Evil Aliens, Zombies, Vampires, Cannibals, and a Nun with Guns! “Savage Creatures” reviewed! (ITN Distribution / DVD)


On God-fearing land, two young women drifters are shown compassion and hospitality by a religiously devout mother and son offering hot food, a shower, and a bed for the night. Their seemingly infallible generosity turns to violent deviancy as concealed motives of their cannibalism catches the women off guard that inevitably places the unsuspecting women literally on the chopping block, but the drifters are no ordinary, helpless prey but rather ancient vampires, wandering from one small town to the next, struggling to exist. Just when the bloodsuckers think the ordeal is over, a worldwide invasion of soul-sucking aliens aim to cleanse Earth of all inhabitants, turning those attacked by the beings into flesh-hungry crazies. Trapped inside the cannibals’ house, the vampires must save their human food source from completely being eradicated by an aggressive alien race with a conduit to possibly the Holy Father himself.

Talk about a full monty horror movie that has nearly everything but the kitchen sink! “Savage Creatures” is the 2020 released ambitious action-horror written and directed by Richard Lowry (“President Evil”) that serves up a platter of creativity ingenuity on a micro-budget while still outputting savagery, creatures, and an entertaining good time from start to finish. Lowry embodies inspired resourcefulness that reminisces the economically efficient horror credits of long time indie filmmaking entrepreneur Brett Piper (“Queen Crab”) and though serving as the filmmaker with many hats, composer, editor, director of photography, and visual effects, he also incorporates his own pleasurable schlocky devices as he shoots in the rocky rural regions of Pine Valley, Utah complete with isolated roads and mountainous views. The epically scaled “Savage Creatures” is a creature feature accomplished feat, try saying that ten times fast!

The two vampiric drifters, Rose and Ursula, serve as the story’s centralized characters played by Kelly Brook and Victoria Steadman respectively. Both actresses have worked with Lowry previously on his 2018 Armageddon-esque action-comedy, “Apocalypse Rising,” and familiar with his budgetary style, able to alleviate the pangs of severe funding limitations with some fundamentally respectable performances. Rose and Ursula are not only lovers, but lovers with a cavalier premise on life stemmed from the centuries of human evolving groundwork, shedding a light on questions that should be asked and pondered on in every day modern vampire story. The dynamic between Brook and Steadman strike the nerve sincerely with causal conversation, pressing upon their inevitable doom in between blowing off zombies heads and fragging flying aliens with crossbows as if they’re exacting some self-decompression through violence. Though Brook and Steadman are good and stable throughout, vet actor Greg Travis lands a the lauded performance of Father Cooper, a fanatical Irish priest on the run from the zombie horde. The “Humanoids from the Deep” and “Mortuary” actor goes full blown dogmatic with his theory of God being fed up with humanity and pulls off the extremely righteous and holy neurotic priest as an overboard affable character whose has to trust a couple of godless feminist vampires during apocalyptic mayhem. Rounding out the cast is Ryan Quinn Adams (“Before the Dark”), Cean Okada (“Bubba Ho-Tep”), and Kannon Smith as Sister Gigi, a mute nun with guns.

From the very beginning, “Savage Creatures” maintains a fiendish tempo of anti-heros and butchery. Even the soundtrack, though a relentless boor of stock action selection, plainly works to “Savage Creatures'” advantage one scene after another inside the scope of the sharp, periphery sublet moments to keep up with the breakneck pace. Lowdry’s sees little-to-no expositional sagging in the middle or on the bookends and diverts away from any hankering for a character story or background to fluff up worth-wild characters. With the exception of Rose and Ursula, who complain like boomers conversing upon reminiscing about the past on how easy times once were centuries ago to get away with murder before technology became an inconvenience, much of the cannibals, the priests and nun, and even the flying devil ay like aliens backstories don’t bubble to the surface. While typically these off the cuff details usually roll my eyes back into my skull to scour my brain for the minor moments in which I might have mistakenly missed something about a character backstory or just produce a hefty sigh of longing for more personal information on why this character does what they do, I found “Savage Creatures” uniquely isn’t symptomizing a distress of forgoing persona tell-all; instead, plays uncharacteristically to the obverse tune of an entertaining racket of head splitting, limb chopping, and with a hint of rampant gun akimbo.

