Unable to escape her past, Rachel’s unforgettable terrors stem from being the center of a grisly mass murder that involved the death of all her close friends whom were all vacationing at a secluded cabin in the woods. Years later, Rachel, still haunted by the frozen and bloodied faces of her dead friends, reluctantly decides upon attending a spring break getaway with a group of new, still very much alive, school friends; a spring break trip that’s not on a tropical beach, but in a remote cabin. She desperately hopes to face her past and her relentless fear from a killer who was never caught. Through the typical vices that are involved in high schooler hijinks, Rachel tries to cope with not only her fears, but with also her degenerate boyfriend who gawks at any passing woman that makes two second eye contact with him and her superficial stoner friends who relish in their immature partying. As night falls, one-by-one her friends start to die brutally, just like before, and their lifeless bodies vanish, returning Rachel to relive a world of horror that pits her once again against the same maniac as before.
After a brilliant and bloody marketing campaign that involved posters of gore-splattered, half-naked bodies and a slew of “Clue”-esque, whodunit, story characters, “WTF!” has been the Peter Herro directed slasher constantly blipping on my upcoming release radar. “WTF!” is Herro’s breakout feature film debut that lives to tell death in the most formulaic slasher way that’s intentionally campy, persistently raunchy, and keeps you guessing until the end. Despite having character archetypes that genetically makeup the cast in the conventional slasher genre – a stoner, a socialite hottie, a muscular jerk, etc – there is not one single character with redeemable values in the bunch, except for Rachel who constantly shells out her conservative hesitations, and even when faced with their cat-and-mouse induced mortality, Herro, and fellow co-writers Adam Buchalter and Christopher Lawrence Centanni, design an unfortunate bunch of grade-A assholes who could do the world a favor and die a horrible death.
Do you recall my review from last year for the 2015 thriller “The Horror” directed by Jerry J. White III? If you do, you may remember co-star Callie Ott! Ott is back on the scene, starring as Rachel, the traumatized young lady trying to get back on that horse to face her fears, and this leading lady has come a long way to become a scream queen in Herro’s “WTF!” Ott’s joined by two other female co-stars, “Awaken the Shadowman’s” Andrea Hunt and “Hatchet II’s” Sarah Agor, as a pair of girlfriends hellbent to one up each other. When compared to the male characters, Hunt and Agor own their shamelessness and are likable despite their ruthless snobbish attitudes. For the bros, Benjamin Norris, Adam Foster, and Johnny James Fiore are respectively the childish stoner, the ambiguously gay prep, the feverishly perverted jock and, together, they perfectly pitch a tri-force of juvenile incompetence with endless depravities on a continuous repeat cycle. They portray the type of characters you hope, or you pray to God, that they go first and go painfully. Painfully slow, if possible. Nicholas James Reilly rounds out the group of friends as Rachel’s brother, Toby, who tags along to make sure Rachel doesn’t have a mental moment during what should be a fun and relaxed spring break. Oh, and Perez Hilton makes a brief cameo appearance as a pool party host, flavoring his scenes with an exaggerated comedy that’s very similar to his real life and persona.
“WTF!” is a clichéd junket. The over-the-top, stereotypical characters develop like defrosting slabs of beef that are massaged with well-seasoned genre-staple hallmarks, soon to be ready to be filleted into murdered medallions for our viewing pleasure after we’ve suffered the exhaustion over the characters brutal unfiltered banter. Think Perez Hilton and then double the personality. While the characters marinate in moronity, Herro and his crew are able to pull off a back-and-forth of Rachel’s pre- and postmortem experience with interrogation scenes that sweat Rachel to clue in the clueless detectives with the meat of the story. There’s also a competing story involving Rachel at a family wake that’ll become less perplexing when explained in the finale. I found myself not able to grasp entirely who the killer might be until about half the bodies pile up, making “WTF!” an effective slasher with ORLY? capping it off. However, I do grouse with the fact that “WTF!” was suppose to bring that killer mayhem, a tour de force bloodbath, that ultimate gore-soaked slasher as presumably promised in those awesome marketing posters; instead, blood didn’t flow, it merely dripped off into silhouette shadows and the fleeting off-screen moments.
Slathered heavily with many obvious “what the fucks” in the dialogue, Peter Herro does give a fuck with “WTF!” as he lathers his film into an ode to the slasher genre. The Cthulhu Crush Production will be released nationwide on VOD courtesy of Midnight Releasing come August 1st and will be available on Amazon Instant, iTunes, Xbox, Vimeo, Steam, Vudu and Google Play. I was provided with a screener disc so I’m unable to comment on video and audio quality and there were no extras included on the disc aside from a static menu. “WTF!” is a must-see. A definite homage to the butchery of trashy teens with a small gratuitous nudity cherry on top. Make sure to catch it August 1st with your video on demand provider.
