Tag Archives: folklore

Rash Decisions Permeate EVIL’s Presence. “When Evil Lurks” reviewed! (Second Sight Films / 4K UHD Blu-ray)

Posted by Steven Lewis on

“When Evil Lurks” 4K UHD Blu-ray for Purchase!

Two brothers in a small, remote community discover a neighboring man infested and rotting with a demon inside the body.  Fearing evil will spread once the birthed demon is free from the bloated and pus-oozing human host, they move the body miles out of town with the help of an impatient and bellicose farmer, but when they lose the body, a dark violent force spreads across their rural outlook, beginning with the horrendous death of the farmer and his pregnant wife.  Escaping to the city, the two brothers hightail out of town, picking up family along the way, only to unintentionally spread evil from contamination by the rotting body.  Local folklore has a set of established rules, seven rules in fact, when face-to-face with a demon and they enlist a reclusive woman, a proper cleaner of the rotten, to help them against the clinging evil determined to never let their family go unscathed. 

The 2023 released, heavy demonic and folkloric horror from Argentina, entitled “When Evil Lurks,” tells the whole story of a family’s past regrets, the road-splitting life choices they make, and the consequences that follow using graphic, unabashed violence and a campiness that’s corrosive to the soul.  Demián Rugna writes-and-directs “When Evil Lurks,” aka “Cuando acecha la maldad,” after his breakout hit “Terrified” from 2017.  The Buenos Aires filmmaker continues to push a singular amalgamate of wide-range tradition and horror to the extent the world has never seen, and he continues to shoot on location from his own country, mostly in or around his home municipality.  Fernando Díaz of Machaco Films alongside Roxana Ramos under her founded production company Aramos Cine with the support of the national cinema institute, the Instituto Nacional de Cine y Artes Audiovisuales or the INCAA, and the streaming horror service and productions, Shudder.

“When Evil Lurks” primarily follows Pedro and Jimi, two brothers living on the outs of their own lives stagnantly inside their rural family home.  Ezequiel Rodríguez (“Legions”) sports a grizzly beard as the lead, older brother Pedro who frantically and desperately needs to get his family away from the spreading evil while returning to collaborate with Rugna “Terrified” actor Demián Salomón tracks as a more youthful footloose, Jimi, not tied down by a family or even a girlfriend but rather is dialogued as free lover amongst women.  Every character they encounter exposes them to the evils that lie ahead, or generally around the vicinity, as the this rotten, as they label the formless rotten presence that is solely an inhabitant of people and animals alike, can jump to another host if the rules are not followed, with the most common rule being broken is using gun powder to kill the possessed rotten.  Up for to be demonic fodder is Pedro’s estranged family who have alienated him because of his ambiguities’ surrounding possible unforgivable crimes and family abandonment.  The latter speaks more specifically to his severely autistic son Jair (“Emilio Vodanovich, “Fever Dream”) Pedro once hated himself for spawning, per his ex-wife and restraining order enacting Sabrina (Virginia Garófalo, “La Vagancia”), but his Pedro’s pre-narrative occurred change of heart sends him frantically into the fire to save his children Jair and younger brother Santino (Marcelo Michinaux, “Fever Dream”).  Also demonically targeted is Jimi’s once city affair now turned socially isolated former cowwoman-turned-rotten cleaner Mirta (“Silvina Sabater, “The Wrath of God”).  Mirta pivotally provides audiences insight by solidifying what other characters only know by hearsay or try to understand intuitively about the rottens, or the possessed, and how it spreads and what rules to follow.  Without Mirta, a lot of the supernatural circumstances involving children, the insidiousness, and the mindset of evil.  Other cast members interlocked with the gruesome violence and gut-wrenched storytelling is Luis Ziembrowski (“The Rotten Link”), Paul Rubinstesztein (“Portraits of the Apocalypse”), Isabel Quinteros (“High Heels”), Lucrecia Nirón Talazac, Ricardo Velázquez, Desirée Salgueiro (“Luciferina”), Federico Liss (“Portraits of the Apocalypse”), and Berta Muñiz (“Plaga Zombie”) as the voice of the bloated rotten Uriel.

“When Evil Lurks” accompanies with it a strong theme of children replacing their parents or adults in a metaphorical, supernatural demon enriched context.  Children are drawn to the demon as the demon is drawn to children, a verbatim more-or-less statement said by Mirta about the rotten, or demon, that shows children as it’s bewitched devoted servants and protectors, like little underage Renfields, who try and trick adults off the rotten’s hidden location or carry out for more sinister acts.  One of those acts is literally devouring adults which becomes a regular theme throughout seen with Jair and Eduardo, and even in anecdote told by Mirta about a previous witness to a rotten’s case of regurgitation.  In a way, the demon is a child itself being birthed into the world under a swelling and oozing Uriel’s sinew and viscera and indulges in childish acts of fibbing, mischievous tricks, and playful portents that happen right under our noses and can be shocking to the system as we want to believe what our children, our flesh and blood, have to say but there’s always that inkling of untruthfulness in our minds. Rugna couples the manipulation with bold, visceral violence, even some on children, and a grotesque folklore inflamed by poor and naïve choices by those who don’t understand or are unwilling to fully comprehend the extent of consequences that follow because of their hastiness to act, solve, and be rid of a threat.  “When Evil Lurks” clearly points out our innate flawed existence and makes abundantly clear our mortality with our progeny to dominate the world. 