Buyer beware! Don’t trust the cretinous DVD cover from ITN Distribution of appears to be Julian Sands from “Warlock” raging angrily with milky white eyes and standing over Cthulhu tentacles surrounding him in the foreground and silhouettes of bats are hovering over in front of a savior-esque crown moon in the background. Instead, trust your gut (or this review!) and see “Savage Creatures” on DVD home video presented in an anamorphic widescreen, 2.35:1 aspect ratio. Pine Valley, Utah never looked so picturesque in a clean transfer. The natural colors feel a bit faded and not as sharp that perhaps assists in blended Lowdry’s composited effects and practical creature design. The cabin night sequence has some noticeable banding, but isn’t a game changer. The English language Dolby Digital audio track is par for the course, running clean and clear dialogue, and satisfying a range of sounds. Depth’s tricky with Lowdry’s compositions that don’t hem neatly, especially when Rose and Ursula crossbow down aliens from a distance, the same cry of pain is utilized for each darted creatures, and the running stock soundtrack flutters in front and behind the gun play at times. DVD bonus material include a director commentary, behind-the-scenes with the actresses and crew, and a VFX breakdown, which I thought was neat to see how Lowdry layered his effects on a budget. Not listed as a bonus feature is the gag reel during the end credits. “Savage Creatures” enters 2020 as an all out brawl designed as a battle royal but with little bankroll; yet, director Richard Lowdry beats the odds, pinning out a win as the scathed champion of his latest apocalyptic caper!

“Savage Creatures” battle it out on DVD!

When the EVIL in Your Dreams Terrorizes You…”Nightwish” Reviewed!


A graduate dream research group experiment on paranormal and sensory deprivation sleep patterns involving controlling their own dreams, even if their terrifying, and examining their own deaths but when they pivot to investigate supernatural activity inside an isolated compound mansion in the midst of an arid desert, the four students and their eccentric teacher conjure malevolencies that include satanic rituals and alien encounters. With their professor spearheading an underlying motive to use them for his diabolical plans, the hesitant and scared group must decide to either force their participation or try and escape their instructors madness, but when the lines of reality blur, friend becomes foe and foe becomes friend with casualties in the middle on all sides as grisly depictions of death and suffering question whether their nightmares are spilling into reality.

Subconscious surrealism on an ultimate terror coaster from writer-director Bruce R. Cook with an unspeakable horror in every corner, from flesh eating extraterrestrials to disillusioned Mad Doctors, in the nightmare-inducing “Nightwish!” The 1989 made and 1990 released “Nightwish” is produced by Paul White and Keith Walley, both of whom collaboratively funded through their Wild Street Pictures production company the early 1990s horror which included another Unearthed Classics release, spine #2, “The Dark Side of the Moon” and, also, put a little cash into the Jeffrey Combs cult favorite, the Brian Yuzna sequel of “Re-Animator,” “Bride of Re-Animator.” However, the real star of the filming crew is none other than Sean McLin. Before going full fledge into being a camera operator, especially around the early days of Power Rangers’ television series, McLin had a short stint as director of photography and his cinematography beyond divine that engrossed to draw audiences into odd angles, mind-boggling depth play, and just colors after colors of spectre ghoulishness. McLin provided a pure motley of mental macabre of the Gregory Nicotero (“Day of the Dead”), Robert Kurtzman (“Lord of Illusions”), and Howard Berger (“In The Mouth of Madness”) powerhouse effects team.

