Blair Jensen rode the highlife of drugs and partying until her arrest that separated her from Husband Roberto and her young daughter. Her release a year later thrusts her into a desperate state of self-effacement, swearing to not only to herself, but also to others a clean slate with a life of sobriety and future employment to better her odds at court ordered visitations with her daughter, but while incarcerated, Roberto left for another woman and her family is in the hands of Donna who is eager to do anything in order to stop Blair’s interposing unto her new life, including retaining a witch to invoke the Obsidian curse onto her. The curse attracts all nearby evil toward her. From flesh eating demons and zombies to murderous serial killers and powerful vampires, Blair is constantly on the run and with the help of a former archaeologic professor and his colleagues, she can better understand her dreadful predicament.
“Obsidian Curse” is the 2016 action-horror from schlock and knock-off B-horror director Rene Perez whose brought us such cinematic gems as “The Burning Dead” with Danny Trejo and the “Playing with Dolls” franchise that spawned two sequels, titled “Bloodlust” and “Havoc”. Perez, who also penned the script, has a slight obsession with Obsidian curses as he directed and co-wrote “Obsidian Hearts” in 2014 with nearly an identical premise that begs the question whether Perez just rebooted his own film to tweak and change here and there to gain redemption for initial mistakes? Having never viewed “Obsidian Hearts,” I personally can’t speak upon the film’s merits, but what can be commented about “Obsidian Curse’s” appeal is that the relentless action smothers any kind of insipid narrative traverse and is massively ambitious in wrangling a meshing of a monster mash. Perhaps too massive for it’s budget, Perez roams the locale landscapes as a flawed heroine flees from the flock of fearsome fiends following her like flies to a foul stench. How’s that for alliteration!
Party girl, Blair Jensen, is trying to regain her life after incarceration, but the convicted mother never had a chance. Stripped of her rights and left to fend for herself for the first time, Jensen is at the bottom, starting over, and attempting to claw her way back up the rank to mother of the year with young daughter, but Karin Brauns doesn’t fit the bill. The Swedish-born, blonde beauty is gifted with a paint brush and a canvas, but her talents don’t translate well as the downtrodden Jensen. Perez really over sexualizes her presence from scrip-to-screen that doesn’t seem necessary to the story and Brauns egregiously lacks capturing the struggles of her character’s life changing freedom and the struggles she must endure to survive an all-evil summons. The character is also written and visually portrayed poorly that follows a released felon fallen on hard times having a nice vehicle to drive around, a cell phone to use, and all the makeup applications and hairdo fashions bestowed to the character in every scene. Reggie Bannister should have been the lead, because the “Phantasm” actor really exhibits falling on hard times. Perhaps the most convincing actor on camera, Bannister’s archeological professor is diluted to just a mere paranormal researcher which resembles a shell of his former gun-toting Reggie role. The dimpled chinned Richard Tyson is no longer the seared image of Crisp from “Kindergarten Cop” in my memory bank. The aged actor also fills a professor role in Pere’z film, but, like Bannister, doesn’t register a pulse. Hard to swallow to very screen captivating actors being diminished in performance on a movie that’s engulfed in horror action. Rounding out the cast is former Playboy model Cody Renee Cameron (“The Neon Demon””), John Caraccioli, Julia Lehman (“Constantine” television series), Charlie Glackin (“Playing with Dolls”), and John Scuderi as the Vampire.
While “Obsidian Curse” has entertainment value, the value is rather low on the metric scale. What’s missing from Perez’s film is a rich, engrossing story that requires more than just peppered moments of indistinct human connections spread thin throughout the storyboard action sequences. Blair Jensen might have been the victim of a witch’s dastardly cursed as the bread crumb trail for monsters of countless configurations, but the mother was never tested as, well, a mother whose supposed to be fighting for her daughter and while a scene or two of malicious attacks and chases on Jensen is the rudimentary premise of her plight, the curse never truly agitates into a test of her maternal bond or her compassion for her friends. As far as the overall appearances of the creatures, they check the box as meeting expectations. The rubbery, latex look is conventional of horror creatures in the 1990s and you can see the awkward folds and the distinctive differences between makeup and skin as the two don’t move or mesh appropriately, but the creativity behind the general appearance offers a broad range of antagonists suited for carnage like an empty eye socketed demon with razor teeth who sees by holding up his detached eyeball with a bloody optic nerve dangling about and a vibrant blue vampire with medieval armor and has sexy, disposable women servants.
