Hellbent on being the first to discover something big between 1000-feet, talented marine biologist and ecologist, Olive Crown, constructs a convincing case in a video hiring application to test a deep sea diving suit invented by Dr. Fletcher, but a harrowing encounter with monstrous creature at 2500 feet nearly claims Olive’s life. Blamed for a botch dive and unable to remember the incident, Olive has been fired from her dream position, but when she double checks the dive suit for evidence of what might have happened, she discovers an alien substance, an egg-like object, attached to the outer layer and smuggles it home. The egg hatches to birth a blood thirsty, Cthulhu being that has marked Olive as in a symbiotic relationship as protector and mother. Olive senses everything the creature does, even it’s hunger, and caves in to her discovery’s need to feed with those who antagonize Olive and her creature baby, but at an alarming rate, the life form grows into a mammoth creature and Olive might be losing the perspective of who is really in control.
“The Creature Below” puts a spin on a popularly wild H.P. Lovecraft tale and adds a notch into the belt of the Cthulhu mythos. From director Stewart Sparke in his first feature film comes one woman’s tragically macabre endowment that runs amok through the uninteresting confines of her own life and obliterate it from within. Co-written by Paul Butler, the British Cthulhu feature, “The Creature Below,” melds together a very grand unearthly story into the restrictive walls of an unwanted love triangle Olive’s involved in while dipping toes into also being a pre-Romero zombie film with the automata slave. Though very modest in story and budget, “The Creature Below” is an itsy-bitsy speck in a bigger mythological genre and that’s usually the case for indie Cthulhu flicks, as they should be, because giving a little mystery to Lovecraft’s myth tends to build worlds later, sparks the imagination aflame, and leaves a lasting impression long after the movie is over.
Anna Dawson stars as Olive Crown, creature’s foster parent, and Dawson’s first impression of Olive emits a fierce, go-getter ecologist, looking to make a name for herself in the deep dive exploration field. That egotistical drive tapers off a bit once she’s canned for botched dive, delivering a more humble and reserved Olive Crown, but Dawson puts on the sunken-eyed, icy-cold skin that’s clammy and deadlike in order to fulfill the infant Cthulhu’s bidding. Daniel Thrace embraces the lovably sweet boyfriend, Matthew, whose sensible, charming, and overall nice guy. The pair are complete oil and water, a welcoming dynamic, when Olive’s rationality goes off track. Olive and Matthew are really the only two developed characters as, disappointingly, three considerable major characters don’t build too much of a reputation to warrant their value, especially with Olive’s sister, Ellie, played by Michaela Longden. There’s something more between Ellie and Matthew that doesn’t quite hit the nail on the head and there’s also more to her staying with her sister, Olive, that the audience is not aware of and the scenes where Olive comments on her sister’s freeloading just loses all it’s credibility. The other two actors, roles awarded to Johnny Vivash and Zacharee Lee, are more involved in Olive’s deep sea dive and bring more of a well rounded antagonistic or betrayal personality to the table.
Sparke doesn’t linger too long on the creature, shielding it mostly behind a plastic tarp with a nude façade and that’s, perhaps, more in line with the micro budget constraints. In any case, Sparke focuses the story around Olive’s paranoia and obsession with the creature and with her boyfriend and the bitterness between him and her Sister, Ellie, seemingly toward Olive. Dave Walter has composed from start to finish a low and slow synth soundtrack, that’s familiar to a slowly anticipating heartbeat, and really heightens Olive’s spiraling paranoia similar to that of Ennio Morricone’s work on John Carpenter’s 1982 remake entitled “The Thing” where the eerily sounds of a personified isolation breaches every corner of your body, mind, and the dark room you’re in and all you can hear is that thump…thump…thump in a chest vibrating synchronicity of tones. While the soundtrack is riveting throughout, the story becomes a bit sluggish around the midsection in the sense that space and time don’t exists and Olive’s encounters with Dr. Fletcher, Dara, and various others, are halted to develop any kind of affluence amongst each other or with the audience. Even the ending, which I do adore on a certain level, bares the mark of being incomplete and devoid of substantiating that monolithic ending. There is some post-view satisfaction with the blend of practical and computer generated special effects and as I reflect on the film as a whole, to display a species from birth to adulthood, Sparke and his special effects team had amazing results that are fanned out well enough to leave a lasting impression of the unearthed creature’s visceral and intelligible girth.