Colleen Collette and Colleen McKenzie are best friends. They’re also two superficial 15-year-old girls who are nose deep into their social media campaigning cell phones, jamming in their girl punk band Glamthrax, and living by the unorthodox, yet namaste driven, yoga practices while exasperatingly working at one of girl’s father’s convenient stores called “Eh-2-Zed.” Set in the Great White North of Canada, the Winnipeg, Manitoba sophomores are surprisingly invited to a senior party, a lure by a popular, good-looking senior boy who has a darker, Satanic side to him. The Colleen girls’ run in with a murderous devil worshipping senior inadvertently opens another hidden danger lurking 37 feet beneath their “Eh-2-Zed” soles. A slumbering Nazi mad scientists has been awoken and aims to finish his Third Reich master plan to take over Canada with a cloned army of Bratzis, living Bratwurst sausages who are pint-sizes Nazis, and seeks to unleash evil upon the Manitoba Earth.
Kevin Smith’s latest pop-cultural flick, a comedy-horror feature, entitled “Yoga Hosers” is the second installment, following 2014’s film “Tusk”, in Smith’s horror-inspired trilogy known as The True North Trilogy. Did you noticed I labeled “Yoga Hosers” as a comedy-horror instead of a horror-comedy? The “Mallrats” and “Clerks” director basks more in the familiarity of witty, profane humor in this second of three films, but Kevin Smith has known to dapple, gradually stepping over to the dark side into horror with his radical religious sect piece “Red State” and, like aforementioned, the body-horror “Tusk.” The Jersey native also has an occasional appearance on AMC’s “The Talking Dead,” a talk show about “The Walking Dead’s” post-premier of each episode, and has meddled in the realm of the fantastic. Not only is Smith a strong advocate and sincerely passionate comic book enthusiast, coinciding with his own AMC show “The Comic Book Men,” but “Dogma,” starring the late Alan Rickman, delivers divine revelations and, now, with “Yoga Hosers,” a villainous Nazi clones miniature Bratwurst soldiers. Smith holds, in my opinion, one of the most extremely diverse bodies of work in our lifetime.
Where as “Tusk” goes gritty and gory with R rated horror-comedy, Smith’s intentions for “Yoga Hosers” has always leaned toward that of PG-13 and, maybe, that’s due in part of the two films’ minoring connection. The connection, presumably set in the same whacked out alternate universe, stem from the two Colleens, one played by Smith’s hysterically funny daughter, Harley Quinn Smith, and the other being Harley’s longtime, kindergarden friend Lily-Rose Depp. Yes, the daughter of mega star Johnny Depp and French singer Vanessa Paradis brings her inherited talent and French dialect to one-half of a buddy comedy. The 15-year old girls, who are also 15-year old in character, transfer their natural offscreen relationship into being an entitled millennial pair with every intent on neglecting responsibility until faced with the moment of truth. Teamed up well with Lily-Rose’s father, Johnny Depp, under the heavy makeup of a fictional French manhunter named Guy Lapointe, also from “Tusk,” with scene-to-scene rotating facial mole, the crime fighting, buddy trio awkwardly moves across the plain in an enjoyable double entendre performance of simple wit. Accompanying Depp, Smith, and Depp are an eclectic roster of Kevin Smith’s usuals such as Justin Long (“Tusk,” “Jeepers Creepers”) as a reality-severed Yoga instructor named Yogi Bayer, Jason Mewes (“Jay and Silent Bob Strike Back”) in a bit part, and, of course, Kevin Smith himself as the devilish Bratzis. New faces also make the scene with an unrecognizable Haley Joel Osment (“Sixth Sense”) as a young Canadian Nazi and “Orange is the New Black” Natasha Lyonne portraying a slutty Eh-2-Zed manager who sleeps her way to the top with Colleen C’s father, “Veep’s” Tony Hale.
“Yoga Hosers” explodes with Canadian farce that’s laced heavily with jokes on ‘aboots,’ hockey jersey-wearing patrons, an alternate version of Lucky Charms called Pucky Charms, and many more stereotypical references that satirically poke a good humored finger at Canadian culture and pop-culture. To top this satire sundae, the smug Colleens define the very title of the film with their dimwitted sludge and white girl yoga written into every storyboard moment. “Yoga Hosers'” buddy film concept gives an opportunity to two young and clueless teen girls who genre pirate the story with a jalopy of unsystematic plot humor, sucking away and discarding like garbage the sole ounce of blended “Gremlins” and “Puppet Master” cavalier subgenre horror that’s comfortably pleasant and inarguable right for a fun film of this triviality. Though I think the Colleens’ have had their story told, I’m intrigued to see what the pair of aloof teens offer in Smith’s third film of the trilogy, “Moose Jaws.”
