Miskatonic University students Howard Damon and Randolph Carter investigate the disappearance of a missing friend last seen making good a dare to stay the night in a century-old, dilapidated house, right in the middle of a cemetery and with the caveat of a ghastly, creature legend. In the same instance, two colligate hunks try to fraternize with two freshman women within the dark and gloomy walls that seem to reposition themselves into an unescapable maze. Lurking through the inky corridors, an ancient and horrifying beast, thirsty for blood and hungry for flesh, continues to roam freely in the house, unleashed from it’s confined room a century ago, and hunting the students down one-by-one. Their only hope to get out alive is Howard’s haphazard bravery and Carter’s unrivaled intelligence that aim to rescue survivors and decipher the house’s resident Necronomicon to defeat an evil monster’s night of carnage.
Campy, brazen, and inspired, Jean-Paul Ouellette’s 1988 “The Unnamable” is every bit of an 80’s teen comedy rolled up into a bona fide ball of barbed madness shrouded with heaps of highly anticipated mystery. Unravels like a truly classic H.P Lovecraft story, Ouellette, who also penned the script, shows great patient to give the monster a grand finale revealing that leaves the characters left standing face-to-face with the fear that’s been stalking them. While “The Unnamable” strays away from more of Lovecraft’s prolific Cthulhu literary works, the story is drive by the theme of the unknown that partially, if not all, gives Ouellette motivation to not put the monster on full display. The fact that “The Unnamable” is also gory retells the tales of how horror used to be pure gold back in the Golden Age of the genre despite budget restraints and executive naivety in the audience ratings game.
“The Unnamable” finds their unlikely star for the unassertive character in Howard Damon. Soulcalibur series voice actor, Charles Klausmeyer, lands the role as his sophomore film about 8 years after Vanna White’s “Gypsy Angels.” Klausmeyer’s surefooted unsureness and comical desperation of Howard Damon makes him a likable character, likable enough to be opposite whatever has been locked away from over a century. Damn finds an arrogant cohort in Randolph Carter, a conceited fellow freshman whose a bit of a know-it-all, well versed by Mark Kinsey Stephenson. Stephenson, or rather his character, reminds me of a babyface John Glover (“Gremlins 2” and “Scrooged”). A pair of love switcheroo love interests in Alexandra Durrell, in her sole credited performance, and Laura Albert, who went from nude supporting roles to being one of the top stunt women in Hollywood, fair well as the standoffish and damsel-in-distress opposite the vibrant and lively Damon and Carter. Rounding out the remainder of the cast is Blane Wheatley, Eben Ham, Colin Cox, and Katrin Alexandre who did an impeccable gesticulation performance of the creature.
Ouellette story isn’t all that complex; a group of young students are trapped inside the black heart of a folklore notorious cemetery house. However, the breakneck narrative certainly needed something more extensive to the creature’s confinement and unholy backdrop, warranted to fulfill just what the hell these kids were getting into. The house has been doused with shielding dark magic, a fact barely mentioned until the final moments of the monster’s exposition, unveiled through the pages of the Necronomicon which becomes weaponized by quick study Carter. Spells and passages envelope the monster within the house’s old bones, like a prison cell constructed of two-by-fours, wood panelling, and asphalt shingles. While the story could have opened up more in that regard, the lack of dark mysticism doesn’t uproot an entertaining creature feature strongly braced with gory, character demising allegories, and peppered with misogynistic innuendos and campy skirmishes with the damned.
