EVIL Doesn’t Stop Until the Director Yells “Cut” reviewed!


In 1985, director Hilary Jacobs sets her sights to finish her Australian low budget horror film, “Hot Blooded,” at all cost, but the ambitious cast and crew struggle to compete with riley personalities that slow down production. The film’s masked killer goes mad and gores with an indefinite stake into the film’s heart after mercilessly murdering Jacobs before being violently killed himself by the film’s vain star, American Vanessa Turnbill. Fourteen years have past and the “Hot Blooded” reels have been deemed cursed for whenever they’re viewed, someone dies, but a group of determined film students are keen on finishing Hilary Jacobs’ last directorial and even gain the original leading lady, Vanessa Turnbill, to return and finish her staggering performance. With the partial, unfinished reel screened by all cast and crew and filming begins shooting on the original set premises, the evil masked killer returns to finish each one off diligently before they’re able to finish the film.

With the late Wes Craven pumping new spirit into the a life support stricken slasher subgenre in 1996 with “Scream,” masked killers surged into proper restoration once more right before the turn of the century and Mushroom Pictures, the cinematic banner of one of Australia’s most notable indie music publisher, Mushroom Group, asserts their debut title into the stratosphere grazing genre that who’ve now initiated a creative footing into film production and distribution with a commemorating meta-slasher entitled “Cut.” Directed by Kimble Rendall (“Bait”) and penned by Dave warner, “Cut” dares to ride the newly rediscovered genre wave early in the wake of establishing predecessors that strived to formulate an un-formulaic counter measure against the slasher status quo, but “Cut” doubles down with Warner’s script that meshes subgenres, compounding the horror to uncharted territories where filmmakers do not dared trek sitting comfortably in their less is more recliner. “Cut” relates more to Wes Craven than most genre fans would like to admit but the similarities the two directors’ characters and killer are compelling to explore and compare. The filming is mostly shot in the Adelaide region of South Australia; the same region that produced recent horror such as 2017’s zombie post-apocalyptic “Cargo” starring Martin Freeman and the great white shark thriller “The Reef.”

Comprised mainly of an Australian cast, “Cut’s” headlining leading lady is an American “Sixteen Candles” sweetheart taking a leap into unfamiliar territory and I’m not talking about of the Outback kind. Molly Ringwald has only ever starred in one other horror film in her 40 year professional acting career and after the dismally reviewed 1997 cubicle-cutthroat thriller, “Office Killer,” the “Breakfast Club” star steps into a more complex role that involves her multi-tasking two persona performances of essentially the same character spanning a story lined fourteen years apart. As a true testament to “Cut’s” makeup and stylist department, Ringwald, who was about 30 years old at the time of filming, goes incognito as she’s barely recognizable as Chloe, a role within a role played by Vanessa Turnbill playing the teenage character in the scrapped “Hot Blooded” slasher. Though a far cry from a coming to age film, Ringwald pivots to a coming to terms with her character’s handling of prolonged fear from the fateful and deadly night the masked killer almost ended Vanessa’s life by strongly playing to the character’s overpowering sense of self worth and brash Hollywood attitude against the one thing she can’t control…her past. Vanessa is not alone in her quest for finishing a scarring afterthought as “Hot Blooded’s” newest director, student filmmaker Raffy Carruthers, picks up where Hilary Jacobs’ left off after being butchered and is determined to wrap Jacobs’ legacy short of being a hack director. As the other half of the two resilient female characters, Raffy is played by New Zealand actress Jessica Napier who channels her inner Sidney Prescott as a strong feminine survivor unnerved by the macabre that’s closing in around her brought upon a sadistic masked killer and braves sacrificing herself to thwart pure evil’s carnage. The rest of “Cut’s” cast disperses the right amount of character building performances by Sarah Knats, Stephen Curry (“Rogue”), Matthew Russell, Erika Walters, Cathy Adamek (“The Babadook”), Steve Greig, Sam Lewis, and pop singer Kylie Minogue (“Street Fighter”) whose had collaborative projects with Mushroom Group and also a role in a Kimble Rendall 11-minutel short, “Hayride to Hell.”

