The kingdom of Joseon is in a state of great turmoil as the absolute monarchy is being influentially divided. The King has treacherous whispers being fed to him by head of the nobles, Minister Kim, and the eldest royal son, the Crown Prince, witnesses his father’s dominion being redirected against the common people despite his best efforts to persuade his father. When the Crown Prince’s insurrection plan for kingdom stabilizing is foiled, the Crown Prince commits public suicide as act of sacrifice to spare his cohorts and their family from capital punishment, but before his death, the Crown Prince sends word to his younger brother, Lee Chung, to return home from the Qing Dynasty and escort his sister and unborn child out of a country soon to be in the throes of chaos. In the midst of the struggle, a foreign ship cargoes new age weapons and the Captain has secret dealings with Minister Kim, but is raided by the Crown Prince’s rebellion The ship also holds another human eradicating payload, a plagued foreigner in the brig is transforming into a blood hungry monster with grayed out eyes and razor sharp teeth With one of the raiding members being bitten, the carnivorous outbreak spreads throughout the kingdom days before the pleasure seeking and arrogant Lee Chung returns home. Chung not only finds his people suffering from bloodthirsty monsters, but also from a turbulent hierarchy sought for destruction by a devilish and traitorous orchestrator who will do anything, like leave a plague go unchecked, to see the lineage die out.
From the same studio that delivered the critically successful, zombie apocalyptic nail biter, “Train to Buscan” comes Kim Sung-hoon’s martial arts horror-fantasy, “Rampant,” that’s a perfect accompaniment double feature film involving a familiar fast-spreading zombie-like outbreak with gripping, non-stop action based on the webcomic Kingdom of the Gods. “Rampant” is the filmmaker’s junior film from 2018, a film blended with truly epic magnitude and an ancient Korean civilization that’s penned by “Scary Hair” writer-director Shin-yeon Won and Hwang Jo Yoon to weave battling aortic stories that inherently funnel toward the dismantling of an established empire. While not serving as a straight genre film with savage moments of on the edge of your seat horror, the theme hones in on the separation of classes, peasants and blue-blooded or high ranking officials, and the reuniting them by compassion and strength. Inklings of fear, greed, and ignorance are stitched in the very hanbok and gat-laden fabrics of the story and serving as a precursor to the Netflix produced television series, Kingdom, scripted by Kim Eun-hee and directed by Seong-hun Kim, involving virtually an identical premise of a troubled monarchy being plagued by a horde of diabolical creatures.
Prince Lee Chung is a stimulating character to say the least; the prince’s introduction isn’t favorable to royal morals as a pleasure seeking, womanizer who gets his kicks by doing what he wants, when he wants. Yet, Chung arches so prominently that the transformation goes seamless, and covertly, to persuades audiences to rally behind Chung in the least-to-most extreme circumstances. Hyun Bin’s confidence in the prince ceases to amaze. From his impeccable arrogance to selfless protection, Bin sustains high level performance no matter the situation while bearing a giant blade, holstered on his lower back. Chung has the skill of a warrior, but the tact of a barfly at first and comes to be a complete better version of himself at the dire end that also completes Bin’s full range of the role. Chung is pitted against Minister Kim, the head of all the court’s ministers, and Kim plots to dethrone the Joseon kingdom in chaos by any means. Jang Dong-Gun is Korean’s version of Mads Mikkelsen. Jang envelops a deepening mystery that’s hard to deescalate and emits a presence on screen just by the way he positions himself in an ominous, if not anime swordsman, manner. Minister Kim is a staggering and formidable nemesis, more overall suited to be the main villain amongst an ever-growing sea of plague-spewing creatures. The remaining lot of characters feel auxiliary around the protagonist Chung and antagonist Kim and these roles are supported by Kim Eui-sung (“Train to Buscan”), Jo Woo-jin, Jo Dal-hwan, Jung Yoo-An, Lee Sun-Bin, and Seo Ji-hye.
