Alex and Jane just graduated college with an uncertain future ahead of them. In financial debt with no aid from their family because of their lesbian relationship, Alex can’t shake the uncomfortable sensation that her life spirals down an unknown path. Jane’s optimism stems from the upcoming reboot woodland retreat with friends. Booze, drugs, and a whole lot of sex is planned to escape reality’s harsh unforgiving grip. There’s only one problem. A creature lurks in the woods, sniffing out the moment of vaginal penetration, and ripping to shreds the naked, sweaty bodies that were entangled in raunchy passion. A jock, a cheerleader, a geek, a stoner, and a pair of lesbians are the familiar horror film tropes fighting for their very lives in a grisly battle against a ghastly man-beast.
“Don’t Fuck in the Woods,” an alluring cavalier horror film title, is the indie project from writer-director Shawn Burkett. Burkett’s crowdfunded low-budget venture doesn’t piddle around the subject matter with interpretive titles or undertone stories. Burkett, with every intention, aimed his sights on developing the most proverbial scenarios of horny young folk in the woods being stalked by an inhuman monstrosity and achieved great success while also topping his film off with a sexually explicit cherry, defining “DFITW” as every young boy’s wet dream with gratuitous nudity and blood splatter mayhem! In fact, nudity, at least in my belief, outweighs the creature in screen time with the majority of the female cast baring more their breasts than the creature bares it’s teeth.
Brittany Blanton and Ayse Howard lead in the lesbian roles of Jane and Alex and are the only two actors to have characters to have some meat on their depth chart. Hence, why they’re in the lead role shoes. Blanton and Howard alternative style spills into the rest of the cast pool. Roman Jossart, the stoner, naturally gushes with wit and delivery that makes the sweaty, large, and overly perverted character very likable. Then there’s the inexplicable Nadia White. The “Give It To Me Grandpa” actress (look it up in Google) wears many shameless hats off screen, from modeling to fetish porn, but the stark blonde who once wrapped herself completely in duck tape except for her massive boobs, dons a hardly uncharacteristic character whose attached to the hip of her tall, dark jock boyfriend Conor, played in a debut performance by Brian Cornell. Hannah Herdt picks up the geek trope with credulous rant about iconic scream queens and their rise to fame without having to bare it all on screen. Kayla Stone, Brandy Mason, Derek Wehrley, and Scott Gillipsie in a dual role as Luke and the creature round out the rest of the “DFITW” cast. What I love about this cast is the fact they’re not these super slender and fit individuals with four, six, eight-pack abs you typically see in horror films. Instead, each one has their own little mid-section cupcake pudginess or pooch and that’s okay!
Above paragraphs contain praise for admiration and passion toward everything that’s right about “DFITW,” but there’s also plenty to dislike and many viewers, and reviewers too, have spoken publicly their harsh negativity. In a more constructive criticism, the first point is that Burkett’s film has no real logical story structure. Why should we care about these characters who trek into the woods, bone like rabbits, and then become lunch meat for an anti-fornication fiend? Secondly, the editing and special effects need firming as some kill scenes felt unnecessarily rushed and prolonged terror scenes didn’t really induce the terror, requiring that edit to break apart the monotony of the scene. The cheaply made creature passes, but the imperfections in the latex, or whatever material it was constructive of, can be clearly captured. Which leads me into the Alfred Hitchcock quote at the beginning of the film, “There is no terror in the bang, only in the anticipation of it.” The anticipation of the creature was sorely absence as much of the film focused on the group and their shenanigans and didn’t give the creature much hype, reducing it to a powerless vessel until rearing that jacked up Ninja Turtle head into the campers’ den.
Concept Media and Shawn Burkett’s “Don’t Fuck in the Woods” is a horror homaging and referencing machine, spitting out as much time-honored horror movie no-nos and final-girl conventionalism as one film can, but the story feels hollow inside and doesn’t offer worthwhile character development in neither protagonists or antagonist. Definitely the title, and even the film as a definitive whole, borders that thin line of becoming a ridiculously bad, but very interesting, parody porn, exploiting the rules of the slasher genre and having little-to-no girth of a plot. Roman Jossart’s hilarity, notable “Predator” references and remarks, and the fair amount of fair skin saves this exploitive film from being a total loss and, as well, the overwhelming communal participation and support to have this film see the light of day is absolutely amazing as a title like “Don’t Fuck in the Woods” would financially scare the money bag pants off any potential backer. You can see “Don’t Fuck in the Woods” on Vimeo On Demand by clicking the link below!