Breaking Glass Pictures distributes “Obsidian Curse,” in association with High Octane Pictures and iDiC Entertainment, onto DVD home video. The 79 minute feature runs on an single sided, double-layered DVD9 and is exhibited in an widescreen 1.79:1 aspect ratio. Picture quality maintains vibrancy without loosing the edgy details though a large percentage is filtered through a blueish tint. The drone sequences of Blair running through a field, whacking zombies with a basement ball, withstands the picturesque and lush backdrop and even with Blair makes a splash in a creek, the beads of spray really come out in the quality for a DVD. Though quick to edit, the gory scenes are visually tasty too. The digital dual channel audio track is par for the course, but there are some balance issues between score and dialogue that makes Karin Brauns’ accent difficult to interpret. The foley is all out of whack and could use tinkering to hone in or expand upon the range and depth; the repetitive chain rattle used in Blair’s ball and chain chase scene desperately needed to be mixed better. Bonus features include a sole photo gallery. “Obsidian Curse” subsequently cursed itself with a slew of monsters but displayed no character substance to bind the narrative together, leaving Blair’s character arch to flounder in a mindless and endless cycle of bashing in the hostile chromes of enticed evil.
Tag Archives: Breaking Glass Pictures
Lilith’s Evil Spawn Are Coming! “The Crossbreed” review!
Journalists, and lovers, Amy and John are assigned to scope out a potential story about Earth’s first evil feminine. Before Eve was made from the rib of Adam and who was born from the soil, Lilith lived upon the Earth before being exiled as a demoness and the reporters search to hunt down the legends of her spawn, the Crossbreeds. Crossbreeds start out as twins in the mother’s womb, but only one can be born while the other whither and dies and the birthed child will either be good or evil. The folklores recently stem from an small, isolated village now made popular by Lilith’s ghastly tales, drawing the attention of tourists, acolytes, and the religious groups. The atheistic John shares his distaste for other’s devout beliefs and thinks the village is a scam attempting to lure money out of faith blinded followers, but Amy, a Catholic, feels it differently as she’s drawn to the village by indiscernible brief visions of the past. There’s also the fact that she just aborted her and John’s 14-week unborn twins without informing him of the radical decision, but the guilt burdens her immensely, and when she’s in the loins of the village, a wicked presence washes over her and enlightening her that the Devil’s spawn will soon be born and purge all of Adam and Eve’s kindred children, paving the path for the children of Hell to rule the Earth.
“The Crossbreed” is a 2018 released demonic baby and cult film that’s made in America, but crewed and funded by Turkish nationals including Biray Dalkiran, the film’s writer-director. Co-written with Safak Güçlü, Dalkiran, who has been credited into developing original horror films in Turkey, has extended even further the Turkey horror movement that’s now spilling into the States with his upcoming release distributed by Breaking Glass Pictures. The “Cennet” (“Heaven”) and “Cehennem 3D” director gets biblical with his spin on Jewish mysticism in the tale of Lilith by putting definitive, loyal, and deceitful acolytes around Adam’s first, and most fiendish, wife created by God from the same dirt as Adam and these followers seek to summon the devil through the love child of two of Lilith’s crossbreed children. Sounds interesting, right? Biray Dalkiran might have brought horror to Turkey, but in the States, the director is a single cell trying to make a statement in a melting pot of an overcrowded horror cinema organism.
Angela Durazo stars as Amy, the surrogate mother to Satan, and this is Durazo’s sophomore film, but her debut in a lead of a feature film. As a leading lady, the Nevada born former catalog model has a lot going for her: talented actresses, stunning beauty, and an overall multifaceted person. She only has one problem, she’s surrounded by an uncharismatic and unskilled American cast that unfortunately dilute her performance. One of the more important cast members is Nathan Schellerup in his first credit role and it shows. Schellerup is terribly unconvincing and stiff that his opposite Amy role of John is utterly, and unintentionally, hilarious whenever anything comes out of his mouth. It’s like trying to watch C-3PO try to act and that’s probably offensive to the gold plated droid. Amy’s friend Rose, played by Katy Benz, felt unnecessarily wasted that’s not entirely Benz’s doing as the character’s written into the story sporadically or referred to in past sequences that were never hinted or shot during linear storytelling. Benz has the dark, brooding features that these horror thrillers are built upon, yet Biray is unable to capitalize on the actress’s memorizing eyes or succulent succubus-like lips to really sell the character as an evil abiding force. Malinda Farrington, Danny Winn, and, Marqus Bobesich, and Lou Cariffe round out the remaining cast.
