns from bad to worse when nature looms a foreboding shadow over the estranged couple, unleashing one ill-fated omen to the next that checks their nonchalant attitude toward nature with eco-radical discipline.
“Long Weekend” is an eco-horror film by “Innocent Prey” director Colin Eggleston. Alfred Hitchcock, perhaps, birthed the horror subgenre with his 1963 film “The Birds” that led to such films as “Day of the Animals” and “Grizzly.” Nearly 15-years later, Eggleston hones in on his inner Hitchcock by expanding the background on why nature turns cold and unsettlingly supernatural like. Working off a powerfully detailed and haunting script by “Razorback’s” Everett De Roche that circles around two characters like a hungry vultures, Eggleston vitalizes De Roche’s script with a paper to screen bleak, unsettling imagery on a monumentally minimalistic scale. “Long Weekend” could be considered a Hitchcockian film, and most likely is, but can stand firmly by itself as an extension on how mother nature can be a bitch when push comes to shove.
Two characters and the wilderness. That’s all “Long Weekend” boils down to on brass tacks, leaving two actors on the line to act off each other and off of the ominous presence that has fully engulfed them on an isolated stretch of beach and shoreside forestry. “The One Angry Shot’s” John Hargreaves tackles the conceited Peter with a full-bodied combination of heedless gusto and desperation that Hargreaves can seamlessly become lost in Peter’s self-worth. The Sydney born actor is paired with an English actress by way of Briony Behets from the 1980 film “Stage Fright,” a film also co-written by Colin Eggleston. Behets’ Marcia epitomizes the stereotypical enigma that men all think is the inner workings of a woman’s brain; Marcia is hot and cold with fleeting moments of passion for Peter, yet ready to kill him in the next scene. Behets converts the baffling intertwinement of Marica’s energy and channels it well into the dynamic that is their failing marriage.
What’s really special about Eggleston and De Roche’s film is the overloading symbolism. From subtle to simple, “Long Weekend” has the money betted on working on an underlying moment-to-moment, scene-to-scene in each act; a method tirelessly schlepped through with many modern features of today. Using non-threatening animals, such as a small possum and a sea cow or dugong, to be part of a menacing force driving the ominous presence across the narrative just sets the feng shui mindset of an unadulterated evil genius. Instead relying heavily on a physical entity, Eggleston heavily coincides creature imagery with the use of audible creature cues, whether a baby-like wail in the distance or the overpowering cacophony of animal growls and sneers, to invoke panic, fear, and paranoia to divide the already fragile pair into an atomic disaster of their undoing. “Long Weekend” will overshoot some viewers as piecing the puzzle together can be a slow and long process, but one aspect is certain, the off-camera animalistic stare has a powerful affect.
Second Sight delivers the ozploitation classic, “Long Weekend,” onto Blu-ray home video for the first time in the UK this November. Unfortunately, a review DVD-R disc was provided for this critique and audio and visuals components will not be covered. Bonus material was included on the review disc with audio commentary with executive product Richard Brennan and Cinematographer Vincent Monton, an Umbrella Entertainment produced panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood, and Sally Christie, Uncut “Not Quite Hollywood” interviews with Briony Behets, Vincent Monton, and Everett De Rocha, an extensive still gallery with an John Hargreaves audio interview, and original theatrical trailer. “Long weekend” is man versus nature at it’s best with sheer, unrivaled terror in a quaint eco-horror thriller package with a powerful message that nature will seek extreme judgement against Mother Earth criminals.
Molly is a loner scavenger in a post-apocalyptic badlands. She’s hunted down by a separate faction of scavengers to be a champion in their sadistic one-on-one bouts as Supplikants, ruthless and mindless killing machines produced by a synthetic drug. With food being scarce and peoples’ humanity on the edge of total extinction, Molly’s on the run on barren land until she happens upon Bailey, a young girl held up in a makeshift tent and waiting for her departed parents to return with food. When the scavengers track down Molly, Bailey becomes a bargaining chip, used as bait to lure sought after Molly to the scavenger offshore compound where the odds are in their favor, but Molly knows how to fight when she forgoes using her pulsating supernatural power. She will stop at nothing to save and protect Bailey, one of the last good and innocent humans left amongst desolation and savagery.