Breaking Glass Pictures with Dark Rift Films in association with High Octane Pictures release “The Creature Below” onto DVD. The 16:9 widescreen presentation of this sci-fi horror thriller explores a sleek and clean, with a hint of being just a little hazy, picture that puts forth the appropriate dark grey and blue tone for an underwater or above water creature feature. The English Dolby 5.1 sound’s slightly muffled, but solid. Special features include a behind-the-scenes, deleted scenes, “Rats” a short film, and a Frightfest Q&A. Stewart Sparke’s “The Creature Below” is not perfect and does have appalling, laughable moments, but underneath the surface is a UK film that’s budget-busting bold and aims to be a goliath in an indie market.
Boobs. They are the supreme catalyst toward obtaining professional achievement. They are the driving force behind stabling a lustful relationship. They are the cat’s meow for curbed catcalling. For flat chested Betty, a cavernous cleavage praising society doesn’t show her a lick of titty-twisting respect, being the constant butt of a running joke for her asset-less figure, until she schedules a life altering, boob-enhancing appointment with Dr. Thulu, an uncredited and unlicensed plastic surgeon seeking the perfect, wholesome vessel to host her blood hungry, elder world creatures for planet domination. Betty’s implanted funbags are all but fun when the mammary monstrosities begin devouring hounding perverts when getting handsy with Betty’s girls. The diabolical double Ds slowly take control over Betty’s consciousness and will, eventually, take full mastery, but will true love put a permanent road block toward ruling the world?
Horror-comedy “Killer Rack” is a Lovecraftian inspired schlock film from “Slice City” and it’s sequel, “Slime City Massacre,” director “Greg Lamberson and penned by Paul McGinnis, who also has a co-starring role. The slapstick riot embellishes the real life battle of young women’s self-esteem, the constant struggle with the female physique, and with lots and lots of different levels of sexual harassment to the point where “Killer Rack” is basically becomes a social awareness film. Even though “Killer Rack” is blatantly farcical, the representation of men objectifying women is quite scary and Lamberson and McGinnis hone very meticulously on every facet related from gawking to catcalling and from sleaziness to potential rape. The manufactured, boob-infatuated universe McGinnis and Lamberson create isn’t a far stretch from this one with every single scene so ingrained with breast obsession that’s, as an American, I feel almost ashamed of myself for watching “Killer Rack,” but my European bloodline revels in this type of perverse gratification.
Lamberson, also known for his novel publications stemming from the early 2000s, continues his schlep of low-budget filmmaking over the course of three decades as a producer, writer, and director and the refreshing part of his career is that Lamberson has kept the course, providing fans of undiluted horror trash in a resilient body of work with “Killer Rack” being no exception. The ambitious undertaking stars a fresh faced indie actress Jessica Zwolak in the lead sporting the killer rack and Zwolak nails the intended comedy, pulling off the center of gravity gag numerous times post-implant surgery and being able to effectively switch between conscious Betty and puppet Betty. Surrounding Zwolak are collective years of a indie filmmaking experience that solidify Lamberson’s shtick filmmaking including long time industry leader and co-founder of Troma Entertainment, Lloyd Kaufman, being his great idiosyncratic character onscreen, but the buck doesn’t stop there with a roster of vets. The fiendish Dr. Thulu is embraced by one of the genre’s favorite, hard working indie scream queens Debbie Rochon (“Tromeo & Juliet,” “Dollface”) who submerses herself elbows deep into the film’s H.P. Lovecraft mythology. By far, my personal favorite genre star making a brief cameo was Roy Frumkes, the Jim Muro “Street Trash” businessman who melts away in a glorious death, reliving that well-known death scene once again but sprayed in the face this time with toxic breast milk!
