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.
Three hundred million yen and Yakuza boss Anjo have disappeared without a trace. Anjo’s most deadly and most sadomasochistic enforcer, Kakihara, and the rest of the Yakuza gang embark on a torture-riddle search and rescue to find their missing boss. After unrightfully torturing and mutilating a rival Yakuza leader, Kakihara learns through a trail of mayhem of a fierce killer known as Ichi and after being exposed to Ichi’s grisly handiwork first hand, a usually stagnant and emotionally detached Kakihara becomes stimulated and eager to go one-on-one with a formidable foe like Ichi, who could possibly bestow upon him gratifying pain to feel something other than emptiness. Ichi’s eviscerating destruction isn’t totally in his control as the sexually-repressed and candidly disturbed overall nice guy is being coerce through psycho-manipulation by Jijii, an old man seeking retribution against the Anjo gang. With blades projecting from his shoes and his skill at martial arts, the timid Ichi becomes the ultimate killing machine when brainwashing takes him over the edge into a hysterical fit of rage that leaves guts and blood to paint the floor and walls.
Perhaps director Takashi Miike’s finest work, the 2001 Japanese blood bath “Ichi the Killer” is a must own for any film aficionado teetering on the razor wire between crime dramas and gory action flicks that might be on the viewing docket for then night, but certainly a must-see for all film lovers at some point in time. Miike’s stone cold, chaotic style of filmmaking embraces the story’s unwavering havoc that blisters with ruthless brutality between two very different, black and white characters with one thing in common – being good a killing. Based off the manga penned by Hideo Yamamoto and from the adapted screenplay by Sakichi Sato, Miike crafts the most disturbing elements of mankind and brings them to the forefront in a simple story of revenge. On one side, there’s Kakihara, a scarred-face Yakuza enforcer with a very rich violent history to the extent that he’s become numb to his own existence in the world and then there’s Ichi, a reclusive cry-baby stemmed from being mentally fed graphic bulling stories of battery and rape in a memory built upon languishing lies. Vastly different, well-written characters opposite the spectrum and both are good at dealing death, but one aims to dish it out and the other yearns to stop his carnage, and that compelling core element is immensely fluffed by extreme violence in a way that only Miike can deliver it.
But for a film like “Ichi the Killer,” Takashi Miike had a little (hint of sarcasm) help from his gifted cast in making this project a cult success. Before this actor was Hogun in the Marvel Universe’s “Thor” franchise, Tadanobu Asano shaped up the psychotic enforcer Kakihara and the usually dark featured Asano reconfigures his appearance to put life into the character who sports blonde, wavy hair, a frothy complexion, and small hoop piercings at the corners of his lips to keep the slits from opening to expose the entire gaping jaw which is used as a defensive weapon. Opposite Asano is the Tokyo born Nao Ohmori who perfectly subjects himself to being a wimpy human shell with an explosive inner anger. The two men have only a small amount of screen time together and that requires them to build their character’s standout personalities. Complimenting their performances is an amazing support cast, including Shin’ya Tsukamoto (“Marebito”), Miss Singapore 1994 Paulyn Sun, Hiroyuki Tanaka, and Suzuki Matsuo.
“Ichi the Killer” is simply magnificent where it vulgarly touches upon various themes, mostly human flawed that also destines opposing counterparts together. Aside from the graphically realistic violence, Miike’s film hits upon other attributable tangents, among them some are just being plain gross, but these aspects are undeniably important to the story. Themes ranging from sexual suppression and female inferiority to sadomasochism and severe obsession top the charts in a heap of motifs throughout. Accessorial blood and other bodily fluids are extravagantly portrayed, spraying across the room with jettison entrails or dripping from potted plants to a cloudy puddle below during in a voyeuristic rape scene, to get the clear sense of an adult manga inspired chockablock exploitation and crime drama.
Well Go USA presents “Ichi the Killer” on Blu-ray in a newly restored 4K digital transfer of the director’s cut; a task undertaken by Emperor Motion Pictures in 2017. Presented in a widescreen 16:9 (1.85:1) aspect ratio, the film starts off with a blurb about the history of this particular digital restoration and transfer that asserts director Takashi Miike’s approval for release. Well Go USA’s rendering resembles much of the previous Tokyo Shock Blu-ray with subtle differences such as a slightly more aqua tint to the picture coloring and also much like it’s other Region A Blu-ray counterpart, a bit of noise is present in the restoration, but still the better detail of the two. The Japanese stereo 5.1 DTE-HD Master Audio surround sound has an bombastic soundtrack, but dialogue remains on the softer side where relying on the English subtitles is crucial. No issues with timing or accuracy in the subtitles. Surprisingly, the only extras included on the Well Go USA release is an audio commentary with director Takashi Miike and manga artist Hideo Yamamoto, still gallery, and the trailer that undercuts this releases’ purchasing value and might as well hunt down for the out of print Media Blasters Blu-ray, if extras are a must. Even still, “Ichi the Killer” has been resurrected in North America again and the release technically sustains growth amongst the mass of releases around the world. The lack of special features is disconcerting, especially being a restored director’s cut, but “Ichi the Killer” can stand on it’s own as a gracefully sanguinary masterpiece. Look for the Blu-ray to hit retail and online shelves March 20th!
Phil Stevens returns! The Philadelphian filmmaking is coming back for more surreal and gory abstract horror in his next upcoming project “Flowers 2,” a direct sequel, that “explores the final days of the serial killer known as ‘THE EXILE’ through a macabre birthday party held by his past murder victims. We are shown this monster’s violent past life through the eyes of his dead.”