Unearthed Films and MVDVisual proudly present “The Unnamed” as part of their sub-label entitled Unearthed Classics and lands onto 1080p Blu-ray home video. Horror fans will thoroughly enjoy the newly restored 4k transfer presented in widescreen, 1.85:1 aspect ratio and the image quality is remarkably detailed with absent compression artifacts and edging enhancements. Skin tones look natural during outside shots while a blue tint, overlaying a dark backdrop, inside the rickety house isn’t overexposed and makes for quite the grim atmosphere. The English 5.1 Surround Sound DTS-HD, 2.0 PCM, audio track was resonating with a range of ambient sounds; however, an unfortunate mishap of ambient duplication followings about half a second from the initial sound. The dialogue track and soundtrack are no affected by this issue and the dialogue is clear in the forefront, not terrible interfered by the technical boo-boo. The extras are packed with audio commentary with Charles Klausmeyer, Mark Stephenson, Laura Albert, Eben Ham, Camille Calvet, and R. Christopher Biggs. There’s also a video interviews with actors Charles Klausmeyer, Mark Stephenson, Laura Albert, Mark Parra, R. Christopher Biggs, Camille Calvet, and Eben Ham, a vintage audio track, photo gallery, and trailers. The Blu-ray comes in a limited edition slip cover with the beautifully illustrated gothic-esque poster from Tongdee Panumas courtesy of the M. Wright Collection. “The Unnamable” was endangered; a potentially lost classic that quickly went to being out of print as soon as it was released onto DVD in Europe and never actually saw the digital upgrade light of day Stateside from it’s VHS predecessor. Luckily for us fans, Unearthed Films, living up to label moniker, unearths “The Unnamable” from the depths of obsolete format hell, revamping for a new generation of horror fans and re-transfixing fans who once thought Jean-Paul Ouellette’s film would never, ever see a glorious rebirth.
After bearing witness the brutal suicide of her father, Mary undergoes family counselling as a result of being the cause of her father’s death with repetitive public accusations of molestation. The ill-equipped counselor suggests medical evaluation from a professional who beseeches the assistance of The Catholic Church when the determination concludes that Mary is suffering from severe Satanic possession. Directives from high positions in the Church service in waves three priests to perform the delicate exorcism; all of whom have conducted an exorcism under difficult and soul-exhausting situations. The irresolute and embattled priests field the call, blindly walking into Mary’s slithery persuasive possession state of soul-tormenting and death. The priests will tirelessly seek to have the beleaguered Mary exorcised of the nasty demon from within and have her tattered body come back to Jesus…or perhaps be personally delivered to the Devil.
Finally! American Guinea Pig: “The Song of Solomon” has been on my highly anticipated review material list for a very, very long time. Written, produced, and helmed by the founder and president of Unearthed Films himself, Stephen Biro has been more than widely known for years to promote and glorify gore in the shock-provoking films underneath his banner; a practice that has made his company a stable in the realm of horror aficionados. “The Song of Solomon” keeps the blood flowing….splattering, squirting, spurting, spilling, in fact! Whereas many of the Unearthed Films productions and distributions have a granular or avant garde stories, Biro, despite the confined and limited locations, pens an engrossing narrative with evocative, haunting, and surreal characters surged into a powerful and ageless tale that sordidly spanks “The Exorcist” like an irrefutably forgotten and spoiled rotten step-child. “The Song of Solomon” is that good and soars to the top in being one of this reviewer’s favorite Unearthed Films’ titles.
Jessica Cameron should just be handed a ton of awards for her performance as the possessed Mary. Cameron’s creative creepiness is unsurpassable and just oozes out of the character, zapping an icy chill down each disk of the spine whenever she uses the playful sing-songy voice of a snake’s fork tongue. As a whole, Cameron singlehandedly comes off overwhelming haunting and delivers a personality made up of nightmare material; a phenomenal performance that rivals, if not outright tops, Linda Blair’s Regan. There are moments when you think the 2003 “Truth or Dare” director and actress had post-production enhanced vocals to make Mary persuasive, enticing, and demonic, but only a slight vocal overlay on top is the only thin icing on the already devilish cake. It’s not as if Cameron didn’t have any competition on screen, either. Scott Gabbey, David E. McMahon (“Followers”), Angelcorpse’s Gene Palubicki (“American Guinea Pig: Bloodshock”), and Jim Van Bebber (“The Manson Family”) compliment the versus’ righteous, if not also flawed, challenger with immense passion for their respective roles of grief-stricken priests, plucked carefully by top Church officials to handle the exorcism. Maureen Pelamati, Josh Townsend, and Scott Alan Warner (“3-Headed Shark Attack”) co-star.
Production value must reign above the conventional indie fare and special effects owns much of that real estate. The man behind the special effects on such films as “Mohawk” and “Lung II,” Marcus Koch, has teamed up with “Bereavement” and “Murder-Set-Pieces'” Jerami Cruise to assemble some of best, yet refreshingly basic, gore effects seen recently. Regurgitation of internal organs, the compound splintering of bones, and even a Columbian necktie are the prime examples of what to expect from the unlimited imagination of the Koch and Cruise collaboration. Locations are simple and tight, leaving not much room for exploration of options for practical effects, but each scene is well thought out, choreographed, and designed for gruesome upshot that keeps true to Unearthed Films brand of filmmaking. Toss all that into a sack along with fellow colleague Gene Palubicki’s malevolently cacophony soundtrack and the outcome is a well-rounded horror film with extreme unapologetic values worth the time of day and night.
