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

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

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

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

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

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

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

EVIL is Undead…And Rides a Shark! “Sky Sharks” reviewed (Umbrella Entertainment / DVD)

Former Nazi scientist Dr. Klaus Richter’s past has finally caught up with him after 70 years when a clandestine German laboratory, disguised as an aircraft-battleship hybrid, thaws from behind a globally warmed sheet of frozen ice and rock, releasing Dr. Richter’s regenerated legion of undead Nazi super-soldiers piloting genetically engineered flying battle sharks complete with guided missiles alongside their razor sharp jaws.  Loyal to the Third Reich, the sky sharks continue their master race patronage with a blitzkrieg in the skies, attacking commercial aircraft, boarding the cabins, and slaughtering every last person on board before crashing.   Now contractually working for the U.S. Government as the biggest name in technological advancement, Dr. Klaus, with the help of his two daughters, has a plan to nullify the sky sharks’ defenses to make them vulnerable to his latest newest experiment in warfare, Dead Flesh, under the guidance of his fellow covert government agency heads.

Apex predators of the waters are now apex predators of the skies in Marc Fehse’s ridiculous, frenzied, and utterly mad ultra-violent Nazi-exploitation, “Sky Sharks.” Soaring through the heavens soaking fluffy white clouds with blood, the Carsten Fehse and A.D. Morel co-written film took off virally in 2020 with the promise to the internet, especially horror fans, of zombified SS soldiers mounted standing on humungous Great White, Hammerhead, and Megalodon jet-propelled sharks. Fehse’s team delivered. “Sky Sharks” has not one single serious bone in all it’s cartilaginous gory-glory body in what’s Fehse’s second film behind the 1999, straight to video, “Mutation” involving the what-if factor of a surrealistically free reigning and sadistically unbridled Nazi force hellbent on winning World War II no matter how many lives needing to be sacrificed for the sake of the Führer’s dominion. The Germany-made production is a Fuse Box Films and Fantom Films.

“Sky Sharks” is studded with cult stars, but those studs pop out mostly after the carnage-laden opening scene of passengers on a commercial flight being ripped to shreds by undead super-soldiers hog-wild about killing. Robert LaSardo (“Strangeland”), Lynn Lowery (“Model Hunger”), Tony Todd (“Candyman”), Diana Prince (“The Last Drive-In with Joe Bob Briggs”), Mick Garris (director of “Critters 2”), Dave Sheridan (“Scary Movie”), Amanda Bearse (“Fright Night” ’85), Asami (“Gun Woman), Naomi Grossman (“American Horror Story” franchise), Lar Park-Lincoln (“Friday the 13th Part VII:  The New Blood”) and “Mortal Kombat’s Shang Tsung himself, Cary-Hiroyuki Tagawa, make an appearance in some minor way, shape, or form, but since “Sky Sharks” is a German production, much of the cast is geared toward German and Austrian actors with Thomas Morris spearheading the lead role of the inverted mad scientist, Dr. Klaus Richter, a centenarian mastermind behind the birth and, hopeful, destruction of his monstrous airborne jaws of death experiment.  The role itself isn’t very exciting that refrains Morris to be nothing more but a talking head who recounts his failed World War II and Vietnam resurrection serum to turn the tides of war.  While Dr. Richter has immense blood on his hands from a long and rich background, the present day Richter has lackluster appeal and Morris doesn’t provide much zest either.  More complexities reside in Richter’s two tech-savvy and kickass daughters, Diabla and Angelique.  Their signifying names alone provide some foreshadowing of events, but the close sisters are boots on the ground with their father being the eye in the sky; yet, Diabla and Angelique have been kept in the dark from their father’s horrid past that factors little into parting ways from being daughter’s little girls.  Blonde beauties Eva Haberman and Barbara Nedeljakova successful roles in Germany and the U.S. include “Hostel” and the sci-fi tele-series “Lexx,” but their blind obedience to the patriarch roles downscales any moments to shine individually as free thinking agents of good.  Any other character factored into “Sky Sharks’” whiplash narrative come and go without a single ounce meaningful impact becoming background noise for the fray. There’s not even a singular villain to speak of as a focal point to direct a challenger against forces of good.