Second Sight Films emerges “When Evil Lurks” onto a 4K UHD Blu-ray.  The BD66 is HVEC encoded with an ultra high-definition, 2160p resolution and presented in the original widescreen aspect ratio 2.39:1.  Second Sight Films produce the high dynamic range with Dolby Vision, approved by director Demián Rugna.  The result is immense image immersion that inarguably has the wherewithal for a fluently stable color timing, a range of depth, and phenomenal detail.  Every aspect of what is on screen is crisp to the bone and Rugna’s violence, under Mariano Suárez’s eclectic cinematographer eye that builds toward suspense, benefits from the grisly faced display.   Audio fidelity through a Spanish DTS-HD 5.1 Master Audio holds and delivers exact reproduction.  Plenty of back and side channel clinks and clunks to establish a presence created coincidingly with the image.  Dialogue is unobstructed, confidently paced, and above the layers whenever appropriate with Pablo Fuu’s score sneaking int folkloric tones and a despairing timbre and tempo there in the mix but subconsciously eats away the soul of the viewer.  Optional English subtitles are available and accurate but in moments of great hasty dialogue, the rhythm of display can be quick.  Special features include a new audio commentary by cinematic academic Gabriel Eljaick-Rodriguez, four new interviews with director Demián Rugna It Was Always There, actor Ezequiel Rodríguez Tragedy is Inevitable, actor Demián Salomón We Made a Movie, and actress Virginia Garófalo Stripped to the Bone, and a video essay by UK film podcaster Mike Muncer Terror and the Unknown in When Evil Lurks.  There are no during or after credit scenes.  The 4K UHD Blu-ray release comes in a black UHD Amaray with a new monochromatic art rendition of young Vicky holding the leach of the French Mastiff, same as the pre-release promo still for the film.  There are no internal supplements with the region free release that has a runtime of 100 minutes and is UK certified 15 for Strong Horror, Bloody Violence, Gore, and Language.

Last Rites: There’s no stopping death. Our children will replace us no matter how hard we try. A seemingly evil accursed death will come for us all and the choices that are made will be the design to our destruction. Director Demián Rugna sees the path and knows “When Evil Lurks” it has us completely encircled with no escape, no hope, and no compassion. How soon we choose to parish depends on how rash and unwise our decisions are in the grand scheme of life.

“When Evil Lurks” 4K UHD Blu-ray for Purchase!

Scarf Michael and the Fiddler’s Power that Draws Upon EVIL! “The Outcasts” reviewed! (Deaf Crocodile / Blu-ray)

Posted by Steven Lewis on

“The Outcasts” on Blu-ray Now Available Here!

Ireland 1810 – a small farming village sustains a livelihood off their crops, marital successors, and superstitious belief.  Widower Hugh O’Donnell and his three teenage-adult daughters find themselves in the midst of all three mechanisms with his eldest daughter forced to live with him into widowed spinsterhood, a middle daughter’s secretive betrothal to a neighboring farmer boy despite Hugh’s disdain for the family, and Maura, the youngest daughter, who acts strange and fearful making her an easy target for ridicule.  When the village crop faces blight, bad luck ensues many of the surrounding farmers, and a sudden, expected snow fall threatens harvests and income, Maura is accused of conspiring with witchcraft of a wraith fiddler known as Scarf Michael whose music invokes visions and creates mischief.  Nearly crucified by the fearful villagers, most of whom derided for her aberrating strangeness, Maura is saved by Scarf Michael to be taught his outlier ways that could lead the young woman to never return home again.

Through themes of folkloric belief, societal class structures, family, marriages, mental illness and how it’s ostracized in an early 1800s setting, “The Outcasts” is a cold, hard, and solemn look at daily affairs of a 19th century, poor Irish seaside village, fenced in with the unusual conducts of Maura whose mind is more curious and vastly hungry for knowledge than her peers’ and that creates an escapism component to try and be equal, or perhaps get even with, those that look down upon her.   English writer-director Robert Wynne-Simmons tackles his debut feature-length film with great understanding of tradition and human fear, elemental human nature bred from the uneducated and localized myth seen in his original devilish script from 1971’s “The Blood on Satan’s Claw” by director Piers Haggard.  “The Blood on Satan’s Claw” was certainly far better suited for success with Haggard’s additional scenes of brackish deviltry aesthetics, plenty of full-frontal nudity, and visible vibrant and rich blood.  “The Outcast” is a return to the slow born of an eventual decline and degradation of not just Maura but her family and her village.   “The Outcast” is part of an Irish production conglomerate of companies, including Arts Council of Ireland, The Irish Film Board, and the Toymyax Company with Tony Dollard producing.