MVDVisual distributes a dual format Blu-ray, DVD, and Digital HD release of the various production companies’, including main investor, Invincible Pictures, and Kevin Smith’s founded SModcast Pictures, “Yoga Hosers.” The Blu-ray disc is a MPEG-2 encoded 1080p transfer with a 2.38:1 presentation and, rarely, flutters under a mediocre bitrate. Image brightens with a glossy coating that revels in brighter hues of blue, pink, orange, and yellow while starker bolds such as red and purple pop with vividness. Yet, sharp details are thin, less defined to bring high definition to present technological age. The English Dolby Digital 5.1 track slightly elevates the ambient noise, especially during the girls’ punk rock practice that muffles out portions of their vocals, yet still manages to vary and balance. The only bonus feature available is a behind-the-scenes featurette that includes some insightful interviews. “Yoga Hosers” oppresses a melancholy reminder that the old Kevin Smith is no more and dawns a Kevin Smith 2.0 who transforms his satirical trademarks and his witty banter into strange misadventures, involving, in this case, two teenage fools flighting from one sub-narrative to another in a mixed bag of comedy and inferior minion horror.
Seeking the luxuries of peace and quiet in order to fulfill the work of an important academic theory, a young student rents out the basement of an old bunker converted into a family home. Surrounded by the solitude of snow and trees, the bunker is the perfect place for the student to concentrate on his work. Until the couple renting the bunker basement decides the student must continue the unorthodox home-schooling of their eight-year-old son to put him on the path of becoming the President of the United States. The student becomes mixed up in a peculiar family’s ambitious affair twisted far from normalcy and teetering on the borderline on insanity.
“Der Bunker” is the first feature film from writer-director Nikias Chryssos and Chryssos delivers an artistically abstract film about the modernistic conventional ways of growing up through childhood told through an obsolete perspective. Produced in Germany, the film makes light of how parents raise and shelter their children, especially their sole child. The home setting is literally a bunker, a fallout shelter from the age of war. “Der Bunker” particularly points out the American child raising culture with Klaus, the eight-year-old son of mother and father, going through semi-strict tutoring of memorizing the every nation’s capitals in efforts of becoming, one day, the President of the United States. Chryssos overkills the symbolism column with continuously displaying the staleness of a stuck-in-routine in over-parenting from the outdated 1950’s style of the clothes and retrofitted bunker to the eight-year-old Klaus being depicted by a 30-something actor Daniel Fripan.
Fripan is one of four cast members to star in Chryssos film and the only actor portraying a named character with Klaus, leaving all others generically labeled with father, mother, and the student; however, Klaus and the Student are essentially the same person, a dual presence who start off polar opposites that are trapped inside the bunker and looking to break free from it’s buried confines when their individual identities begin to blur. Fripan’s key to “Der Bunker” working conceptually as the ‘man-child’ with Fripan’s attributed short stature, innocently mature face, and a well-performed immature persona that solidifies the Klaus role as nothing more than child forced to grow externally, but not internally. Pit Bukowski’s more of an automaton when we first meet him wondering through the snowy terrain in search of the bunker. His Student character starts to dwindle as he literally becomes a fixture of the bunker as Klaus starts to shine and thrive in not only his studies but in his maturity, confronting his Mother’s will. Bukowski’s internal switch goes dynamically well with Fripan even though their physical façades remains intact. Mother and Father are portrayed by Oona von Maydell, daughter of “Das Boot’s” Claude-Oliver Rudolph, and David Scheller and both compliment each other by donning an opposite reversal of roles where Mother is the stern, firm hand of the family and Father stays home to clean and be a teacher for Klaus.
Chryssos’ telling of the family and the Student’s psychosexual relationship between the story’s bookends goes above and beyond the Oedipus complex. Oona von Maydell’s Mother has a power fastening all the male characters in an intriguing way despite her minor, yet undesirable, physical deformity plaguing as a patch on her right leg and also despite that her rational stemming from a grave voice, connected to her deformity, comes from beyond their world. As if destined to play the part, Maydell acts the lead as the family’s matriarch while also being subtly coy and provocative to bluntly upfront about her sexuality as a means of control; Maydell seemed very comfortable with her onscreen upper torso nudity in some awkward and uncomfortable scenes. Her onscreen husband, David Scheller, deems himself an academic, an educated man with knowledge more vast than that of the outside world because of this thirst for literature. Yet, Scheller plays a scattered Father whose torn between being a literal mentor, the punisher, and the glue to keep the bunker from being engulfed by giving into Mother’s symbiotic celestial being. Father copes with heavy medication that literally warps his mind when he can’t seem to control everything from the Student’s appetite to his convincing of the Student to take on the tutoring role for Klaus, even if it’s not plainly displayed. Scheller does a remarkable performance breaking down his character to a crumbling lame duck.
