When EVIL Isn’t That Black & White. “Choir Girl” reviewed! (Nexus Production Group / Digital Screener)

Eugene lives a lonely, pitiable existence.  Residing with his ailing father in a slum neighborhood, his photography background captures the crime and the desolation that surrounds him, snapping pictures without ever interceding with his crime-riddled subjects, in an attempt to hold an exhibition or sell his work to a high profile magazine, Slipstream, as his ticket out of the despair that engulfs him.  When Eugene stumbles upon young teenage girls being drugged and held for prostitution, he becomes fixated on Josephine when a low-level editor, seeing her as a professional stepping stone, prods him for more pictures that evoke hope out of her situation, but when he finally intervenes, helping her escape, Eugene falls into a world of a massive prostitution ring with doctors, cops, and major organizations on the payroll and a kingpin named Daddy at the helm.  The deeper the debt placed upon him for showing compassion to Josephine, the more the lines blur on whether he’s become his muse’s lone savior or just his meal ticket out his current life.

How far will your moral principles take you to save a teenage girl when you’re locked into a no-win situation?  That’s the theme explored to a shocking sexual assault conclusion in John Fraser’s 2019 unscrupulous Australian thriller, “Choir Girl.”  Introducing Fraser’s first credited written and directed full length feature film, shot entirely in black and white, the Melbourne arthouse and a goose egg-fairytale version of “Pretty Woman” speaks volumes toward the perceived illegality of immigration, the horrors of sex-trade, and the touch-and-go balance act between doing what’s right and self-serving opportunities with a 15-year old girl’s fate dangling at the end of a line.  “Choir Girl” is produced by Ivan Malekin under his Melbourne based label, Nexus Production Group, along with Lucinda Bruce serving as co-producer.

To carry “Choir Girl” through the muck of it all, a strong performance must arduously burden the gravity of the content and Peter Flaherty astounds with an ingloriously flawed and unlikely hero, Eugene.  “The Butcher Possessions” and “KIllervision” actor masts a greasily haggard with bordering neurodevelopment issues, disheveled in his attire, and walks with a noticeable limp, made intentionally noticeable when as he walks away from characters and situations.  Though Eugene seems meek, the shutterbug aches to improve himself by seemingly exploiting others as a freelance photographer and being persistent in that pursuit until becoming engrossed into a 15-year-old prostitute’s life struggle blossoming before our eyes a rather unsettling grown man and teenage girl relationship that assumes a pedophilia ideology of adoring the child to the extent of protection, but also falls in to grooming and sexual exploitation.  The film introduces audiences to Sarah Timm, playing Eugene’s muse, Josephine, an Eastern European illegal immigrant who literally has nothing left that is her own, this including her body, when forced into sex slavery so when Eugene and other characters call her diminutively by Jo, she immediately corrects them to call her Josephine in order to keep the one thing left that is still hers, her name.  In her first feature role, and a mightily demanding role it is with the amount of discomfiture of playing essentially an abused child, the German native will have audiences overlooking the fact that she’s portraying a teenager in the sordid sultriness of sex-trafficking with crafting Josephine’s war-torn history and pre-adolescent childhood stories as always the girl in the background, the unpretty forgotten girl that blended in and no one noticed, until she’s a part of a much larger, more ferocious, uncompromising system that Daddy (Jack Campbell) dictates with CCTV live feeds of every sleazy, scummy hotel bedroom in his syndicated footprint.  The cruelty that Jack Campbell reins savors every facet of Daddy’s being on screen with an intent to be a immovable roadblock in Eugene’s advanced for progress and for John Fraser’s “Choir Girl,” the character development and personalities find justification from the cast with the exception of one, the low on the totem pole and self-absorbed Slipstream magazine editor, Polly.  Krista Vendy imposes on Polly’s rabid  narcissism with an incredibility that becomes the underbelly amongst a bloc of solid performances.  Andy McPhee (“Wolf Creek”), Lee Mason (“The Caretaker”), Jillian Murray (“Body Melt”), and Kym Valentine fill out supporting roles. 