Mary Ryan is the centerpiece of the fantastical and fraught tale because of her teenage character’s childlike innocence that’s deemed unusual, weird, and, eventually, in bed with a spiteful spirit, labelling her character, Maura, as a cursing occultist.  Ryan, who would go on to have minor roles in “Rawhead Rex” and “The Courier,” brings a balance of beauty and blamelessness to Maura’s undesired disposition, one that allows her no friends and is even on the edge of displeasure from her older sister Breda (Brenda Scallon) and father Hugh (Don Foley) whom both found love and lost them over a rough course of untimely death.  There’s still obvious love between them, but Maura likely reminds them of mother, especially from Hugh, and sees a same early grave fate for the youngest and adrift daughter.  Middle Daughter Janey resides on the opposite side of the spectrum with unconditional love and support for Maura only to be intertwined with her own serendipitous affairs with local farm boy Eanon (Máirtín Jaimsie), finding themselves rushed into proper marriage when Janey comes home expecting.  And while Maura made faultless inconsequential ripples through the family and the village, she was initially not on the forefront of everybody’s concern as Janey and Eanon became a jovial celebration that sought the joining of two well-known families and farms until Scarf Michael reappeared to play his fiddle.  Mick Lally fiddles as the musical wraith casting his violin strokes against those essentially bullying Maura with trickery that led to subsequent fears and accusations of agricultural assassination and magical maligned mischief that turn the rural villagers away from Janey and Eanon’s blessed marriage to an acute decline of rationality that put Maura in the crosshairs of suspected supernatural conjuring.  Scarf Michael’s intentions are not to whisk Maura away into what she sees and believes is as blissful freedom from those nasty looks and mocking that surround her as well as Michael’s tenderness to which she falls in love for the first time, like a child growing into adulthood.  “The Outcasts” round out with Tom Jordan, Cyril Cusack, Gillian Hackett, Brendan Ellis, Hilary Reynolds, Donal O’Kelly, James Shanahan, and Paul Bennett.

Not ever story about the loss of innocence from growing up is portrayed in a good light.  Maura wants to hurry grow up and be free of her childish qualities without realizing the consequences.  Falling in love with Scarf Michael proves to be perhaps folly of Maura who gives into the dream, or fantasy, of a man who quickly enters her life and charms her with the mystical fiddle.  By the end, indications of Scarf Michael nothing more than a rake leaves a sour and sad aftertaste that shutters Maura from the rest of her family as she willing joins him on the other side, practically begging him to free her from an unforgiving reality.  Perhaps Maura was also led to believe in no other choice, condemned to a watery grave, the same fate that befell Scarf Michael, by her fearful village peers and elders.  Robert Wynne-Simmons is often playing devil’s advocate by building up Scarf Michael as a savior and a romantic, but Maura drinks the Celtic Kool-Aid because, frankly, she knows no better and received no beneficial direction from those who surround her, leaving the alluring fiddler to warn her of the choices she desires.  Wynne-Simmons and Seamus Corcoran’s soft-and-dreamy fairytale indulges a bit of surrealism through soft-lighting, soft focus, and crude yet effective editing tricks to create a specter’s intermittent visibility amongst other slight of sight practical effects. 

If ever a time to be totally physical media inclusive toward all the obscure outliers, now is the time with “The Outcasts” arriving onto a newly restored 2K transfer for the first ever Blu-ray in the U.S. courtesy of Deaf Crocodile.  Presented in an European widescreen 1.66:1 aspect ratio, the AVC encoded, 1080p high definition, BD50, plus the restoration efforts conducted by the Irish Film Institute – Film Archive, retains that airy softness of a daydream inlaid to suggest a surrealism surrogation but the story is rooted in reality, the reality of early 1800s Ireland to be exact, and so this impoverish, austere, and salt of the Earth land and it’s people are often absorbed by superstition belief that’s awfully real for them but to the audiences, it’s bordering the illogical.  Details are generally soft but the upgrade increases the contours and create a nice layer of depth between foreground and background, bathed in the muted and ascetic green, brown, and tan color scheme of a traditional period piece wardrobe and materials, leaving behind any ounce of hue pop to not spoil the intended grading that lives and dies by somewhere between the RGB and the average grayscale, but there are times of an eerie dressed lighting of added backlit blues and bright whites to secure a fantasy, or spooky, flare.  The fidelity reproduction on the Irish-English DTS-HD mono track diffuses distinct aspects through the single channel without any vague overtaking.  The brogue English did, at least for me, require the optional English subtitles to be turned on for my untrained ear to decipher certain antiquated period terminology and the strong Irish accents that would drown out an entire sentence; this is not an issue concerning the quality of the audio track as it’s nicely achieved without any damage to note or crackling, hissing, or other obstructions to interfere.  The dialogue is also fairly robust and prominent.  Steve Conney’s lyrical and guitar score enchants with traditional Irish folk and is ascertains the mix of commonplace and otherworldly mood Wynne-Simmons seeks to create.  Bonus content includes a new video interview with writer-director Robert Wynne-Simmons, a new video interview with composer Steve Conney, producer and film professor Rod Stoneman, former head of The Irish Film Board, and physical media expert Ryan Verrill provide a video essay, and concludes with five Robert Wynne-Simmons’ short films:  “L’Eredita di Diavolo,” “The Greatest All-Star Advertial of All Time,” “Bomb Disposal,” “The Scrolls,” and “The Judgement of Albion – Prophesies of William Blake”  These shorts include appearances/cameos by Charlton Heston, Sammy Davis Jr. and Peter O’Toole to name a few.  The clear Blu-ray Amaray has an appearance that’s about a stark as the film’s aesthetic with a gray coverart composition of celebration fiddlers in their straw masks overtop an isolated Maura.  An insert advert with a QR code offers to access transcribed bonus content.  The disc is pressed with the same front cover image and the reverse side of the primary cover has a still from the film.  The unrated release has a runtime of 105 minutes and is hard-locked with region A encoding.

