Evil Shall Not Steal! “Purgatory Road” review!

The Kirby brothers, Vincent and Michael, witness the attempted suicide of his father who placed a snub-nosed barrel shotgun underneath his chin and pulls the trigger. As adult, the brothers process the trauma in their own ways with Michael unable to jumpstart his life that has been exploited by his brother who has joined the priesthood. Now as exonerated Catholic priest, Father Vincent continues his crusade in absolving confessional patrons of their sins, but with a twist. Hell bent on exacting death through absolving upon those who steal in any capacity, Father Vincent travels the rural areas of Mississippi in a beat up congregational and confessional mobile camper to soapbox his wrath sermons and to rid the world of those who surface his childhood trauma. When another psychotic killer ascertains Father Vincent’s radical cause and wants to join devious purposes, the aversely complicate Michael can no longer abide by his brother’s carnage of guilt path and isn’t keen on spending his life with another heartless killer, urging himself to exit the threesome and starting a life of his own with Ruby, a diner waitress who has taken a shine to him, but Father Vincent and his newfound accomplice won’t let him go that easily.

Just what the Catholic Church needs… one more film depicting a priest using God to benefit his own greed! Mark Savage co-writes and directs the damnation of thieves film, “Purgatory Road,” with a post-viewing requiring a penance of one Our Father and ten Hail Mary’s! Co-written with “Stressed to Kill’” Tom Parnell, “Purgatory Road” is a horrific hallmark of adverse Americanisms such as religious fanaticisms, self-indulgence, mental instability, corruption, and narcissism. All these qualities can potentially lead to one common bond that Savage makes centerpiece and that would be murder. Savage’s extreme vision isn’t all that far from today’s reality where cases of the mentally and the spiritually unstable and religious acolytes plan, stage, and carry out killing sprees almost weekly, corrupt politicians and the uppermost devout pocket secrets and bribes, and egotistical maniacs pick and choose basic civilities to divide groups against each other. I don’t see “Purgatory Road” as shocking and taboo, but rather as 98 minute revelation, not in a Almighty sense, but as a break in the opaque lens that is today.

Father Vincent firmly believe in his actions, without doubt and without shame, and uses any tool, or person, to fatally smite thieves, but has no absolute joy in the way he responds to pilferage acts. The guilt over his father’s attempted suicide drives him, sucking the vibrancy, the energy, and the happiness from him, and the fact that his father still lives, as a basement dwelling, cannibalistic creature, makes the matter even more dire to Vincent. The fraught priest ended up being an ideal performance for Gary Cairns (“Malignant”) who noted in the behind-the-scenes interview that his personal issues at the time brought out the all-around worst in Father Vincent and despite the character written as a fire-breathing, wrath of God man of the cloth, Cairns is able to weather his role as a seemingly idyllic Catholic priest with something to hide from credits-to-credits. Michael Kirby might be complicit, but isn’t wholeheartedly on-board with his brother’s blood shedding that drives another relevant nail into a Cain and Abel type tale. Michael’s longing to part from his brother is difficult for him, whether he also feels guilt for his father’s misfortune or an attempt to try and steer Vincent from complete and utter chaos, and even with a chance to escape the madness, Michael unintentionally flounders the attempt that ultimately becomes his climax to kill. Luke Albright (“Devil’s Pass”) engrosses himself as the black sheep amongst wolves in sheep clothing. Though his character is scribed as conflicted, Michael has downplayed emotional trauma that extremely binds him to his brother and makes him just as equally disturbed when disposing of his brother’s victims. Savage and Parnell’s narrative angle might not focus on the emotional level of Michael, but Albright flourishes the angst that internally rips him apart within the confines of every contentious scene that involves Cairns’ character. The brothers are driven further apart when Mary Francis, a sadistic and cannibalistic serial killer, discovers their undertaking, forces herself to join them in the cause, and catches the eye of Father Vincent, who displays some physical touch withdrawals and loneliness with the vulnerability of his corpses. Mary Francis is easy on the eyes, casual in her affairs, and empowering with a high sex drive that would make any man weak at the knees in a normal world, but Mary Francis is far from normal and Trista Robinson (“Jurassic City”) offers her short build, cutesy voice, and piercing eyes that favorably compliment Mary Francis’s dark features and equally dark soul. The character is an unsuspecting brut heart whose well-written as she describes to a radio talk show host her boy or girl fascinations as a drab hunting sport where spilling their blood and robbing them is the last great and excitable moment of the relationship, signified and sealed with a single kiss. The rest of the cast rounds out with Sylvia Grace Crim (“Happy Death Day 2U”), Geoff Falk (“The Livingston Gardener”), Chace Beck (“Meltdown”), and Douglas Cunningham.