To be blunt, “The Crossbreed” is an unfocused effort by Biray Dalkiran. The concept premise is there, but the execution was sorely blundered in the worst possible way produced by not only the clunky performances, but also with a meandering story that just flounders with underdevelopment, super-cheesy digital effects (i.e. a crawling and crying cinder baby demon), and detrimental or kamikaze editing consisting of electrical interference flashbacks and/or visions complete with a slapped together and tepid soundtrack stuck on an endless loop. The digital manifesting demon crying baby crawling toward characters or the two aborted babies frying in a shallow cooking pan duly note how unintentionally campy “The Crossbreed” can be in Biray’s all too serious devil cult flick that won’t afflict any ounce of terror or suspense. Even the pre-credit opening scene is a detached segment, an island scene, that goes unexplained to pay it credit and feels just another waste of time.
Breaking Glass Pictures presents the BD America and DFGS Production produced “The Crossbreed” onto a not rated DVD. The 85 minute single-sided single-layer DVD9 is presented in a widescreen 16:9 aspect ratio. The image quality varies from night and day sequences, pending on whether Dalkiran’s choice blue tint. The night shots are inarguably blotchy at times, especially on background walls and floors, resulting in less definition. The English Dolby Digital 5.1 surround sound has zest behind it with clear dialogue quality. The soundtrack, though poorly timed and repetitive, maintains an above par level grade. There are times when the dialogue looses fidelity; an example would be during scene with John playing a round of solo darts and the quality notably differs during a phone conversation with another character. Bonus features include a look at Biray Dalkiran’s career in horror, a showreel of Biray Dalkiran’s films, a behind-the-scenes look (sans dialogue) of “The Crossbreed,” and the trailer. Breaking Glass Pictures conventionally pushes the limits with edgy independent filmmaking and “The Crossbreed” is a stray outside their cache that includes a great lineup of shocking gems like “Tick-off Trannies with Knives,” “Hanger,” and “Someone’s Knocking at the Door.” Yet, Dalkiran’s goreless demonic thriller has no bite and is so tame, with minimalistic explicit material, that whenever profanity is used it doesn’t settle well into the film’s biblical-riddle totality.
Kebabs Made From Drunken, Evil Patrons! “K-Shop” review!
Zaki owns a small kebab shop in England’s vern own party central in Bournemouth on the South Coast. Every night, Zaki withstands the late night drunken antics of the local party goers in the hope his son, Salah, would continue his graduate studies and to also, maybe, one day own his own fine dining restaurant, but when he becomes involved in a scuffle with a late night rowdy bunch, he’s killed in a fit of alcoholic whims. Salah takes over his father’s shop, neglecting his studies, and continuing the serve the intoxicated public in his father’s memory, but when he accidentally kills one stubborn customer, he mincings his body parts into kebab meat instead of calling the police and whenever a deplorable enter his shop, he serves them the newest menu item. One sloppy drunk customer after another, Salah wages a vigilante’s war on party world, especially toward a new dance club that masks over a drug trafficking ring.
“K-Shop” is the 2016 horror from writer-director Dan Pringle in his first helmed feature that aims to explore the troublesome nature of the after party, intoxicated human plagued upon sensible people. Pringle strengthens the social commentary by implementing actual footage of drunken debauchery filmed right on England’s South Beach that range between spewing chunks onto the sidewalks to heated back and forth fisticuffs. Pringle’s script tackles that insatiable inner urge everyone has felt at least once in their life when dealing with unreasonable nightlife and that is to raise a fist against them to show how to act like a decent human being. “K-Shop,” which denotes being a double entendre for Kebab Shop and Kill Shop, takes the act one step further, introducing a cannibalistic element to the mix as Salah rids scrum from the earth by slicing and dicing them into his kebab mixture. Salah’s father, Zaki, is a Turkish refugee and him and his son are essentially immigrants that becomes another script undertone brought up the club owning, drug trafficking, all over bad guy Jason Brown.