I love the juxtaposition opening of Eugene in his dark room in the middle of photographic processing his oblivious subjects, including a drug abusing child with a hypodermic heroine needle sticking out of his arm, a blowjob being serviced between a wall and bushes, or the aftermath of man being beaten with his assailants walking away from his leveled body, and then the title fades in from black and the next scene is of a framed magazine cover with the cover title “It’s All Back and White.”  The sequence sets up perfectly the entire premise driving “Choir Girl’s” gray area circumstances that nothing substantial, meaningful, or controversial can be black and white. Plus, the entire film is shot in black and white furthering the contrivance of the theme. The gray area challenging Eugene is a tightrope walk when squeezed for payment for snatching Josephine by the amoral organization claiming property theft, making him submit to the idiom of pulling his strings like a marionette or shooting at his feet to make him dance for insatiable perverse satisfaction. Eugene rarely displays remorse in his demeanor, face, or actions for the things he does and doesn’t do when faced with adversity in a slither of sociopathic idiosyncrasy, but when outright criticized for his inaction, he’s able to right wrongs with deplorable methods like a toddler trying to mop up a grape juice spill with mother’s expensive, white dress. There’s a bit of innocence or naivety in Eugene’s mind as you can almost see the gears slowly spinning when confronted but in the defense of the man who no really gave the time of day, those gyrating mice wheels of delicate thought snuck past every contingency against Eugene surviving Daddy’s deadly game, leading to an unsavory solution that puts the viewer in an awkward spot to either avert the eyes or remained captivated to see it through.

 

I, for one, remained seated, steadfast to the end, hypnotized by audacity of John Fraser in his feature film directorial, “Choir Girl,” that has arrived onto Apple’s iTunes. The unrated film is presented in it’s original aspect ratio of a widescreen format and will have an English language Dolby Digital 5.1 surround sound availability. Though derided as kitschy at times, the black and white veneer works here inside “Choir Girl’s” vascular system of catch-22s and director of photography, Mark Kenfield, rides a consistent straighten arrow style with steady cam shots, decent framing, and some tracking shots without pushing the envelope in regards to angles or oscillation. There were no bonus content or additional scenes during or after the credits. “Choir Girl” sings no praises of hallelujah. Offers no solace in time of hardship. If you’re looking for a movie that touches you, then you’re in for a rude awakening as “Choir Girl” obliterates the moral standards, leaving faith outside, with a severe penance in abetting the Devil’s work, selling their soul to do what’s right.

Evil Rips through the Whitechapel District. “Jack the Ripper” review!


On the streets of London’s Whitechapel district, women are afraid to walk the streets alone at night and angry mobs have begun to turn their backs on the police’s ineptness on catching a killer. Jack the Ripper is what the people of London label the maniacal murderer who, with surgical precisions, guts his victims and leaves their lifeless bodies on the dark, dank cobblestone streets. Scotland Yard Inspector O’Neill is joined by his friend and American counterpart, a New York police officer named Sam Lowry, to hunt down and stop Jack the Ripper’s killing spree. Deeper into the investigation, the officers are informed that the suspect they track would have medical background with a skilled blade hand, but even with that information, Jack the Ripper alludes authorities. Lowry’s romantic involvement with a young woman named Anne Ford, whose under the ward of the notable Dr. Tranter, might be very connective tissue between the constabularies and the secretive medical society needed to crack the case of the notorious Jack the Ripper before he strikes again!