Last Rites: An obscure gem of Irish cinema, a folklore and social explication of “The Outcasts” outlives antiquation with a new Blu-ray release from obscure aficionados Deaf Crocodile!

“The Outcasts” on Blu-ray Now Available Here!

EVIL Chews Through Its Own Loved Ones as “The Vourdalak” reviewed! (Oscilloscope Laboratories / Blu-ray)

Posted by Steven Lewis on

“The Vourdalak” Available Now at Amazon.com!

The special emissary of the King of France is ambushed by Turks in an isolated Slovic countryside.  With his carriage and clothes stolen and his driver-servant dead, Monseigneur Marquis Jacques Antoine Saturnin d’Urfé has nothing more than the clothes on his back.  He finds himself in the home of Gorcha, an enemy of the Turks, who resides with his three adult children, a daughter in law, and a grandson, but Gorcha was not presently there to greet his hapless visitor until his returns later that day from fighting the Turkish raiders.  Yet, aside from the oldest son Jegor, the family’s superstitious beliefs lead them to doubt Gorcha returning home human and instead has returned as vourdalak, or a blood hungry vampiric creature who feeds on his own loving family to turn them all into the same unnatural ilk.  From an outsider’s point of view, what Marquis d’Urfé witnesses initially is a strange peasant family’s irritational fear turn into a harrowing horror as one-by-one the family members reach an unfortunate end after the return of Gorcha.

Based off the gothic novella “La Famille du Vourdalak. Fragment inedit des Memoires d’un inconnu” from Russian author Aleksey Konstantinovic Tolstoy, a story that plays on the etymology of the Slavic folklore word Wurdulac, or a vampire-like creature, that exacts a similar transpiring fate as described in the above plotline of Adrien Beau’s “The Vourdalak.”   The writer-director fleshes out the 1839 Tolstoy story, one that’s predates Bram Stoker’s “Dracula” by nearly 60 years, for his own period set rendition created for modern times almost two centuries later in 2023 as his debut feature-length film.  The French film is cowritten alongside Hadrien Bouvier who doesn’t depict the vampiric creature as a nobleman, or even a man of wealth, but rather as a likely lowly serf of the countryside under a noble or lord.  Yet, the script, very much like Tolstoy’s novella, is contained within the family and their home rather than expanding across continents and seas, as in Stoker’s “Dracula.”  “The Vourdalak” is produced by “Alone in Berlin’s” Marco and Lola Pacchnioni and Judith Lou Lévy (“Zombie Child”) under the production banners of Les Films du Ball, Master Movies and, in association with, Cinemage 17 and Amazon. 

A period piece with an intimate cast brings closer together the targeted era of late 18th century to early 19th century costuming, articles, and, to extent, performances that sell the monarchial times of French aristocracy and Slavic provincials living humbly on the fringes of an everlasting Russo-Turkish war that spanned decades.  Leading the charge is the only French aristocrat portrayed character in the story played by Kacey Mottet Klein (“The Suicide Shop”).  Dressed in traditional Empiric style high collar shirt, petty coat, and a white wig and garishly garnished with white pale-looking makeup with mouche, an adhesive mole, to reflect their wealth and status, Klein’s prim-and-proper, yet prudish and prissy, Marquis Jacques Antoine Saturnin d’Urfé is finely out of his element with a satisfiable character arc that has the Monseigneur go from a squeamish snob to finding compassion, sympathy, and courage amongst darkness aimed to swallow a family whole as d’Urfé’s high society and fantastical life clashes with the real world with war, necessity, death, natural beauty, unconventionalities, and consideration through another type of fantasy lens, a troubling, insidious darkness that plagues and feeds on the blood from within a domestic design that’s ruthless as it is unfathomable.  Jegor (Grégoire Colin, “Bastards”) is the loyal eldest son, Piotr (Vassili Schneider, “The Demons”) is the sexual orient ambiguous second son with external emotions unlike his other brother, Sdenka (Ariane Labed, “The Brutalist”) is the free-spirited but melancholic beauty, Anja (Claire Duburcq, “She is Conann”) as Jegor’s more than practical and realistic wife and young Vlad (Gabriel Pavie) is Jegor and Anje’s preadolescent boy.  The aforenoted characters are all embodied by a physical, living person to play the role but Gorcha is a horse of another color.  In fact, Gorcha’s not a living thing at all and is actually a puppet personified by two puppeteers and voiced by director Adrien Beau.  The puppet has an emaciated appearance, resembling closely to those used in “Return of the Living Dead, and with the power of green screen, the animating arms and bodies are overlayed out and Gorcha lives and breathes with an animatism spirit that’s creepy as all Hell with an underscoring tow of vampirism. 

