In the zombie post-apocalypse, the human discovered that by not firing their weapons allowed the flesh eating hordes to calm their desires, resulting in the protection of the zombie species and institutionalizing laws against the killing zombies for fear of another undead swarm attack. One of the many survivors Clay has lived in a zombie cooperation world for over a year after the initial outbreak along with his sister Mia, whose boyfriend Gerry didn’t survive, but still roams the Earth as the walking dead. With no one truly dying, the whole idea of existence becomes meaningless and where people, like Mia, won’t move on when they’re loved ones still feel very much alive. When Clay discovers his sister’s attachment to undead Gerry, he takes it upon himself to kill Mia’s zombie boyfriend, releasing a zombie swarm post-apocalypse apocalypse on the his town.
Unprecedented and gushing with rage, “A Plague so Pleasant” redefines the way audiences would view the zombie since 1968, constructing still a vicious species of man-eating undead while domesticating them to a lumbering land fixture much like the way pigeons amongst the birds. First time directors Benjamin Roberds and Jordan Reyes triumph amongst the modern zombie competition, spilling their heart and soul onto the script and onto the screen. With a story to match, a Romero-inspired social commentary zombie film held true to form by instilling normality to a post-apocalyptic world. Zombie and man living together. What was that Bill Murray line in “Ghostbusters?” “Cats and dogs living together… mass hysteria.” Clay and Mia were living a mundane life while the dead remained alive and protected, socially poking fun at how society maintain a normal livelihood with zombies: the U.S. Government made killing zombies a national felony, companies were mandated to go through a yearly undead awareness program as a formality, and there’s a guarded visitation area full of the undead much like a graveyard without graves.
Stunning cinematography added much needed life to “A Plague so Pleasant” which settles into an already over saturated zombie genre. Starting in black and white, Clay introduces his life in a offscreen monologue, conveying much of the post-apocalyptic and zombie information. The black and white symbolizes how simple and plain life has become with the living with zombies regulations. When Clay breaks the law by offing Gerry for good, thats when the movie turns to color and creating complications in a black and white life. The once unvarying and shuffling zombie nuisance goes into full berserk mode with “28 Days Later” sprinters thirsty to tear into anything with a heart beat. Only when the zombies turn calm is when life goes back to being black and white, considering the option that normality needs to be simplified to live peacefully.
The special effects by first timer Tyler Carver are a great effort clashing together a classic European Giannetto De Rossi style with Carver’s own settle flair by not being overly gruesome. There’s not an over-the-top, chart-topping special effects moment that defines the “A Plague so Pleasant,’ but there the solid effects subtly throughout satisfies. The zombies overall look are the usual stock type, yet they’re exhilarating to watch with an army of intense actors who are no doubt from the Athens, GA Halloween attraction named Zombie Farm where Tyler Carver has a connection. Not everything about the creation of a frightening zombie was accomplished as much of the audio tracks were out of sync and just too gaudy.
Actor David Chandler as Clay does a fine job portraying a bored survivor and a clueless big brother while also performing the second zombie swarm nearly without speaking during the entire engagement. Mia, played by Eva Boehnke, resembles the gorgeous Lebanese-American porn star actress Mia Khalfia with her giant nerdy glasses. Boehnke creates a free spirited, yet delusional, persona in Mia whose holding onto the past and coping the only way she knows how and that’s by not separating from her undead boyfriend Gerry. We round out the cast with Todd played by Maxwell Moody. Todd becomes the catalyst of the coming events by placing the idea of him and Mia being a couple and putting a bullet into Gerry’s rotting brain. Chandler, Boehnke, and Moody on paper are amateur actors in an estimated $1,500 budget, independent movie, but they own their performances and shine through budgetary constraints.
Another awesome release from Wild Eye releasing that would make a worthy and unique edition to a zombie fanatic’s movie collection. Don’t judge to harsh the production value with the slight aliasing, the out of sync zombie audio tracks, and the muffled off screen Clay character monologue. Instead, focus on the cinematography, the actors performances, and the genuine story telling of a socially awkward scenario. Let “A Plague so Pleasant” infect, let it sink it’s teeth deep, and let it help turn your undying attention unto a lively concept.
An investigative reporter witnesses right in front of him his wife commit a gruesome suicide in their bedroom. Lana searches for her lost brother whose been missing for over a year. The two combine forces in Taylorsville believing their loved one were connected to a group of satanic followers led by the Reverend Hiram Graves. When the local authorities prematurely close the case on Lana’s missing brother, Lana and the reporter seek the truth and the truth might be more deadly than they’ve ever imagined. Halloween night brings the satanic sect to kidnap five innocent and random women, five sacrificial lambs, in order to bring death back to life.
As a little piece of Independent cinema from writer-director Bobby Easley, “All Sinners Night” comes from the production company Horror Wasteland Pictures and is brought to DVD by the multi-genre distributor World Wide Multi-Media. Now, if you haven’t heard of filmmaker Bobby Easley, the company Horror Wasteland Pictures, or the distributor World Wide Multi-Media, then now you’re one step closer to being caught up on micro-budget filmmaking and one step closer to viewing lesser known film titles that you won’t normally screen at a theater or even come across in a Redbox inventory. Now, while budget films aren’t necessarily for everyone, I have to say that “All Sinners Night” isn’t the best ease-into segue, but if your mind is open and your cinematic palate is vast then Easley’s film might be right up your alley.
Easley’s film involves a satanic cult collecting female sacrifices to raise the dead has a slow, unfocused beginning that slightly picks up and gains more focus a long the way, but the momentum begins a little too late to obtain entertainment value and much of the other sorts of value, such as the film’s budget, falls right onto the finale where characters die, faces explode, and blood spills when the black magic ritual begins. The bloodletting is creative, but various scenes, which could have been explored further with death exploitation, use editing techniques to convey and imply death when in reality there needs to be more visceral visual stimulants to show the brutality and mercilessness, especially for satanic cults because they’re one of the realistic forms of horror that exist in the world today and displaying the violence on screen, making it breathe on screen, would scare people more than implied violence.