You might have noticed that the term creatures were used to describe the menace that plagues Joseon. Characters often reference the plague transformed attackers as demons and, to be honest, these grayed eyed, pointy teeth demons could pass as extras in Lamberto Bava’s “Demons” or Kevin Tenney’s “Night of the Demons,” but the U.S. marketing of the Well Go USA Entertainment release promises zombies and zombie action, even going as far as splaying on the front and back cover that the same studio produced “Train to Buscan.” To be fair, a plague did start the mayhem, transmission of the disease was by bite, and the course ran the kingdom very, well, rampant like a traditional, George A. Romero style, outbreak. Either way, to kill a demon and/or zombie, an assortment of kill method was acceptable such as: beheadings, severing the heart, and, to thoroughly ensure death, kill with fire. Demons. Zombies. Audiences won’t be too hard up on how to label the hungry hordes as “Rampant” slices, dices, and crucifies the the living hell out of the living dead.
Well Go USA Entertainment presents the VAST Entertainment and Leeyang Film, “Rampant,” onto a dual format, DVD and Blu-ray combo, release. The 129 minute runtime Blu-ray is exhibited in a widescreen, 16:9 aspect ratio. There’s money behind this release as visual effects are one of the superior cases over the lot of 2018 releases with pinpoint detail from the mass of infected, the textures and coloring of fire, and the Joseon Kingdom structures and detail attire. The attention is really in the details with not only historical authenticity, but also realism. Human coloring looks rather natural and the no issues with compression either. The Korean DTS-HD Master Audio track suits the action heavy film with LFE combustions and explosions, unlimited range and depth amongst a vast Kingdom battleground, and dialogue that right up front. The DVD has a Dolby Digital audio track. Well constructed and syned English subtitles are available on both formats. Inyoung Park’s ho-hum score is the Achilles’ heal of brittleness that downplays the feverish action and reducing the entire sequence as mediocre that doesn’t aspire greatness to come or to be beheld. The same can be said about the bonus material too with a making of featurette that’s more of “Rampant’s” Stateside promo reel, Behind the Scenes featurette that also feels like a marketing campaign ad focusing on character introductions, and Well GO USA Entertainment trailers. In short, no substance in the bonus features. With sound swordplay choreography, a swarm of multiplying reanimated corpses, and an engrossing narrative with a lore foundation, “Rampant” is the next Korean mega hit in the fantasy-horror catalogue.
Blair Jensen rode the highlife of drugs and partying until her arrest that separated her from Husband Roberto and her young daughter. Her release a year later thrusts her into a desperate state of self-effacement, swearing to not only to herself, but also to others a clean slate with a life of sobriety and future employment to better her odds at court ordered visitations with her daughter, but while incarcerated, Roberto left for another woman and her family is in the hands of Donna who is eager to do anything in order to stop Blair’s interposing unto her new life, including retaining a witch to invoke the Obsidian curse onto her. The curse attracts all nearby evil toward her. From flesh eating demons and zombies to murderous serial killers and powerful vampires, Blair is constantly on the run and with the help of a former archaeologic professor and his colleagues, she can better understand her dreadful predicament.
“Obsidian Curse” is the 2016 action-horror from schlock and knock-off B-horror director Rene Perez whose brought us such cinematic gems as “The Burning Dead” with Danny Trejo and the “Playing with Dolls” franchise that spawned two sequels, titled “Bloodlust” and “Havoc”. Perez, who also penned the script, has a slight obsession with Obsidian curses as he directed and co-wrote “Obsidian Hearts” in 2014 with nearly an identical premise that begs the question whether Perez just rebooted his own film to tweak and change here and there to gain redemption for initial mistakes? Having never viewed “Obsidian Hearts,” I personally can’t speak upon the film’s merits, but what can be commented about “Obsidian Curse’s” appeal is that the relentless action smothers any kind of insipid narrative traverse and is massively ambitious in wrangling a meshing of a monster mash. Perhaps too massive for it’s budget, Perez roams the locale landscapes as a flawed heroine flees from the flock of fearsome fiends following her like flies to a foul stench. How’s that for alliteration!