“The Song of Solomon,” an Unearthed Films production, lands onto Blu-ray distributed courtesy of MVD Visual. The 86 minute runtime film is presented in a High Definition 1080p widescreen format, 1.90:1 aspect ratio, on a single layer BD-50 disc. If you want gore, you got it with this particularly warm hued transfer really puts the devil in the details with grisly effects that could be hard to stomach. The English LCPM Dolby Digital 2.0 audio track caters with nice fidelity. Dialogue is clearly present amongst the Palubicki score and the ghastly ambience augments the visual viscosity of the gore. Bonus features include an audio commentary with Stephen Biro and Jessica Camera, another commentary with Biro and effects gurus Marcus Koch and Jerami Cruise, interviews with Jessica Cameron, Stephen Biro, Marcus Koch, Gene Palubiki, David McMahon, and director of photography Chris Helleke, a behind the scenes look, outtakes, and a photo gallery. Comparing Stephen Biro’s “The Song of Solomon” to William Friedkin’s “The Exorcist” is like comparing apples to oranges as both films relish and thrive in their own atmospheres. However, “The Song of Solomon” stands firm as a powerful competitor that offers up a ravishingly foul and metaphysical entry into the genre realm of demonic possessions casted with raw talent.
In the fight against pure evil, the Catholic church trains champions to battle against the forces of hell and all that is unholy. Father Jacob Vassey is one of those very champions. The man of the cloth who wields dual 9mm handguns and has a penchant for penancing through the act of self-righteous wrongdoing in the name of Church and of God. When an treacherously evil Archbishop summons a shadow builder to undo all of God’s creation on Earth, Father Vassey pursues the demon to the small town of Grand River in search for a hunted pure soul; the demon tracks down young Chris Hatcher whose been through a sign of God’s passion, the stigmata, and is the key to demon’s ultimate goal. Once the shadow builder has collected enough souls and has laid sacrifice to the boy, the demon will reverse the creation of God, humanity will cease to exist, and the world would be ripe for restructuring at the whim of one of hell’s most demented minions. Humanity’s last hope lies with Father Vassey, a local sheriff, Chris’s veterinarian aunt, and the town loon to bring forth light toward the prospect of a dark and gloomy apocalypse.
“Shadowbuilder” is the 1998 apocalyptic horror film from director Jamie Dixon, steering his sole major production from a high octane and progressive anecdotal script by “Iron Eagle IV” screenwriter Michael Stokes and produced by Imperial Entertainment, who delivered some great films like “The Bikini Carwash Company” and The Bikini Carwash Company II.” Based off the short story in the “Under the Sunset” collection by Bram Stoker (author of “Dracula”), “Shadowbuilder” expands, develops, and morbidly seduces around Stoker’s tale that doesn’t necessary implement a Universal Studio’s “The Mummy” like tale progression and design, telling of a weak, yet venomous creature feeding on souls or people in order to regain world destruction strength. Stokes script goes right into the action with Vassey’s hunt for the beguiled Archbishop and the way Vassey is introduced is absolute 1990’s gold: a priest armed with two handguns with laser sights. Studios don’t make films like this anymore! Rivals as one of those films that has a doppleganger, like “Deep Impact” and “Armaggeddon” that coincidentally came out the same year as “Shadowbuilder. “End of Days” is that doppleganger film as the two share unholy similarities of a citizen of hell on a mission to sacrifice a human for above ground dominance.
No actor could pull off properly the gun-toting and shrewd role of a haunted and troubled priest that is Father Jacob Vassey. No actor except Michael Rooker (“Henry: The Portrait of a Serial Killer” and “The Walking Dead”). Rooker’s gravel pit voice is inarguably his best trademark trait that nails extra tension into the substantially bleak and world-ending situation; a tone that carries enormous weight and Rooker’s natural vocal gift, along with his lip snarling, square chin and piss-offstare, earns the actor to be the well armed and dangerous man of the cloth. “Bruiser’s” Leslie Hope joins Rooker as the Veterinarian aunt and the film’s love interest, but not of Father Vassey. Instead, the love interest belongs to the local town sheriff, Sam Logan, played by Shawn Thompson. Hope and Thompson’s on-screen chemistry can’t seem to puncture through as it’s defined as back burner material, overshadow by Vassey’s unwavering pursuit of the demon and the frantic search for the boy, Kevin Zegers (“Dawn of the Dead” remake), through the muck of the shadow builder’s poisoning of the town upstanding morality and ethics. Rounding out the cast is Andrew Jackson as the shadow builder, Hardee T. Lindeham (“Survival of the Dead”), Catherine Bruhier, and genre vet Tony Todd (“Candyman”).