Jack the Ripper is a real and iconic villain that not only terrorized the streets of London, but had later graced the screen many times over from Bob Clack’s 1979 thriller “Murder by Decree” to the 2001 Allen and Albert Hughes gothic and graphic “From Hell,” starring Johnny Depp. Before the production of those films, before Jack the Ripper really had any kind of footprint in cinema, Robert S. Baker and Monty Berman directed the 1959 mystery-thriller “Jack the Ripper” from a screenplay by Jimmy Sangster and Peter Hammond based off the theory that Jack the Ripper had a medical practice history. Baker and Berman’s film hit the controversial market from right out of the gate with grisly and ghastly murders, for the circa 1950s, and bared topless actress frivolously to insinuate the lady drunkards, the showgirl dancers, and the lone walking women as ladies of the night. Prostitutes would have been burden the selling of an already certifiable X film from the BBFC and the MPAA. However, the filmmakers constructed alternate cuts, shorting the grisliness to just grim and sheathing bare breasts with articles of clothing in shot for shot censorship. Only on the continental, aka French, version does a truly uncut and complete film live to excite, but instead a complete feature, the unmolested scenes are only available on the bonus features of the Severin Films’ release. That’s not to say that the U.S. and British versions are a complete waste of time. The classic time is utterly timeless and gripping that offers up immense amounts of whodunit suspense, implied sensationalisms, and an adequate take on how incompetent law officials can be exhibited when politics and women are afoot. Plus, the U.S. version, bought and presented by legendary producer Joseph E. Levine, comes with a brassy score by Jimmy McHugh and Pete Rugolo. The British version, also known as more of the approved director’s cut of the film, is scored by Stanley Black.

Tall, handsome, and walking into another country like he owns the land, detective Sam Lowry is introduced at about 10 minutes in, standing at a bar and reluctant to be rough and tough with a mob ready to lynch him for potentially being the Ripper because of his inquiries. Lowry’s charming persona with the women, like the bar maiden and Anne Ford, are only offset by his complete incompetence to be a police detective. Lowry does absolute zilch investigation and, instead, goes out on a date with Dr. Tranter’s niece and makes snarky comments at a merciless, ready to judge horde of scared Whitechapel residents. American hunk Lee Patterson stands out amongst the gothic rich atmosphere to the point where’s he, like his character, is an outcast and Patterson’s talents could only take him so far into a gloomy, morbid narrative that was unwilling to accept his chiseled chin and starry eyes. Eddie Byrne fit the mold better than Petterson as the Scotland Yard Inspector at rope’s end with not only Scotland Yard, but also the rest of London. As Inspector O’Niell, Byrne, who went on to star in “Island of Terror” and “Devil’s Darkness,” humbly accepts his restraint as the Irish born actor takes a wallop from all sides and still remains calm, collective, and ever present on the task at hand with a character being beat from all ends of the spectrum. Anne Ford opposites Lowry as the potential love interest who has come of age, as she notes a few times, to takeover temporary responsibilities at the hospital where her uncle performs dire surgeries. Being oppressed by her own family and seeing London being ripped a part by its own people, Anne latches onto Lowry, an outsider, to find a connection or a release from sullen cloud that hangs over Whitechapel. Unfortunately, Betty McDowall is sorely overshadowed by many of “Jack the Ripper’s” formidable characters and that Anne is not wholeheartedly written though her character is important to the story. Even the showgirls sizzle in more ways than one than does McDowall whose kept in check by Lowry, doused with someone’s problems, and only given an allusion of her worth in a moment of fright. Ewen Solon (“The Curse of the Werewolf”), John Le Mesurier (“The Jabberwocky”), Barbara Burke (“Blood of the Vampire”), Denis Shaw (“Curse of the Werewolf”), Bill Shine (“Burke & Hare”), and Anne Sharp (“Murder on the Campus”) round out the cast.

“Jack the Ripper” is a classic, literally and physically. The scaled down sets of the Whitechapel area bring to life the tenebrous soil of 19-century London. The elegantly painted backdrops of tall mast ships enshrouded by synthetic fog paint an archaic picture of how movie magic has progressed over the decades. Attention to detail in the set construction and the flavor of time period customers brought a sense of authenticity that nostalgically harps on the once was that now only exists as recorded cinema history. “Jack the Ripper” casts a forgotten beauty in the barbarism. By today’s standards, “Jack the Ripper” would be written off as banal and uninspired by critics and audiences, but if you can imagine yourself in 1959-1960, Robert Baker and Monty Berman just blew your mind with onscreen taboos and in America, Joseph Levine’s technicolor blood scene, with a duration of only a few seconds, would be the viral talk of the town.