Salah is brilliantly executed by Ziad Abaza who brings a cache of raw emotions to his character. “K-Shop’s” trailer hinted at a horror-comedy feature, but there’s nothing funny about Abaza’s Salah who seems that life is wholeheartedly against him as a downtrodden college student in a search for basic human decency and compassion. Salah is pitted against an egregious Jason Brown played by Liverpool native Scot Williams and Williams embodies and embraces being a person of high social status and fame, a person of who lavishes in luxury, and epitomizes being a slime ball. Brown’s a stark contrast against Salah who has to slave away and earn his living while Brown takes his life for granted. The supporting cast are also very interesting starting with Reece Noi as Malik who voyeuristically takes an interest in Salah’s vigilantism and who also, perhaps, shares common cultural aspects, but Malik is just a kid acting beyond his age at times and then drastically at his age at the most crucial moments during his dynamics with Salah. Another character is Salah’s potential love interest in Sarah portrayed by Kristin Atherton. Atherton provides a sweet, quiet, and intelligible demeanor to Sarah that projects onto Salah whereas other women in Salah’s life, mostly his patrons, are loud, obnoxious, and corrupt. Lastly, “Doomsday’s” Darren Morfitt instills a catalytic character in fallen from grace Chaplin Steve. There’s a bit of a confessionally staged event between Salah and Steve that offers a realization and a tale-end twist that just puts that unwanted pit into the bottom of stomachs.
Now “K-Shop” isn’t totally perfect, especially in the flow of the film. Pringle doesn’t clearly provide a timeline of progression. Between the holidays Christmas and News Years is perspectively prominent, but Salah’s calling, or mission, seems to extend weeks, if not months, and that isn’t clearly communicated. Plus, there’s slight difficulty understanding turn page moments that dilute the significance of events whether it’s through too much exposition or choppy editing. Where “K-Shop” is weak, Pringle makes up with gore and story. The gore is absolute from scorching an inebriated man’s face sizzling in a vat of hot oil to chopping up limbs with a butcher’s knife in order to make his delicious kebabs. Pringle’s conclusion is absolving, satisfying, and also, at the same time, fruitless because even though Salah makes a stand against immorality, a realization washes over him that nothing will ever change despite cutting the head from the snake.
Breaking Glass Pictures distributes “K-Shop” on to an unrated DVD home video. The DVD is presented in a widescreen 2:35:1 aspect ratio and the overall quality is stunning sporting a dark painted picture and still convey a healthy color palette even if lightly washed in a yellow hue. The’s no attempt to enhance the image as the natural color tone comes right out and off the screen and that dark gritty matter really speaks to Pringle’s capabilities to create shadows. The English Dolby Digital 5.1 audio track is surprisingly hanging around par level as, some of those key moments once spoken about, are lost in a muddled heap in the dialogue track, but there’s range and fidelity thats good on the output amongst a balanced five channel track. Bonus material includes a behind-the-scenes segment and deleted scenes plus Breaking Glass trailers. “K-Shop” is dark, gritty, and eye opening backed by a versatile lead in Ziad Abaza and helmed by newcomer filmmaker Dan Pringle, seeking to entertain and unearth our inner and deadly vigilante doppelgänger in the midst of social indecencies.
“K-Shop” on DVD at Amazon!
Jack’s Back for an Evil Good Time! “Razors: The Return of Jack the Ripper” review!
London’s infamous 19th century serial killer, Jack the Ripper, was never caught and the specialty knives he used to fillet his victims were never recovered, but in the darkly lit maze of an abandoned Victorian warehouse located in present day London, the spirit of the mysterious murderer of prostitutes lingers within the bricked up walls or so goes the urban legend. Six aspiring writers are invited to a screenwriters workshop at the Victorian warehouse for inspiration and orchestrating the event is an eccentric arts professor Richard Wise. The goal is write the most horrifying, potentially box-office busting horror story for a chance at penning a major movie deal. One of the six writers, Ruth, had received an enigmatic case full of old knives prior to her invitation, placing inspiration in her to write a terrifying script involving Jack the Ripper. When the knives go missing, the writers become trapped inside the warehouse as their involuntarily actions result in the return of Jack the Ripper to continue his unholy work of slaughter and the only way to stop him from carving his way into their ill-fated story is to solve the mystery of why they were specifically chosen to attend this particular workshop.