Party girl, Blair Jensen, is trying to regain her life after incarceration, but the convicted mother never had a chance. Stripped of her rights and left to fend for herself for the first time, Jensen is at the bottom, starting over, and attempting to claw her way back up the rank to mother of the year with young daughter, but Karin Brauns doesn’t fit the bill. The Swedish-born, blonde beauty is gifted with a paint brush and a canvas, but her talents don’t translate well as the downtrodden Jensen. Perez really over sexualizes her presence from scrip-to-screen that doesn’t seem necessary to the story and Brauns egregiously lacks capturing the struggles of her character’s life changing freedom and the struggles she must endure to survive an all-evil summons. The character is also written and visually portrayed poorly that follows a released felon fallen on hard times having a nice vehicle to drive around, a cell phone to use, and all the makeup applications and hairdo fashions bestowed to the character in every scene. Reggie Bannister should have been the lead, because the “Phantasm” actor really exhibits falling on hard times. Perhaps the most convincing actor on camera, Bannister’s archeological professor is diluted to just a mere paranormal researcher which resembles a shell of his former gun-toting Reggie role. The dimpled chinned Richard Tyson is no longer the seared image of Crisp from “Kindergarten Cop” in my memory bank. The aged actor also fills a professor role in Pere’z film, but, like Bannister, doesn’t register a pulse. Hard to swallow to very screen captivating actors being diminished in performance on a movie that’s engulfed in horror action. Rounding out the cast is former Playboy model Cody Renee Cameron (“The Neon Demon””), John Caraccioli, Julia Lehman (“Constantine” television series), Charlie Glackin (“Playing with Dolls”), and John Scuderi as the Vampire.
While “Obsidian Curse” has entertainment value, the value is rather low on the metric scale. What’s missing from Perez’s film is a rich, engrossing story that requires more than just peppered moments of indistinct human connections spread thin throughout the storyboard action sequences. Blair Jensen might have been the victim of a witch’s dastardly cursed as the bread crumb trail for monsters of countless configurations, but the mother was never tested as, well, a mother whose supposed to be fighting for her daughter and while a scene or two of malicious attacks and chases on Jensen is the rudimentary premise of her plight, the curse never truly agitates into a test of her maternal bond or her compassion for her friends. As far as the overall appearances of the creatures, they check the box as meeting expectations. The rubbery, latex look is conventional of horror creatures in the 1990s and you can see the awkward folds and the distinctive differences between makeup and skin as the two don’t move or mesh appropriately, but the creativity behind the general appearance offers a broad range of antagonists suited for carnage like an empty eye socketed demon with razor teeth who sees by holding up his detached eyeball with a bloody optic nerve dangling about and a vibrant blue vampire with medieval armor and has sexy, disposable women servants.
Breaking Glass Pictures distributes “Obsidian Curse,” in association with High Octane Pictures and iDiC Entertainment, onto DVD home video. The 79 minute feature runs on an single sided, double-layered DVD9 and is exhibited in an widescreen 1.79:1 aspect ratio. Picture quality maintains vibrancy without loosing the edgy details though a large percentage is filtered through a blueish tint. The drone sequences of Blair running through a field, whacking zombies with a basement ball, withstands the picturesque and lush backdrop and even with Blair makes a splash in a creek, the beads of spray really come out in the quality for a DVD. Though quick to edit, the gory scenes are visually tasty too. The digital dual channel audio track is par for the course, but there are some balance issues between score and dialogue that makes Karin Brauns’ accent difficult to interpret. The foley is all out of whack and could use tinkering to hone in or expand upon the range and depth; the repetitive chain rattle used in Blair’s ball and chain chase scene desperately needed to be mixed better. Bonus features include a sole photo gallery. “Obsidian Curse” subsequently cursed itself with a slew of monsters but displayed no character substance to bind the narrative together, leaving Blair’s character arch to flounder in a mindless and endless cycle of bashing in the hostile chromes of enticed evil.
The last bloodline of a black magic rite has manufactured a highly addictive drug called Purple Neon into pill, powder, and injection form and has distributed it through the pipeline of local dealers amongst an unsuspecting community unaware of Purple Neon’s real and highly potent side effects. The drug transforms the dopers into mindless, blood thirsty slaves and connects the them telepathically to a diabolical underworld queen that’s sought to be risen through the blood and body of a youthful human sacrifice and the very spot, deep inside the hellish maze of a business building, is where a motley crew of drug dealers, estranged lovers, and dentistry employees and patrons are caught dead center in the middle of the hell seekers’ ritual. Armed with only melee weapons and their wits, an unspeakable journey trek to the belly of hell pits them against nightmare creatures and a dastardly queen hellbent on ruling the world.