However, Stevens needs your help because making movies you love and that you’re passion about is most certainly not free or cheap despite our best efforts. An Indiegogo page has been setup and the fans of “Flowers,” and I know there are many of you, should take the time to read thoroughly through the campaign page and think about donating to a original horror storytelling. The goal is $15,000 and Stevens is only 6% there from eleven backers. Please donate, no matter the denomination! Your contribution goes a long way and there’s swag for donations starting at $25, but you better hurry due to limited stock.
If you haven’t caught up with “Flowers” and you would like to know more, please read our positive review for “Flowers”. Also, “Lung,” another Phil Stevens directed film, received positive praise as well. We like Phil. So, we like to see him succeed in getting another chance to continue his story and to put into fruition his visionary tale of macabre.
You keep up-to-date with Phil and Flowers 2 at the official Facebook page – http://www.facebook.com/flowers02themovie
An absent Séverine wants to take a holiday away from her boyfriend Tom after she awakes from a dream where she has fallen in love with a man in a top open, white car. Frustrated and desperately in love with her, Tom agrees to a pact with a bar room stranger to stage a faux kidnapping of his lovely girlfriend and Tom would her hero, swooping in to rescue her from “evildoers” and hoping to rekindle her passion for him, but the Tom’s newfound stranger friend has a more devious agenda up his nicely tailored coat and white collared shirt sleeves; one that involves kidnapping young women to star in their snuff movie productions. When the plan begins the unravel and actual intentions are exposed, Séverine’s forced into a deadly cat-and-mouse game against unsympathetic sadists who have laid the prep work foundation into getting to know their victim and know every inch of her youthful body, but Séverine won’t submit without an unflinching, vicious fight as she trudges through areas of an old villa compound, looking for to escape or kill her captors.
If you search for a combination of the classic Hitchcockian style with a smidgen of cold blooded savagery, Mathieu Seiler’s “True Love Ways” would be at the top of the search result. The 2015 German, black and white thriller surpasses being a surprising sleeper film and goes directly into a notorious favorite category helmed by the Switzerland born director who integrates a complex lead character into an unfathomable story of selfishness, unscrupulous power, and sheer determination. Despite the sepia overlay, the colorful venomous of the characters explodes brilliantly, adding vim and vigor to a story that begins with a slow burn to quickly escalating in an anxiety-riddled and captivating narrative pivoting to one harrowing moment to the next. Seiler, who also wrote the script, blends a detailed art house thriller with feminist undertones that surface the severe ugliness in man whose either selfish with his needs, sexually deviant, or insecure. There’s even a case where Séverine’s father isn’t safe from being scrutinized. Séverine’s the strongest character in the bunch by overcoming one obstacle over another while managing each male driven situation with disregard and hostile improvisation.
Steering Séverine’s reactive and survivalist rampage is Berlin native Anna Hausburg. The then 25 year old actress embodies a major milestone in maturity for her physical performance. The entire film is driven by physicality, not dialogue, and Hausburg prove her grit and sexuality seemingly effortless. Hausburg is joined by Kai Michael Müller as Séverine’s unassertive husband Tom. Together, Hausburg and Müller couldn’t be more distant from each other while David C. Bunners interjects with a sly director of snuff film operations. Bunners has a modest performance, but if you accept it, let it sink in, you’ll experience his devilishly, rugged good looks and sophisticated business intelligences just ooze out into a white collar sleaze, perfectly suitable with Bunners’ method on his character. His production crew, played by Michael Greiling, Axel Hartwig, Beat Marti, and Marcel Schneider, are equally skeezy in a choreographic manner whom each have a role to play. Rounding out the cast is Christian Samuel Weber, Anja Margoni, Alina Sophia Wiegert, and Margarita Ruhl.
Seiler’s “True Love Ways” is open to many different interpretations. One that seems to bubble up over and over again in the analytical gear works is that could the entire ordeal, Séverine’s ordeal, be all a lie. Not just a single cell lie, but a couple of angles that undercut the linear option laid before the viewers. For instance, the first lie would be that the dark, heinous snuff producers are all in Séverine’s head. Too many coincidences from the specifics from her dreams to come true in such a manner and she always has this mysterious ailment, near the beginning, that’s never explicitly explained. Second lie would be is this Séverine embraces the darkness of her captors; is she herself unstable after the ordeal that the very sever boredom of regular life? The predictability of it all from her vivid dreams have turned her to seek the man who wants to exploit her and who “freed” her from the incompetent men in her life – Tom, her father, etc. Seiler’s abstract bookends shed light upon slithered clues that reveal potential possibilities of where Séverine’s stands as a hero or anti-hero lead character.
MVDVisual and Synergetic Distribution present “True Love Ways” onto home video DVD. Like the monochrome tone, the DVD cover is elegantly simple with blood covered Anna Hausburg, looking disheveled and holding a blood stained axe, standing in front of a white background encasing the 95 minute film. Presented in a 1.85:1 aspect ratio, the black and white appears absolutely timeless, especially with Mathieu Seiler’s directorial style. However, slight aliasing can be detected in fast paced scenes that liquify the detailing and there’s a bit of digital noise amongst the black objects, like the Old Villa door. The German 2.1 stereo has slightly lower fidelity, but has a still absolute and manageable to understand. There wasn’t really much to test for dialogue depth or range as the film progresses physically rather than with dialogue so many woodsy chase sequences, running through the Villa house, and cars speeding down an isolated road to which all ambient nicely enough. There are no extras included on this release. What starts out as a melodrama between a withering couple turns barbaric under a perennial style of filmmaking. “True Love Ways” provides two-tone carnage with some gore, some sexuality, and a lot of inhuman nature that signifies what’s great about this German indie picture with cascading undertones.
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.