As much as the concept excites me on an obscurely dysfunctional level, a real telling tale of who I am as a person, who also praises “Snakes on a Plane” as cult candy, “Sky Sharks” has atrocious issues with pacing and story quality.  The opening scene sets up what to expect of gore drenched Nazis yoking back on genetically mutated sharks, zipping through high altitude to acrobatically infiltrate commercial planes for complete and total annihilation of every passenger onboard.  Tickles me in all the right places.  Yet, the sky sharks’ unveiling background whizzes past right into death from above world apocalypse, skipping keynote details resolving the giant warship beached on the Antarctic ice.  Fehse decides to redirect our focus with a bunch of explicit violence and sex and while that’s all nice and good…really good…the misdirection can’t coverup the necessities needed for a good story even if the story is absolutely bonkers. The visual effects are not distinct from the ream of shark-sploitation films that have become popular over the last decade in a cheaper slaved effort to capitalize on the majestic beasts of the sea…who sometimes mistake a surfer for a sea lion. The flying sharks swim in a stiffly pattern and move inorganically through their uncharacteristic ecosystem as they rocket in a school of steampunk nightmares. Not all visuals fall short of satisfaction when they’re appropriately blended with practical effects. Under that hood of tangible horrors is “Iron Sky: The Coming Race’s” Martin Schäper and, the legendary, Tom Savini, who we haven’t seen special effects work from since 2012’s “Death from Above” (an also fitting title for killer sharks in the sky). Schäper and Savini bring it with blood. Each plane sequence, there’s two of them, exhibit different deaths with each one more outrageous than the next. My favorite is the inverted periscope through a guy’s cranium and having a looksie at the screaming, bloodied passengers. “Sky Sharks” is, literally, an over-the-top scream of slice’em and dice’em fun.

Cresting through the blue yonder and painting the sky blood red is the deadliest gang of shark riding Nazi’s to ever grace a cinema platform in “Sky Sharks,” coming to DVD in Australia, no stranger to large, deadly sharks, courtesy of Umbrella Entertainment in association with Raven Banner. The NTSC encoded, region 4, rated R release will present the film in a widescreen 2.35:1 aspect ratio. “Sky Sharks” is a turbulent wonderland of rustic computer generated visual effects with a Marco J. Riedl and Olaf Markmann cinematography, typifying a clashing style, of keeping actors tightly in focus to sell a futuristic fluorescent environment. A few scenes give a sense of layered paper mâché sitting in front a green screen as the forefront images seemingly pop out of their backdrops. The English and German Dolby Digital 5.1 surround mix falls victim to an overpowering score of a weak dialogue track that washes key pieces of exposition that might explain more as the scenes fleet away in the rushed paced 103 minute runtime. Aside from a brilliantly detailed DVD cover robust with a glowing eyed, half-decaying Nazi soldier as centerpiece amongst flying, weaponized sharks and Robert LaSardo and Lynn Lowry cameoing off to the left side with a half-naked female warrior on the right, the DVD has no bonus features included. After the credits, a fake commercial for “Sky Frogs,” starring that half-naked female warrior I just mentioned, is a satirical happy ending full of even worse, 80’s caliber, visual effects worlds and frogs. Though not at the top of the food chain being one of the grossly ostentatious and shoddily visual effects films ever, the mindless, search and destroy, crudeness of “Sky Sharks” chums our oceans of entertainment with some of the bloodiest fun we’ve seen in a long time from a Nazisploitation.

Own Umbrella Entertainment release of “Sky Sharks” on DVD! Click the poster!