The central characters essentially encompass four graduate students – Bill (Artur Cybulski), Jack (“April Fools’s Day’s” Clayton Rohner), Donna (“Friday the 13th Part VII: The New Blood’s” Elizabeth Kaitan), and Kim (Alisha Das) – along with their stern professor played by the solemn faced Jack Starrett (“Grizzly II: The Concert”). Relatively low on the totem poll names when considering a main cast; hell, I only know Clayton Rohner from his role in the mid-80’s teen transgender appropriation film, “Just One of the Guys” as well as being Admiral Jameson on one episode of Star Trek: TNG. Yet, the combination of crew talent along with the chiseled define facial features of a one Brian Thompson (“Cobra”), the meshed cast suffer no visible calamities or outright fumbles of performance as they each carrier about equal weight into a floating, weightless, construct of boiling human antagonizing fear. The cast rounds out with colorful supporting performances of a muscle head henchmen by Robert Tessier (“The Sword and the Sorcerer”) and the nitwit gate keeper, also animal feeder, Wendall played by Tom Dugan. Yet, Thompson tops the more colorful performances as Dean whose Kim’s ruggedly, manly boyfriend that’s more confident jock without the loss of brain cells. Thompson’s at the height of career, sporing a tank top for most of the film that puts his muscular form on display, but he isn’t the only actor to bare skin as Elizabeth Kaitan and, especially, Alisha Das bare a bit of flesh for the sake of providing a sexual desire to story.

“Nightwish” understandably has a hard chronicle to follow because any film, regardless of genre, incorporating dreams or delving into the state of madness is definitively ambiguous at best, hard to follow, and puts minds into high gear to either understand the just what the hell is going on or to make sense of the chain of events to deduct a reasonable explanation. Sure, over thinking “Nightwish” as a complex construct can be dead wrong. There could be simplicity strewn about and, maybe, we’re too dense or too complicated ourself be aware of the obvious, but Cook certainly knew how to piece together a disjointed storyline that distinctly defines part A of the plot, but parts B and C are so well blend together that the clarity of part A starts to disintegrate and more questions than answers starting whizzing through our think box. “Nightwish” epitomizes the resemblance of nightmare residue and is best left open for personal interpretation.

Spine #3 from Unearthed Films Classics label comes “Nightwish” onto Blu-ray distributed by MVD Visual. The Blu-ray is presented 1080p in a widescreen 1.85:1 aspect ratio through a newly restored 4k transfer, but the transfer, perhaps from the best negative possible, has some minuscule wear with faint scratches and dirt impressions; however, the definition and the color palette ultimately overrun the set hard grain with the minor damage also being an after thought. The uncompressed English 2.0 PCM has a better grade in comparison to the video with clear dialogue and a robust soundtrack throughout to which the ambience is nearly overshadows by but does present itself despite the lack of inertia to progress. Special features include a commentary track with Wild Street Pictures producer Paul White and the president and founder of Unearthed Films Stephen Biro. Also available is a photo gallery, trailers, and an extensive cast and crew bio booklet filled also with production notes and a slew of high resolution stills that’s great to flip through. As another judiciously placed classic for Unearthed Films, “Nightwish” is a dream come true for viewers that combines the effects talents of Nicotero, Kurtzman, and Berger with the terrifying ferocity of facing death through in the dark subconsciousness.

Nightwish available on Blu-ray!

Evil from the Sky! “Devil’s Gate” review!


In the small rural community of Devil’s Gate, Oregon, a boy and his mother disappear without a trace. FBI Special Agent Daria Francis spearheads the investigating to atone for a regretful previous child disappearance case. She’s accompanied by a local deputy, Colt Salter, to assist her. During her brief investigation upon arriving at Devil’s Gate, Agent Francis comes to the determination that Jackson Pritchard, the father and husband of the missing boy and mother, is directly involved in their sudden disappearance. The investigation turns from a seemingly straight forward, open and shut case to a colossal mystery that’s beyond their comprehension when arriving at the religious dogmatist’s boarded up and disturbing cladded farm house where unearthly forces lay claim to the Pritchard family home for sinister reasons. With one of the beings caged in his basement, the desperate Pritchard seeks an exchange with the creatures he labels as the fallen angels in attempt to regain his wife and son, but as the night falls, trapping Agent Francis and Deputy Salter with Prichard inside the residence, they become surrounded by the fire in the sky creatures aimed to reap not only the world, but their souls.

