Earth has become an uninhabitable wasteland. The human race have resettled and colonized on the red planet of Mars. Years have past and the younger generation has never had the experience of living on Earth. Every year, a select few, those who pass multitudes of tests and reach the age of 30 years, will join the Revive Program and will travel through space on a seven day journey to Earth in order to aid in the planet’s rehabilitation of their once ancestry home. The journey between Mars and Earth is this story, a story of psychological perplexity between three travelers who get to go home for the first time.
“Earthrise” is the creation of writer-director-producer Glenn Payne, tackling the production limits of a space film in an independent market. Payne and his production team effectively generate the illusion of being a single speck in a vast universe without getting overly galactic (i.e. “Moon”) and widely interstellar (i.e. “Interstellar”). Yes, “Earthrise” embodies a minuscule budget that’s certainly evident, but the ambitiousness to recreate the innards of a spaceship without being too blatantly cheap gives creativity credit to the crew. The brief transitional moments outside the ship are about as good as money can afford, but still don’t quite cut the mustard with some big Hollywood blockbusters or even larger independent films.
Along with much of the crew, Payne’s experience mainly stems from a variety of short films with “Earthrise” being his latest full length feature out of a total of four. The three actors who portray the focus-centered characters also mostly come from a short film background. Meaghin Burke (“Trick or Treat” short), Casey Dillard (“Blackout” short), and Meaghin’s husband, Greg Earnest (also from “Trick or Treat”), portray the three protagonist Dawn, Vivian, and Marshall, voyaging to Earth. Within a non-linear story, their tensions cut through finely as an unexplained terror has overtaken, not only their flight to Earth, but their minds that visualize apparitions of people and creatures that shouldn’t be there. Giant spiders, man-eating alligators, alarming amounts of blood – just some of the psychological tensions testing the characters. Is it a form of space dementia? Or the inability to grasp leaving your home, your family, to live on another planet and not having the ability to contact anyone from home for a year, per the Revive Program’s policy? Or is it something else? “Earthrise” domes the answer fairly well until the end.
The sequence of events surround a near catastrophe involving a sudden meteor collision. One side of the collision tells the story prior to their insanely dangerous visions, building upon their backgrounds and delivering their soon obtained new found hope, while the other side explores their descent into madness and, eventually, the two stories meet in the middle with the major calamity. Contrasting the two sides defines, in a good light, director Glenn Payne’s editing style while still able to clearly convey the crews plight. Mise-en-scene clues were used to differentiate the catalyst, such as Marshall’s head wound or Vivian’s limp, but these details were minor enough to not pose an extravagance in order to make clear the outer edges of the story.
The 2014 sci-fi thriller is presented by Indie Rights Movies and MVD in a widescreen 2.35:1 aspect ratio. The details are richly sharp, drenched in a metal tone to create a ship’s inner hull racing through space atmosphere. The dual channel Dolby Digital mix is clear and balanced and purposefully isolating to get inside the loneliness of the great big infinite. Accompanying the 100 minute runtime, a couple extras include the film’s trailer and a commentary. Sci-fi on a budget, “Earthrise” is enjoyably subtle, sleekly structured, and soaked with heart and soul. Many will not be attracted to “Earthrise” and it’s slow-to-build momentum, leaving only true film aficionados and appreciators to find Payne’s work entertaining.
Join the Ranks to Stop Pollution Evil! “Doomwatch” review!
The Doomwatch organization was created to investigate and stop the approaching environmental harmful effects of destructive pollution. Doomwatch sends Dr. Del Shaw to the fishing village island of Balfe where only one year ago an oil tanker sank off the island’s coast, leaving behind a devastated waterfront of oil waste that annihilated a chunk coastal life. Upon Dr. Shaw’s arrival, a strange sensation of unwelcomeness overwhelms him in the close knit fishing village. Shaw’s one day visit stretches to a longer stay when his curiosity about the village’s secrets gnaw at his conscious. Though what Shaw unearths is a direct result of man-made pollution, his discovery reveals a much more frightening mutation, transforming the quiet and isolated fishing village into a violent and turmoil lot of locals.