The meta approach “Cut” takes might detach itself from the plot of “Scream,” but in essence, the Kimble Rendall film is derivative work of Wes Craven who aimed to expose and exploit cliched tropes of the slasher flicks to upheave audiences wits on what they know about the genre and where the plot might eventually boil down to in a orthodox simmer of uncreative sensationalism. “Scream” smartly broke down plot structures, revealed character flaws, and even name dropped popular directors and films that became the very foundational basis of the Renaissance slasher era that went unchanged for years, decades perhaps. “Cut” also reasserts shout outs as references, along with Rendall’s creative knack of making every character swim in the pool of suspicion, to build up a catalytic twist no one would or could predict despite all the subtle clues, generally abundant in slashers, toward revealing the killer’s true identity and motivation. I wouldn’t be bold enough to say Rendall’s “Cut” deserves to be above or on the same level as “Scream,” because, frankly, it doesn’t, but “Cut” has a singular, unique identity with all of its own loaded modern day slasher traits such as a high kill count and an intriguing self-referential plot. Where “Cut” shakes at the knees a bit is how the practical effects were accomplished and the scores of cheesy late 90’s-to-early 2000 visual effects bared an ugly resembles of something that could have come straight out of the Super Mario Bros. film adaptation. A minority of the kills were decently crafted to bring a honorable character death, but there were many that succumb to a quick edit or stemmed from an off screen cut down that took away the breadth of impact and left more to be morbidly desired. Where “Cut” struggles shouldn’t be deemed ineligible for attention because of those reasons and, in fact, “Cut” sustains a high entertaining rating with immense value in the replay sector to catch thematical intimations and do a comparative analysis on Crave and Rendall’s films on how they experiment, treat, and respect the greats that were once lost to success over a long period mediocre financial and routine blundering.

Umbrella Entertainment and Beyond distribution debuts the Blu-ray release of the Mushroom Pictures and Kimble Rendall’s “Cut” with a full HD, 1080p 4K restoration from the original film’s 35mm interpos and presented in a widescreen, 1.85:1 aspect ratio. The 4K scan illuminates the hard, dark lighting used primarily for tone setting, granting an extremely gothic look without being inside the parameters of inherently gothic set design and the scanned transfer also revitalizes the snaps of color where appropriate while still leaving the natural grain from the 35mm filmstock. The English language dual channel DTS-HD Master Audio track has lossy quality because there is such contentious and explosive moments that warrant audio quality; however, the 2.0 track is sufficient to lay simple groundwork of depth, range, and clarity and the soundtrack, no matter how generic, elevates to a concentrated level with the killer on the hunt. Dialogue murkiness is no issue here with a clear path of discernible lines. Special features seem limited and antiquated for a 4K, Blu-ray debut release, but do include archived cast interviews with Molly Ringwald, Kyle Minogue, Jessica Napier, and Kimble Rendall, behind-the-scenes of some of the shots, a commentary with director Kimble Rendall and writer Dave Warner, storyboard and concept art gallery, “Hayride to Hell” short from Rendall that stars Minogue and Richard Roxburgh, and the theatrical trailer of the film. The back cover states a region B disc, but my player was set on A and prior press releases suggested a region free release so this particular gem should play in any region. If a die hard Wes Craven fan, place the 20-years-young “Cut” into your queue as a forward thinking slasher with brass balls and a marred killer with modified gardener sheers that provokes the genre still to this day.

Why settle for standard definition when “Cut” makes a 1080p debut onto Blu-ray!!! Click to buy it now!

Bank Robbers Find Evil in “The Vault” review!


Leah and Vee, Two estranged sisters, their knee deep in debt brother, Michael, and a couple of money hungry hired hands take siege of an old bank to score a half a million dollar payday. With hostages bagged and tagged, security cameras disabled, and no outside communication to the police transmitted, the situation and plan seems to be going smoothly, but when the actual pay load is lighter than expected, desperation takes over and panic overwhelms when the prospect of load sharks will seek to take more than just fingers for payment. A more than helpful assistant bank manager is eager and willing to share information about how to obtain the 6 million dollars in an archaic vault beneath the upper levels just as long as nobody gets hurt, but the heist’s meddling into the basement’s vault stirs a malevolent evil force and their fates will be sealed inside an unsafe repository.

The 2007 “The Signal” director, Dan Bush, directs and co-writes 2017’s “The Vault,” a supernatural thriller co-written by “The Reconstruction of William Zero” scriber Conal Byrne. Tense and polished, “The Vault” has the makings of a velvety heist film that holds up formidably strong, setting up a hostage situation after a well-executed pilferage involving zesty characters with dire complexities that drive them to villainy. The opening credits provide glimpses into the duration along with associative theme, much along the same lines as Victor Salva’s “Jeepers Creepers” that scores the Harry Warren and Johnny Mercer’s jazzy “Jeepers Creepers” track from 1938 that inspired fear before the arrival of The Creeper. “The Vault” uses a song 30-years junior to “Jeepers Creepers” with Tommy James and the Shondells’s psychedelic pop track, “Crimson and Clover.”