Like an enigmatic report straight from the non-redacted portions of a nail-biting X-Files case, “Devil’s Gate” is a we are not alone sci-fi horror film from 2017 under the apocalyptic eye of director Clay Staub and co-written by video game plot scriber, Peter Aperlo. The considerably financed project is the first feature film for both filmmakers in their respective roles with Staub having served as an assistant director on other paranormal plotted projects like Zack Snyder’s heavily praised remake of George Romero’s flesh-eating zombie classic, “Dawn of the Dead,” and Matthijs van Heijningen’s underrated “The Thing,” a prequel to John Carpenter’s film of the same title. One quality that we can all can be pleased about is that Staub carries over from his previous experience as a genre filmmaker participate is the use of gore in the “Devil’s Gate” because, honestly just by looking at the cover and reading the plot, the bloodletting expectation was low on the totem pole. Staub doesn’t unload a gratuitous splatterfest of alien and human entrails, but subtly sanctions the right amount of extrasensory chest bursting and finger snapping goo that plays an ill-fated role of circular or motivational circumstances for the characters.

Putting the pieces of the Pritchard mystery together is Agent Francis who is a to the point and tough national law enforcement officer with a bleeding heart complex after her very first assigned case went tragically sour that looms an unexplainable root cause cloud over her straight blonde hair. Desperate to cure her past, Agent Francis rushes into Devil’s Gate, bypassing the notable chicken fried steak meal offered by Deputy Salter upon her tarmac arrival and defying the local Sheriff’s heed to not interview husband Jackson Pritchard, that sorely causes her to land in the virtually the same predicament of just trying to get the right thing done no matter the unclear ancillary evidence. “12 Monkey’s” television star Amanda Schull spearheads the character with the characteristics aforementioned with drab appeal, lacking the emotion and the intensity her character is supposed to be exhibit when trying to solve a case of personal redemption as well as the fear from an higher ominous power that can shoot lightning down from the sky and flash velociraptor toe-claw sized fangs. Colt Salter might be a small time, Podunk deputy, but the born and raised Devil’s Gate officer can match wit with his FBI counterpart. Salter strikes me as a character who doesn’t stray far from home, mentioning various times, in various ways, his parallel path to high school friend Jackson Pritchard. Shawn Ashmore, from Joe Lynch’s “Frozen,” opposites his costar Schull like Mulder and Scully type as well as an all-around good guy who happens to stray from his protocol path once Agent Francis puts her federal fingers into his already investigated investigation. Like his performance in “Frozen,” “X-Men” franchise, and even in FOX’s television thriller “The Following,” Ashmore is a pretty solid actor, showing a range of emotion that transcends him from easygoing deputy to mortality fearing when mankind’s on the verge of extinction comes into the equation. An equally solid performance by Milo Ventimiglia, who recently starred in “Creed II,” really sells the crazy portray by Jackson Pritchard, a God-fearing man with a long lineage of misunderstood family heritage that leads him to the uncanny bombshell that has been bestowed upon his family farm. Ventimiglia, in his roughest, toughest country twang, creates such an anxiety-riddled and frantic character that unravelling his fate is not too clear which is refreshing to be able to retain mystery to a role as we can kind of figure out how Agent Francis and Deputy Salter when fair in the end game. Rounding out the cast is Bridget Regan (“John Wick”), Javier Botet (“Slender Man”), and “Star Trek: The Next Genergation’s” Jonathan Frakes, still sporting that iconic beard even if it has grayed, as the town Sheriff.

In spite of some really cool visuals, especially of the man underneath the mask, Javier Botet, inside a ghoulishly white extraterrestrial suit that only his elongated and thin body (and perhaps also Doug Jones’) could snuggly fit into, “Devil’s Gate” tells a narrative that hails from a lot of re-spun material. Whether intentional or not, viewers more than likely won’t be able to help themselves as they’ll eagerly point to the television screen and say, ““Independence Day” did that first,” or exclaim, “didn’t Donald Sutherland star in the same kind of thing???” I know I did. However, Staub and Aperlo don’t completely ape the concepts that surely haven’t inspiring them, making the effort more endearing, and visually crafted a well-blended plot into an enjoyable and captivating story; a story that has been mostly devoid of underlining messages and symbolism other than the themes of religious zealots are extremely bad for the world and living with past regrets can be hazardous for your health if not properly accessed. “Devil’s Gate” focuses more directly on just entertaining another version of visitors from another world and how those no-so-little-green-men play an assimilating role into humanity.