“Der Bunker” and the bizarre go hand-in-hand. Only a unique mindset with skewed vision could have pulled together such a twisted dark comedy tale of the mortal coil in holding your children to your hopes and dreams for them. Colorfully unapologetic, “Der Bunker” canisters another world sluggishly revolving through multiple levels of layers of psychosexual and frustrating concepts that flaunts a conventional cinema defiance attitude to establish bold filmmaking possibilities. In short, director Nikias Chryssos shoots high and doesn’t miss with his first run. The Artsploitation Blu-ray release features a vividly clear anamorphic widescreen 2.35:1 presentation of the Kataskop Film Production. Audio options include a Dolby Digital German 5.1 Surround sound with very detailed optional English subtitles. An abundant of bonus material is hard to pass up, especially with a director’s commentary and deleted scenes that expand more about the character’s traits and backgrounds. Rounding the extras are outtakes and trailers from Artsploitation film arsenal. This Blu-ray release is meticulously thought out to deliver a high caliber video and sound quality for such as odd German film concerning one youngish boy’s progressional path of self-reliance from a sheltered life style.
Joao, a brilliant university physicist, lives in a suffering life of depression, anger, and vengeance for the last twenty-years. Back in November of ‘91, the love of Joao’s life, the beautiful Helena, betrays him and humiliates him in front of a large crowd of his peers, leaving him with nothing and bestowing upon him the name “Zero” to forever imprint on him his worth. In 2011, he channels all his hate to develop a cost saving energy to show everybody that he’s not a zero, but when he locks himself in the chamber of his machine in a show of defiance, his machine creates a black hole in which he’s sucked into and brought back to the past to the very same day he’s humiliated by Helena. Joao is determined to change the past to make a better life for himself, but his actions cause an unforeseen butterfly effect to which causes him to return back to the past over-and-over again.
A powerhouse Brazilian sci-fi comedy from a conglomerate of production and distribution companies such as Conspiração Filmes and Globo Filmes from production and Paramount Pictures and Simply Media handling the distribution across a worldwide realm. “The Man of the Future” is directed by Cláudio Torres and stars “Elite Squad” and “Elysium” star Wagner Moura as Joao. Moura’s physical comedy in this role spawns a likable and zany character whose constantly an underdog fighting and clawing his way back up to the top by any means possible. The film’s very similar to Ashton Kutcher’s 2004’s “The Butterfly Effect” sans the comedy, but similar in the sense of Joao’s life drastically changing with each trip to the past.
Moura’s costars compliment Moura’s Joao and the rest of the story. Former model Alinne Moras has a stunning beauty compared to the an average joe looks of Moura and her performance adds a bit of sassiness much needed in a comedy such as “The Man of the Future.” Moras delivers the sexiness and the female energy needed to keep up with Moura. A more subtle character is Joao’s good friend Otávio played by Fernando Ceylão. Ceylão dilutes the overzealousness in order to keep the zaniness in check and welcomes a change of pace. Moura and Ceylão’s only interact very briefly and don’t have the chemistry to the likes of perhaps Simon Pegg and Nick Frost, but when together, they’re solidly funny. Lastly, Maria Luisa Mendonça brings the wild card to Joao’s dilemma though her role as Sandra promises more of being a capital venturist looking to be all business and bossy. Mendonça scenes show more range than first thought and complete the main characters in good fashion.
Though heart-felt, entertaining, and delivers a message of hope, the story creates it’s very own black holes, zipping the story past what feels like crucial points in the film. With each trip to the past, less and less of the story is conveyed and while the understanding that some scenes are omitted because they would just be rehashed, other scenes needed to be restaged to build upon Joao’s and Helena’s momentum toward a happier future. With any film about time traveling, there will be plot holes, inconsistency, and improbabilities and “The Man of the Future” is not invincible from these time traveling complications.
“The Man of the Future” is a science fiction film with solid computer generated effects especially being a product of Brazil. Since the disc provided to this reviewer was a DVD-R, diving into the presentation wouldn’t be appropriate. However, the production value doesn’t appear shoddy. The only gripe to state stems from the English subtitles that seem to come and go from the scene in a flash, leaving hardly any time to read the text before the next piece of dialogue. There is such rapid fire dialogue that, in my opinion, the subtitles can’t keep up. Aside from that, I wouldn’t disregard this sci-fi comedy and would recommend this South American native film without a second thought.
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