The Dying Baltic Traditions Live in the Ashes of EVIL. “Cult Girls” (Umbrella Entertainment / DVD)

The pagan Cult, the Golden Path, remains nearly all that is left of the ancient practice as Lithuania becomes one of the last countries to be converted to Christianity in the late 14th century.  Led by an archaic, yet powerful, goddess named Ragana, the Golden Path promises to flourish once again with the power of death, reincarnation, and control through sordid misdeeds.  When Dalia and her two young sisters become prepped for a ritual of an important role in the cult, potentially leading them down the path of sex and sacrifice, a traitorous follower helps the sisters attempt to escape their emmeshing fate as the police raid the Golden Path compound ensuing a firefight that leads to the death Ragana and Dalia’s getaway, but her sisters are kidnapped and held captive by the remaining cult members.  Years later and riddled with guilt, Dalia must know what happened to her sisters and she tracks down a death metal cultist, Moloch, who seemingly has a connection to Golden Path, with the help of Samoth, a black metal fanatic, but Moloch forestry hermit lifestyle cuts off Dalia and Samoth from the rest of the world and the convicted arsonist against all things Christianity may have more up his sleeve than what meets the eye.

With a title that sounds like an all-girl goth band from the grunge era of the 1990’s, or maybe even more so from the “Scooby Doo” franchise (Hex Girls anyone?), “Cult Girls” summons the actuality of being an acute quasi-historical and dark fantasy thriller hailing from the Ozploitation capital of the world, Australia.  “Cult girls” is the second, non-documentary film from “The Matrix’ inspired “Narcosys” director, Mark Bakaitis, who directed, wrote, and edited his the multi-location sophomore film that has on location scenes from not only in Australia, but also in Lithuania, at the notable Hill of Crosses landmark, and in the indiscernible urban locations of Germany.  Bakaitis serves as producer alongside executive producer Douglas Kaplan of the diverse arts platform production company, All Edge Entertainment, based in Santa Monica, California. 

The Australian production casts an American to star as Ragana, the brood matriarch destined to rejuvenate Golden Path’s permanence, with “V’s” very own Jane Badler.  Badler brings an international presence to the feature and isn’t a stranger to films from the down under.  With the actress’s soul-seducing cutting eyes and demonic empress allure, the New York born Badler exacts Ragana’s clutching strength as an underground Pagan seeking unlimited decadent power.  However, Badler is overshadowed by the timorousness of Dalia whose polar opposite presence is granted a more favorable chunk of screen time.  Finnish born Saara Lamberg plays the humbled Dalia, living her life out of a covenant while searching out the cult that once almost stitched her into the sew of sleazy affairs to unearth the whereabouts of her younger sisters.  Dalia’s a bit of a dull principle with no substantiated efforts in finding her siblings and it isn’t until Samoth stalks her one night, recognizing the Golden Path’s symbol tattooed on her wrist and offering his manhunt services to find the expelled Moloch, an exaggerated black metal anti-Christianity anarchist in a saturating performance by Albert Goikhman.  In the middle, masked brutes, half naked women, and, fallen by the waist side, Dalia’s sisters in standalone plot point narratives that, as far as story structure goes, does nothing to motivate the narrative other than be an ostentatious aesthetic of locations and debauchery.  “Cult Girls” rounds out the cast with Tony Markulin (“MurderDrome”), Algias Karazija, Dean Kirkright, a handful of Bakaitis’s family, and Simay Argento, a distant relative to Dario Argeno playing a Cult Auntie in the film.

“Cult Girls” borders being avant-garde of an unfiltered auteur’s will in a mesh of artistic polishes and prose dialogue, but the film slides into being more of an 83 minute music video over staying it’s welcome and drudges through a repetitive stylistic cycle to an almost nearly unwatchable extent.  Yet, “Cult Girls” somehow manages to retain attention despite the chewy acting and it’s ambling story that hits a dam wall of uncertainly of where the script should head. Bakaitis shoulders the story for modern Gothicism tapped with half naked occultist, sometimes bathing in blood, and a plague of nightmare imagery that director of photography Trent Schneider tunes into well with noir vitality despite being the cinematographer’s debut feature film, but through the shiny exterior of a handful of solid mise-en-scene work, “Cult Girls” numbs the impact of the soul corrupting Pagan syndicate, that may or may not be shrouded with supernatural foundations, and the anti-Christian propaganda with half-baked violence from geriatric men, masked with Dia de los Muertos style masks, able to be kingpins of an untouchable prostitution ring façade for their occult sacrifices in broad public without a bat of an eyelash.  Granted, prostitution is likely legal in Germany and Lithuania so authorities might turn a blind eye, but brothels are a convenient opportunity for police investigations. “Cult Girls” treasures the fact of Lithuania’s languishing heritage without being overly filmic heresy by blending in shaded sleaze and death, but there lies no story in Dalia’s unenthusiastic search for her sisters in a much more preacherly themed death metal horror that confuses cult with religion.