“Killer Rack” nestles snuggly in between the two dirty pillows that are indie pop culture and social undercurrents, but only hardcore fans who follow this particular niche filmmaking will understand and enjoy the special effects puppetry, the outlandish absurdity, and the homage barrage of references. Lamberson and McGinnis’ 2015 horror-comedy was completely made for us, the dedicated fans, and that’s also the downfall as many popcorn cinema goers will become lost and probably offended, especially in this particular modern culture. That’s why we should embrace actresses like Debbie Rochon, Jessica Zwolak, Brooke Lewis, and Brittani Hare for being strong and good-natured actresses for being subjected to culturally deplorable material delivered by the actors, such as by the one-man show that is Michael Thurber (“Sins of Dracula,” “Model Hunger”). The play on words titled film follows a very simple, if not already on some obsolete plane, structure of comedy that’s not necessarily a negative aspect of the film, but rather sets a modest tone for the whole blood thirsty boobies concept.
Akin to Mitchell Lichtenstein’s “Teeth,” the Slaughtered Lamp Productions produced and Camp Motion Pictures home entertainment distributed “Killer Rack” provides a similar feministic horror in a screwball, dystopian world. The unrated DVD presents the film in an anamoprhic widescreen 1.78:1 aspect ratio with image quality that really details the budget. Flesh tones look natural, blacks are fairly solid, and no sign of major aliasing or compression issues. The English 2.0 audio sustains clean and clear quality throughout with forefront dialogue and appropriates ambient and sound effects properly during sequences of Chtulhu inspired bone crunching, blood splattering, and torso piercing. Bonus features are nicely stacked for “Killer Rack,” including a commentary track, deleted scenes, a behind-the-scenes featurette, a bonus short film “Kill the B!tch” and “The Camper,” and trailers. “Killer Rack” fondles around the sexual harassment issues and hilariously denaturalizes, as if implants weren’t already unnatural, with a diabolical pair of creature infested tatas!”
With E3 starting this week, developers and publishers have been giving us glimpses at their new games. One of them happens to be a cool looking new horror game based on one of Lovecraft’s most famous stories.
Call of Cthulhu is an upcoming Horror/RPG based on H.P. Lovecraft’s ”Call of Cthulhu”. Players take the role of an investigator who must uncover the truth behind a mysterious town called ”Dark Water”. This is not a sequel to the 2005 game ”Call of Cthulhu: Dark Corners of the Earth” but rather a reboot of the game series. The game is being developed by Cyanide Studios.
I’m sure we will be seeing more information on this game this week, since E3 starts this Sunday. I am so excited to see what horror games will be announced, there have been some heavy rumors about a new Resident Evil and a sequel to The Evil Within being revealed. Looks like horror might make a return to mainstream gaming once more.
“The Thing on the Doorstep” is a nearly 8o-year-old gothic tale converted the short story written by H.P. Lovecraft to a small screen adaptation from Leomark studios and MVDVisual home entertainment. The story tells of Daniel Upton and his relationship with friend socially hopeless affluent Edward Derby. When Edward meets and weds a bizarre hypnotists Asenath Waite, his relationship with good friend Daniel turns eccentric and mysterious. Edward’s personality switches from the person Daniel knows and loves to a completely separate entity. As Daniel investigates down the rabbit hole, he learns that Edward might be a victim of black magic and that Asenath’s disturbed and demented background might be behind it all.
Telling the story of this magnitude would be a difficult feat but director Tom Gilserman’s style through the narrative the character Daniel Upton and the structure is simple enough to make this story work well on screen. Penned by Mary Jane Hansen, who also has the lead role of Asenath Waite, pieces together natural dialogue to form believable characters. For great writing to transmit, you also need great actors. David Bunce, Susan Cicarelli-Caputo, Ron Komora, and Rob Dalton round out a great first time cast of actors that join Hansen and have completed a flowing conversations.