“Shadowbuilder” is by far a perfect horror film. Dixon, new to directing, dives into the infancy stages of CGI and, for the most part, the turnout pans out with the effects despite being slight crude around the edges. Stokes script puts story development right into the fast lane and doesn’t let off the gas so if you walk out of the room for a coke and return, you’ll miss something pivotal. The design works well to keep up the pace for a story that has a lot to tell and to not give the viewers a chance to piecemeal pick apart a teetering concept. One aspect that really tilts toward the negative is actually Tony Todd’s performance as the town crazy, a one-eyed Rastafarian named Evert Covey who is completely aware of the demon’s presence, but goes unexplained. Todd sells crazy, and sells it really well, but the lack of exposition into purpose plunders the character into outside the lines oblivion that begs the question, why is this character here? A guess would place Covey as a means to keep the lights running as he’s some sort of convivial, jerry-rigging mechanic.
MVD Visuals Rewind Collection label sports a special edition Blu-ray of Bram Stoker’s “Shadowbuilder.” The 1080p resolution is presented in a widescreen 1.85:1 aspect ratio. Despite the the 1080p resolution that aims to bring a little more detail to the fold, the coloring on the transfer is quite faded with considerable noise that’s hard to ignore, but while the noise is underfoot it doesn’t necessarily cripple “Shadowbuilder’s” ominous and foreboding vehicle. The CGI looks better than expected being an early model from the millennial transition into more prominiment animation in the turn of the century. The English uncompressed 2.0 PCM sound track passes muster, leaving dialogue rightfully forefront and substantial ambience as support. Bonus features include a nifty poster insert, a visual effects tour, and a making of featurette with interviews that include with the director Jamie Dixon, screenwriter Michael Stokes, the demon himself, Andrew Jackson, and Tony Todd. Kevin Zegers has his own featurette, a commentary director Jamie Dixon, and the theatrical trailer alongside MVD trailers for other Rewind Collection films. Michael Rooker, Tony Todd, and a demon. A winning combination reamed with apocalyptic mayhem, destruction, and undiluted carnage and up on a pedestal with on the eclectic MVD Rewind Collection.
Hot off the Quinn Brenner case, parapsychologist Elise Rainier receives a phone call from Ted Garza regarding paranormal activity at his house in Four Keys, New Mexico. The location happens to be the childhood home of Elise, where her father viciously abused Elise to stop her supernatural gifts and also where her mother was brutally murdered by a fearsome and hatred-energized demon known as KeyFace. Reluctant to return where memories revel in persistent and continuous nightmares, Elise and her two eager assistances, Tucker and Specs, take the case to aid the Garza’s request for a cleanse and to conclude the haunting and scarring chapter in Elise’s life, but the demon yearns power by luring Elise back to where it all began. With the help of her brother and two nieces, Elise’s family and friends aim to be a force against pure and undiluted evil hidden in the further.
Full disclosure….Insidious: Chapters 2 and 3 is not in my well versed cache of watched movies. I thoroughly enjoyed the atmospheric hit that is James Wan’s 2011 “Insidious” film starring Patrick Wilson, Rose Byrne, and the incredible Lin Shaye, but since that time, neither of the sequels have wandered into my unsystematic path. Except now. “Insidious: The Last Key” is the latest installment to the “Insidious” franchise and universe that’s directed by Adam Robitel, screenwriter of “Paranormal Activity: The Ghost Dimension” and written by franchise writer Leigh Whannell. In the grand scheme of chronological viewing, catching “The Last Key” first won’t divert and confuse too much from those on a methodical storyline timeline. Robitel’s chapter is a sequel to the prequel, “Insidious: Chapter 3,” and aside from an Easter egg here and there, there’s little reference and nothing substantial bonding to the next two films that are in sequential order.