One part mad science, one part cyberpunk, “Molly” is all post-apocaplytic kickass from Netherlands’ director Colinda Bongers and co-directed with screenwriter Thijs Meuwese. “Molly” is this generations “Mad Max,” a vibrant gauntlet of darkness with a speck of illuminating hope, with the very first scene being a brief glimpse of the past, a fun-in-the-sun holiday at the beach, but in a split second, the cut-to abruptly cuts out the chirping of seagulls, the jovial laughter of children, and the familiar hum of all beach goers. The story literally cuts to the chase with Molly running for her very survival from three armed scavengers, setting up the story from the get go that Molly’s guard would always be tested. “Molly,” without a doubt, resembles a George Miller first film concoction of noticeable low-budget quality with high caliber, high-octane action.
Julia Batelaan tackles the namesake role. The then 20-year-old Batelaan musters up enough physicality to compete with a highly demanding character despite her slender, unlikely heroine frame. Batelaan is no Gal Gadot, but she gives the performance all she can and, then, gives some more in a role that requires a lot of gear to be worn, numerous fight sequences, extended physical scenes, and brief nudity whilst in battle. Batelaan clearly overshadows a cohort of onscreen antagonists, including even her best possible match as a rival by Annelies Appelhof who displays a different kind of tough; one that’s more henchman centric and mechanically advanced. Appelhof’s taller, broader, and equally as tender as Batelaan that dictates her character, Kimmy, the ideal barrier to best if Molly wants to succeed. Yeah, of course, there’s also a clear cut boss in actor Joose Bolt. In the role of Deacon, a maniacal scavenger leader hellbent on winning the world’s bullet currency through the mortal combat of Supplikants by proxy, Boost supplements a harlequin character to fold. “Molly” also includes Emma de Paauw, Tamara Brinkman, and Andre Dongelmans in the cast.
While Molly’s a beautifully visual film with moments to be excited about, Bongers and Meuwese’s post-apocaplytic tale has a hard time being a great film to revisit over and over again. For one, the fight choreography is a slow and robotically rehearsed and doesn’t strike as completely natural. In fairness, this flaw should be given a pass as the last shot is just over a half-hour long of an uncut take of Molly doing her best Tony Jaa impersonation with extended fight takes from room-to-room, up to the top boss level, as if you’re nostalgically playing Streets of Rage 2 (ya know?! On the Sega Genesis!). Yet, there’s still something off about “Molly” and one could say that that the focus of storyline uneasiness surrounds Molly herself: Who is Molly? Why does she have super powers? Where did she come from? Why does she really care for this child? All good questions that don’t really come to fruition in the film, but have promise to be answered by the open-to-a-sequel ending.
Artsploitation Films presents “Molly” on a high definition 1080p Blu-ray home video in a widescreen, 1.78:1 aspect ratio format. Bongers and Meuwese deliver such rich coloring while not over-saturating the 2017 film to the point of obnoxiousness; Molly herself is a hue enriched character, with all her gear, trekking through a desolate oceanside landscape that’s mainly white sand and brown foliage, especially with the marauders who also sport ragged, dark colors, and leaving such an impacting visual aesthetic to digest while concreting a heroine. The English DTS-HD 5.1 surround sound is full of range from a slew of kick-punches from the numerous fight sequences to the juicy stitching of her own profusely bleeding wound. Even though this is a Dutch film, the casts’ English is quite good and well prevalent. Bonus features include a 30-minute featurette entitled “Making of Molly,” directors’ commentary with Colinda Bongers and Thijs Meuwese, and Artsploitation Films trailers. Bordering self-explosion with a barely hinged story, “Molly” eeks out an entertaining, post-apocalyptic, retribution narrative on the opposite side of the spectrum and the palette punctuating visuals and an extremely long take finale make this film a science fiction worth scavenging for!
A low on the totem poll detective receives the chance to get out from behind a paperwork overloaded desk to investigate the gruesome death of a seemingly BDS&M gone array. The case lures the investigator through the muck of the sleazy and sexy underground to where an independent zine lists GORGASM as the ultimate climax. With every lead, GORGASM connects them all and there’s one person, one suspect, on his radar and her name is Tara, the face of GORGASM. Tara’s a psychopathic call girl, aiming to dish out a finitely pleasurable zenith to those who want more than just sex, and the unlikely hero detective embraces the case personally to put a stop to Tara’s gruesome delusional calling before he’s sucked into an inescapable world blended with lustful carnalities and death.
