Evil Wants To Profit From Your Death! “Red Room” review!


When Kyra awakes inside an unadorned room of the second floor of an isolated farm house, the woman, who last remembers herself walking to her car from an afterhours night club, finds her wrists and ankles bound together alongside two other women. The women, Lilly and Allison, have been locked inside the room for days, kidnapped the same way, and treated with an inhumane care that more-or-less maintains their physical beauty. Uncertainty questions their fates, but one thing is for sure, when their captors come to remove you from the others, like selected head amongst the cattle, and relocate you to the red room, that’s when the screaming starts and you’re never heard from again. Between the three captives, anger and fear struggle for common ground on a plan of desperate escape and with the iron grip of their abductors honed into their every move, Kyra’s determination to escape breeds sturdier when the possibility of death is more than likely imminent, but before their inevitable snuff, the red room holds sickening world-wide pleasures that anticipates their particular company.

Poised to be callously unsettling and keen to rip apart compassionate souls, “Red Room” hails from Ireland as a ghastly and shocking exploitation thriller from writer-director Stephen Gaffney. A production of Gaffney’s Deep Web Films and co-written with Erica Keegan, “Red Room” slides ever so covertly into the internet’s interlining of unspoken grisliness that exploits people for the darker desires of other people and Gaffney runs through the typical rational of the irrational abductions, such as sex trafficking, and though that’s certainly taboo enough to quench viewers with a powerful story in itself, the director taps a sex and death geyser a few filmmakers have reaped, perhaps more so retrospectively, the machiavellian benefits in finding a home in a rather thin genre with films that are akin to the plot, including works of malevolent personal satisfaction as such as in Dusty Nelson’s “Effects” or the investigated side that encompasses the snuff world in Joel Schumacher’s “8mm” starring Nicholas Cage.

The 2017 film thrills to inflict tortuous anticipation for what lies ahead of the tethered three women. Amy Kelly’s Kyra is the only colleen to be shown physically abducted and while Kelly maintains a fine performance as the strong female protagonist with no-choice-but-to-escape attitude, Kyra’s character arc has a confounding impact where Gaffney involves non-linear scenes into the story, providing the events leading up to her abduction and also other more linear scenes with her mother on the phone with the police irate with her disappearance, but none of those scenes had significant impact to Kyra’s predicament or motivation and felt out of place. Kyra doesn’t necessarily talk about her child much either, which is always a powerful motivator for anyone with a need to live. Instead of carrying on with Kyra’s needless background, Richard, played by John D’Alessandro, could have benefited from the excess framework capacity of how he became groomed by his stern father, a role fit for a cruel king by “Game of Thrones'” Brian Fortune, and how his calm, sensible, and business casual character admixed himself with various complex villainy, roles donned by JP Albuquerque and Rodrigo Ternevoy, and how they became a triad of high end brunette liquidators of sorts. The other two women with Kyra, Alison (Saoirse Doyle) and Lilly (Sohaila Lindheim) spread the reactionary affects in a petrified Alison and a realist in Lilly when contrasted to Kyra’s defiance, but Alison carries the crux of the story, the reason why there is a story, that falls right smack dab in the red room and, frankly, she becomes the star of the gritty show. “Red Room’s” tops out the cast with another “Game of Thrones'” star Eddie Jackson and Fiona Twamley Hewitt.

“Red Room” has been compared to “Hostel” with a plot that does walk a familiar path of a pay-to-die morbidity and that comparison is a fair assessment with the ancillary connotation that “Red Room” could be seen as an extension or a byproduct of Eli Roth’s sadist of a film. However, a microscopic obstacle provides just enough to dispute that claim, to whither back a formidable opponent in the game of who has the most visceral body of work, and that evidence lies in Gaffney’s creative style. The filmmaker, for lack of a better term, pulls punches, not delivering the full on aggression required to provoke and stimulate the masses. The scenes of gore are ghastly to a point and that’s not necessarily the issue that’s more so with the unravelling of their inhuman nature that doesn’t genuinely denote a persuasive emanation of their victims damnation. We see a little of spark with JP Alburquerque’s Andras who is clearly insane with an limitless immoral conscious whereas the others teeter about more of the business margins or struggle with a tough guy image.

From Stephan Gaffney’s Deep Wed Films in association with Sicario Pictures enters “Red Room” onto DVD home video from Breaking Glass Pictures. Presented in a widescreen, 2.35:1 aspect ratio, on a one-sided, doubled layered DVD9, the Canon C300 Mark II digitally shot feature cleanly and sharply provides quality throughout that falters occasionally with some choppy video speed controlling in the more extreme scenes. Color palette isn’t lush with brilliant hues, but with the darker tone of the film, the expectation of vividness lies more so with graphic content and adds to the value. The English language Dolby Digital 5.1 surround mix is meaty and balanced, strong enough to even tune uneducated ears to the Irish accents. The dialogue is rightfully upfront with fine range and depth with no issues on mic placements. Bonus features include a short and sweet radio interview with director Stephen Gaffney, cast interviews, test screen reaction with the finale climax, a director’s audio commentary, a single deleted scene, and a concept promo. Ireland makes a play for extreme horror with Stephen Gaffney’s “Red Room,” a twisted and a humanly fathomable thriller with a cold-hearted gape at the worst of human nature that lingers into the vast virtual and essential disconnect amongst online gawkers that will never face the exploitive repercussions of what wets their appetites as they sit behind computer screens.