Umbrella Entertainment releases “Devil’s Gate” onto a region 4 DVD presented in widescreen 2.35:1 aspect ratio. The vast Midwestern landscape with the foreboding rolling clouds stretches from top to bottom with an exact sharpness and crisp from the digital picture. The textures in the broad, yet barren-esque fields look especially detailed, more so with the wind and brownish-yellow color. Speaking of color, the hue is a filter of shadowed purple and on a sepia side that works the dread atmosphere. The English 5.1 Dolby audio track has ample range and depth. Lightning strikes boom equally from the five channels, alien shrieks trembles through, and the dialogue is not obstructed. Surprisingly, there are no bonus features with this release as the Stateside counterpart even has a trailer in the extras. There isn’t a static menu either as the film goes right into play feature mode. c

Evil Met With Resistance! “Occupation” review!


A small Australian town experiences a small, yet devastating portion of a world invasion by a hostile alien race during a night of carnival festivities and a rugby football game. A small group of locals band together to form a resistance against the alien occupation that seeks to turn mankind’s world into their own, using captured humans as slave labor for their own agricultural harvesters. After each liberation of prisoners, the resistance fighters train others as rebels to strike back, and strike back hard, against their oppressors while they continuously search for their missing loved ones, but for some, at the cost of their own humanity and compassion when only killing becomes the most instantaneous gratification toward taking back their home planet. A select few of rebels try to find common ground in peace with a homeless alien race that desperately seeks an inhabitable world, but red and green blood must be shed on both sides before amity ever becomes a realistic ideal between two humanoid races.

“Occupation” is the 2018 alien invasion action-thriller and the sophomore feature film from Australian director Luke Sparke. Sparke, who also wrote the script, shares additional dialogue credits with Felix Williamson of “Nekrotronic.” What could be considered as “Red Dawn” meets “Independence Day,” “Occupation” has wealthy production value breadth that kisses the line of being something constructed from the flashy and gleam-laden Michael Bay with grand scale visual effects that blend fairly seamlessly with ground level practical makeup. Explosions, weapons fire, and spray patterns of alien blood put a significant dent into the storyline that follows the nearly-a-year course of the ragtag team of human resistance fighters, firmly solidifying “Occupation’s” action status and large pocket budget on a this foreign science fiction film.

Not one actor headlines “Occupation,” but, rather, follows the subjective motives from each of the motley crew of survivors. If had to choose, the pill addicted and rugged rugby footballer Matt Simmons, played by “Beast No More’s” Dan Ewing, is shown some favoritism as he becomes the naturally unspoken for leader of the resistance team that includes his girlfriend, Amelia, played by Stephany Jacobsen. “The Devil’s Tomb” actress doesn’t quite mesh well with Ewing; her forced performance is uncomfortably ungraceful during action and melodramatic scenes of her perspectives on the alien culture and Matt’s audacious bravery. Temuera Morrison is a familiar face amongst the mix; the “Speed 2” and regular “Star Wars” mythology actor across many platforms is the passionately driven father, Peter, who desperately searches for his son and wife from whom he was separated during the invasion and Morrison does what the accomplished actor has always done best, being the aggressor and the muscle behind his character, especially when Peter mercilessly caves in alien craniums with scrap piping. When Peter is bashing skulls, he’s being an overprotective daughter to Izzy Stevens, a young actress from Sydney, who provides the teenage angst and, in a rather bizarre move, goes down a road of fixation with the local, older looking bum, played by Zac Garred. The chemistry only sparks here and there until their tunnel of love sequence; by then, they’re full throttle, ripping off clothes like cotton is contagious. Rhiannon Fish, Charles Terrier, Felix Williamson, Jacqueline McKenzie (“Deep Blue Sea”), Trystan Go, and Sci-fi genre vet Bruce Spence (“The Road Warrior”) make up the remaining cast.