Severin Films presents “Jack the Ripper” onto a region free, 1080p Blu-ray for the very first time anywhere! Complete with two cuts of the film, the British and American version, Severin presents both in their released aspect ratios of a lossy standard 1:33:1 in the British version and 1.66:1 in the American version, both in B&W with a pop of technicolor in one scene in the American version. Severin’s transfer is perhaps the best we’ll see from an original print that’s laced with scratches, but a bit more light, or some brighter contrast, sheds some light in the inky corners while managing a rich appearance that’s not monochrome or sepia. The English 2.0 audio track maintains an equal quality with some static in dialogue and ambient tracks. Jimmy McHugh and Pete Rugolo’s brass-heavy score thunderously pack the scene that surely takes the lead amongst the tracks. Bonus features include snippets of the continental versions with the extended violence and nudity and the audio commentary with Robert S. Baker, screenwriter Jimmy Sangster, assistant director Peter Manloy is extracting and interesting helmed by horror historian Marcus Hearn. Also included is an interview with the author of “Jack the Ripper” The Murders of the Movies” Denis Meikle, “The Real Jack the Ripper” featurette, theatrical trailer, and poster and stills gallery. Exposed and disclosed, the various faces of Robert S. Baker and Monty Berman’s “Jack the Ripper” now have a hi-def upgrade and though a full continental version eludes this release, Severin provides the cliff notes in order to not overcook the same story a third time.

Tell, Don’t Ask, Evil to Go Away! “The Addiction” review!


NYU Philosophy doctoral hopeful, Kathleen Conklin, has a run-in with a woman on the night streets of New York City, attacking her into a secluded dark enclave, and biting her on the neck after Kathleen is unable to comply with the woman’s bizarre instructions of ordering her to go away. The incident instills fear into Kathleen that quickly turns to a painful vampirism transformation that involves aversion to sunlight, self-antipathy, and a craving for blood. She continues to her studies that evolve into a deeper analytical parallelism of her newly acquired immortality, the results of it, and the human aspect that’s affected by it while along the way, feeding and turning friends, colleagues, and strangers into her brood of own image. Kathleen happens upon Peina, a vampire like herself, that has claimed to conquer his own addiction to blood and can even mirror himself as human, such as eating normal food and jogging. The agonizing withdrawal with Peina drops a slither of a notion into Kathleen that her gargantuan thirst for blood will overdose her soul to pure evil and she has to come to terms with her immortal being on the life she wants to live.

Abel Ferrara’s “The Addiction” has such anti-Hollywood tenacity that the black and white aurora of the 1995 noir vampire film goes against the more conventional grain that is Ferrara’s body of work, but still maintains a healthy amount of the director’s trademarks and his dispositional motifs to give the feature enough claim to clearly become his imprint of a screw you onto the big money motion pictures. The “Driller Killer” and “Bad Lieutenant” director orchestrates a film from without the complications of a union, with producers breathing down his neck to do this or that, and on such a minuscule budget; the vampires here are not transforming in bats, their eyes do not glow in the dark, and they even don’t have jugular piercing canines. Nicholas St. John’s script was written to portray monsters as just people with a severe addiction this particular drug of choice – the blood. The symbolism is so potent that’s hardly symbolism as the main character literally injects a syringe full of blood into the crook of her arm to get a fix.

Ravished without hesitation, Lili Taylor seizes Kathleen Conklin as if Taylor herself was addicted to the character, overtaking the character to an enlightened savagery of an academic disciple on the cusp of achieving stress-inducing doctoral status. Through the studious muck and death of mankind’s prior carnage, the “The Haunting” star goes for the full throttle transformation in the blink of a bite and never blatantly displays the hesitation of her former mortal self until the tide turns to whether stay blood thirsty or to live with the embattlement of struggling addiction. Kathleen crosses paths with Peina whose been undertaken by a classic Walken, Christopher Walken that is, and the New York City born “Communion” star had a big year in horror as “The Prophecy” was released the same year – 1995. Though Peina is crucial to Kathleen’s ultimate survival, the character has little screen time and Walken nails the performance with credence and gusto as some sort of subversive mentor to the young vampire protégé. The cast rounds out with Edie Falco, Paul Calderon (“Fear the Walking Dead”), Fredro Starr, and “The Hand That Rocks the Cradle’s” Annabella Sciorra as Casanova, the female nightstalker who takes a bite out of Kathleen and initiates the carnage.