Shot on location in Mississippi, “Purgatory Road” offers a really cool story that’s not produced on a studio lot and is kept out of the rural areas of California and any other locations that bear no resemblance to the deeply Southern pious roots of the 20th state of the U.S. Savage was able to obtain raw locations that best fit the delusional and fanatic tendencies of Father Vincent and with the gruesomely beautiful special effects and makeup by “American Guinea Pig: Bloodshock’s” Marcus Koch and Cat Bernier, the murderous role of not only Father Vincent but also Mary Francis are furnished to frightful fruition of two fiends you just don’t mess with in the devout South. Koch and Bernier texturize severed body parts and provide a wide diameter for blood splatter as an intensifying tool, but don’t overly exaggerate the gory garnishes that might re-direct attention from the story.

Unearthed Films and MVDVisual’s Blu-ray of Delirium’s “Purgatory Road” has Unchristian values worth indulging that includes a widescreen 1.85:! aspect ratio. The digital shot film uses a Canon EOS C300 Mark ll in a full HD setting and the image quality has phenomenal sharpness with natural skin coloring and excellent details that come to focus on the outside faded, dirty paneling of the rustic RV and in the fleshy, blood wet limbs of the Koch and Bernier gory special. Cinematographer Andrew Giannetta has a working eye for the horror element of “Purgatory Road’s” red-light district familiar frame work with appropriate fog and tint to augment the gothic murkiness and dread. The Dolby Digital 2.0 audio track is favorably well-balanced with no kickback or unintelligible miscues. “Purgatory Road” might have an RV kill room, but the RV isn’t involved in high speed chases or fiery explosions, so the dual channel works well for this type of low-key thriller. There are bonus features aplenty with a commentary with writer-director Mark Savage, a gallery slideshow entitled “The Grisly Art of Marcus Koch and Cat Bernier,” writer Tom Parnell speaking about his experience as a screenwriter behind his main profession as a lawyer, a lengthy featurette of the three lead actors speaking about their involvement, how they came to the project, and what the film and/or story means to them personally, and a Purgatory Road Q&A featuring Mark Savage. Impenitent swindlers beware! “Purgatory Road” is all fire and brimstone braced with a strong cast of compelling talent and a horrifically transfixing tale of blood is stronger than holy water.

All Evil Wants is to Make Art! “Bag Boy Lover Boy” review!


Albert’s just another lowly speck among the multifaceted masses of New York City. The lonely street hotdog vendor barely scrapes by in what could be considered a life, earning next to nothing to keep him on life support in the city that never sleeps. To impress a beautiful girl, a girl of his dreams, Albert accepts a position offered to him by an eccentric photographer and hopes to learn about creating art with a single click of a photographic camera, but Albert becomes the obsessive fixation of the photographer’s next breakthrough exhibit. Albert’s simpleton nature and the photographer’s edgy intensity pushes the aspiring artist to lure women into offbeat modeling sessions in the away photographer’s NYC flat. When he can’t retrieve the inspirational art out of his models, a frustrated Albert goes to extreme lengths to ensure his art is performed to his particular, elementary taste.