“Gorgasm.” By title alone, “Gorgasm” has already peaked interest and paved for a path of optimism and delight despite the inkling in the back of the mind about the film’s low-budget shlock. In any case, the title comes from the imagination of creator, writer, director of “Dead Silence,” a one Mr. Hugh Gallagher, and is his 1990 sophomore feature that showcase plenty of violence in an ostentatious psychosexual thriller. Gallagher, perhaps, isn’t the first to delve into porn’s mucky and sleazy underworld that’s universally stigma in many cultures, but, and again perhaps, is the first to explore the many facets that porn has to offer and highlights the habituating circumstances porn has to morph into to keep up with customer demand, whether it involves whips, clips, and chains or to be more specific in the realm of fetishes.
Gallagher didn’t manage to make any old, run-of-the-mill low-budget venture, but managed to do so with a professional lead in Rik Billock. The name might sound familiar to horror fanatics. Billock has been a stock regular in George Romero films: “Dawn of the Dead,” “Knightriders,” “Monkey Shines,” and in “The Dark Half.” He also had a small, yet door knocking down roll in Tom Savini’s “Night of the Living Dead.” Billock’s a bright star with an organic singularity amongst a mechanical lineup, popping out like a child’s pop-out book that solidifies his presence. Even his co-lead, introducing an actress only known as Gabriela, a former wrestling-affiliated performer in her first feature film. Gabriela is stunning, beautiful, and well-endowed, perfectly casted to be the personal-placing killer call girl with dark features and though her method is a bit monotoned and monologuing, Gabriela’s looks really do standalone. “Gorgasm” also co-stars Paula Hendricks who puts a real damper into the ebb and flow of being a strict and condescending sergeant to Billock’s character, but the silver lining is that this Hendrick’s sole credited role. Rounding out the cast includes Paula Gallagher, Kevin Patterson, Denis Hellrung, and co-producer Flint Mitchell in a show-stopping slimeball performance as a sleazy magazine owner.
With an extreme and inviting title like “Gorgasm,” there comes a usual, if not blatantly given, perception that blood will flow and guts will be strung and plastered on forefront of the featured scenes, but to an extent, the gore and the blood splatter were surprisingly granular results and doesn’t ultimately champion an autassassinophilia effect. However, don’t be scornfully turned away from Gallagher’s film if “Gorgasm” isn’t locked and loaded with blood drenching entrails and other body fluids and fleshy tissue. Gallagher executes tasty scenes of violence and mortality on a budget with examples being a garage door decapitation and a kill shot to the vagina. There’s also a weed whacker chewing through a pervs face. “Gorgasm,” perhaps, does find space in the gore and shock subgenre pie, even if only a sliver of a piece.
MVDVisual and SRS Cinema release the Draculina Productions film, “Gorgasm,” onto DVD home video and present the film on the original SOV, full-frame format that’s pleasantly held up over the last 28 years. Aliasing is quite common on shot-on-vide, even on Super VHS that director Hugh Gallagher shoots the film, and the coloring has a slight washed look, but considering the VHS monstrosities out in the world today on DVD, “Gorgasm” has no ill-will toward this release. The uncompressed PCM 1.0 mono track has limited depth and range with a consistent static hiss throughout, but generally adequate with clear dialogue upfront. The “bloody” bonus features include a commentary with Hugh Gallagher, behind-the-scenes footage, and trailers. Also, the grisly-gorgeous illustrated cover art by Mike Mez Phillips is exquisitely killer and on point. While director Hugh Gallagher mediocrely went through the nuts and bolts of vehement slasher violence without really thickening already deep pool of gore, the director did manage to fulfill a promising title with meshing sexual deviancy and blood in an entertainingly provocative feature. Rik Billock and Gabriela, whose half naked through more than half the 82 minute runtime, embraces their twisted characters that you’ll love to death!
A pandemic sweeps across the Australian land, transforming the infected into hunger-driven cannibals. Andy and his wife, Kay, boat down river in hopes to find a safe zone for their baby daughter Rosie in attempt to avoid major populations and even the occasional infected, but when Kay falls victim to a bite aboard an apparent abandoned sailboat while salvaging for supplies, the couple have no choice but to seek help on the mainland. Desperation leads to carelessness when Andy veers off the road and crashes. He awakens to his wife having turned rabid, sustaining a bite on his arm when saving his daughter from the backseat. With maybe two days until the virus overcomes him, Andy must find a way across a mostly vacant landscape to find someone to take care of his young daughter. With time running out, Andy’s plight takes him through a barren-inhabited land where he encounters various walks with some being too unsavory and too unsuitable for his daughter’s welfare.