“Razors: The Return of Jack the Ripper” is the interesting first installment of a British horror movie franchise from writer-directors Ian Powell and Karl Ward. The co-filmmakers reach into the 19th century to bring Jack the Ripper into the present day, but Jack’s not the same; He’s a variant of him old self that involves the murderer being a pissed off malicious ghost in a concoctive tale that blends the modern-day remakes of “House on Haunted Hill” and “13 Ghosts” from near the turn of the century. Other than a physically present, if not more of a flickering presence, manifestation with a link to his prey of frightened writers, I won’t delve too much into details of Jack’s return and what he means to accomplish in hopes of not spoiling the story for you, but I have a sneaking suspicion that that won’t be a problem. The independent film attempts very little to bring the Victorian era swag into the fold. Even Jack the Ripper solely dons a dark wide brim hat and cape, that loosely associates him with the time period. Powell and Ward focus more on the group of bewildered writers and their conflicting dynamics on how they deal with their predicament – i.e. one character is very poignant on the dangers while one other brushes off superstitions and unnatural occurrences – but the pair of filmmakers fail to work the character Professor Wise into the mayhem and by not attributing purpose to the character, the professor inarguably becomes one of the many loose ends of a sunk horror franchise before it’s even set afloat.
The 2016 film stars Kelby Keenan as Ruth, the only character to have any damn sense, but won’t just leave even though she repeatedly states how much danger their in. Kelby’s the lead actress with Josh Myers (“Zombie Diaries 2”), Georgia Mcguire, Kunjue Li (who oddly enough have a bit part on an unrelated Jack the Ripper television series entitled “Ripper Street”), Jack Brown, and Ian Weichardt (“Freak of Nature”) to round out the group of writers. Together, their plight doesn’t come across potently enough; instead, Thomas Thoroe’s Professor Richard Wise strew them through the warehouse corridors in an unbelievable performance of the professor not having a clue about the turmoil that’s afoot. Jack the Ripper goes virtually silent, much like a ghost should, under the unkempt performance of Andrew Shire. In short, the cast haphazardly walks through the storyboards, overkilling reactions and not reacting enough during called upon scenes to the relative cause of action.
So far, in this review, you might conclude that Powell’s and Ward’s inaugural franchise film may be a dud and not spawn sequels. Honestly, I personally would like to see closer for the open ended characters and story; however, I preferably would not like Powell and Karl in the director chairs. Their style could only be described as spastic with way too many edited in interjections of arbitrary spook house filler. The body of work has the sheer tenacity of being more like a 92-minute music video that’s abundantly chorused with haunted house ambiance. Literally, interlaced cuts made more than half the film, barely leaving any story for the actors, and the back-and-forth edits could crisscross your eyes into a strabismus.
Breaking Glass Pictures and Magic Mask Pictures Limited present “Razors: The Return of Jack the Ripper” on DVD home vide. Usually the pride of indie LGBTQ films, Breaking Glass Pictures has a fair share of horror as well and, typically, do right by the release. In this one particular, the DVD is presented in a widescreen 16:9 aspect ratio that’s very detailed. The color hues are a bit dull, more so grey, than hoped. The English language stereo dual channel stereo track had no part in being saved. Layers upon layers of unfinished audio snippets run rampart throughout to the point where you can pick out the flaws at will. Dialogue is wish-washy with the full power of the voice being reduced to no more than a mumble of hearing every other third word from every character. The DVD does come with some special features, such as clips and interviews in a segment entitled “Lights, Camera, Speed!,” “Behind the Walls” is a short featurette about the film, and you can also play the film with commentary from the directors and cast. The film is dedicated to the late Khan Bonfils, who had a minor part in the introduction, after his untimely death on a separate project. “Razors: The Return of Jack the Ripper” is clunky at best. Poor Jack couldn’t rise from the dead to reclaim his infamy in this ghost show of scatterbrained storytelling.
“Razors: The Return of Jack the Ripper” is available at Amazon.com!
A Mother and Her Lovecraftian Evil Baby! “The Creature Below” review!
Hellbent on being the first to discover something big between 1000-feet, talented marine biologist and ecologist, Olive Crown, constructs a convincing case in a video hiring application to test a deep sea diving suit invented by Dr. Fletcher, but a harrowing encounter with monstrous creature at 2500 feet nearly claims Olive’s life. Blamed for a botch dive and unable to remember the incident, Olive has been fired from her dream position, but when she double checks the dive suit for evidence of what might have happened, she discovers an alien substance, an egg-like object, attached to the outer layer and smuggles it home. The egg hatches to birth a blood thirsty, Cthulhu being that has marked Olive as in a symbiotic relationship as protector and mother. Olive senses everything the creature does, even it’s hunger, and caves in to her discovery’s need to feed with those who antagonize Olive and her creature baby, but at an alarming rate, the life form grows into a mammoth creature and Olive might be losing the perspective of who is really in control.