Being Slobby Drunk Doesn’t Excuse EVIL Deeds. “Promising Young Woman” reviewed! (Focus Features / Digital Screener)

On a weekly basis, Cassandra hits the night clubs and drinks herself into a stupor.  A male “Good Samaritan” will come over to assess her well being only to be selfishly determinedly for her to return to his place for a nightcap.  When on the verge of passing out or too immersed in drunken lethargy, the man makes his move with uninvited, unwanted show of handsy affection.  That’s when Cassandra springs her trap.  Feigning inebriation, the clearheaded Cassandra rouses a sobering, befuddled moment of blank expression, misplaced justification, and anger when the man’s seemingly easy lay catches them in an unsolicited sexual violation.  Her traumatizing past has molded her to become very good at pretending to be vulnerable until hearing a familiar name of a man, long thought to be out of the country, sends Cassandra down an itemized path of vengeance that not only includes ruining the life of the source of her unorthodox, yet necessary, campaign but also clump in every facet associated in with his shining existence.

If you needed a slap across the face in order to reassert yourself from the painful numbness of incessant news stories of young women being the vilified victims of sexual assault then “Promising Young Woman” is a stinging hot whack of four fingers, a thumb, and an open palm of wake the hell up!  From Emerald Fennel in her debut written and directed full length feature film comes a blunt narrative of systemic injustice involving rape and the social delusions stemmed out of grades of maturity, lengths of time, and levels of alcoholic drinking.  Coming off fresh from her recent role on Netflix’s period biographical drama, “The Crown,” Fennel draws motivation for her black comedic thriller from the infamous Brock Turner case of sexual assault on Chanel Miller that turned into a conviction judgement with abhorrent caveat in his early release for good behavior that the white, educated, star athlete’s life shouldn’t be destroyed because he’s a promising young man [sic].  “Promising Young Woman” targets every broken system that is meant to protect violated women despite their socializing determined conscious or unconscious state of affairs and has some mega star powers producing the social commentary material in such with “Suicide Squad” and “Bombshell” star, Margot Robbie, under her co-founded LuckyChap Entertainment along with the film’s star, Carey Mulligan, as executive producer. FilmNation Entertainment’s Glen Basner and Ben Browning fully finance the first real award contender of a 2021 release.

“Promising Young Woman” has an all-star, diverse class of actors surrounding principle lead, “Drive’s” Carey Mulligan as the methodically standoffish Cassandra, caught in a web of denial, self-depreciation, and straight up ignorance of the hurt caused directly and indirectly to whichever means to satisfy their own different shades of gray conscious. Mulligan is terrific as a coarse character rare to be juxtaposed against a veneer of bubble-gum chic with a reserved demeanor outside her burning the midnight oil working hours and coming out like a ferocious grizzly bear when calling out club scouting douchebags on their objectionable behavior. When Cassandra crosses paths with Ryan, comedian and “Eighth Grade” writer and director, Bo Burnham, Mulligan’s range is tested to take that disinterested and glassy eyed crusader and turn to a state of daily conformist complacency, the very dangerous thing Cassandra seeks to rectify one man after another, that slips Cassandra out temporary from her anti-heroine role until her dolled up, doughy eyes snap toward the camera and into a kill mode that goes straight for the pervert’s throat. An inclusive cast speaks volumes on not only how “Promising Young Woman” incorporates different ethnic and genre backgrounds and ages, but also doesn’t throw man to completely under the bus as Satan’s puppet on Earth with performances from Laverne Cox (“Orange is the New Back”), Alfred Molina (“Spider-Man 2”), Jennifer Coolidge (“American Pie”), Clancy Brown (“Starship Troopers”), Adam Brody (“Jennifer’s Body”), Christopher Mintz-Plasse (“Kick-Ass”), Alison Brie (“Scream 4”), Connie Britton (“American Horror Story”), and Molly Shannon (“Hotel Transylvania”).