Ferrara’s choice for black and white isn’t all surprising. At the time, numerous notable directors were doing the very exact concept in the 1990s, examples being Steven Speilberg’s award winning “Schindler’s List” in 1993 and Tim Burton’s dark comedy biopic “Ed Wood” with Johnny Depp in 1994, but Ferrara had a conceptually aesthetic noir appearance that created distance between the rest and established a solid black and white film that renders being akin to, perhaps, George Romero’s “Night of the Living Dead.” Not only did Ferrara’s film fit in the scheme of the 90’s fad, but extended “The Addiction’s” disturbing dramatic value and horror sensationalism in which color would have for sure diluted the story due in part to the pocket change budget. Taylor, Walken, and Sciorra very much believed in the project and that belief brought their characters to the formidable forefront to where a color picture didn’t really matter in the end.

Arrow Films presents “The Addiction” onto Blu-ray home video and is distributed by MVD Visual. The Blu-ray has been newly restored 4K scan of the original camera negative and approved by director Abel Ferrara and director of photography Ken Kelsch. The high definition 1080p widescreen, 1.85:1, picture has a clean palate and despite the lack of the color palette, the black and white has virtually little-to-no blotching or DNR, leaving a flawless image. The English 5.1 DTE-HD MA and 2.0 LPCM soundtracks, with optional English subtitles, is well-balanced, at least in the 5.1 DTE-HD Master Audio. Dialogue in the forefront with a brooding and jarring score by composer Joe Delia has great distinction and range, but there’s a curious lack of ambiance that focuses more on direct action of characters. NYC should be booming with surrounding noise; yet the direction Ferrara takes with reduced ambiance is risky, but exquisitely done to add a more personal touch to Kathleen Conklin’s struggle. Bonus material includes an audio commentary by Abel Ferrara, moderated by critic and biographer Brad Stevens. There also includes a new documentary, entitled Talking with the Vampires, directed by Abel Ferrara that features new interviews with composer Joe Delia, Ken Kelsch, Christopher Walken, Lili Taylor, and Ferrara himself. A new interview with Abel Ferrera going into the background of the film’s construction and the era of filmmaking, a new appreciation by Brad Stevens, an achival piece from the time of production, original trailer, and a reversible sleeve featuring original and newly commissioned artwork by Peter Strain. A supremely inclusive Blu-ray release by Arrow Films and MVD Visual of Abel Ferrara’s grittiest work of his gritty catalogue and the very spartan vampire film has an outlook of what future vampire films should aspire to with great beneficial expectations.

Buy “The Addiction” today!

Evil Doesn’t Care About Your Love! “True Love Ways” review!


An absent Séverine wants to take a holiday away from her boyfriend Tom after she awakes from a dream where she has fallen in love with a man in a top open, white car. Frustrated and desperately in love with her, Tom agrees to a pact with a bar room stranger to stage a faux kidnapping of his lovely girlfriend and Tom would her hero, swooping in to rescue her from “evildoers” and hoping to rekindle her passion for him, but the Tom’s newfound stranger friend has a more devious agenda up his nicely tailored coat and white collared shirt sleeves; one that involves kidnapping young women to star in their snuff movie productions. When the plan begins the unravel and actual intentions are exposed, Séverine’s forced into a deadly cat-and-mouse game against unsympathetic sadists who have laid the prep work foundation into getting to know their victim and know every inch of her youthful body, but Séverine won’t submit without an unflinching, vicious fight as she trudges through areas of an old villa compound, looking for to escape or kill her captors.

If you search for a combination of the classic Hitchcockian style with a smidgen of cold blooded savagery, Mathieu Seiler’s “True Love Ways” would be at the top of the search result. The 2015 German, black and white thriller surpasses being a surprising sleeper film and goes directly into a notorious favorite category helmed by the Switzerland born director who integrates a complex lead character into an unfathomable story of selfishness, unscrupulous power, and sheer determination. Despite the sepia overlay, the colorful venomous of the characters explodes brilliantly, adding vim and vigor to a story that begins with a slow burn to quickly escalating in an anxiety-riddled and captivating narrative pivoting to one harrowing moment to the next. Seiler, who also wrote the script, blends a detailed art house thriller with feminist undertones that surface the severe ugliness in man whose either selfish with his needs, sexually deviant, or insecure. There’s even a case where Séverine’s father isn’t safe from being scrutinized. Séverine’s the strongest character in the bunch by overcoming one obstacle over another while managing each male driven situation with disregard and hostile improvisation.