The 1972 feature film “Doomwatch” was born out of the brief lived and sorely lost British television series of the same name from 1970 to 1972. Surely a familiar shelf life and fleeting path of another placed on the back burner sci-fi great, a little series known as “Alien Nation,” in which did the exact reverse strategy and spawned from a hit movie starring James Caan and Mandy Patinkin. However, “Doomwatch” sought a more practical and realistic approach that attempted to warn the public of the dangers of monumental pollution and instill a self conserving fear into the residents of Earth. The scenario is also on a smaller scale from other similar plots such as an example of one would be the 1950s testing of the hydrogen bomb that had consequently overdeveloped and mutated an oversized, fire-breathing lizard you may know as “Godzilla.”
“Doomwatch” isn’t full-throttle horror and doesn’t quite even board the chills and thrills train. Instead, the Peter Sasdy directed film plays out more toward a science fiction mystery that lingers and hangs on the story’s catalytic moment. Prior to the “Doomwatch” film, Sasdy did partake in directing notable horror features for Hammer Films production such as “Taste the Blood of Dracula,” “Countess Dracula,” and “Hands of the Ripper,” but Sasdy made his start in television with over a decade amount of experience working on the smaller screen. Sasdy did have some help in amongst two writers who previously had long-running experience writing for the “Doomwatch” series. Kit Pedler and Gerry Davis saw fit to put their two cent input, but the film’s script was finalized and streamlined from the relatively unknown writer of that time Clive Exton who went on to pen “Red Sonja” starring Arnold Schwarzenegger.
I feel like Peter Sasdy safely cradled “Doomwatch” for the public with the content being alarmingly prophetic. For a director who exposed colorful amounts of blood and fantastical and villainous inhuman creatures to the world, Sasdy had disappointingly failed to shock audiences with potential world wide devastation. “Doomwatch” could be deemed more of a workplace educational video required in the protecting of the environment and to become ISO certified. Poor Ian Bannen tried his damnedest to sell his performance as the Doomwatch’s over-caring Dr. Del Shaw, but Bannen’s character, for the most part of the film, just yelled his case (or the village’s case rather) to an unsympathetic and ignorant written fishing village that, in my opinion, deserved to wither and die out due to their lack of wanting to be cured of digesting hormone chemicals and also from the years of inbreeding that would have eventually sprouted genetic mutation as well. The “Doomwatch” cast rounds out with leading lady Judy Geeson, Percy herbert, George Sanders, and Jean Trend.
UK located Screenbound distributes a newly restored DVD version that’s region free with a runtime of 85 minutes. However, the copy I received is a screener disc and can’t be necessarily critiqued for the audio and video quality. If I had to answer the three important story related questions about the film’s character, the answers would be the following: Entertaining? To a degree. Horrifying? Not really. Thought provoking about the welfare of Earth? Not as powerful as intended. The PG rated Peter Sasdy directed pre-apocalyptic call to arms film “Doomwatch” flashes no teeth for a long-haul fight against global defilement, even though the writers attempted to portray the disfiguring results of others’ mindless ignorance.
Hither Cometh Evil! “The Witch” review!
Set a few years after the 1620 arrival of the Mayflower ship, a faith-entrenched Puritan family becomes ostracized by a tightly knit plantation community and leave their home to settle near a woodland landscape. The family of seven build upon their quaint home, growing crops for food and for trade, but when the youngest child, an infant, disappears into the depths of the dark woods, the family slowly starts to unravel at the inexplicableness of their loss. The once tranquil and beauty of the woods dreadfully alter into a coven for dark and fear inducing figures that root themselves between the family binds, untying their sanity and faith that once held them close and separating them toward a Godless path of destructive witchery.