Since the mid 1980s, Todd Sheets’ expansive B-horror library of schlocky old school horror elements have stayed true and brutal for the last four decades. One of his latest ventures, “Dreaming Purple Neon,” has been described by the writer-director as an ode to the the horror films that once were where the buckets of rampant gore covers like wall-to-wall carpets in every scene, where innovative practical effects made the sizably impossible possible, and where the story is chummed into an ocean of entertainment and fun. “Dreaming Purple Neon” favors a long lost market that rarely exists anymore. “Hi-8 (Horror Independent 8,” in which Sheets wrote and directed a segment, showcases directors who revert back to their analog foundation in horror filmmaking. Sheets is credited alongside “Truth or Dare? A Critical Madness'” Tim Ritter and Donald Farmer, director of “Cannibal Hookers.” Sheets continues his legacy, notching another hole in his belt with an ambitious story soused with formidable, if not a bit extravagant, special gore effects.
At the epicenter of all hell breaking loose is Jeremy Edwards as Dallas whose thrusted into the bane experience inadvertently as he’s trying to reconnect with girlfriend Denise (Eli DeGeer from Ron Bonk “Empire State of the Dead”). A better suited budding duo lies with Ray Ray and Tyrone King, respectively Antoine Steele and Ricky Farr, as a pair of hard nose drug dealers tracking down Catriona (Millie Milan) who stole a kilo of Purple Neon and Tyrone’s custom twin beretta handguns. So far, an eclectic group of characters have formulated but doesn’t end there with two barely cladded actresses, donning sometimes just horned prosthetics on thier nipples, as demonesses. Jodie Nelles Smith bravely and enthusiastically bares it all with full frontal openness to give birth to her Godless vessel demon and her counterpart, the great queen Abaddon, posts up Dilynn Fawn Harvey’s well endowed assets into a sexy medieval getup suiting her ultimate unholy power. Jack McCord receives the last honorable mention in his role of building landlord and high priestess Cyrus Archer to facilitate the Purple Neon and to summon the demon Abaddon. McCord’s theatrics integrate well into Sheets’ splatter film by not only providing exposition for the entire scenario, but also being that faithful right hand henchman to a backdrop antagonist – think Demagogon to the monstrous upside down world creature in “Stranger Things. Grant Conrad, Nick Randol, Jolene Loftin, Ana Rojas-Plumberg, Daniel Bell, Glen Moore, and Stacy Weible costar.
Now, “Dreaming Purple Neon” won’t win any Oscars. Award potential isn’t in the films’s DNA. Being in a niche horror genre narrows the frame of potential viewers, but Todd Sheets” didn’t write and director “Dreaming Purple Neon” to win hunks of glorified metal and plastic and even though the performances were outright corny, sappy, sometimes frivolous, and delivered cue-by-cue, there inarguably radiates a labor of dedication and passion for a nearly forgotten splatter genre of this magnitude. Realistically, the special effects are the unanimous winners with the overly large intestines, the spray of viscera, and the stretchy ripped flesh that are mutilated, mangled, and meshed together to engross, and to gross, viewers deep inside to become fired up and excited, or maybe just disgusted, about turning nothing into a sickening something that’s out of this world. Today’s horror is all about the glossy, the shiny, and the clean without much of the muck usually associated with death, destruction, and mayhem. “Dreaming Purple Neon’s” gets the demonic facts right by not only getting down and dirty with the likes of demon horror which films like “Demons,” “Night of the Demons,” or “Demon Knight” are akin, but also solidifies Todd Sheets as a true filmmaker and friend to the gore film even in today’s modern day apologetic society.