Steering Séverine’s reactive and survivalist rampage is Berlin native Anna Hausburg. The then 25 year old actress embodies a major milestone in maturity for her physical performance. The entire film is driven by physicality, not dialogue, and Hausburg prove her grit and sexuality seemingly effortless. Hausburg is joined by Kai Michael Müller as Séverine’s unassertive husband Tom. Together, Hausburg and Müller couldn’t be more distant from each other while David C. Bunners interjects with a sly director of snuff film operations. Bunners has a modest performance, but if you accept it, let it sink in, you’ll experience his devilishly, rugged good looks and sophisticated business intelligences just ooze out into a white collar sleaze, perfectly suitable with Bunners’ method on his character. His production crew, played by Michael Greiling, Axel Hartwig, Beat Marti, and Marcel Schneider, are equally skeezy in a choreographic manner whom each have a role to play. Rounding out the cast is Christian Samuel Weber, Anja Margoni, Alina Sophia Wiegert, and Margarita Ruhl.

Seiler’s “True Love Ways” is open to many different interpretations. One that seems to bubble up over and over again in the analytical gear works is that could the entire ordeal, Séverine’s ordeal, be all a lie. Not just a single cell lie, but a couple of angles that undercut the linear option laid before the viewers. For instance, the first lie would be that the dark, heinous snuff producers are all in Séverine’s head. Too many coincidences from the specifics from her dreams to come true in such a manner and she always has this mysterious ailment, near the beginning, that’s never explicitly explained. Second lie would be is this Séverine embraces the darkness of her captors; is she herself unstable after the ordeal that the very sever boredom of regular life? The predictability of it all from her vivid dreams have turned her to seek the man who wants to exploit her and who “freed” her from the incompetent men in her life – Tom, her father, etc. Seiler’s abstract bookends shed light upon slithered clues that reveal potential possibilities of where Séverine’s stands as a hero or anti-hero lead character.

MVDVisual and Synergetic Distribution present “True Love Ways” onto home video DVD. Like the monochrome tone, the DVD cover is elegantly simple with blood covered Anna Hausburg, looking disheveled and holding a blood stained axe, standing in front of a white background encasing the 95 minute film. Presented in a 1.85:1 aspect ratio, the black and white appears absolutely timeless, especially with Mathieu Seiler’s directorial style. However, slight aliasing can be detected in fast paced scenes that liquify the detailing and there’s a bit of digital noise amongst the black objects, like the Old Villa door. The German 2.1 stereo has slightly lower fidelity, but has a still absolute and manageable to understand. There wasn’t really much to test for dialogue depth or range as the film progresses physically rather than with dialogue so many woodsy chase sequences, running through the Villa house, and cars speeding down an isolated road to which all ambient nicely enough. There are no extras included on this release. What starts out as a melodrama between a withering couple turns barbaric under a perennial style of filmmaking. “True Love Ways” provides two-tone carnage with some gore, some sexuality, and a lot of inhuman nature that signifies what’s great about this German indie picture with cascading undertones.

Don’t miss out on “True Love Ways!” Available at Amazon.com

Evil Attracts With the Fluorescent! “Feed the Light” review!


Sara, a desperate young mother, infiltrates a secret facility workplace under the false pretentions of becoming an employee of the critical janitorial department. After losing custody of her adolescent daughter Jenny in court, the child becomes misplaced when her custody awarded father, an employee, loses Jenny in the facility that’s conducting unusual activity involving the building’s light energy source. With everyone on constant edge and under the powerful and dangerous influence of the light, including her very organized and unstable employer, Sara is able to find a sympathizer in the head janitor and by exploiting his mental map and valuable knowledge of the building, Sara goes deeper into the structural bones of a nightmarish reality where evil lurks in the shadows and not everything is what it seems.