The sisters could be exemplary examples of fire and ice; Vee’s hotheaded obstinacy and violent tendencies makes her a volatile wildcard whereas Leah’s calm, cool, and calculating measures maintain their heist from derailing into violent panic. Their estrangement boils from a tiff about Leah’s loyalty to her family as Vee burgeoningly bludgeons Leah and her their brother, Michael, that Leah will skate soon after their escape, leaving the family one-third complete yet again, but Leah being involved in this heist, coming to her brother’s aid from her possible story bred locale of South America, or wherever she might have been, has Michael questioning Vee’s steadfast position. “Orange is the New Black’s” Taryn Manning is a natural born roughneck on screen and Vee is no stretch from her Pennsatucky character on the Netflix hit comedy-drama. Manning opposites Clint Eastwood’s piercing round-eyed daughter, Francesca Eastwood, whose a complete badass in her own rite. The two actresses might be short in stature, but Manning and Eastwood effectively symbolize large personalities in “The Vault” to the point where no other character can come close to competing with them, not even James Franco as an assistant bank manager with an all-too-happy to help personality. Franco, who sports a sweet stash and wavy dark hair, provides a steeliness shroud around his character, whose credited as Ed Mass in the credits, but never specially mentioned by name. Mass is a pivotal character to the story and, if analyzed thoroughly, can be unsurprisingly figured out with relative ease, but the who, what, and why are vital questions that go unfortunately unanswered. Scott Haze rounds out the four main roles with Michael, the gentle brother to Vee and Leah whose deep in debt with collectors who have already diced off one of his fingers. Haze, who has worked alongside “127 Hours’” star in a number of films such as “The Institute,” “Future World,” and “In Dubious Battle” to name a few, doesn’t have much interaction with Franco, but is more a satellite in his own regard becoming the protector of his two more than capable sisters. Supporting cast includes Q’orianka Kilcher as lead teller, “Day of the Dead: Bloodline’s” Jeff Gum as bank officer, the late Keith Loneker as a shotgun toting cohort, Michael Milford as the safe cracker, and “Traffic’s” Clifton Collins Jr. as the shady detective Iger.

Initially, Dan Bush played his cards right setting up the pre-heist all the way through the locking down the bank and all bank employees and customers are bound and gagged. Conal Byrne’s characters spill enough backstory to water our mouths, eager to know more about the angst between the two sisters, the lopped off finger of their brother Michael, and how the turmoil between the robbers is spurred and transitioned to resolution with the introduction of the helpful assistant bank manager and his helpful information about more money in a dank, dark basement vault. At this point, the salivation is intense when only tidbits of bank’s frightening phantasms are given that place the ball on the tee, stomach high, ready to knock the living daylights out our hapless and woebegone thieves, but the surefire, can’t miss swing tops the ball that scuttles in and out of bounds. The second and third acts are a completely clunky with abrupt and disjointed storytelling involving a copout exposition on the bank’s wretched backstory that ultimately leaves that important Ed Mass character hanging out in the pointless wind. Near the tail end, the film just didn’t feel complete, bordering dangerously in choppy filmmaking waters without a woolly and unexplored antagonist at the helm and Bush can’t quite pull all the end strings together to tightly knit a harrowing climax, vacating character substance with disingenuous plot twists.

MVDVisual and FilmRise introduce “The Vault” for the first time on a full HD Blu-ray home video. The widescreen, 2.39:1 aspect ratio, presentation is a great digital asset that favors a night and day conception. Ground level on the bank is pure daylight or exact lighting that vibrant and clear, not a lot of noise, and no observation of aliasing. In the basement, the abyss like somber darkness doesn’t fade away any details, but in all fairness, the haunting figures in the dark are nearly saturated with creeping ill-lit blackness. The English Dolby Digital 5.1 and stereo 2.0 audio tracks evenly set the dialogue and ambient tracks with diverse depth, but with the 5.1 surround sound and basement dwelling apparitions that indirectly cause explosions, the range didn’t embark through the varying to and fro levels appropriately and, thus, impresses a lackluster lasting impact. FilmRise has been quite a bust for bonus content lately and “The Vault” is no different with only the theatrical trailer attached. “The Vault” has sturdy initial framework of agitated vehement characters and a clouded venomous basement, teasing the prospect of two powerful rams running to tangle horns, but, without warning, the narrative unfairly falls to pieces as if one of the male sheep decided to swerve last minute before the game of chicken came to a crash and morbid curiosity becomes sorely deprived of cinematic lethal misgivings.

Buy “The Vault” on Amazon.com