“Extreme Entertainment’s” “Dreaming Purple Neon” lands DVD distribution with MVDVisual and Unearthed Films presented in a widescreen 1.85:1 aspect ratio. Clocking in a 1 hour and 39 minutes, the DVD image quality varies from scene-to-scene, but mostly a washed gray display doesn’t exuberant a color palette, but this overall look goes hand-and-hand with Todd Sheets’ analog style. The 2.0 stereo sound isn’t Earth shattering and to be honest, there wasn’t any expectation for it to be so, but the dual channel is uncharacteristically strong and balanced with clear dialogue to which can be all a testament to Sheets’ long list of experience. Bonus materials include a commentary track with Todd Sheets, a behind-the-scenes, and an Unearthed Films trailer reel. Savage. Unapologetic. Herculean. These terms can all describe the feelings felt when watching Todd Sheets’ “Dreaming Purple Neon” that tells a bizarro “Re-Animator” story chocked full of graphic gore and conveyed with a dry and morbid sense of unsullied humor thats contrasted against today’s spoiled and scorched popcorn and soda pop horror film.
Paul and Jennifer Hemdale snag a great deal on their dream home withstanding an ugly past considering the previous homeowner who disappeared without a trace and a woman ending up badly burned. Despite the stigma surrounding the house, the Hemdales vow to turn their first home into a marital love nest, but every instance in which one of them is ready to break in the new home underneath the sheets, the other falls flaccid, as if something is keeping them from making love. Beneath the first floor, in the darkest part of the basement, there lies a locked black room with ritualistic pagan writing sprawled inside every wall, floor, and ceiling surface and an demonic incubus, lying in wait for the perfect opportunity to reinstate a master plan to take over the world. When Paul becomes a host for the incubus, the body count rises when repairmen, friends, and family come calling to their home and Jennifer must discover what’s causing her husband to act like a perverted jerk before she too falls into the incubus’s malevolent grip.
“The Black Room” mixes dark demon humor with perversions in a butt-cheeky horror comedy written and directed by Rolfe Kanelsky, whose credits in “Nightmare Man” and “Emmanuelle 2000: Emmanuelle’s Intimate Encounters” have sure to have aided in the director’s seamlessness in blending an erotic tone with an aggressive horror element. Kanelsky’s cavalier approach to the 2016 film, “The Black Room,” hints at the Sam Raimi approach with the unexpected and the bizarre mischief of the demon and a violin heavy folk-artsy soundtrack style with jump scare after jump scare techniques, but without going full blown with “The Three Stooges” antics as Raimi is well-known to implement. Instead, Kanelsky’s far more subtle and isn’t afraid to be verbally pun awful, even during more positionally vulnerable scenes involving actresses. Whereas most horror films uses horror as an exploitative tool or an ultimate means to be hacked to pieces, “The Black Room” transforms nudity, and sex, into a running joke much like a Troma production would gravitate to, with “Tromeo and Juliet” being a prime example, and then punch the joke into hyper drive by either being overly gory or ridiculously impractical.
In all honesty, “The Black Room” is the second Cleopatra Entertainment title reviewed at Its Bloggin’ Evil, with the first being a clunky deal-with-the-Devil thriller entitled “Devil’s Domain” by director Jared Cohn, but Cleopatra’s latest entry into the demonic hierarchy enrolls more star power to provide legitimacy in the horror realm by casting horror hall of famed actress and “Insidious” series star Lin Shaye as the snarky previous house owner with a dwelling secret and as well as “Species” series and “Ghost of Mars” actress Natasha Henstridge as the lovely Jennifer Hemdale. Shaye’s dedication to any project, big or small, places the four-decade-careered actress as a beacon of hope for the indie project and Henstridge, still oozing that blonde bombshell of sexiness image, is the proverbial cherry on top. Shaye and Henstridge bare a heavy cast presence without having to bare much skin, but there’s a fair amount of nudity to behold from actresses Augie Duke (“The Badger Game”), Jill Evyn, Alex Rinehart, cheesy horror goddess and “Killjoy” actress Victoria De Mare, and a full frontal nude debut by Milena Gorum in her first credited film. When you’re done ogling over the female roster, a tall, baritone voiced Lukas Hassel illuminates as the sleazy parasitic host of an sex-crazed incubus, embracing every tall, dark, and handsome aficionado to dream of Paul Hemdale in a variety of gore-raunchy segments while maintaining a straight face about the filth that seeps from his character’s mouth. Rounding out this cast is a “Skarkansas Women’s Prison Massacre’s” Dominique Swain as the film’s third headliner on the Blu-ray cover and intro credits, one of my personal favorite supporting actors James Duval (“Cornered!”), Caleb Scott, Robert Donovan, and with genre favorite Tiffany Shepis.