Gilserman does try to a create a Lovecraftian atmosphere with unique camera angles, a dark complexion, and a gothic facade that would make H.P. proud to have his story told through this medium. The film plays out as a bad nightmare full of continuous and repeated flashes of scenes that will drown you into madness while also attempting to make Edward have two sides of him – his soul and a wicked others.
One thing that I thought the film lacked with the use of black magic revealed. Anenath is suppose to be this powerful being who may or may not be human, but a witch, a succubus, a shell of a human. What the plot is more focus on is Daniel and Edward’s relationship and I believe this to be contributed to the narrative style of this film as it delivers as if one is reading straight from the source – the short story. Not too much is given about Asenath or her ‘hired help.’ Budgetary constraints more than likely contributed to the lack of black magic effects if there were to be any.
Take the plunge and test out this adaptation of one of Lovecraft’s more psychological horror stories. The DVD from MVD was released this past tuesday and surely will get your head twisted around and your spine snapped with intense suspense and mystery.
No Nudity 😦
Perhaps the most very definition of sensory stimulation lies with the Stuart Gordon 1986 mad science horror film From Beyond. Numerous sensors are teased from color perspectives to sexual stimulation to even the thrill of exciting the mind through science. From Beyond is not only a maddeningly weird and utterly slimy film about expanding the pineal gland to the point of losing yourself to a creature ridden other-dimensional world where you’re absorbed into chaotic, gelatinous mutated mass. No. From Beyond lets you fully and freely experience what most people consider to be taboo and frightening.
Dr. Edward Pretorius and his assistant Crawford Tillinghast construct a machine called the Resonator that will tap into the dormant pineal gland of the mind in hopes of expanding to beyond the regions of the mind. When Crawford first turns on the machine, creatures appear swimming in the air and attack Crawford. Ignoring the warnings of possible danger, the obsessed Pretorius turns on the machine and has his head twisted and decapitated by a shape-shifting monster. Crawford’s story lands him committed in an mental institution where he is greeted by Dr. Katherine McMichaels who treats Crawford and wants him to recreate his experience in order to treat what she thinks is schizophrenia. Crawford, Katherine and Bubba Brownlee, an overseeing officer to make sure Crawford behaves himself, return to the Pretorius house to reactivate the Resonator – to recreate the nightmare.
How can you not read that synopsis and not be curious to see this fun flick? Loosely based of H.P. Lovecraft’s short story of the same title and intertwined with other Lovecraftian stories. We all know that director Stuart Gordon is the true historian behind Lovecraft as he has most likely studied and then directed most of Lovecraft’s stories such as Herbert West-Re-Animator and Dagon. Yet somehow with From Beyond, Gordon and his team did something right; they infused their own ideas and their own creative style making From Beyond more memorable and highly controversial amongst the MPAA. Hell, I’m guessing this is why we can never have a home entertainment copy stay in print for more than 3 years – point in case, the MGM release! Luckily, for you and for me, UK cult and horror film loving Second Sight Films has brought back From Beyond from the DVD grave and has even enhanced the film for Blu-ray!
From Beyond really did push the limits with the MPAA; so much in fact that even using green slime over blood to lessen the effect still caused heavily edited down editions. But there are scenes of extreme uncomfortableness which I find a sense of relieve and peacefulness in. Such scenes are with Barbara Crampton in the S&M outfit and she fondles Jeffrey Combs as he lies hair less and injured in bed. If I feel awkward, dirty, or uncomfortable after a scene, I’m extremely enjoying the movie and thank you director, producers, writers, actors, and the rest of the crew in making uncomfortable scenes enjoyable for weird folks as myself. Like I always say, if a horror movie frightens you, then the movie is doing it’s job! From Beyond will surface all sorts of internal emotions and stimulations that cause the sensations to overload and explode much like the Resonator stimulating the pineal gland to the point of blissful agony.
If you want to feel like you’re on a severe acid trip, I’d suggest grabbing From Beyond from Second Sight here before the DVD goes out of print again. Remember, this is a region 2 disc and can only be played on region 2 players so beware!