In its essence, “The Vourdalak” embraces the simplicity with a less-is-more atmosphere, a self-assured reliance in the palpable and practical, and a confidence in its cast to extract the drama and horror of a longstanding folklore and deliver its poignant potency with eccentric diversity and steady anxiety.  Beau drenches dread into every crevice that sticks like humidity to its subdued black comedy attire.  Yes, “The Vourdalak,” though grim and dark, has a sliver of comedy course through its bloodlet and lapped up veins from the main character’s perspective who, at first, is quite out of his comfortable, aristocracy element being wiggled into a lower-class family’s unusual dysfunctionality.  There’s also the puppet aspect integrated into living, breathing actors as if one of their own and that certainly as a basic layer of absurd surrealism, the French know a thing or two about liberal arts absurdism.  Beau’s shooting style resembles a blend between the fixed camera and low-key lit silent films, also implementing throwback spyglass shots that were widely used in the early cinematic period, and the Euro-horror movement of the 1960s to early 1980s with an ominous romanticism, a dark and creepy-fog environment, and tinged to cooler shades of soft blues and greens all the while lightly touching upon themes of sexuality, homosexuality, and family structures that often collide with one another to stir the pot and overshadows the imminent danger in front of them. 

“The Vourdalak” is unpredictably grotesque in the most amusingly macabre way and is now on a region free Blu-ray release from our friends at Oscilloscope Laboratories.  AVC encoded onto the BD50, the high definition, 1080p resolution, might throw audiences and purveyors of physical media for a loop when the picture isn’t as fine as expected for a modern released picture.  That’s because Adrien Beau shot “The Dourdalak” in Super 16mm that enlivens a grainy and soft toned picture that can appear slightly blurry, resembling the ilk of European horror from the 1960s-1980s  Presented in an anamorphic widescreen 2.35:1 aspect ratio, Beau is very committed the coldness of bleak grays, blues, reds and the variant fused shades of purple, pink, and teals that sparingly envelope the entire frame with a lens tint in surreal moments, such as fever dreams or emulated night shots.  Though unfocused at times, plenty of distinction can still be rendered, such as the very stooge features and qualities of the Gorcha puppet.  The French DTS-HD Master Audio stereo track is an audio sensory mini-triumph.  In its modest sound design, minor qualitative sounds instill creepy atmospherics, especially the sound prominence of a raw chewing theme associated with the vourdalak creature’s folklore.  Adrien Beau also better animates and personifies his Gorcha puppet with a wheezy and struggling voice over for who is supposed to be a very elderly father-grandfather in an undernourished and skeletal appearance with sunken, bulging eyes and a near fully exposed teeth. The special features include two of Adrien Beau’s short films “Les Condiments Irreguliers” and “La Petite Sirene” as well as a behind-the-scenes featurette that’s more of the raw footage of animating and acting the Gorcha puppet without the visual effects removing the puppeteers. The Oscilloscope Laboratories Blu-ray comes in a clear Amaray case with soft, airbrushed quality composition artwork of a calm Marquis Jacques Antoine Saturnin d’Urfé being feasted upon around his neck by the vourdalak. The reverse side contains a still image of a medium-far shot of one of the more powerful images in the film of a graveyard d’Urfé passes through as if it was a revolving doorway in and out of death. A simple yellow title and label name are splayed across the disc, consistent and normal per the company’s design, and the film is not rated with a runtime of 90 minutes.

Last Rites: Rarely do I give a five-star review for a film but Adrien Beau’s “The Vourdalak” is a fascinating and frightening visualization of Aleksey Konstantinovic Tolstoy story that trades visceral images for palpable ones in a folkloric entrancement of unnatural beings disrupting the natural world, a concept worth chewing on the nape of the neck for.

“The Vourdalak” Available Now at Amazon.com!

The Blind Leading the EVIL. “Oddity” reviewed! (Acorn Media International / Blu-ray)

Posted by Steven Lewis on

“Oddity’s” Blu-ray from Acorn Media International is Here!

Dani Timmins spends many nights renovating her and her husband’s new country home.  While her psychiatrist husband Ted works long nights most nights at the mental hospital, Dani spends her time in solitude and isolation to fixup their future home.  When a strange man knocks on her door and warns someone is inside her house, Dani must make the difficult decision to either trust the stranger into her home or dismiss his warnings as subterfuge to get inside.  The next day Dani is dead, brutally murdered.  A year later, Ted and his new girlfriend reside in the country home and Darcy, Dani’s twin sister with retrocognition abilities, arrives at the country home with supernatural suspicion toward the couple, bringing with her a trunk containing a family heirloom of a life-size wooden mannikin.  Threatening to expose him, Darcy appetite for blind justice is stronger than Ted’s need to convince her otherwise when the plot against her sister thickens beyond the plane of the corporeal world.  