Ben Howling and Yolanda Ramke are the first time directors behind the 2017, zombie-classified horror-drama “Cargo.” The screenplay was also penned by Ramke stemming from a remake of the directing duo’s short film of the same title. The short, that went on to be a finalist at the world’s largest short film festival, Tropfest, and went viral back into 2013, being showcased on the internets most popular genre sites. From there, the success of Howling and Ramke’s 7-minute short, encouraged by a strong fan base, was able to land equity to fund a full-length feature set in Howling and Ramke’s home country of Australia. The 2017 film added a star cast, a grittier and gut-busting bigger budget, and even landed back the main actor from the short film in a smaller, but significant role. “Cargo’s” bigger, more organic, and exalts the very essence of being human in an isolated, catastrophic, capitalism dystopia overrun with the chrysalis monsters.
English actor and star of the “Hobbit” series, Martin Freeman, lands the lead role of Andy. Freeman’s usual knack consists of being mild-mannered with a variety of facial expressions and his performance in being a desperate father in “Cargo” is no different; yet Freeman expresses another quality that consistently stays in the shadows of his other worth and that is strength. Andy might be conservative and portrayed as meek, but when push comes to shove, Andy steps to the plate and Freeman shows us his upper hand of his character’s abilities. Freeman works alongside first time child actress, Simone Landers, as Thoomi, an indigenous native offspring who relies on Andy to return her to her family while Andy relies on her to bring safety to his infant daughter. For a first time performance, Landers couldn’t have been more of a perfect fit aside the experienced “Sherlock Holmes” actor. Also co-starring in “Cargo” is Anthony Hayes, Susie Porter, Caren Pistorius, Kris McQuade, and, “Crocodile Dundee’s” David Gulpili who, to quote Ben Howling who said it best, is essentially Australian actor royalty.
“Cargo” isn’t your typical genre zombie film. In fact, I wouldn’t even brandish it the label of a zombie film. Ramke’s post-epidemic story reverberates a more familiar “28 Days Later” echo that spurs more life altering contagion than the dead resurrecting to feast on the living. The infect do not run, but stumble, like a zombie and also crave living delicacies; yet, their tainted blood seeps an inhuman generated neon-orange-like sap through facial orifices that feels more like the European zombie of an organic or voodoo nature. These human-turned-monsters also bury their heads below the dirt up to their shoulders in a state of transformation or a rebirth in a sense. The essence of “Cargo’s” villainy is expanded further from Howling and Ramke’s initial short film that just introduced a milky-eyed dead head and these types of infected give “Cargo” a better, more substantial presence in an overcrowded living dead genre, but the infected are not the main villains as people, essentially one capitalistic vulture, is the real threat against the protagonists.
Umbrella Entertainment presents “Cargo,” a Netflix film, onto Blu-ray home video in a sleek full HD 1080p and presented in a widescreen, 2.35:1 aspect ratio. The region B, MPEG-4 AVC encoded disc has great detail over the dry Australian countryside stocked with brown and brown vegetation, natural coloring across the board, especially in the infected’s neon-orange ooze, and an overall favorable viewing experience. The English 5.1 DTS-HD Master Audio doesn’t necessarily have a bombastic track, as it isn’t that kind of film, and the range is fairly around a mild-mannered tonality with a hiccup of gunfire and shouting in the ambient tracks. Dialogue is perfectly crystal clear in the forefront. Bonus material includes two featurettes, one entitled “Cargo: Shaping A Fragile Future” and the other “Cargo: Maternal Combat,” interviews with cast and crew, Q&A from May 2018 in Melbourne, the original Tropfest 2013 short, and the theatrical trailer. “Cargo” breathes fresh air into a threadbare genre with a sheer look into humanity’s willpower and callous.