“Bag Boy Lover Boy” is the 2014 inaugural feature film debut of director Andres Torres who is one of the few directors out of countless others able to resuscitate the compellingly frightful grit of New York City long ago. I’m talking about the era of pre-Rudy Guiliani New York City in the 1980’s where graffiti splayed walls and the blue fluorescent of dilapidated charm was present on every grid blocked street. Torres, along with co-writer Toni Comas, supplements one of a kind character personalities very appropriate to inhabit the sinister ladened Big Apple. Characters who aren’t dolled up or even genuinely beautiful. Those characters who are easy on the eyes don’t have the inner soul to match, residing in them an defect of some sorts that makes “Bag Boy Lover Boy” feel all too real.

Jon Wächter, a director-actor with behaviors not too alien to that of his character, centers himself as that very bag boy, lover boy of Albert, the awkward citizen with a one track mind and living to fulfill no dreams, hopes, or goals. Wachter owns his role by giving no hints of aspiration to fortune or achievement until Albert meets the cynical Ivan, appropriately casted with New York City-based actor Theodore Bouloukos, is able to hone in on the streets’ muckiest ground level and incorporate a Ron Jeremy charm that’s shrouded sleazy, but devilishly smart. Ivan draws out of Albert a simple interest, a hope to create art through photography, but Ivan has other, more prosperous, plans for the gullible nitwit as model in his own artwork. Albert’s mind focuses solely on photography and not modeling, placing Ivan in a rather haste position to con his centerpiece with poor words of self-worth advice and filling Albert’s head with misogynistic directions when Ivan goes through his rather rough motivational spiel during shooting gigs. Albert then can’t separate reality with his newfound dream that puts “models,” played by Teena Byrd (“Ninja Versus Vampires”), Sarah O’Sullivan, and Adrienne Gori, in harms path. Kathy Biehl, Karah Serine, Tina Tanzer, Marseille Morillo, and Saoko Okano make up the rest of the cast.

What I found most interesting in Torres film is Albert’s perception of himself. After a couple of, what he thinks are successful, shoots with the women he lures and drags up to the Ivan’s flat, Albert perceives himself as this eminent rockstar, exhibited very boisterously in a fantasy scene within Albert’s dingy one room apartment. What’s really ironic about the whole story is that Ivan honestly could deliver every bit of the wealth, women, and respect he promises to Albert and with these promises, he could obtain Lexy, the girl he hopes to win over, but with such a narrow mind, unable to go beyond to foresee a positive future, Albert self-destructs into infamy with only some non-permissive nudity polaroids to show for it. Torres and Comas Shakespearean-like comedic tragedy concept is a consistent conundrum for each and every one of us, not just the slow and low like Albert, but for us who think in the short term, despite whether what we accomplish now might not be a desire or may not be our sole purpose in life. Even peering into Albert’s erratic, overly-exaggerated, if not visually stimulating, mind stories are not to different from what perhaps the rest of us experience.

Severin Films presents the EXU Media production of “Bag Boy Lover Boy” for the first time on DVD and Blu-ray home video. The region free, not rated, gorgeously illustrated Blu-ray is presented in full HD 1080p. The image quality boasts vibrant colors and really exemplifies the naturally gross visual aspects of New York City streets. Various skin tones come out nicely unfiltered and untouched, especially the pasty Wächter and the olive skin of Tina Tanzer, with only brief moments of filters to accentuate subversive content. The dual channel English stereo isn’t half bad. Even though English is not Jon Wächter’s first language, the Sweden-born actor’s dialogue is clear and coherent. The rather mixed bag soundtrack and the Barbara de Biasi score have boastful fidelity and remarkable clarity. Extras include a meaty audio commentary from director Andres Torres, Theodore Bouloukos, and editor Charlie Williams, The Student Films of Actor Jon Wächter: “Got Light” and “The Never-Starting Story,” and the film’s trailer. “Bag Boy Lover Boy” is surrealistically realistic while being slightly exploitive and courageously risky. A satirical film with the proper fortitude to challenge our judgements about life and the paths chosen while leaving an uncomfortable aftertaste of profligate opportunities. Torres also leaves with us a film that we’ll never forget.

Buy “Bag Boy Lover Boy” at Amazon!