Lin Shaye returns to reprise her role as parapsychologist Elise Rainier for the fourth time, picking up her character’s telepathic shtick like it was yesterday. Shaye’s one of acting talents that just flourishes like wild fire no matter what the type of role or movie she’s in or even affiliated with. Her ability to adapt and to get down and dirty with her characters proves why we love her thespian range from bust-a-gut comedies like “There’s Something About Mary” to indie horrors like “Dead End.” The now 74-year-old actress is more red hot now than ever as Elise Rainier whose even more popularized by her co-stars, writer, Leigh Whannell and and Angus Sampson as Specs and Tucker, whom like Shaye have reprised their roles for a fourth time. The comedic duo lighten up the dark toned premise, offering up dad jokes and snickering hairdos to offset to jump scares and gnarly KeyFace. Spencer Locke (“Resident Evil: Extinction”), Caitlin Gerard (“Smiley”), and the original 1971 Willard, Bruce Davison, play the supporting cast of Rainiers long lost, reunited family members caught in the middle of her quest for conclusion. Rounding out the cast is Kirk Acevedo (“Dawn of the Planet of the Apes”), Tessa Ferrer, Josh Stewart (“The Collector”), and contortionist, and Doug Jones’ Spanish rival, Javier Botet as KeyFace.
“Insidious: The Last Key” works on many positive levels: has a solid premise with Elise burning to finish the nightmare she had unleashed many years ago, subplots involving Ted Garza’s role and Elise’s abusive father, a dysfunctional family relationship between all the Rainiers, and some serious eye-popping scares throughout. The further also opens up more and becomes a vast area for exploration into all the creatures, ghosts, and demons that lurk in the otherworldly dimension, setting up future sequels and/or spinoffs. What doesn’t work as well is the rather anemic and lackluster climatic finale that took KeyFace from an extremely high frightfully monstrous pedastal, continuously building up the character to be the most powerful antagonist Elise has yet to encounter, and have the rug pulled right from under it’s horrid feet by squandering it formidability, flattening it with the single uppercut swing of a… lantern.
Adam Robitel’s “Insidious: The Last Key” finds a home on a Blu-ray plus Digital HD combo release by Sony Pictures and Universal Home Entertainment. The release is presented in high definition 1080p with a widescreen, 2.39:1 aspect ratio. The image quality just tops out with overly spooky cool blue hue that’s gloomy, dark, and ominous, all the attributes perfect for a supernatural thriller, while managing to sharply define the details on the actors and their surroundings. The English 5.1 DTS-HD track stings where jump scares are prevalent and appropriate. Dialogue has clarity with mild ambiance supporting the localized and conventional horror audible moments while brawny LFE bursts on-screen in a bombardment of scare tactics whenever KeyFace suddenly shows face. Bonus features include an alternate ending (complete with cheesy one-liner from Lin Shaye), eight deleted scenes, a look into the “Insidious” universe, going into The Further, Lin Shaye becoming parapsychologist Elise Rainier, and a segment entitled “Meet the New Demon – Unlocking the Keys” to KeyFace. Perhaps not the epitome of the franchise, but “Insidious: The Last Key” absolutely fits into the franchise’s ever expanding universe and unlocks more of the spine-tingling backstory to one of horror’s contemporary and unremitting heroines ready to confront evil.
Journalists, and lovers, Amy and John are assigned to scope out a potential story about Earth’s first evil feminine. Before Eve was made from the rib of Adam and who was born from the soil, Lilith lived upon the Earth before being exiled as a demoness and the reporters search to hunt down the legends of her spawn, the Crossbreeds. Crossbreeds start out as twins in the mother’s womb, but only one can be born while the other whither and dies and the birthed child will either be good or evil. The folklores recently stem from an small, isolated village now made popular by Lilith’s ghastly tales, drawing the attention of tourists, acolytes, and the religious groups. The atheistic John shares his distaste for other’s devout beliefs and thinks the village is a scam attempting to lure money out of faith blinded followers, but Amy, a Catholic, feels it differently as she’s drawn to the village by indiscernible brief visions of the past. There’s also the fact that she just aborted her and John’s 14-week unborn twins without informing him of the radical decision, but the guilt burdens her immensely, and when she’s in the loins of the village, a wicked presence washes over her and enlightening her that the Devil’s spawn will soon be born and purge all of Adam and Eve’s kindred children, paving the path for the children of Hell to rule the Earth.