Much of “Occupation’s” hefty flaws come from simply being forced. From the acting to the storyline, the pace doesn’t convey authenticity and where the characters should be within the stages of a post-invasion Earth. Oppressive occupation desolate inhabitants and landscape, but the majority of the human race remain not weathered by the conflict and Sparke doesn’t necessarily express that well with still very much clean shaven, well-kept, and strength-retaining displaced survivors with fat bellies and no sign of disease or starvation. In 8 months, the resistance is able to completely organize against an advanced alien race despite being taken by complete surprise. Dynamics are a bit off as well as many motivations abruptly change; for example, Amelia’s brother, Marcus, has a crush fixation with Izzy Stevens’ character during invading period, but the interaction between them go un-nurtured and wither to where a sudden connection between her and the bum form at a rapid pace without so much of a flicker of jealousy Marcus, losing any hope for an internal, tangent subplot. Same can be said between Matt and Amelia; they’re hot and cold relationship teeters on psychotic behavior and bi-polar tendencies that result in questioning where exactly their position lies in this conflict that’s nudges them to wedge apart but pulls them together again like nonchalant magnets without really tackling head-on their own issues.

Lionsgate and Saban Films release “Occupation” on Blu-ray home video. The transfer is in 1080p hi-definition with a 2.39.1 widescreen presentation. Nothing really to note here about the image quality other than the cleanliness of the digital video that sheds many landscape and personal details in the day and the night sequences. The English 5.1 DTS-HD Master Audio track has copious qualities for an explosive-laden borderline A/B movie from Australia. Dialogue is prominent and the LFE is quiet sparse though explosion heavy; ships whizzing through the air maintain on a level playing field audio track shared with human’s scampering frantically for their very lives. Spanish subtitles and English SDH are also available. For a two-hour runtime flick, surprisingly, there are no bonus features with this release. Luke Sparke’s “Occupation” is masterfully formulaic as we’ve all experienced this movie before whether be “Red Dawn” or “Independence Day.” Nothing under the satisfactory visual effects is awesome enough to rattle or challenge the mind with the venture of a militia of Australian resistance fighters pitted against ghastly, rubber looking extraterrestrials and that’s the ultimate and fateful bullet in Sparke’s sci-fi action film.

Evil Big Enough to Bite Your Face Off Clean! “Abominable” review!


Six months after a tragic climbing accident that left his wife dead and him crippled and bound to a wheel chair, Preston Rogers has been ordered by his doctor to return home, near the site of accident, with the assistance of a nurse to unify Preston’s shattered psyche. Next door, five, young party girls check in for an all-girls party weekend. However, they’re not alone. In the woods, lurks a monstrous living legend, blood thirsty, and ready to feast on the flesh and bone of animal and human alike. As Preston witnesses one death after another from a perched view while sitting in his wheel cheer, he becomes desperate to reach the survivors’ attentions and no one, from police to his uncouth nurse assistant, believe his story of a vicious, hairy creature skulking in the woods, leaving Preston by himself to save others as well as himself.

They don’t make monster movies like this anymore! “Abominable” is the 2006 blood splattering creature feature from writer-director Ryan Schifrin. The director’s freshman film is a wallop of entertainment with ton of homage and a plenty of gruesome kills that you can revisit over and over again on some kind of morbid repeat in this high caliber, independent, coal-coated gem that’s “Read Window” meets a whole hell of a messed up version of “Harry and the Hendersons.” You don’t want this ginormous meat eater breaking in your couch or raiding your fridge! The tightly knit set locations that might usually stagnant a story are easily compensated with a graphic and bloody violence that stems from the many full frontal visuals on the towering, practical effects monster. “Abominable” also looks and feels really expensive and not a slapped together, last minute production.