While the story’s nuts and bolts of “The Black Room” consists of demons, possession, and world domination, lots of sex, sex talk, and sexual situations litter every scene. Yes, the demon is an incubus and by very definition of the term, a demon who makes sexual advances on women while they sleep, whole-heartedly defines the amusing premise. Maybe with Kanelsky’s background in softcore erotica, sex comes second hand and writing all the associations with the act is easier for the filmmaker who installs both main characters, Paul and Jennifer, with an insatiable sex drive from beginning to the end. Even with side characters untarnished by the incubus’s powers, such as the perverted water heater repairman, become a slave to the story’s grossly sexual tension. Now, I’m not complaining, but the continuous play on sex is odd without the slither of a moral growth. After all is said and done and the characters walk away from a deadly supernatural cluster-you-know-what, neither Paul and Jennifer progress, knowing nothing more from when they first started, and plateau to a level right from the start when first purchasing the dreadful dream home.
Cleopatra Entertainment and MVDVisual present “The Black Room” on a region free Blu-ray with 1080p on a 2.39:1 aspect ratio. Coloring is everything and the range of hues in “The Black Room” vividly crisp off the screen and the filter lighting smoothly goes unnoticed when sudden changes from natural to red flare up. For most of the 91 minute runtime, a clean image plays out a levelness throughout, but film grain presents itself in last moments of said titular room and the digital effects are gaussian soft that it’s penalizing. The English Dolby Digital 5.1 mix has a compressed audio that’s not up the spec when considering Cleopatra is a major record label. The dialogue is clean and prevalent, but sorely soft at times with ranges between ambient, soundtrack, and dialogue fluxing more on the lower volume totem poll rather than being beefy and in charge. Audio is passable, being free from damage and distortion, but a little more range would do this demon dance some justice. Bonus material includes commentary with director Rolfe Kanelsky, star Natasha Henstridge, supporting actor Augie Duke, and producer Esther Goodstein, a slew of extra and extended scenes, a severely anemic behind-the-scenes short, a brief blooper reel, slide show, storyboards, and the film’s trailer. When considering between the two demonically-charged Cleopatra Entertainment productions “Devil’s Domain” and “The Black Door,” there’s no contest as the latter is technically a much better film and a lot of fun to watch and sure to be every gore and sex-hound’s wet dream with titillating special effects, especially with an invisible entity seducing a sleeping Alex Reinhart with a major titty-twister, and a dark sense of humor of unholy pleasure.
Washed up and dishonorably discharged Navy SEAL, Lieutenant Warren Carr, is haunted by the tragic death of his family and can’t manage to stop kissing the bottle, but when a Navy Lieutenant Commander offers him an olive branch toward redemption, one that involves facing the wrath of virgin blood thirsty demons in a Mexico bordering town called Jack County, Texas, Carr reluctantly accepts the black ops mission. Recruiting a pair of buddies of equally disgraced SEALS, Whiskey and Red, the three men go deep undercover as a bikers and join forces with an established Jack County biker gang to put a stop to the demons from spreading beyond the small town’s limits.
A good rule of them to live by when flipping through your DVD and Blu-ray library is if the film’s title reads and sounds like juvenile garbage – chances are – the film itself will be the same caliber, but there are diamond’s in the rough. For example, till this day, I still believe 2007’s “Shoot’Em Up” is one of the worst titled films, but the Clive Owen and Monica Belluci gory-action shoot out is great fun and undeniably attractive. Okay, so maybe that particular movie is a bad example, as “Shoot’Em Up” sounds pretty rad even if my 3-year-old daughter could have brainstormed a better title, but how about the AK Waters’ story, Charles Roy penned script, and Jeff Reyes directed film “Navy SEALS v Demons?” The common misperception is that a film entitled “Navy SEALS v Demons” must be an intentional farce, but is, in fact, a serious film about crotch rocket demons in search for pure virgin blood and three defamed Navy SEALS undercover as bikers who are hired for the black ops mission to take them out without support or backup. Demons weren’t the only prey of the American beloved, ass-kickin’ Navy SEALS as AK Waters, on the heel of Demons, had pitted the elite force against the living dead in a film entitled, you guessed it, “Navy SEALS vs. Zombies.” Put a KIA on the heads of demons and zombies, right up there with Osama Bin Laden, as our unsung heros can take on natural and unnatural enemies.
