Living free from job responsibilities and able to workout whenever he wants, body builder Naoto is living the high life. His daily workout is interrupted by his former photojournalist ex-girlfriend in search of the next haunted house for her latest article and she calls Naoto to inquire his father’s old, creepy home that’s now in Naoto’s possession. Accompanied by a professional psychic, the three conduct a house call to get a presence reading and take pictures of the rundown, abandoned home. They find themselves trapped inside with Naoto’s father’s darkest secret malevolently toying with them and holding them hostage with her cursed power bestowed upon her death, 30 years ago, forsaken to her by the hands of Naoto’s fahter.
In 2014, first time director Shinichi Fukazawa’s endearment for Sam Raimi’s “The Evil Dead” has encouraged the filmmaker to tribute a film that has dubbed “The Japanese Evil Dead.” With all the depictions of Raimi’s film, including from a shotgun, an axe, and even a severed sarcastic-spewing mangled demon head, “Bloody Muscle Body Builder in Hell” views just as good as the sounds. Taking his film to the next level by going back in a time warp, Fukazawa de-amplifies the image quality with a lo-fi flare that adds chaotic charm bathed in retro-VHS vision as every desaturated hue and blanket of coarse grain is a step back in time. Fukazawa implements his own sturdy brand of macabre to branch his version of “The Evil Dead.” For instance, Fukazawa removes the Necronomicon, the book of the dead, all together. Instead, the director doesn’t forth put an outright explanation behind the cause of the cursed’s murderous revenge other than holding a jealous grudge and the lack of motivation is okay because “Bloody Muscle Body Builder in Hell” is a modern day video nasty.
Shinichi Fukazawa, himself, stars as Naoto, suffering every ding, boink, and bop as our hapless hero that’s aims to strike similarities to Ashley “Ash” Williams and his gift of being the king of Three Stooges foolishness. Fukazawa plays a more conservative character in comparison, but does manage spit out memorable one-liners made genre famous by Bruce Campbell, like “groovy.” THe lead actress, Asako Nosaka, holds her own as a lovely damsel in distress who can double on a dime as a Mike Tyson speed bag puncher. The trapped pair make a convincingly distressed protagonists, especially in such a small Japanese home that’s the equivalent to a cabin in the woods. Last on the roster is Masaaki Kai filling in the psychic’s shoes and conjures an performance that’s could fit right in with the Kandarian Cheryl, Scott, Linda, and Shelley demons.
“Bloody Muscle Body Builder in Hell” is a 2014 effects driven, blood hungry roller coaster of pure mayhem entertainment. The ingeniously creative special effects, on a shoe string budget, are made of eye-popping, skull-crushing, and limb-parting goodness that every horror fan can appreciate and love. The lo-fi cinema and melancholy horror fixes to not impress those who have a taste for the CGI eye candy and won’t knock your socks off with the latest and greatest technological, animated advances in effects that attempts to mock real life, but accomplishes the opposite in the fabricated grindhouse reel with overexposures and rough edges that are more fitting for the subject matter. Fukazawa does embody Raimi’s creative editing and angle vision that makes Fukazawa’s film feel very attached to “The Evil Dead” franchise.
The well-meshed video nasty mingles Japanese culture with a loving tribute to Raimi’s “The Evil Dead” franchise and kicks off Shinichi Fukazawa’s most interesting silver screen career. Terracotta Distribution’s “Bloody Muscle Body Builder in Hell” is a tightly packed 62-minute joyride with squirrelly, demented demons with heavy emphasis on the blood and the gore. Image quality is poor and that’s a good thing! The low-tech fullscreen and unrefined quality are a tall-tell sign of a SOV gruesomeness surrounded by a fuzzy Japanese dual channel stereo. Extras includes a Graham Humprey time lapsed video of him creating his DVD artwork, a behind-the-scenes gallery, a dismemberment of scene clips, and Japanese and Terracotta trailers bringing up the tail end. “Bloody Muscle Body Builder in Hell” packs a punch, delivers the death, and gorges itself in the gore in this UK DVD from Terracotta Distribution! and is a lovely blend of comedy, horror, and praise that’s powerfully short and sweet from a freshman director who aims to make a statement while giving appreciation in his own culturally established way.