“Red Room” DVD available at Amazon!

Evil is Starving for Your Parts! “Model Hunger” review!

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Former pin-up model Virginia “Ginny” Smith lives a solitary life on the street of a quiet Buffalo, New York suburban neighborhood. Her modeling past was prosperous, posing erotically with curves similar to that of pin-up queen Bettie Page, up until a newer, thinner model named Chloe undermines Ginny’s magazine spread career. Feeling abandoned, physically tortured, and seeking revenge throughout the years, Ginny eats up the competition from thin, to the fake, and to the virginal…literally! Sal and his mentally instable wife Debbie move in next door to Ginny. Soon after, Debbie suspects that her elder neighbor might be up to no good as people go into Ginny’s house but never come out. Chalking up her suspicions to psychosis, Sal ignores Debbie’s accusations until he mysteriously perishes in a car accident. Now nothing can stop Debbie from investigating into Ginny’s cold blooded habits.
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“Model Hunger” is the long awaited directorial debut from long time scream queen and B-movie horror icon Debbie Rochon that publicly displays the dementedness clinging to the inner walls of her brain. Helming from off the screenplay penned by “Seed 2” producer James Morgart, Rochon quickly denotes the position of anti-supermodel figure, turning the thin, the snooty, and those who encourage that sort of behavior into nothing more than a gloppy stew of human chow. “Model Hunger” parodies the serious nature of young women whom go to extreme lengths of imitating the model beauties of today, but the film isn’t a clear-cut horror-comedy per say; instead, the genre of a bizarre cannibalism life style or social commentary revenge film might better suite the self-centering tone.
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The premise most definitely classifies as a film Debbie Rochon would personally headline; Rochon personalized “Model Hunger” to her taste, but this time, Rochon’s sister-in-horror, Lynn Lowry (George A. Romero’s “The Crazies”) headlines as the vengeful, cannibalistic Ginny Smith. Lowry puts the hot in psychotic with a Southern Belle twist, delivering a memorable performance as a cougar-gone-cannibal and her character scores much of the Morgart screenplay dialogue that is overwhelmingly philosophical and ranting compared to a more downplayed principal character in the film’s third horror star – the veteran Tiffany Shepis. Shepis is Debbie next door and though that sounds like a title of a boorish 70’s porn, Debbie struggles with being burned out from a psychosis state that results in plagues of nightmares and prescribed pills. Aside from maybe the pill popping, nothing about Debbie’s persona brings to mind a porn starlet.
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Contrary to a pair prominent female actresses who bring talent and experience from cult films such as “Tromeo and Juliet” and “Shivers” and a highlight of co-stars including the wonderful Michael Thurber (“The Sins of Dracula”), Brian Fortune (“Game of Thrones”), Carmine Capobianco (Psychos in Love) and “Chainsaw Sally’s” Suzi Lorraine casted ironically as a voluptuously large television host of “Suzi’s Secret,” the James Morgart script just couldn’t pull all the talent together. Points of unfocused storytelling noticeably stemmed from the first few scenes involving uncouth and dolled up cheerleaders practicing their routine, receiving their fundraiser packet, and going door-to-door soliciting. These segments run a natural course of supposedly setting up Lisa Dee (cheerleader Missy in the film) and Samantha Hoy (cheerleader Katie in the film) as the film’s leads. The squad practice could have been completely omitted and the story would have worked just the same without bamboozling the main players Lowry and Shepis. The script drags to a slow drift during the second act by not proceeding with much character progression other than Ginny slaughtering snared victim-after-victim to fill her icebox of superficial-inspired characters.
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Honestly, the expectation of graphic violence had a sky high bar set upon the shoulders of Debbie Rochon’s inaugural film, but the special effects violence was unusually tame to a point, containing nothing too new and too extreme until near the finale that involves a naked Jehovah Witness and a medical grade scalpel. Aside from the lack of gross gratuity, the effects were borderline choppy; a prime example to consider would be the obvious rubber baseball bat, wielded by Ginny, that sprung forward and backward, like something out Looney Toon’s ACME company, when striking against an object, but “Model Hunger” was riddled, subtly throughout, with equipment flaws such as equipment shadows in scenes and a continuously shaky camera.
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Wild Eye Releasing’s unrated DVD is presented in a widescreen format with a Dolby Digital 2.0 audio mix. Aside from some awkward framing and a bitrate issue that causes a bit of blotchiness, the digital camera video looks good for the most part with an audio mix from “Friday the 13th” composer Harry Manfredini that’s well balanced. The director commentary, in the bonus features, is a highlight of the extras with Debbie Rochon letting you into her creative side of her film. The commentary is accompanied with deleted scenes, music video, an interview with Aurelio Voltaire, a Babette Bombshell short, trailers, and an Easter Egg! Overall, the underlining point is clear of reverse body-shaming in a very Hatfield versus McCoy scenario and Debbie Rochon, for her cherry-popping film, creates a solid horror entry that displays it’s quality scars and hiccups which the film, nor Rochon, apologizes for and that’s a filmmaker, and actress, I can get behind.

Buy Debbie Rochon’s first film “Model Hunger” at Amazon.com!