“Feed the Light” is a H.P. Lovecraft inspired sci-fi horror directed and co-written by indie filmmaker Henrik Möller with Martin Jirhamn sharing the co-write. The gothic tale stems from the Lovecraft short story “The Colour Out of Space” that tells the tale of a meteor crash landing in the hills near Arkham, Massachusetts, poisoning and deforming all the living creatures nearby that creates chaos amongst the locals. The light, that never dulls, becomes the driving force of everything malevolent and that carries over into Möller’s film, but isolates the setting to a dilapidated building instead of a natural landscape and focusing more on the people inside rather than vegetation or livestock as the Lovecraft short story builds upon. Originally shot in color, Möller thought best to suck the color out from the reel and produce a mostly black and white film, sprinkled with color at strategic moments, that would convey the importance of the ever-present light and interpret a far more dramatic effect to play out; a decision I whole-heartedly agree because if laced with color, much of the abandoned warehouse setting would be a monotonous eye-sore. Instead, black and white enhances the light’s presence, makes it almost seem to stand out amongst the greyscale, and give way to more inspirationally vibrant hues when they are revealed.

For Henrik Möller, this is the director’s first dive into feature films and for the filmmaker whose better known for his shocking shorts, “Feed the Light” doesn’t water down the deranged, creative machine that just steam-plows through a 75-minute runtime and still managing to be mechanically sound to comprehend the Lovecraftian tone. Lina Sundén fills the lead shoes as Sara and Sundén embodies complete innocence and bewilderment when her characters goes forth into this strange facility, but doesn’t show much fear as if a mother’s determination is her driving force to go beyond being what frightens her. Alongside Sundén is Martin Jirhamn, who you might remember me saying he co-wrote the script, as the sympathizing janitor. Jirhamn has collaborated on many of Möller’s shorts, feeling comfortable taking on the challenge of a full length feature by taking on more of a scripted role that has a face with two sides. Rounding out the cast of memorizing characters are “Not Like Others'” Jenny Lampa as an authoritarian boss of the facility who tries to keep Sara from going on Indian Jones and the Raiders of the Lost Ark in the basement and Patrik Karlson otherwise known as the VHS-Man and Jenny’s father in the film.

“Feed the Light” has undertones beyond that of Lovecraft. The story feels nearly anti-establishment, a surreal and extreme look at how doing the same job, in the same office, staring at the same fluorescent lights can make one loose one’s humanity. The boss is a strict enforcer of the rules and doesn’t shrug at the thought of one of her employee’s burning out as long as the job gets done, but it’s not burning out that’s the problem. The light symbolizes obedience and control, turning those with a soul into mindless workers. There’s an unseen power embodying them such as with the dog man, played by Morgan Schagerberg, who, literally, sounds and acts like a canine that just happens to have glittery dust goo ooze out of it’s anus. Yup, weird. “Feed the Light” is jarringly weird, but also laminates into the prospect of hidden doom that’s very similar to the truth is out there concept reveled in the “X-Files.”

The Severin sub-label, Intervision Picture Corp., usually subjects us to older projects, but embraces newer indie films such as Henrik Möller’s “Feed the Light” and with the help of CAV Distributing, Möller and “Feed the Light” can be exposed to every house hold on Earth as a region free Blu-ray in 1080p full Hi-Def. The full frame is a staple of Intervision and doesn’t necessary cause any distress over cropped images. There is a fair amount of interference, but again, only enhances the indie labels reputation. Other than that, the image is fine laid under a Swedish language dual channel audio track that’s well balanced with a brooding industrial soundtrack by Testbild, a Möller familiarity. There are two extras accompanying the feature: one is a making of featurette and the other is an interview with the director, Henrik Möller. “Feed the Light” is a science fiction oddity chocked full with surreal depictions and nightmare creatures with a Lovecraft base and a passionate director’s otherworldly view of how light and color powerfully dictate our everyday lives.

“FEED THE LIGHT” is available on Blu-ray at Amazon!