Built like a mountain Mikal Vega heads the charge as Warren Carr. Vega, with a resume that credits him a military or bodyguard typecast actor in some of Hollywood’s blockbuster films such as “Transformers: Dark of the Moon” and “G.I. Joe: Retaliation,” breaks from being a jughead extra for Michael Bay films and found a way to be a jughead lead actor in poorly produced nonsense filmmaking that has reared it’s ugly eye-sore head in horror films. By befriending AK Waters, Vega begins his career as a D-list actor with “Navy SEALS vs. Zombies” and working his way from there. Vega has potential and the talent, even if his talent’s rough and shaky at times. Alongside Vega are his two on-screen commando bros, Matthew R. Anderson (Red) and Les Brooks Jr. (Whisky). Together, the three don’t have great chemistry with no real bond forming that Military unspoken code of whether they live or die value. Liana Mendoza plays the semi-quasi female lead opposite Carr; her role of protective stripper mom doesn’t provide that one-on-one connection with Carr, especially since after her nipple-patch covered, incoherently edited lap dance for Carr upon his arrival into town was less than just okay (she’s much better in “Zane’s Sex Chronicles”), when her character is sorely underdeveloped to just be a waste of space and a fly on the wall. Lastly, there’s “Super Shark’s” Tim Abell as the ACES, special government agency whose acronym is never spelled out, acting head director Max Martini. Abell’s scenes in the command center are rather detached from the rest of the action. Abell does a fine job being the tough man in charge to a bunch of bewildered agents who look like they’re all sitting in a VFW mess hall, wondering how to keep operational their recon drone over Jack County, but Abell’s scenes are almost like a wasted effort in trying to sell his band of brother loyalty to Carr.
“Navy SEALS v Demons,” that’s not a typo in the abbreviated versus by the way, must have had storyboards that were shot from illustration-to-illustration because smooth transitions between scenes were anything but present. The 85 minute film also felt frustratingly rushed; for example, a portion of the finale tried to convey a death, a betrayal, and one other important antagonist upper hand all in 20 seconds of short clips, harshly edited together as the filmmakers said, “screw it, let’s just get it done.” The death of the major character didn’t get the respect the character deserved and I would be pissed if I was that actor, the betrayal comes out of far left field in such a brief scene, and the other scene, which I won’t go into details in case you want to actually watch this movie, goes relatively unexplained as well, but one can conclude that the dark powers of the head demon are Pied Piper-ly powerful. Special effects had some brief gory moments, all the demon makeup was obscured by off-screen voiceovers, structure impediments, and biker helmets, and to be frank, I’m still upset that Liana Mendoza, whose inherently sexy playing a sexy role, used pasties and the direction during the lap dance was to screen more of Vega’s mug of contempt as if the filmmakers themselves tried to intentionally censor themselves.
Ripped Boxers Entertainment and MVDVisual’s “Navy SEALS v Demons” goes to battle on Blu-ray home video. The Blu-ray’s image quality is actually quite good with an AVC encoded 1080p transfer presented in a 2.31:1 ratio. Color levels are balanced where needed, especially in the day time sequences, and skin tones naturally favor Carr’s middle-aged definition and heightens Mendoza’s ethnicity and womanhood. I can’t say the image quality did any justice to the demon makeup, rendering the oddly reddish hues on the shoddy latex an obvious quick job. The Dolby Digital 5.1 English only track has very little bite with some loss around the surround sound and the dialogue isn’t always in the forefront and clear. There are no extras on this release. “Navy SEALS v Demons” is, sadly, one of those bad low-rent movies with a low-rent title on a fairly good Blu-ray release and while Mikal Vega and Llana Mendoza share the intensity the story desperately needs, majority of the remaining is stale as week old bread, except for best part of the whole movie when Mikal Vega slaps around a lowlife biker in a barroom brawl. What will be AK Waters next versus project? Navy SEALS vs Vampyres, anyone?