“Oddity” is the 2024 release supernatural haunt and golem thriller from “Caveat” writer-director Damian Mc Carthy.  The sophomore feature from the Ireland born filmmaker is a mishmash of culture inspired heavily on the Jewish folklore of the inanimate, human formed material being commanded to animate a task, such as being bewitched for wicked transgressions and this commingles with twin superstitious beliefs of extrasensory connection, and, I’m going to stop your train of thought right there, just because this is an Irish production with an Irish actress playing twins doesn’t make this a movie about the derogatory Irish twins concept.  Filmed in the County Cork, Ireland, “Oddity” is produced by “Come to Daddy” producers Evan Horan, Katie Holly, Laura Tunstall, and Mette-Marie Kongsvad with Lisa Kelly as co-producer and Keeper Pictures and Shudder serving as co-productions presenting as a Shudder Exclusive film.

Carolyn Bracken (“You Are Not My Mother”) dons the double role of twin sisters Dani Timmins, murdered housewife to doctor Ted Timmins, and Darcy Odello, a blind psychic who owns an oddity emporium called Odello Oddity, as partly in the title.  When we think of twins in films, we think identical down to the very last mannerism and hair fiber, but for Dani and Darcy, they’re similarities are in blood and face structure alone.  The differences are stark with Dani sporting dark, long hair whereas Darcy’s is nearly white and cut pixie short., Dani’s health is more intact whereas Darcy’s afflicted with blind caused by a brain tumor, and the aforementioned results in Darcy’s gift whereas Dani lacks in that department.  Lastly, Darcy exudes more confidence for a blind woman who’s able to read the room without her known unnatural ability, possessing a separate superhuman knowledge left without the power of sight.  While Bracken only plays Dani for a short period of time a lot can be said between the two women who are portrayed perfectly contrasted; yet a connection between forms an invisible bond through Darcy’s practice of learned witchcraft that involves the wooden manikin.  Opposite Bracken is Gwilym Lee as Ted Timmins, a man unable to escape the haunting of his deceased wife and start again with new girlfriend Yana (Caroline Menton).  Lee’s an absolute pragmatic when it comes to being psychiatrist Ted Timmins in a good display of when a rational doctor plays a rational plan on how to do something irrational and while Timmins and Bracken share not a ton of screentime together within either of Bracken’s dual roles, the thick tension formed between their characters is palpable wrought.  Yet, the real award-winning performance should be handed to Ivan de Wergifosse, the unsung face and movements of the wooden man.  Menacingly still like a large Pinocchio doll ready to come to life at any second, Wergifosse’s golem movements erratically alter the tone of drama-thriller to creature-thriller, coupled with an intense sound design that will resonate in nightmares.  “Oddity’s” principal cast fills out with Steve Wall (“Dune:  Part Two”) as an unscrupulous orderly and Tadgh Murphy (“Boy Eats Girl”), who really does have an artificial eye, as the red flagging mental patient.

A confluence of componential folklores doesn’t stale “Oddity’s” unique brand of Mc Carthy storytelling.  Shrouded deep in shadows, an underlining sense of intense dread, and colorful in diverse characters, the film truly represents the meaning of the title despite its adopted resources and, to be honest, that’s how most stories survive nowadays when the familiar is rebranded with fresh frights dwindling every second.  Sometimes, being too novel can have the reverse consequences of being too odd for most general fans.  “Oddity” provides balance with a slow burn buildup by chopping out exactly what happens to Dani, creating a cliffhanger right at the beginning to get the investigative wheels turning.  Where I do believe Mc Carthy suffers to retain a truth uncovered is in the story’s predictability.  We already know who the bad guy and we’re just waiting to see how he did it.  That takes a good chunk of suspenseful whodunit away from the narrative when it’s practically spelled out for you.  The mysteriousness around witchcraft and the supernatural twin sibling bond, coupled and accentuated with the manmade blunt force apathy, carries the weight, and can overshadow what’s missing and purposefully omitted to keep a sense of the unknown palpable. 