Charlie, the daughter of a famed pro-wrestler named Daddy Bison, witnesses the tragic and accidental decapitation death of her masked father while in the ring. Years later, Charlie labors for a video game corporation with underhanded values, but she still feels the call to wrestling, secretly competing and honoring her father’s memory in moonlight matches despite her lover’s wishes. When her corrupt employer illegal obtains Nano byte technology to engineer into their latest wrestling video game entitled ‘From Parts Unknown’ in order to financially steal from gamers, Charlie accidently becomes more involved than just being an innocent bystander. A side effect to the Nano bytes turns people into a horde of flesh hungry monsters on the cusp of being let loose and only Charlie can pile drive a stop to the infected corporate white-collar workers and vicious female wrestlers from embarking on a worldwide takeover.
It’s Bloggin’ Evil is familiar with director Daniel Armstrong’s work, reviewing the Australian born director’s 2013 roller derby slasher “MurderDrome” on the Camp Motion Picture’s home entertainment label. Armstrong’s latest horror installment, 2015 released “From Parts Unknown: Fight Like a Girl,” blends a healthy dose of wrestling into the terror folds. However, this body slamming, drop kicking horror film was produced and completed by 2009, years before “MurderDrome” hit the market, and was shelved in a period of postponement because of post-production reasons, but the Strongman Pictures team bouts with more than half a decade of delays to eventually release “From Parts Unknown: Fight Like a Girl,” a complete horror-comedy battle royal!
With a DIY façade, a talented actor pool dedicates themselves to undertake the high flying, death defying professional wrestling moves of PCW, Professional Championship Wrestling, in Australia and, I must confess, the actors looked legit. There’s an indescribable amount of pleasure and respect that goes into actors braving the chance of injury and accomplishing their own stunt work. Kudos to lead actress Jenna Dwyer for her stunt work to which in an example of her character, Charlie, is air-flung across the square ring and into a metal cage and she falls behind the ropes, landing hard on the mat below. The stunt looked fantastic. To coincide with the physical performances, Armstrong’s script uses slapstick comedy that’s heavy on the satirical undertones. Ross Ditcham’s a good character to spotlight as his role of Frank is the story’s buffoon, branded as being the best friend who doesn’t get the heroine girl of his dreams while running wildly whenever danger, or a brazen female supervisor, is hanging on his coattails.
The combination of performance and wit does hunker slightly from being overshadowed by the wonky cinematography. Every applied color of the rainbow saturates various scenes to, perhaps, wash away the dull gray and white tones of the minimalistic warehouse location or to attempt to upscale production value, but the extreme use of this method conflicts with sharp image details, leaving an opaque and blotchy picture. There’s also some odd framing from either the production or postproduction distribution that’s disrupts the clarity of the actions in the scenes. On the plus side, a solid, passable effort was put forth for the gory special effects, especially when Josh Futcher’s Misha violently implodes the head in of one of the henchwomen with a fire extinguisher, splattering upward a healthy amount of blood while Misha quoting, many times, Ash from “Army of the Darkness.” Tack on superimposed electric current superpowers, a tactical high-powered Uzi, and a little person donning a luchador mask and tights and “From Parts Unknown” tickles all the right parts of your delinquent, shameless senses.
Story wise, a loose introduction semi-torpedoes the backend of Charlie’s growth and embattlements, albeit the killer effects and various degrees of solid acting. The convoluted scenes of stealing the Nano bytes and sprinkled in segments of the Bison Daddy’s fate attempt to set up two simultaneous merging narratives that end up not meshing well or delivering the intended message. After the progression surpasses the Nano Byte mishap, the story starts to take shape, forming more coherently and appropriately to pit our lovely Charlie against an apocalyptic foe, setting up define characters, and setting the stage for an all out slobber-knocker! When Charlie and her mortal allies have the odds against them when rivaled against superhuman opponents, a clear indication that’s just more than good versus evil. Under the surface, Charlie is faced with life adversaries: her unethical boss, an advantage taking supervisor, and other female wrestlers. All of which become flesh eating maniacs and want to rip Charlie apart.