Newly hired UCLA astronomy professor James Pond becomes mixed up with peculiar behaving individuals when his car breaks down in a quiet suburban neighborhood. Held hostage in a small house, James reluctantly follows orders from an automaton man named Gilligan involved with a unusual plan for James to reproduce with the lovely Mary Ann. James’ ensnarement feel like a gag at first until he awakes bound to a bed and strapped with a shock collar; the once thought innocent fling with Mary Ann has taken a turn for the worse when he the realization that the whole human race could be in jeopardy. James becomes captivated by Mary Ann’s innocence, naivety, and beauty making his attempts to escape more difficult without her, but if he decides to stay, a ominous question mark will determine his fate.
“Flytrap” is a micro sci-fi thriller production written-directed by 1995’s “The Mangler” screenwriter Stephen David Brooks and stars television series “Salem” Jeremy Crutchley as Jimmy Pond, Austrian born Ina-Alice Kopp as Mary Ann in ambivalence, and Jonah Blechman as the emotionless Gilligan. From the get-go, “Flytrap” slowly builds a momentum, but never really gains the full steam while revolving around Jimmy Pond’s detainee state. Ambiguity plagues the story with many unanswered questions, leaving more for the audiences’ imagination rather than to the exposition and that begs the question whether everything that did happen to the astronomer happened in reality or in just in his mind? For example, the voice in the air condition duct stays anonymous until, maybe or maybe not, the end and, perhaps instead, that was all just Jimmy’s subconscious informing him of his rational side opposed to what his heart desires such as, for instance, Mary Ann is not who she seems. Is Jimmy that much wrapped up in his paranoia?
If you didn’t notice from the film’s synopsis, references from “Gilligan’s Island” are abundantly staged throughout, especially with the character names. Jason Duplissea has a minor role as the Skipper for only a brief moment and we never see Duplissea grace the screen with his presence again. Besides, Duplissea didn’t resemble his television show namesake as the others. Other pop culture references, such as Alfred Hitchcock, MTV’s Punk’d, and various others, are mentioned but the conveying of these felt as if the film didn’t have a single original thought starting with their characters, especially with the hip English astronomer and his vast knowledge of American and British pop culture. Yes, Jimmy Pond was struggling to humanize his captors, who supposedly hail from the planet Venus, with bad dancing, some romance, and an unquenchable yearning to be free, but the intention comes across technically clunky, delivered with no substantial soul. Other technicalities fair far better with great lighting to create an inauspicious atmosphere. Combine that with some solid performances from Jeremy Crutchley, Ina-Alice Kopp, and a frightening mechanical Jonah Blechman and the situation turns hopelessly weird.
Aside from Jason Duplissea making little less than a cameo, other characters quickly pop in and pop out of the story. Billy “Sly” Williams involvement lacked girth when his character Rondell sits rather very patiently through the weekend, waiting for Jimmy to call or pickup his cell. There’s no motivation other than sit and wait and call the police where the inept police department uses a machine instructs to leave a message of a crime being committed. When Rondell finally has the opportunity to do big things in order to assist Jimmy, another moment is zapped away without a trace. Like Williams, Jonathan Erickson Eisley’s Azarias had a brief scene shunted even more quickly away once introduced chained tightly bound in the house’s basement and at that precise moment, a window of opportunity cracks open to help clear up the baffling enigmas giving much puzzlement to Venus’s plan to take over or destroy mankind. Given his incarceration, we can assume Azarias is Jimmy’s equal, a previous captive with a failed outcome. Omit Williams and Eisley roles and the Brooks’s film prospers into comprehension that much more.
“Flytrap” is a festival winner – “Best Non-European Indie Feature at the European Independent Film Festival in France, Best Low Budget Feature at Worldfest Houston, Special Jury Prize at the Chelsea Film Festival as well as Best Feature, Best Supporting Actor (Jonah Blechman) and Best Ensemble at the Los Angeles Independent Film Festival” – but falls to captivate and entertain even if chocked full of shadowy undertones of paranoia and loneliness. Pond, Jimmy Pond – a Bond reference “Flytrap” also made – needed more development to sauté an emotionally motley character until he’s well burnt to an cracked crisp. There will be no critiques on the audio and video as the disc provided was a screener. Check this psychological sci-fi thriller on digital HD through Amazon Instant Video, Vudu, and iTunes.