Writer-director Robert Eggers’s “The Witch” steps into a time machine and travels back in time to the New World era and delivers an American Folklore horror film that’s honestly genuine and deeply haunting. Eggers constructs a mood and tone stripped of comfortable commodities from the moment the family takes on the New World for the very first time away from the plantation. The isolation is immense, the tension is thick, and the cast and crew dynamic squeezes tight around the heart, ripping out every raw emotion and turning the display into a gut-wrenching performance. Eggers had done the appropriate leg work by researching various diaries, folklore tales, and recorded accounts of the time to achieve elaborate detail; even the dialect is true to the period.
The film’s devil worshipping namesake ghastly conjures a simple, yet legendary form. Without the use of glossy special effects, “The Witch” mesmerizes with practical makeup, slight of hand editing, and implied black enchantment while pulling at our internal sinful desires of the flesh, lust and deceit. Eggers kept the mainly nude Bathsheba Garnett in the shadows to give the menacing Witch a closing-in threatening appeal that corners an easy prey, such as children. The Witch’s power, a contractual perk with the devil, is vast and unholy that becomes a fierce antagonist to the family’s unnerving, yet powerless faith.
Eggers and his team uses a sepia visual to devoid much of the color as possible from a naturally bleak mid-17th century community style that’s more binary and cramped, setting the stage for doom and gloom. To continue with the adverse affect, an everlasting current of formidable abstracts are implemented for uneasiness. These signs of inauspiciousness can be as obvious as Ralph Ineson’s sonorous voice as the family’s patriarch and resonating religious leader William or can be as opaque as their corn crop turning suddenly rotten or the reoccurrence of a toying hare and an unsteady, long-horned goat named “Black Phillip, who may or may not be the devil himself.
In the midst of the family being torn apart, the eldest daughter Thomasin (Anya Taylor-Joy) desperately tries to keep her family together, but with her mother Katherine (Kim Dickie) in severe grief after the loss of her newborn son, Thomasin absorbs the blame and disdain from her mother. Thomasin’s abuse doesn’t end with her mother, which the story mainly touches upon with each of Thomasin’s parents and siblings, in one way or another, demeaning her. The oldest brother Caleb (Harvey Scrimshaw) under the spell of hormones repeatedly stares at his sister’s chest, lusting after the female form. Thomasin’s sibling twins Mercy and Jonas remorselessly believe her and label her a witch from the time of Samuel’s disappearance. Even her father, who stood up for her honor and her dignity when neither her mother or siblings would, eventually broke with a misguided view of trust. Thomasin’s world of faith, family, and, basically, everything she once believed in has been stripped away and without that barrier of ideals, a contract with the devil tempts her weakened will.
Lionsgate home distribution releases the horror sub-genre reviving “The Witch” on DVD and Blu-ray. This review covers the Blu-ray release that consists of a MPEG-4 AVC encoded disc that delivers a stunning high definition 1080p picture in a rare 1.66:1 original aspect ratio. The intentional reddish-brown coloring properly dates the era the film is set and the picture is detailed to display the grit, the dirt, and the muck that further enhances the foreboding of calamity. The DTS-HD Master Audio 5.1 is crisp and clear, favoring more on the shocking and slightly experimental soundtrack, but still manages to place the dialogue in the forefront, steering clear from the cacophony. Still, I found the dialogue hard to follow because of the puritanical dialect of that time. Bonus features include an audio commentary with director Robert Eggers, the featurette “The Witch: A Primal Folklore,” Salem Panel Q&A, and a design gallery.
Folklore horror hasn’t died just yet. In fact, the sense of a witchcraft resurrection is on the horizon, possessing now a new high profile inside the horror community that’s sure to pick up steam. Newcomer Robert Eggers puts new life into gothic, despondent horror with contrast characters living in a stark reality. “The Witch” will launch Eggers into horror orbit and keep Lionsgate as a friend to the genre.
Who You Gonna Call to Stop Evil? “P.A.S.S. (Paranormal Activity Security Squad)” review!