“The Creature Below” puts a spin on a popularly wild H.P. Lovecraft tale and adds a notch into the belt of the Cthulhu mythos. From director Stewart Sparke in his first feature film comes one woman’s tragically macabre endowment that runs amok through the uninteresting confines of her own life and obliterate it from within. Co-written by Paul Butler, the British Cthulhu feature, “The Creature Below,” melds together a very grand unearthly story into the restrictive walls of an unwanted love triangle Olive’s involved in while dipping toes into also being a pre-Romero zombie film with the automata slave. Though very modest in story and budget, “The Creature Below” is an itsy-bitsy speck in a bigger mythological genre and that’s usually the case for indie Cthulhu flicks, as they should be, because giving a little mystery to Lovecraft’s myth tends to build worlds later, sparks the imagination aflame, and leaves a lasting impression long after the movie is over.
Anna Dawson stars as Olive Crown, creature’s foster parent, and Dawson’s first impression of Olive emits a fierce, go-getter ecologist, looking to make a name for herself in the deep dive exploration field. That egotistical drive tapers off a bit once she’s canned for botched dive, delivering a more humble and reserved Olive Crown, but Dawson puts on the sunken-eyed, icy-cold skin that’s clammy and deadlike in order to fulfill the infant Cthulhu’s bidding. Daniel Thrace embraces the lovably sweet boyfriend, Matthew, whose sensible, charming, and overall nice guy. The pair are complete oil and water, a welcoming dynamic, when Olive’s rationality goes off track. Olive and Matthew are really the only two developed characters as, disappointingly, three considerable major characters don’t build too much of a reputation to warrant their value, especially with Olive’s sister, Ellie, played by Michaela Longden. There’s something more between Ellie and Matthew that doesn’t quite hit the nail on the head and there’s also more to her staying with her sister, Olive, that the audience is not aware of and the scenes where Olive comments on her sister’s freeloading just loses all it’s credibility. The other two actors, roles awarded to Johnny Vivash and Zacharee Lee, are more involved in Olive’s deep sea dive and bring more of a well rounded antagonistic or betrayal personality to the table.
Sparke doesn’t linger too long on the creature, shielding it mostly behind a plastic tarp with a nude façade and that’s, perhaps, more in line with the micro budget constraints. In any case, Sparke focuses the story around Olive’s paranoia and obsession with the creature and with her boyfriend and the bitterness between him and her Sister, Ellie, seemingly toward Olive. Dave Walter has composed from start to finish a low and slow synth soundtrack, that’s familiar to a slowly anticipating heartbeat, and really heightens Olive’s spiraling paranoia similar to that of Ennio Morricone’s work on John Carpenter’s 1982 remake entitled “The Thing” where the eerily sounds of a personified isolation breaches every corner of your body, mind, and the dark room you’re in and all you can hear is that thump…thump…thump in a chest vibrating synchronicity of tones. While the soundtrack is riveting throughout, the story becomes a bit sluggish around the midsection in the sense that space and time don’t exists and Olive’s encounters with Dr. Fletcher, Dara, and various others, are halted to develop any kind of affluence amongst each other or with the audience. Even the ending, which I do adore on a certain level, bares the mark of being incomplete and devoid of substantiating that monolithic ending. There is some post-view satisfaction with the blend of practical and computer generated special effects and as I reflect on the film as a whole, to display a species from birth to adulthood, Sparke and his special effects team had amazing results that are fanned out well enough to leave a lasting impression of the unearthed creature’s visceral and intelligible girth.
Breaking Glass Pictures with Dark Rift Films in association with High Octane Pictures release “The Creature Below” onto DVD. The 16:9 widescreen presentation of this sci-fi horror thriller explores a sleek and clean, with a hint of being just a little hazy, picture that puts forth the appropriate dark grey and blue tone for an underwater or above water creature feature. The English Dolby 5.1 sound’s slightly muffled, but solid. Special features include a behind-the-scenes, deleted scenes, “Rats” a short film, and a Frightfest Q&A. Stewart Sparke’s “The Creature Below” is not perfect and does have appalling, laughable moments, but underneath the surface is a UK film that’s budget-busting bold and aims to be a goliath in an indie market.
It's Bloggin Evil! 