Acorn Media International presents “Oddity” on an AVC encoded, 1080p high resolution, BD50. Mc Carthy and director of photography Colm Hogan’s first collaboration together in a horror feature that results in the graveness of blanketing shadows and an aged, speckled, and muted color scheme solemnity. Graded in undertones of green, blues, and yellows, “Oddity” contrasts nicely and frighteningly against an object, like the brown wood of the mannequin, is in juxtaposition of the norm.  Detailing is superb around said golem with tree notices and grooves despite looking like a man in a suit in certain angles.  There’s also finesse detailing around skin textures, costuming, such as Darcy’s intricate green and white outfit, and other concepts implemented into the story’s narrative, such as Tadhg Murphy’s false eye that’s been accentuated with a bright iris or the leathery strap around another patient’s ravenous mouth.  The British and Brogue English DTS-HD Master Audio 5.1 courses through the individually marked rear, side, and front channels for full surround effect of the mannequin’s wailings and joint creeks, relying more on the discordant higher pitches than minor chord LFE to scare wits.  Oppositely, an earnest and tense stillness is achieved when all sound ceases to exist without the faint hint of interference and or other noticeable popping, humming, or generated soft noise.  English subtitles are available under the static menu selection.  Special features include a behind-the-scenes with cast and crew, a storyboard to screen vignette of one’s scene’s storyboard conceptual illustration compared to the final scene’s cut, and the the making of the wooden mannequin told through an image gallery.  The standard release comes in a thicker than normal North American Amaray Blu-ray case with Darcy and the wooded mannequin in spiritual positioning cloaked partly in darkness, similar to the shadow work in the film.  Inside does not contain any inserts or other physical accompaniments but there is a more detailed facial depiction of the mannequin’s face on the disc pressing.  Hardcoded for region B PAL playback, Acorn Media’s Blu-ray clocks in at 98 minutes and is UK certified 15 with no certification qualifications but the story has violence, strong language, and intense situations.

Last Rites: “Oddity” may not feel like nothing new but it’s nothing new done well in its reenvisioning of folklore and the standard horror tropes to give this Damian Mc Carthy’s filmmaking career an open door and a blank check to scare us with something far more novel and next level in the Irishman’s films yet to come.

“Oddity’s” Blu-ray from Acorn Media International is Here!

Sometimes, You Can Feel EVIL Tightening Around Your Throat. “Death Knot” reviewed! (Well Go USA / Blu-ray)

Posted by Steven Lewis on

“Death Knot” Hangs Loose on Blu-ray! Purchase Your Copy Here!

Hari and his sister Eka receive the tragic news of their mother’s suicide.  They return to their rural childhood village home to attend her funeral and prepare arrangements for the family home, but the siblings are met with a cold shoulder as the locals have shunned their mother, fearing her as a black magic practitioner who made a pact with the Devil himself.  The suicide and the village distress illicit different responses in both children – Eka wants to put everything behind her and live her life in the city of Jakarta. While Hari drowns himself of guilt over his mother’s death as he hasn’t visited his mother in years and wants to cherish the time left of his mother’s house, despite the not so pleasant childhood memories of his mother’s descent into mental instability.  When a upcoming storm makes leaving the village impossible, in what the superstitious locals note as The Harvest to claim souls, Hari, Ek, and Eka’s husband, Aldi, are forced to stay the night and that’s when strange visions and odd behaviors evoke the presence malevolent entity, an ancient deity, to beleaguer Hari and Eka into submitting to its will.   

Not too many Indonesian horror films see the light of day, buried beneath the massive manufacturing machine from the West, such as North America and Europe, that churns out films about every 8 seconds, the same rate in which babies are born at in the U.S, but that doesn’t mean the country known for its idyllic 17,000 islands and Buddha temples doesn’t have a repertoire of horror. In fact, obscure cult celluloids like “Lady Terminator” and “Satan Slaves,” known to those with indie horror running through their veins like crack cocaine, are the exemplar of the scarcely noticed Indo-horror collective and now that modern technology provides streaming servies far and wide from every corner of the world and advances in filmmaking make accessibility and recording film considerably cheaper and easier to complete, getting exposure becomes greater to other titles mostly hidden gems from the rest of the narrowed focused general population. Point in case, Cornelio Sunny’s “Death Knot” debuts his occult thriller that incorporated the grimly prophesized myth known as the pulung gantung that speaks of a great, fiery meteor being a harbinger of suicide and in Indonesia, the most common suicide method is by gantung aka hanging. “Death Knot,” also known as “Tali Mati,” isn’t the only film based on the myth, but what separates this film from other myth-based works is that the pulung gantung is still relevant today with highly resolute belief amongst the underprivileged and poorer neighborhoods. Sunny co-wrote the script with Ike Klose and is produced by Ismail Basbeth under Sunny’s company banner Matta Cinema in association with Kathanika Entertainment, SRN, and Umbara Brothers.