Now, Ryan Schifrin might not agree with me here and the director might say that it was his passion that attracted some of the genre’s biggest names to have small roles in first time feature, but I’m pretty confident that his well-known composer father, Lalo Schifrin whose composed for movies “The Amityville Horror” and “The Class of 1984”, had some influential help other than also being the orchestrating composer for his son’s film. In leading with “Abominable’s” main star, I remember this actor from his charismatic boyfriend material character in “Deep Star Six;” Matt McCoy plays the crippled Preston Rogers who must rely on his smarts rather than his physical strength. McCoy’s piecing blue eyes and solid acting chops has him being a believable character in an unbelievable movie. McCoy’s character and his at odds dynamic with skeezy male nurse Otis Wilhelm, dedicatedly played in a first time performance by special effects artist Christien Tinlsey, is probably one of the better shallow pissing matches around. The five party girls are Karin Anna Cheung, Natalie Compagno, Ashley Hartman, genre scream queen Tiffany Shepis, who has one of the best death scenes ever, and rounding off with Haley Joel in the female lead. Hold onto to your hats, because we’re not done yet with the star-studded cast list that includes Rex Linn (“Cliffhanger”), Phil Morris (“Dark Planet”), Dee Wallace Stone (“E.T.”), Lance Henriksen (“Aliens”), Jeffrey Combs (“Reanimator”), and Paul Gleason (“Breakfast Club”). Dialogue between Henriksen and Combs is pure magic and just adds that cherry on top of something already pretty sweet.

Schifrin’s “Abominable” is a down to Earth horror. Practical, small, and a straight shooter that doesn’t try to gimmick a way to fame and cult fandom. Schifrin, with the help of the late “Blairwitch Project” director Neal Fredericks, was able to capture the atmosphere and the creature without having to burden themselves with computer generated imagery or relying heavily on camera tricks or crafty edits to progress the story that certainly needed to be blunt. Fredericks cinematography creates the allusion of a bigger world, a world where Schifrin’s creature lives, breathes, and hunts as the urban legend of the Flatwoods Monster. McCoy sells his role of a challenged individual; one whose on the cusp of giving up with he realizes there’s hope in saving these young girls when he could not save his wife or the use of his legs. Auxiliary cast members are not two-bit nobodies with lifeless personalities of backwoods piss ants; instead, Jeffrey “The Frighteners” Combs and Lance “Pumpkinhead” Henrikson are the best backwoods creeps with shotguns and oxygens canisters to act the roles. The monster’s absolutely and gratifying heinous with the Frito-razor teeth, the dingy string hair, and the mouth that opens up a foot wide.

“Abominable” reclaims a home on the MVD Rewind Collection label with a brand new 2K definition transfer 2-disc, DVD (Standard Definition) and Blu-ray (1080p) combo set, presented in a widescreen, 1.78:1 aspect ratio; however the ratio is stretched to fit the entire screen. The image quality is rather clean, but has a fuzzy, soft overlay that’s true to form with a film originally shot in 35mm coming into contact with some electrical interference. The version of “Abominable” is also a all new cut of the film with improved CGI-effects, which there were some, and were overseen by director Ryan Schifrin and editor Chris Conlee. The release continues with a forthright note about enhancing the color timing and correction to further the experience which epitomizes more clearly in a scene where the blue eyes of Matt McCoy and Haley Joel are depicted overly brilliant when staring at each other in the darkness or in the lighted room or, in fact, anything that’s blue, i.e. Joel’s blue jeans or Otis’s nurses getup is indistinguishable being any other hue. This edition comes with an English 5.1 surround audio, uncompressed PCM on the Blu-ray, and the balance is remarkable. Dialogue is poignant and punctual with the beast’s belly deep roars echoing through with such range and depth that it heightens the monstrous terror. Lalo Schifrin’s score comes out clean enough despite slightly schlocky in comparison to his son’s material. New extras include a new introduction from director Ryan Schifrin and bonus material from other releases become rebranded on this combo release with an audio commentary by Schifrin, Jeffrey Combs, and Matt McCoy, a making of featurette, deleted and extended scenes, outtakes and bloopers, “Shadows” – short film by Ryan Schifrin at USC Student Film school, “Basil & Mobius: No Reast for the Wicked” short by Schifrin that features a score composed by Lalo Schifrin, the original theatrical trailer, poster and still gallery, stoyboard gallery, and a collectible mini poster insert! Whew! MVD Rewind Collection went big and landed huge with Ryan Schifrin’s “Abominable.” The mammoth release will surely be a definitive cut for the scarcely heard of creature feature that’s made with deep reverence for the classic monster movie and denotes a sincere and unwavering passion for the genre, making “Abominable” a lovable tribute of beast slaughtering stowed with paralyzing anxiety and symbiotic with pure, addictive joy.

 

“Abominable” is a must own!