A young group of phony ghost ass kickers who call themselves Paranormal Activity Security Squad, aka P.A.S.S., setup a reality show to earn quick cash from gullible callers. When the calls for help trickle into their call center, aka their garage, P.A.S.S. eagerly answers the call, but they become intertwined into the sinister plot orchestrated by a real nasty demon named Vladimir Van Housin. Now, they must obtain the assistance of a slightly unorthodox, if not totally narcissistic, sorcerer, a brutishly strong Asian man-child, and the loyalty to each other to stop the powerful Van Housin demon from entering their world, tilting their very existence.
“P.A.S.S.” is either the prime candidate for the schlock of Troma or needs to be seriously considered by Jonathan Turell, CEO of The Criterion Collection, for upscaled distribution with all the bells and whistles. To be honest, my initial thought was another stupid horror-comedy with bathroom jokes while camera focusing a lot on Katie Heidy’s Wrench character’s cleavage. Lots of cleavage I can deal with, but when Rigan Machado’s dimwit character dumps a log out of his brown soaked whitey-tighties and then proceeds to pick it up and eat it, I nearly gave up on P.A.S.S….and eating anything…ever. But I continued to watch. And watch. And watch. And the more I watched, the more I witnessed untapped creativity and enigmatic entertainment that kept me enthralled to the cliffhanging end.
Among nearly all the other credits for P.A.S.S., writer, director, and star Alex Wraith has astronomical vision, using his galactic gonads to implement slight rotoscope technology and practical specials effects that develop a wicked comic world of insane determination. “P.A.S.S.” breaks all the laws of filmmaking. When a film attempts to homage an untouchable classic, in this case Ivan Reitman’s “Ghostbusters,” the project nearly gets blacklisted by fans. If you don’t believe me then check out the critical responses to this year’s “Ghostbusters” remake. Wraith’s film incorporate’s the humorously stiff commercial, the transformed hearse, and a team of four amateurs that all attach itself to the beloved Bill Murray comedy while also adding in public domain footage of retro horror from “Night of the Living Dead” to Ted Browning’s “Dracula” in the montage introduction and seriously ripping Star Wars. Wraith and some of his cast aren’t exactly newbies to the Hollywood game with Wraith having minor roles in “Savages” and “Taken 3,” and Sean Stone in also “Savages” and “Wall Street.” Katie Heidy and Jean-Claude Van Damme’s daughter, Bianca Bridgitte Van Damme, bring the squad’s, if not the movie’s overall, sex appeal while Dale C. Reeves portrays an awesome antagonistic spawned from hell demon who can’t be defeated and who also looks like Darth Maul. Don’t miss appearances by Dawna Lee Heising and “Amateur Pornstar Killer” director Shane Ryan!
Aforementioned, the rotoscope and practical effects are not top shelf material, but achieve a otherworldly sensation and set the tone for the film’s kooky and demented nature. Wraith loved to overuse the lens flare which works favorably for the world he was trying to create. Also, at some point in time in the duration, I felt as if I was inside the video game series “Twisted Metal.” Perhaps because three of our heros were pitted against a evil clowned-faced giant reeking havoc in an alternative universe. I truly believe this piece of work is a look into the warped mind of some very open minded individuals who eager seek to spill their madness onto paper and onto the big screen.
“P.A.S.S.” feels rightfully inexpensive due to Wraith and his team’s self funding, but the finished product reveals a smartly written script and some superb editing that keep the laughs rolling and the craziness fresh, turning up the intensity dial to beyond the max! I’m unable to critique the entire package as I was handed a screener link to review and I believe “P.A.S.S. has yet to find home distribution, but the handheld camera footage for the squad’s reality show looks amazing even if purposefully hectic at times and the audio is equally as clear and as balanced. Check out “Paranormal Activity Security Squad” wherever the film ends up and, I promise you, this film kicks not only demon ass, but the ass of many independent movies.
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Evil Joins the Mile High Club! “Flight 7500” review!