Unable to cope working as a hospice nurse, Danni begins a new life in a new apartment after separating herself from a server downhearted state while living with her uncle Gus. As Danni settles into her degrading new job involving saving the whales and into her small apartment, she begins to decorate her home, starting with hanging a simple shower curtain. However, as soon as she exits the bathroom, the shower curtain vanishes and so begins the mystery that leads to the discovery that she’s now part of secret order to protect The Gate, a passage way that can be used to give birth to the vilest evil. With the tireless help from her co-worker Tim, the two set off to stop The Gate from potentially destroying Dani’s life…or the world.
Movies like “Curtain” are the reason why I enjoy writing about them so very much. One tiny event, an event anyone would think couldn’t be turned into a full feature film, snowballs through the pages of a script and that script is presented to us by independent filmmakers Carys Edwards, writer, and Jaron Henri-McCrea, writer and director, of “Curtain.” The 74-minute film revolving around shower curtains being sucked into the bathroom tile opens with a seemingly distraught individual on an empty subway car, rambling and shaking after a reoccurring and thunderous dream that doesn’t make sense at that moment. The film’s hook comes early, sucking us into this man’s life when we learn he’s duck taped his bathroom door shut. He’s tensely afraid of the small enclosure to where one goes for unburdened release whether to drop a load or get cleaned up, but as the man decides to cut away the tape and opens the door to proceed in hanging a curtain, he unintentionally sets the stage for our heroine, Danni.
Solid performances all around by the cast. Danni Smith, portraying her namesake character, conveys a strong, defiant character even in the wake of her depressive struggle. Her characters goes through complete denial of the curtain eating bathroom, shutting down Tim, played by Tim Lueke, almost instantly when he’s curiously goes berserk of the possibilities of what to gain from this phenomenon. Tim Lueke does amazing work displaying a naïve activist and we discover the character’s humbleness through his naïveté, making him a likeable, standout character whose has motives that semi trump his passions when Danni is concerned. I really liked Martin Monahan and his Pale Man character, a blind gatekeeper, if you will, trying to protect the realms The Gateways portals. Monahan worked with director Jaron Henrie-McCrea previously, headlining Henrie-McCrea’s comedy-thriller “Pervertigo,” and the Indiana native takes a backseat, co-starring role that packs a memorable punch, leaving an everlasting mark of solemn and death.
If you haven’t noticed already, Henrie-McCrea has an affection for Alfred Hitchcock films. Between “Pervertigo,” a slight play of words from Hitchcock’s “Vertigo” starring James Stewart, to this film entitled “Curtain;” the shower curtain is an iconic set piece for Hitchcock’s more popular film “Psycho.” The Columbia University alumnus Henre-McCrea knits his own pattern into the Sci-Fi Horror film that is “Curtain,” subtly building-in comedy elements amongst the characters and not so much surrounding the situation. The young director has an eye for cinematography and bringing substance from the scene to the forefront as the director blends suspense, terror, comedy, and sadness, meshed together so intricately it’s seamlessly composites all genres that’s shot in some particular tight locations. The comedy stems from only certain characters such as the crass Preston The Super or Willy the homeless, paint can sniffer.
Much of Henrie-McCrea’s shock value spurs from intense close ups, as you’ll see in this articles screen shots. Quick, loud, and in your face scares or disturbances that’ll cause eye-popping jumps effectively note “Curtain’s” tone. This technique is very familiar with Evil Dead’s Sam Raimi and does bear a resemblance to a staple of 80’s horror with an Italian-like synth score by Adam Skerritt to match. Creature and special effects are briefly shown to obscure the possibility of detecting flaws (perhaps) and also to suggest that less is more, leaving more for the mind to fill out the horror’s of what you just saw. No scenes are left lingering on the horrific moments as much of “Curtain” is story centric, focusing on the mystery of The Gateway.
Frightfest presents the Icon Studio’s “Curtain” on DVD this July 18th in the UK. The DVD will be released in a gorgeous 2.35:1 anamorphic widescreen with a solid Dolby Digital 5.1 audio mix and an accompanying 2.0 stereo mix option. The DVD includes a film introduction, an presentation commentary, and an entertaining making-of featurette. I can’t comment too much on the audio and video since a DVD-R was available for screening. “Curtain” has a particular taste of comedy that’s favorably dry and on-point synced well to the horror mystery engulfing the genre. Director Jaron Henri-McCrea becomes a force to be reckoned with paired to the talented actors Danni Smith, Tim Lueke, and Michael Monahan. “Curtain” is everything that’s right with horror-comedies and nothing short of excellent independent filmmaking.