“Promising Young Woman” wields a powerful theme to shed a brilliant light on everything that is fragmented with the way sexual assault accusations, trials, and punishments are handled.  The film also probes deep into the soul in how people who are not directly affected digest sexual assault but become accomplice in proximity in a range exhibited from complete, unnerving guilt to locking away the events in their mind in order to forget.  Fennel plausibly fashions a motif of passing judgement from assailant to victim while chiseling out the flawed logic in each deplorable excuse as to why a University Dean, a defense lawyer, and a good friend could cold-heartedly denounce, and frankly not lift one single finger threaded with moral fiber about, a young woman’s accusations.  The unpleasantry core of “Promising Young Woman’s” topical subject is nestled inside a sparklingly and colorful cladded showcase, housing an energetic and upbeat arrangement around a dark tone that, in a way, reflects the pretense goggles most see through to avoid any responsibility or conflict.   Empathy never seems to run it’s course as Fennel treads without fear on a mission to take back the blasted to smithereens dignity by deconstructing and exposing every unjust particle in this atypical rape-revenge thriller robust with heart paraded on by an ugly truth.

Remember when I said this film is a slap in the face wake up call? It’s more of a gut check, a conversation starter, and a watershed moment rolled up into one and now “Promising Young Woman” will land right into all the living room smart television sets in America with a Friday, January 15th VOD release from Focus Feature films. The rated R, 113 minute runtime release presented in a 2.39:1 aspect ratio will available for a 48-hour rental on Amazon Prime, Apple TV, Vudu, Fandango, and Google Play, but if you don’t want to wait and want to brave a pandemic climate, select theaters have showings available. Benjamin Kracun’s camerawork, shot on an Arri Alexa, offers a lush and delicate milieu surrounding Cassandra who, with a Panavision lens, gleams in the scene and the soundtrack, comprised of early 2000’s pop inspired from Spice Girls, Paris Hilton, and even a strained violin rendition of a Britney Spears track, cues moments of levity before annihilating the live of the blank conscious. As far as special features go, there were no bonus materials or scenes included. “Promising Young Woman” revamps the way women approach vigilante justice with a candy coated shell and the maestro behind it all, Emerald Fennel, aims to redact or nullify the expression promising young man to no longer be a part of the conversation.

Pre-order “Promising Young Woman” on Blu-ray or DVD. Watch it on VOD come January 15th

“The Blackcoat’s Daughter” from Lionsgate in May!


Terrifying and suspenseful, The Blackcoat’s Daughter arrives on Blu-ray Combo Pack (plus Digital HD) and DVD May 30 from Lionsgate. Emma Roberts stars as a troubled young woman who embarks on a journey to an isolated prep school while two stranded students (played by Kiernan Shipka and Lucy Boynton) face a sinister threat from an unseen evil force. Praised as “truly unsettling” by RogerEbert.com, the movie premiered at the 2015 Toronto Film Festival and the 2015 Fantastic Fest. From writer-director Osgood Perkins, The Blackcoat’s Daughter Blu-ray Combo Pack and DVD will be available for the suggested retail price of $24.99 and $19.98, respectively.

OFFICIAL SYNOPSIS

Beautiful and haunted Joan (Emma Roberts “American Horror Story” and “Scream Queens”) makes a bloody and determined pilgrimage across a frozen landscape toward a prestigious all-girls prep school, where Rose (Lucy Boynton) and Kat (Kiernan Shipka) find themselves stranded after their parents mysteriously fail to retrieve them for winter break. As Joan gets closer, Rose watches in horror while Kat suffers terrifying visions and becomes possessed by an unseen force.

Lionsgate will release “The Blackcoat’s Daughter” on Blu-ray Combo Pack (plus Digital HD) and DVD May 30!

NPH Guest Stars in AHS: Freak Show!

NPH

American Horror Story: Freak Show will add Neil Patrick Harris and husband David Burtka to their list of guest stars set to appear on this fourth season. Hollywood hot topic NPH will guest start in the 11th and 12th episode as a chameleon salesman while David Burtka will be in the final episode of the season.

Murphy and Harris have been friends and collaborates since Fox’s ‘Glee.’ Harris has also been a super-fan of the previous American Horror Story installments. Harris and Burtka would certainly round the lively and colorful cast of characters and their actors in Jessica Lange, Evan Peters, Kathy Bates, and Sarah Paulson.