Revenge is an Evil Dish Best Served Cold! “Gelosia – Vendetta D’amore” review!

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After Thomas’ voluptuous wife’s immaculate beauty falls victim to a horrifying and scarring fiery car accident, the sex-addicted womanizer, fueled by a constant stream of strong alcohol, dumps his maimed wife and obsessively hops from one unchaste woman to next, but in the darkest shadows lurks a hidden danger toward his newfound, unrestricted fast and loose lifestyle. A sinister plot of revenge against him begins to quickly unravel and Thomas’ stretch of unscrupulous carnal behavior is about to be ‘cut’ short because, as the ancient saying goes, “hell has no fury like a woman scored.”
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Alberto Barone’s vengeful sex-thriller “Gelosia: Vendetta D’Amore” is a short film laced with irrepressible desires and consequences, doused in pure hatred and nihilism, and packaged as a vibrant grindhouse homage garnished with a tightly-knotted black bow. Milton Welsh stars as Thomas, a man on a bulldozing sexcapade, and with Welsh’s raspy, baritone voice and slick back, greasy hair makes him, on screen, the perfect, middle-aged creep, hooking up with the shameless, uninhibited women. The German born Welsh has indistinguishable looks and talents with the impeccable “Doom” and Rob Zombie “31” actor Richard Brake that brings a lot of despicable enjoyment to not only the performance, but also with the monologue by Welsh throughout the short film. Welsh’s previous credits include the 2011 remake of “Conan the Barbarian,” “Aeon Flux,” and, one of my personal favorite Norman Reedus films, “Antibodies.”
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Welsh’s performing cohorts makeup solely of very well-endowed, very offensive-embracing women that include a porn star, a dominatrix, and a couple of veteran genre actresses starting with the Southern France born Manoush (actress in Marian Dora’s “Cannibal,” “Philosophy of a Knife,” and, most recently, “The Curse of Doctor Wolffenstein”) as Heidi, Thomas’ discarded wife. This dominating role didn’t feel quite right, slightly forced, from the possibility of this role not being in Manoush’s native tongue, constraining the gushes of violent emotions that should be exploding from within the character outward. Manoush directly interacts alongside “German Angst’s” Kristina Kostiv, as a very seductive Eastern European escort girl in a manner that blurs the motivations of the characters, but we’ll discuss that later in this review. Rest of the cast fills every man’s, sometime woman’s, prominent fantasy with sacrilegious Nunspolitation and naughty nerd girl scenario roles, respectively donned by Tara Rubin and German porn star Lana Vegas. Both Rubin and Vegas steal from “Gelosia’s” root message with their provocative performances that leave almost nothing to the imagination. Tattoo model Alexa van Unique gets kinky in a brief scene of dominance that’s short and sweet and gets the message across.
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“Gelosia” is Italian for Jealousy, but Alberto Barone’s written and directed film doesn’t hit hard with one of humanities irrational and vile attributes. More in line with the subtitle of “Vendetta d’Amore,” aka Revenge of Love, Barone tells two-stories: One of the monologuing, sex addict that objectifies women more than he wishes to understand them and a vengeful wife with a dastardly plot of deadly retribution against him. I just don’t see jealousy as the major player this short film is titled after and that, at least for me, dilutes much of the radical content supporting the story including the naked women, the gruesome violence, and the admirable cinematography.
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“Gelosia: Vendetta d’Amore” is sexy with shock value. Produced by Ingravisione, the exploitation thriller seeks to debut in late 2017! Overall, Barone’s ultra-exploitation leaves an indifferent residue with me as I’m still hung up on a few difficult to ignore hiccups, but I love the short’s perverse freedom as a whole that’s vivid and modern while staying classic in style. “Gelosia: Vendetta d’Amore” is starting to hit festivals as I type this, bringing all the castrations and sex to an arthouse theater near you!
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[youtubehttps://youtu.be/9PR-KtfhaA4]

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!

An Evil Bouquet of Purgatory. “Flowers” review!