To ensure his debut directorial goes without a hitch, Sunny slides into the lead role of Hari and how Sunny and Klose write the character counterintuitively to screenplay 101 by not building him up, providing background, or instill preconceived notions through the acts. Hari’s a clean slate from start to near finish from scene one that involves him waking out of a horrible dream about his mother after briefly texting his sister. Written to have no depth in existing or having interests in anything, Hari’s hyper-focus is his mother’s legacy and commorancy, leaving his current mundane left in Jakarta to worry about his decease mother he hasn’t seen or talk to in years. Sunny is swarthy handsome, strong in subdued stubbornness, and limits his range toward his character in being the nondescript nonbeliever of occultism that innately scares the dickens out the poor village people. Hari and sister Eka (model/actress Widika Sidmore, “May the Devil Take You Too”) toss crumbs of background about growing up with an absent father and a community abhorred mother but appear unruffled by a broken home and, for the most part, shrug much of that rich backstory from their tabled history. Sidmore does a better job bottling Eka’ fear and loathing of a place that dejects her existence as villagers shun them for their devil pact bloodline and, eventually, the ooze of unwantedness seeps out of her to the point of being an emotional mess. Only when her loveable and amenable goofball husband, Adi (Morgan Oey, “The Deadly Love Poetry”), suddenly grows an obstinate backbone and refuses to leave the village, acting strange with an uncomfortably warped smile on his face as he fixates his glare deep into the forest, does Eka’s emotions pour toward a direction and hone in on a purpose until she, herself, falls into the same possessed-like predicament that befits her more than Adi but would be two perfectly ear-to-ear, Chesire cat-grinning candidates for Parker Finn’s horror-hit, “Smile.” The entity that has dominion over them isn’t so subtle, but Oey and Sidmore’s performances are, in a good way, awkwardly creepy and perfectly executed. Oey’s mimicking of a twist on the Balinese dance Hari’s mother performed in the opening scene before her demise and with what looks to be Hari’s mother silhouette impelling the dance in the shadows is “Death Knot’s” eeriest moment that lands traditionalism and supernaturalism into a single scene of shadows and visitants.

“Death Knot” is a slow burn, dread building, culture integrating, ambitious debut feature from actor-turned-director Cornelio Sunny.  Performance driven with little-to-no special effects, the surrounding morose atmospherics of “Death Knot” relies on the cast and it’s portentous, jump scare score to deliver a palpable fear without a perceptible villain, keeping very much in tune with one of Indonesia’s notorious folklores.  The limited budget constrains Sunny to character exposition and pursuance of self-selling the concept of an entity inhabiting friends and family with only their God-given talents and appearances to construct ominous opposition.  Descriptively, the notion sounds monotonous in tone, substandard in achieving a certain level of jitters, and gridlocked from a story perspective, but Sunny and his counterparts are able to feed the idle monster with energetic enthusiasm that turns the notion on its head with menacing and foreboding results, amplifying to one of the story’s other themes of paralyzing guilt that affects Hari from moving forward in life because of that equivocal estrangement between him and his mother.  However, one of the biggest problems to come out of “Death Knot” is the ambiguously fated ending for Hari, surrounded by a 50-yard radio of melee weapon-holding villagers like he’s been suddenly dropped in the middle of the Resident Evil 4 video game.  Perhaps not making the connection more evident, Sunny and Klose do faintly paint the picture of social class tensions with big city Hari, Eka, and Adi being met with aversion by the lower-class, rural village who have a strong belief system in the supernatural but is not a major clash or even an apprised motif represented only by a few aloof moments.  I was also hoping to see the myth’s harbinger of death with a great fireball in the sky to signify the beginning of The Harvest, aka hangings to usurp soul energies to feed the devilish deity, but that didn’t happen considering the budget for limited-to-no visual effects. 

“Death Knot” has this somber quality in its characters who are dropped into an unwelcoming village on a dark and stormy night scenario that puts a very Plutonian stamp on what kind Hell-crafted mark an ancient, malevolent God has left on forgotten land.  Well Go USA Entertainment picks up and distributes the home video rights to Cornelio Sunny’s debut hair-raising feature with a Blu-ray release. Presented in a widescreen 1.78:1 aspect ratio, the cinematography by Gunna Nimpuno captures the elemental beauty of rural Indonesia with rolling fields as far as the eye can see and the integrated towns built into hills becomes one seamless graft of spartan man living humbling on nature. Night shot continuity is Nimpuno’s weakest link in the arrangements of shots between the house at night and the forest at night. Outside the house is a natural pitch black with little lighting other than a green gel or another warm color in the house exterior but the forest scenes, every single one, are glazed with blue tint during day shooting to fabricate night sequences. The reproduction compression on this AVE encoded BD25 is rather good with little-to-no signs of banding, artefacts, or other lossy content issues. The Indonesian DTS-HD 5.0 Master Audio is digitally a solid track with a lamentably fine, back of the mind, sound design harmonized with an intense summitting score. There are also no issues with the digital tracks, any audio compression, and each track plays its role in sundered channels, creating an omnidirectional biodome that immerses you into the Sunny’s intimate family curse. English subtitles are option and are well-synched with grammatical accuracy. Aside from the opening previews of other Well Go USA titles, there are no other bonus features with this release. The physical features include the traditional Blu-ray latching snapper with a creepy enough illustrated cover art of a small smiling evil figure standing and surrounded by an engulfing forest. Inside is a leaf insert advertising other new Well Go USA distributed films. The film is not rated with a region A coded playback and has a runtime of 101-minutes. Cornelio Sunny first efforts don’t go unnoticed as “Death Knot” hooks with a mystery that slowly unravels the ugly truth of material myth and renders a stagnant guilt out of a powerfully, paralyzing combination of estrangement and loss.

“Death Knot” Hangs Loose on Blu-ray! Purchase Your Copy Here!