An estranged and recently widowed grandfather purchases a used RV to take one last family road trip with his two sons, daughter-in-law, and granddaughter to rekindle a broken relationship. On an isolated stretch of desert highway, the family decides to pull over to assist two stranded motorists and offer them a ride to the next town. Suddenly, the RV veers out of control, steering itself to the middle of the dangerously sweltering desert. The group now finds themselves all stranded and alone with a RV that outputs a strange vibe, displaying vividly horrific secrets inside the RV’s enclosure. One-by-one, the RV kills them off and soon they realize that their ride to family fun is no more than a reincarnated recreational vehicle with a long lineage for death and thirsty for new blood.
Fan crushes are a strange phenomena. Once an actor or an actress imprints their image, their voice, or their one-time portrayal of a charismatic character onto you, the unexplainable captivation never releases the firm grip around the psyche. Denise Richards has had a long impression on this reviewer, resulting in a severe case of fan crush. The Illinois actress won my heart as the determinedly beautiful starship pilot Carmen Ibanez in Paul Veerhoven’s “Starship Troopers,” one year before her anticipated and unforgettable champagne popping nude scene in the convoluted thriller “Wild Things.” Twenty years later, Richards, an ageless beauty, co-stars in the Tom Nagel supernatural horror, “The Toybox.” Nagel (“Clowntown”) directs his sophomore film penned by screenwriter Jeff Denton and, together, the pair of filmmakers toy with and present an idea of a detestable serial killer leaving his twisted soul in the under the rusted hood of a his torture chamber, a beat up old RV camper. A killer RV story that sounds to be right up horror-comedy’s alley is actually a rather earnest narrative that has a solid kill count with an innovative, outside the box villain and a no one is safe attitude.
I’ve already mentioned that the goddess Denise Richards co-headlines “The Toybox” and though I have yet to experience her more recent work over the years, “Valentine” was the last horror film that I can recall with Richards in the cast and her role in Nagel’s film as a loving, yet undisciplined mother and wife in “The Toybox” puts her at the opposite spectrum of her roles in the late 90’s/early 2000’s career. Still, the now recently re-married mother of two still has her unrivaled hots and still has her acting chops as a leading lady despite the lack of Hollywood glam and stardom. Her co-star, Mischa Barton, has been an upcoming figure in the b-horror community. “The O.C.” actresses has starred in a string of horror films in recent years such as “The Hoarder,” “L.A. Slasher,” and “Apartment 1303 3D.” Barton tackles a tomboy Samantha whose picked up, along with her brother, by the RV traveling family and while Barton has a fine performance, she doesn’t quite sell the intensity as a final girl. Greg Violand (“The Devil’s Toy Box”), Matt Mercer (“Contracted”), David Greathouse (“Yoga Hosers”), writer Jeff Denton, director Tom Nagel, and introducing Malika Michelle round out of the remaining cast.
“The Toybox” loosely aims to unravel the inner turmoils of the characters mainly focusing around the estranged relationship of the father and his two sons. The trio can’t quite shake the secret inducing uneasiness that boils inside their broken relationship, making a situational cakewalk for the killer RV to pit them against each other as a deranged therapy session to unsheathe their kindred issues. The bickering and the blaming hurts those they love the most around them first, a very relatable and unfortunate circumstance in beyond the sensational borders of movie magic. However, no matter how much movie magic Nagel constructs to gore-out “The Toybox,” a stiflingly story rears an ugly head via undercooked characters pivotal in being the heart of the narrative. Samantha, Barton’s character, has soft, buttery edges that don’t take shape to ultimate purpose for being a focal point and the same can be said for David Greathouse’s serial killer character Robert Gunthry whose RV-inhabiting backstory is whipped swiftly a single anecdote.
Skyline Entertainment and Steel House Productions present Tom Nagel’s “The Toybox” onto Blu-ray home video in high definition 1080p and a widescreen, 2.39:1 aspect ratio. Image is quite sharp despite lacking vivid coloring and going more for a dusty western-horror, exhibiting the rocky arid landscape of the pacific coast. The English Dolby Digital 5.1 audio track is nothing to write home about, but offers a clean dialogue track, ample ambience, and balance. Depth’s slightly weak, but won’t hinder the experience. Bonus material on the single layer BD-25 includes a behind the scenes of various takes throughout production, the theatrical trailer, and a feature commentary with cast and crew. “The Toybox” is no child’s plaything. A RV serial killer with the homicidal motivations stemmed from pure evil and, in a fair opinion, only director Tom Nagel could have poised a coherent film without making it out too, for a lack of a better word, campy and that’s not my weird obsession with Denise Richards talking.