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Six dead women relive pieces of their previous mucky lives embodied in one seamless soul that’s trapped in the literally gory innards of their serial killer’s home. Forcibly held in the limbo of a filthy purgatory, each woman find themselves in a different, and extremely hellish, part of the house and each carry the same gruesome autopsy laceration across the front of their chest, crudely stitched together and coming apart at the seam ready to pop open their insides at any moment. Unknown to why their confined, an ill-fated reason develops at the end of the maze’s demented journey through the home made of severed body parts, decorated with pieces of human tissue, filled with decomposing bodies, strewn with ghastly entrails, and drenched with blood.
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Director Phil Stevens composes an avant-garde horror story orchestrated with no dialogue what so ever through the duration and spatially effective in close, uncomfortable quarters . Certainly unique from anything else I’ve ever witnessed, “Flowers” doesn’t apologize for being overly gory and disgusting, pursuing a stomach-churning reaction from all allegoric angles. Slip-and-sliding through the murderous muck and goop, each of the six dead women seem hysterically unfaded, yet more intriguingly curious to their surroundings, even if that means putting their hands through a tonnage of viscera and ripping their own flesh open. Indie films like Phil Stevens’s “Flowers” will never catch the eye of most mainstream audiences and will never know of their existence, but a few lucky viewers, like myself, get to experience the surreal work from the horror underground. Fans of Marlan Dora’s “Cannibal” or Jörg Buttgereit “Nekromantik” will revel in “Flowers’s” grisliness and gloomy nature.
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The cast is made up of six alternative lifestyle women, each one credited only as Flower 1 through 6, and take up a particular different segment and sprinkled into their story is their merciless and necrophiliac killer, only credited by the name The Exile. In sequential order, the Flowers are played by Colette Kenny McKenna, Krystle Fitch, Anastasia Blue, Tanya Erin Paoli, Kara A. Christiansen, and Makaria Tsapatoris and the killer is played by Bryant W. Lohr Sr. The majority of the actresses take on more than their literal roles in the movie. The physical body horror effects are applied by Anastasia Blue and Krystle Fitch to create open wounds across the actress’s chests and the uncleanliness costumes and wardrobes are provided by Makaria Tsapatoris, whose experience has been from the 15 year participation of the horror season attraction Eastern State Penitentiary in Philadelphia.
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The abstract story is intensively focused on the women’s lives rather than their slaughterer The Exile. Their stories are personally tragic as if the Flowers are trying to purposefully or unintentionally ignore real life by way of drug abuse, prostitution, or both. Each actress has to put forth extra effort in their silent performances as dialogue is nonexistent and they’ve successfully compel themselves to act out the scenario, working with their surroundings and being, well, dead. The Flowers may not seem frightened of their killer’s house made of guts, but the Flowers are definitely disgusted, nearly tossing their insides in a few putrid cladded rooms. You may not want to eat while watching some of the segments. Very little is known about The Exile, a very large, but well kept man with a hankering to kill the gutter girls, bathe in their guts, and, sometimes, have sex with their gut-exposed dead body.
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“Flowers” is available in two DVD editions, a standard one disc which is reviewed here and a three disc limited edition set, from Unearthed Films and distributed by MVDVisual. The technical video is presented in a widescreen 1.85:1 aspect ratio with a 2.0 dolby digital audio and, frankly, the two channel audio is all “Flowers” needs with no dialogue or major sound effects as a poetic soundtrack guides with harmony mostly through all of the audio work. The image quality is detailed and vividly enticing, but the colors are intentionally dull and for darker scenes that create ebony silhouettes that are practically not visible or coherent; these scenes only deter for only the first 20 minutes of crawling through the house’s bloody undercarriage and won’t ruin the remainder. For only the disc one edition, extras are fairly good with interviews with The Exile actor Bryant W. Lohr Sr., an audition tape of Makaria Tsapatoris, behind the scene stills, an isolated FX track, and commentary tracks with director Phil Stevens and associate producer “Ravage’s” Ronnie Sortor. I recommend the grotesque “Flowers” to any horror fan without a weak stomach and a mind for the abstract!
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