 

Apocalyptic reincarnations and traditional folklores collide in Mark Bakaitis’s “Cult Girls” on DVD now from Umbrella Entertainment. The Australian release is a single layer DVD with region 4, PAL encoded format, presented in a widescreen 2.40:1 aspect ratio. Trent Schneider’s keen eye captures a grim fairytale surface of black magic masochism and, at the same time, breathtaking in the pure nature scenes, but the imagery is mostly in devoid of richer color that lingers around a bluish-gray monochrome tone and struggles with hazy details, especially around facial features, that smoothly fuzz over. The English, German, and Lithuanian Dolby Digital 5.1 surround sound mix battens down with shiplap genres of traditional Lithuania folk and modern metal from composing sound designer Erin McKimm, implementing the traditional songs of Lithuania sung by the Melbourne-Lithuania community singers, The Lost Clogs. Industrial action fills in every nook and cranny of the remaining score with decent range and depth of ambiance. While the dialogue is prominent and clear, there are spelling errors and tiny text issues with the English subtitles when the narrative lands in Germany and Lithuania. The DVD’s bonus features includes audio commentary, making of featurettes with cast and crew interviews, Bakaitis’s short film, “Mercy Kill” that serves one of the founding themes for “Cult Girls,” and music videos directed by Mark Bakaitis. For an Australian film, “Cult Girls” will feel more worldly, unlike anything else that comes out of Australia, and have partisan propaganda against Christianity, but in the end, the insidious Pagan evil, on the precipice of resurrecting, wearies on, like a tireless sermon of doom.

Seeing Evil! Curandero: Dawn of the Demon review!

curandero-poster

By now I imagine we’re all, by all I mean avid movie-goers, familiar with the director Robert Rodriguez. The balls-to-the-wall flare for action Rodriguez has written and directed some of the most memorable movies in nearly the last two decades – Desperado, From Dusk till Dawn, Planet Terror and, yes, even Spy Kids. Rodriguez is now a well-known household name now that he has his own production company – Troublemaker Studios – and is a hot-shit friend of Django Unchained writer and director Quentin Tarantino (they’re always in each other films if you haven’t noticed). Now, I had thought that I’ve seen all of Rodriguez’s work with the exception of Spy Kids, but I was wrong. Curandero: Dawn of the Demon is a latest release from Lionsgate; however, the movie was completed and released in 2005 – why such a delay? Perhaps the delay was a product of the film being made in and using the language spoken in Mexico. I wouldn’t doubt this as El Mariachi was not known to the American audience until Antonio Banderas and Selma Hayek starred in Desperado, a sort of sequel or remake of El Mariachi, and an American DVD of El Mariachi was released later.

Curandero, which translate to The Healer, follows the healer Carlos – a practical man who uses his knowledge of healing on those he think are weak minded fools just so they feel better about their lives. That is until he meets Mexican Federale Magdalena who hires him to become involved a case where a satanic cult terrorizes Mexico City. Carlos beliefs will be challenged as black magic becomes ultimately real and the forces against him are closer to home than what he could ever imagine.
curandero1
Curandero grabs you right from the start as we’re thrown into Carlos’s simple hometown world where he competes with another curandero named Alex Munez who is more popular around town, but even though Carlos thinks his line of work is a bit of a sham, he still makes an effort to please other people making him well liked in the community and has been given respect due to his father’s healing services. The horrifying action begins when Agent Magdalena enters the story; the saucy tall Latina is a realist and doesn’t much in the mumbo-jumbo that is black magic, but her story makes a complete 180 degree turn at the finale and so does Carlos. The story is well written by Rodriguez giving the both Carlos and the federale the same view on spirituality yet making both reason completely different.

Robert Rodriguez’s style directorial feels implemented into Curandero even though Robert Rodriguez didn’t direct the film. It is another Rodriguez who takes the credit for Curandero’s fast-paced, over-exaggerated action. Director Eduardo Rodriguez tries to recreate Robert Rodriguez, but does molds his own take to reconstruct the elements and add great horror qualities that contribute to the action.
curandero2
This 2005 cult/possession film should have had a much earlier release in the U.S. There is definitely an appeal here for niche horror fans. Would Curandero have done well with mainstream audiences? No because there is just too much working against Curandero when considering American mainstream audiences – it’s in Spanish, it’s lost in translation with the dialogue, and it deals with some Mexican traditions. Certainly pick this up from Lionsgate Home Entertainment. Curandero will fill your cup of blood and horror.