The transpacific Vista Pacific Flight 7500 from Los Angeles to Tokyo should have been a long, but relaxing overnight ten hour flight for many of the traveling passengers. After experiencing heart-stopping turbulence, the flight’s most mysterious passenger dies suddenly and violently over the pacific ocean. His death releases a string of strange apparition encounters with rest of the passengers and the crew that literally grapple at their internal fears. As the supernatural force slowly engulfs every inch of the plane, passengers disappear one-by-one and the key to possibly stopping the remorseless evil that has betaken them is to investigate into the unexpected death of the mysterious passenger and into his on-flight baggage.
Ju-on: The Grudge director Takashi Shimizu terrorizes the skies with his trademark macabre of supernatural entities. Shimizu’s “Fightly 7500” mixes Japanese culture with Hollywood cinematic values while also, literally, connecting L.A. with Tokyo with a flight over the pacific. Nothing is scarier than being trapped with no where to run from a menacing force on a pressurized plane that could fail on any given moment. The plane becomes a synonym for death. Shimizu exemplifies the given unforeseen horrors of a plane by adding in the exterior motive of a trembling, and extremely creepy, Shinigami death doll, which allows suddenly dispatched spirits to spook and terrorize. Sinister spirits are unable let go of their robbed mortality. Shimizu couldn’t help but include numerously his trademarks of limbs jutting out suddenly, reaching to grab a surprised victim to face their fate or slowly overcoming an obstacle such as in this film a hand reaching over the edge of a suitcase or springing out of a small airplane trash receptacle.
The cast is made up of relatively recognizable and more modern day horror vets with Amy Smart (“Mirrors”), Scout-Taylor Compton (“Halloween I & II” remakes), “True Blood’s” Ryan Kwanten, Leslie Bibb (The Midnight Meat Train), Rosita Espinosa herself from “The Walking Dead” Christian Serratos, and Jamie Chung (“Sorority Row” remake). Nicky Whelan, Jerry Ferrera, Alex Frost, Rick Kelly, and Johnathon Schaech round out the rest of the cast. The under the radar, non-mainstream cast play their roles respectively and accordingly to the script written by the serial B-horror writer Craig Rosenberg, building up their conflicting outer lives before they’re all crammed into a single jumbo jet liner. However, the instance of too many characters cause each of character’s development to fall flatlined due in part to the measly 80 minute runtime.
Like previous Shimizu ghost features, nothing is what it seems and “Flight 7500” is no exception to that fact, but in trying to build a monumental case to deliver a shock in the finale, various mishaps raise questions that don’t add up the surprising reveal. A couple brain scratching questions rise to the surface, stemming from the following: There were two different midair turbulent events in which both were significant, but the one the film specifies isn’t the one referenced back to the catalyst turn of events in dooming the passengers to a remaining ride of rampaging terror. Also, when the phantasmal mystery becomes resolved and the characters’ realize the understanding behind their strife, the plane’s onboard television transmit a newscast explaining the events that happened to “Flight 7500,” but the divulging is ridiculously forced and a road less traveled trick. The newscast exposition comes as if there isn’t any other means of communicating the characters’ situation, putting in the ground, six-feet under, the mood of the ah-ha moment.
The Lionsgate and CBS Films collaboration presents the 2014 PG-13 feature on DVD in a 16×9 widescreen format with a crisp, LFE heavy English 5.1 Dolby Digital audio. The experienced director of photography David Tattersall uses a vibrant, almost neon-like, dark blue tone that sets appropriately the coldness of thrilling spirits and the lifelessness of mechanical plane setting. The Tyler Bates soundtrack feels as inexpensive as the film’s modest budget which is disappointing from Bates whose had solids scores for Zack Snyder’s epic-extravaganza “300” and superhero-melodrama “Watchmen” while also doing John Carpenter justice in re-imagining the “Halloween” theme. “Flight 7500’s” “The Grudge” like effects stay the plotted course given by this director and embodies the airplane as a haunted house in the sky, soaring through living fog, jutting grey hands, and a presence that can’t be shaken. The overall experience doesn’t have a perfect touchdown landing on the runway, but at least the Takashi Shimizu airplane horror doesn’t crash and burn either, leaving viewers walking away safe and satisfied at their journey’s final destination.
It's Bloggin Evil! 