“From Parts Unknown: Fight Like a Girl” has pinned a DVD distributor with the indie label Camp Motion Pictures. The not rated DVD contains a short film “Post-Apocalyptic Chic,” “Fight Like A Girl” music video, Haunted by Humans Music Video, Demented music video, and a trailer vault. Like previously mentioned, the posterized video quality is noticeable within the confines of darker color hues and, especially, in the blacks. The LCPM 2.0 mix audio quality goes in and out with rocky levels of dialogue and ambiance. Graced with an ozploitation with great collaged cover art, Daniel Armstrong’s “From Parts Unknown” and Camp Motion Pictures are a wrestling match made in a hell in a cell! The best wrestling horror film since Mexico’s El Santo films!
What if there were multiple universes and only one time line? Then, what if time breaks down? Being aware of, in theory, the coming lapse of time, Miska uses her talents in physics to calculate the days of when exactly the rare event will occur; she brings along her boyfriend Akçay and together they experience, not an immaculate and breathtaking event, but a horrifying phenomena that intertwines parallel universes and opens the door to our world to mind manipulative beings known as The Others or Shadows. When Miska misjudges the occurrence date, the lovers find themselves trapped in a vicious loop, unable to tell the difference between what’s reality and what’s a realistically terrifying nightmare.
“Reminiscence: The Beginning” is the screenplay written by musical artist and Blue Arc Studios founder Akçay Karaazmak, who also directs film and stars as, you guessed it, the male lead named Akçay. The concept of time breaking down and releasing horrifying entities is intriguing to captivate audiences, like a moth to a bright night light, toward noticing the estimated $500,000 budgeted independent feature that has an exotic filming location on the crystal clear water beaches of Çeşme, Turkey. Alternate realities have an unique appeal since the lot of such films haven’t been saturated by previously exploration and their ventures, unlike the recycled storyline of the zombie genre, can always be varied because time is tangible; we see the parallel time lines within the established stories of popular sci-fi franchises such as “Star Trek” and “Terminator”. Karaazmak’s film, his first ever venture into the movie biz, has similarities to other works such as Stephen King’s film adapted novel “The Mist” or in “Silent Hill,” the video game adapted into film where two universes collide and ferocious monsters seep into the human world, blending time and worlds into one existence. Can we expect the same type of viscera innards from Karaazmak that resulted very favorably for the other recent genre-related films?
The answer to this time bending film is: don’t waste your time. Here’s why…
On a pitch black night, with no street lights, Akçay and Miska barrel down an isolated road; their seemingly anxious and intense conversation annoyingly underwhelms, nearly beneath the wave lengths of the human ear. Miska, in the passenger seat, examines through numerous pages of physic notes and while Akçay drives erratically fast through the thickness of night, she’s communicating something to him but the dialogue track is, frankly, inaudible. The fault lies at the feet of a couple of major issues: shoddy post-production audio work as the soundtrack severely steps up to become an unintentional focus point above the dialogue tracks and actors Akçay Karaazmak and Michaela Rexova mumbling horribly through the bland dialogue due to their heavily broken English and immature acting status. Our ears inevitably have a chance to relax once the two finally reach the Çeşme beach after a near accident.
The beach scenes turn out to have just as much post-productions issues as the superficial opening. The editing work will require an heavy dosage of Dramamine pills to suspend any nauseating effects from the tirelessly and pointlessly shot and edited scenes. Karaazmak’s film feels unsure on how to convey each scene appropriately, cutting and splicing two and three second scenes together. Karaazmak’s editing process resembles something close to tossing contents of a mixed bag of options and seeing what sticks to sort of fit. Also, If I’m going camping in the natural elements of a beach, dressing the occasion might heighten Akçay’s and Miska’s characters’ authenticity; instead, the lovers, cladded in dance club clothing, doesn’t speak highly of our hero and heroine as black hole researchers seriously. Michaela Rexova, starring in her only credited film according to IMDB.com, has the beauty, but her dull persona and monotonous speech makes her instantly unlikeable to which her beauty can’t rekindle and if I would have heard the word “baby” one more time between them under that low breath of either one of them, my brain would have created it’s own timeless black hole and void itself into non-existence as if some kind of mindless suicide.