“The Crossbreed” is a 2018 released demonic baby and cult film that’s made in America, but crewed and funded by Turkish nationals including Biray Dalkiran, the film’s writer-director. Co-written with Safak Güçlü, Dalkiran, who has been credited into developing original horror films in Turkey, has extended even further the Turkey horror movement that’s now spilling into the States with his upcoming release distributed by Breaking Glass Pictures. The “Cennet” (“Heaven”) and “Cehennem 3D” director gets biblical with his spin on Jewish mysticism in the tale of Lilith by putting definitive, loyal, and deceitful acolytes around Adam’s first, and most fiendish, wife created by God from the same dirt as Adam and these followers seek to summon the devil through the love child of two of Lilith’s crossbreed children. Sounds interesting, right? Biray Dalkiran might have brought horror to Turkey, but in the States, the director is a single cell trying to make a statement in a melting pot of an overcrowded horror cinema organism.
Angela Durazo stars as Amy, the surrogate mother to Satan, and this is Durazo’s sophomore film, but her debut in a lead of a feature film. As a leading lady, the Nevada born former catalog model has a lot going for her: talented actresses, stunning beauty, and an overall multifaceted person. She only has one problem, she’s surrounded by an uncharismatic and unskilled American cast that unfortunately dilute her performance. One of the more important cast members is Nathan Schellerup in his first credit role and it shows. Schellerup is terribly unconvincing and stiff that his opposite Amy role of John is utterly, and unintentionally, hilarious whenever anything comes out of his mouth. It’s like trying to watch C-3PO try to act and that’s probably offensive to the gold plated droid. Amy’s friend Rose, played by Katy Benz, felt unnecessarily wasted that’s not entirely Benz’s doing as the character’s written into the story sporadically or referred to in past sequences that were never hinted or shot during linear storytelling. Benz has the dark, brooding features that these horror thrillers are built upon, yet Biray is unable to capitalize on the actress’s memorizing eyes or succulent succubus-like lips to really sell the character as an evil abiding force. Malinda Farrington, Danny Winn, and, Marqus Bobesich, and Lou Cariffe round out the remaining cast.
To be blunt, “The Crossbreed” is an unfocused effort by Biray Dalkiran. The concept premise is there, but the execution was sorely blundered in the worst possible way produced by not only the clunky performances, but also with a meandering story that just flounders with underdevelopment, super-cheesy digital effects (i.e. a crawling and crying cinder baby demon), and detrimental or kamikaze editing consisting of electrical interference flashbacks and/or visions complete with a slapped together and tepid soundtrack stuck on an endless loop. The digital manifesting demon crying baby crawling toward characters or the two aborted babies frying in a shallow cooking pan duly note how unintentionally campy “The Crossbreed” can be in Biray’s all too serious devil cult flick that won’t afflict any ounce of terror or suspense. Even the pre-credit opening scene is a detached segment, an island scene, that goes unexplained to pay it credit and feels just another waste of time.
Breaking Glass Pictures presents the BD America and DFGS Production produced “The Crossbreed” onto a not rated DVD. The 85 minute single-sided single-layer DVD9 is presented in a widescreen 16:9 aspect ratio. The image quality varies from night and day sequences, pending on whether Dalkiran’s choice blue tint. The night shots are inarguably blotchy at times, especially on background walls and floors, resulting in less definition. The English Dolby Digital 5.1 surround sound has zest behind it with clear dialogue quality. The soundtrack, though poorly timed and repetitive, maintains an above par level grade. There are times when the dialogue looses fidelity; an example would be during scene with John playing a round of solo darts and the quality notably differs during a phone conversation with another character. Bonus features include a look at Biray Dalkiran’s career in horror, a showreel of Biray Dalkiran’s films, a behind-the-scenes look (sans dialogue) of “The Crossbreed,” and the trailer. Breaking Glass Pictures conventionally pushes the limits with edgy independent filmmaking and “The Crossbreed” is a stray outside their cache that includes a great lineup of shocking gems like “Tick-off Trannies with Knives,” “Hanger,” and “Someone’s Knocking at the Door.” Yet, Dalkiran’s goreless demonic thriller has no bite and is so tame, with minimalistic explicit material, that whenever profanity is used it doesn’t settle well into the film’s biblical-riddle totality.