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.
Brothers Todd and Vernon Dopple are a pair of homeless drifters in New York City. To beat the cold city weather, they take shelter in an abandoned run-down building only to stumble into a dark and dank Devil worshipping den where vicious demons, tortuous succubi, and a psychological terror have chosen the brothers in order to re-awaken the Devil.
“Awaken the Devil” is not a fast-paced, on-the-edge of your seat demonic thriller and, you know what, that’s okay. Director Daniel Falicki’s combination of live-action and overlapping animation marks some spectacular rotoscope-esque filmmaking, think “A Scanner Darkly” or “Waking Life”, that looks really cinematically neat on screen with unique visual effects especially of the hovering demonic succubi. Without the animation, I fear that “Awaken the Devil” would suffer greatly from the film’s slow, but not too terribly slow, pace as the characters do a lot of wandering around the city without any direction until the day ends and the night begins. Luckily, we’re stuck with entertaining and passionate actors.
The two main actors, Jason Roth as the wheel-chair bound mute Vernon and Matt Simpson Siegel as his drug addicted and cynical brother Todd, sold us hard on their performances. Roth delivers a powerful silent performance and uses remarkable versatile facial expressions that goes above and beyond the budget of this film. Siegel is given loads of dialogue (nature of the beast when you’re character’s brother lacks a voice box) and sometimes resembles more of a rambling rant about his historical envious and predominantly jealousness, sometimes melancholic, of his brother. However, the dialogue is much more than just words on paper and the film revolves around this dialogue between the two brothers creating an underlying layer that is deeply involved than just some mindless succubi leaching the life of two homeless souls.
Overall, I would recommend at least one viewing of this Sector 5 and Rotomation Studios film. Just beware than after the first five minutes of great introductions and musical track from The March Violets, you might want to be doing something else between then and when run-down building. Don’t be discouraged; “Awaken the Devil” is a well edited, well directed, and well animated film that is unique and certainly haunting.
Audria Larsen – See-through breasts – Audria Larsen is the first succubus that enters the scene and latches itself on to Todd. Audria’s scene is brief, but as she’s floating above Todd, there is a quick glimpses of her chest through a see-thru top. She’s also involved a “ghost” sex scene with Todd where she cowboy rides him until she reveals her true self. Audria Larsen is a burlesque/circus art model for Model Mayhem under the moniker Vivacious Miss Audacious and Larsen is also fairly good at hula-hooping and suspension which she tackles on a little bit in the film. It’s a sexy scene, but there rotoscope animation makes it a bit murky to full grasp Larsen’s assets.
Hasn’t the hand held first person camera run it’s course? The recently popular method has been criticized as shaky, unintelligible, headache inducing, and over abused. I agree with that criticism as well, but I find there lies a bit of realism in the corners of each the richly blindingly dark and snowy static scenes of a hand held camera.
The Inside is the next flick to hop on the hand held bandwagon. A young man purchases a second hand video camera at a pawnshop and discovers that the tape is still inside the camera. He plays back to footage of five girls out on the town for one of their own’s 21st birthday party. The girls break in to an abandoned undisclosed location for a little wild times, but three vagrants break up their fun and unleash terror upon them. But when the vagrants think they have the upper hand, a supernatural evil falls upon the girls and themselves leaving all of them to fend for themselves against pure evil. When the man finishes the tape, he retraces the girls steps in search of what caused their demise.
While the shaky hand cam has more realism than any third person perspective, a great backbone of a story can make the film all the sweeter, but The Inside has a flimsy plot line that doesn’t explain what kind of evil forces these girls are dealing with nor can be explained what this “Grave Digger,” as IMDB.com has labeled the character, has gruesomely bestowed upon the victims. Perhaps the take away from this movie is that people disappear without a trace all the time and this could be a theory to how and why…? But glimpses of Satanic pentagram symbols sprayed on the wall and quick visions of Satanic goats are being tapped into the camera’s signal, which I don’t think is the correct type of signal. But this confirms some kind of ritualistic satanic practices being held and, perhaps, going terribly and horribly wrong. I feel there should be a prequel to The Inside to give us a little more insight into who or what the “Grave Digger” is.
What behoves the story to maintains a chilly manner was to keep the characters portraying like horror ignorant idiots. For example, the young man, played by director Eoin Macken himself, who bought the camera decides to retrace the girls’ steps and investigate by himself. Why not turn in the camera to the authorities after witness physical assault, rape, and supernatural evil terror of the girls? This man was not superhuman, but much rather a bum looking to pawn of his wedding ring – we aren’t privy to his background either and have to deduce what we see to come to some kind of half-cocked conclusion.
Amongst all the chaos and confusion after the supernatural shit hits the fan, the movie takes a 180 degree turn in the other direction and no longer are we invited guests at a party or the voyeurs of a perverse snuff film, but a survivor ourselves. However, the sound is much to hectic to make any comprehendible sense. All that I knew for sure was when the “Grave Digger” was about to make an appearance – a baby wailed and there was an electronic hum – which made an unfitting tell of his whereabouts, but the “Grave Digger” was an interesting looking character despite his mysterious background and his grimly cryptic intentions. He’s naked and covered and blood – if you’ve ever seen Shallow Ground then you might have a clear representation of what I’m talking about.
Much like most hand held camera movies, The Inside is no different or nothing much more special. There is an open ending, which is a common characteristic of films like these which has to do with the realism factor once again. The Inside will chill your spine, yet you won’t figure out why it chills your spine in the first place. Check it for yourself by buying your copy of The Inside at Monster Pictures.com