However, there are moments, brief moments, during the film’s latter that peak through the unwatchable, indigestible blitzkrieg that is “Reminiscence: The Beginning.” Surprisingly, the scenes I’m referencing satisfy some kind sexual aesthetic while managing to remain a lasting and haunting impression. In one of Akçay’s nightmarish visions, a blonde lays facedown and prone across the hall of a vacant and dark structure. She suddenly awakes, stands with only one ripped above knee stocking on, and backs against the wall, sensually moving up and down, caressing her thigh and a knife with her bloody hands, and dripping blood on the ground from the only piece of clothing covering her chest – a male’s white button down shirt stained at the abdomen. With the knife she holds in her hand, she suddenly thrusts it into her crotch and begins to masturbate. Karaazmak manages to create a visually interesting scene in a creepily sexy or psychosexual fashion and there are other just above mediocre short scenes that glimmer, but these scenes would value more as short films rather than as a whole.
Once again, Karaazmak, has his hands in another department and this time it’s with the waffling special effects. You have to give the musician credit for multi-tasking, but when one person helms many departments, the tasks become overbearing, causing multiple areas foundering as if cables from a suspension bridge are snapping one by one to the point that the bridge begins to wobble. That’s how I feel the effects played out by wobbling, but the effects are par for the limited-budgetary course as being not terribly horrific on a modest budget, but nothing stellar beyond fantastic that would be worth bragging about to promote enthusiastic interest in the film. Karaazmak majorly implements CGI to spookily distort the faces of the other-dimensional shadow people, especially when the leads meet their dopplegangers; a comparison draws from when Ash meets Evil Ash in the 1992 horror-comedy “Army of Darkness” after having buckshot spread blasted point blank into Evil Ash’s face. “I’m bad Akcay and you’re good Akcay,” if only.
Blue Arc Studios and SGL Entertainment, a well-established cult and horror distribution company, along with MVD distribution release “Reminiscence: The Beginning” on a region 1 DVD, presented in a widescreen format. Be prepared for 107 minutes of one of the few sci-fi, alternate reality, horror concoction genre film projects to come out of Turkey, but also be warned of director Karaazmak’s migraine inducing editing technique and a dialogue drowning soundtrack that might condemn the viewing ability. Will Karaazmak take “The Beginning” to the sequel level? Time is, hopefully, on our side.
Some moviegoers pride themselves as being a purist especially hardcore horror fans who are looking for an excuse to bash the shit out of anything that isn’t already the horror norm. Remakes are notorious for being made and resulting to being just a money-hungry cash-in and being an absolute piece of garbage bringing shame to the original crew of the original movie. Only once in awhile, a remake will come along to excite and thrill while still being true and respectful to the original movie. Evil Dead is very true and very respectful.
Four friends watch over a drug recovering addict going cold turkey in a woodsy remote cabin. They happen upon the Necronomican – a book bound in human flesh and inked in human blood – and release soul possessing and feasting demons that bring bloody havoc upon group of friends.
With Sam Raimi, Rob Tapert, and Bruce Campbell backing and producing complete the remake project helmed by newcomer Fede Alvarez, you could call this movie a slam dunk and was from start to finish. Right from beginning, the blood begins and, boy, did the blood keep flowing. Raimi’s The Evil Dead intended to be a frightening movie with lots of gore with very little campiness. Alvarez’s Evil Dead just amplified the scary and quadrupled the gore with little to no campiness while keeping Raimi’s story practically whole through the film’s duration and even putting little tidbit easter eggs in film much like Raimi did with placing Freddy Kueger’s blade claw in the tool shed to show respect to Wes Craven and Nightmare on Elm Street.
Fede Alvarez’s Evil Dead is it’s own monster when being compared to the original film while still being a “Video Nasty.” I’d call Evil Dead a proud and gruesome spawn based off the original intent of Raimi’s The Evil Dead. If you’re Evil Dead 2 or Army of Darkness fan, you can completely forget about any humor being portrayed here; all the fun and games will be left out until Evil Dead 4 makes some kind of potential wave.
Call me impressed by Fede Alveraz who has all short films under his belt. I watched his robo-apocolyptic short Panic Attack and thought he had an eye for detail and the details for Evil Dead are right on the nose – the Cabin, the overzealous fog, the controversial woods scene, – but Fede did add his own. For example, there is no Ash (which might piss some people off more than the rest), the whole reason for being at the cabin, the explanation of the Necronomicon, the ending. Yet all these elements make the movie stand on it’s own two evil feet. It is mindless, it is gory, it is sick and it is fun – just like the original.