The acting is a bit clunky from the lead actors and that drag the story’s motivation down a bit. Brittany Jesse as Lana and Tom Sparx as the reporter try to build a dynamic duo that more or less fizzles and their characters are to partly to blame for their characters bring no real spark to their quest and cause of discovering the truth behind Taylorsville’s secrets. The evangelical preacher Hiram Graves played by Bill Levin has grand on screen physical characteristics to pull off a satan fanatical cult leader, but Levin’s acting doesn’t quite have the range of a twisted lord of darkness pastor and just stays on that horizontal plane throughout the film’s duration. The Texas Chainsaw Massacre’s original grandpa actor John Dugan and horror and sci-fi genre fanboy Sal Lizard headline “All Sinners Night” even though their cameo scenes are short and sweet. I found the one cameo of Indianapolis born and based horror host Sammy Terry, an Elvira type host of sorts, to be welcoming and well-fitting for the film’s gloomy nature and to be a nice shout out to the local Indianapolis horror scene. Lets not also forget about actress Sam Alford and her two courageous scenes of exploited nudity. Alford’s character is of generic and lesser value – like a Star Trek minor character labeled for certain death – and she is the sole kidnapped to bare her chest. I’m sure Easley didn’t mind shelling out a couple more bucks for the Alford’s assets.
After reading a number of reviews online about the film, the consensus on the Bobby Easley’s shooting style is that “All Sinners Night” resembles the visual stylistics of Italian directors such as Mario Bava or Dario Argento’s with their surrealistic or brooding atmospheres. I would venture more toward a duller hue with the right in your face shot-on-video style cinematography of those from such directors as Brad Sykes or Donald Farmer where as Bava or Argento focused more on vivid and popping colors and symbolic suggestions within their mise-en-scenes.
The DVD screener is presented in a 4:3 ratio with Dolby Digital 2.0 stereo mix and a 5.1 stereo mix. The full screen video, like I mentioned before as a shot-on-video style, has significant grainy interference, but the video is still watchable as if you’re watching straight from VHS quality. Not necessarily a bad thing but in today’s day and age or unless your intentions were to create a throwback, the video quality should be clean. The coloring is all off too with overused darks making certain scenes incomprehensible. The 2.0 mix and the 5.1 mix stiffens the unbalanced sound quality. Some dialogue emits too low of a range and then in the next scene the screaming is overbearing and crackling out of the speakers. The glam, goth rock or punk rock soundtrack is fairly decent, but the preference and priority should be on the dialogue or the story becomes lost without it. The disc did pack quite a few extras including a gag reel, music video from the band Dead Dick Hammer, interviews, and a trailer for the film and also :Atah Saia”.
Overall, “All Sinners Night” wears a lot of masks – literally, a large number of extras wear masks as if they raided a Halloween party store, but trying to piece together a story that tends to omit key elements or strays away from trunk of the plot is difficult and, basically, one would just need to take the film for what it’s worth, the epitome of independent filmmaking. The effort of introduce homage and the effort to construct a brooding atmosphere makes the Dr. Jekyll side of me admire this film, but the technical and educated Mr. Hyde side of me can’t ignore the obtrusive flaws. In short, rent this title to be adventurous on a forlorn night.
Sasquatch is withheld love. Once again. How can the eluding furry beast of the woods get the run around treatment every time being reduced to a cheap, half-assed horror project for amateur filmmakers? “Black Water Creek” doesn’t stray far from the same old, same old big foot bobbling. An on leave cop is reinstated to a cold case when a string of supposed animal attacks leave many dead and many questions unanswered. When the bodies pile up even more, the “animal attacks” are more than meets the eye.
A shoddy, barebones costume with rubber fingers and stationary face expressions and lack of consistent video editing throughout “Black Water Creek” turns the film incoherent and nearly unwatchable. To finish you must be a masochist. Many characters come and go without explanation and the background ambiance seems to run long and leap onto other scenes that don’t warrant the ambiance. The storyline jumps without seamless cuts. And the deaths scenes are all implied and goreless even though many of the victims have been eviscerated and facially mauled.
There might be a good reason for the lack of quality costuming and the unclarity comes from the story that Big Foot might actually be a rouse for a backwoods drug dealing and smuggling operation. Big Foot is a disguise to take out the competition and to take out the also greedy drug connections in order to lessen the pot of splitting a $65 million dollar drug profit. Only the two detectives on the case, Shaw and Lisa, stay consistent with their story, but the character are dull, dense, and dreary. More like rookies than true detectives. Or Sasquatch is actually a serial killer as the end suggests that it may very well be the work on a serial killer hacking off faces.
As “Black Water Creek” progressed, I really wanted to push that off switch, but I powered on. Sucked up the aggravating editing and the hypnotic special effects. I tolerated the cheesy costumes and the implied deaths. I clenched my teeth at the video and audio imperfections and had high hopes for a knock your socks off ending. In conclusion, “Black Water Creek” holds no water, bares no teeth, and Big Foot has yet to be discovered on the big screen. Reality Entertainment’s “Black Water Creek” should have a warning label describing how much of the plot will be a convoluted mess. There are far better worse Sasquatch films out there than this shell of a movie.
No nudity 😦
When I first read the title “Zombie Isle,” the first thought was the popular survival horror game “Dead Island” where you can take on a horde of bikini clad, thong and thong wearing, tropicana-sippin’ zombies with various melee weapons. Sounds blood thirsty enough to be turned into a movie, right? Well “Zombie Isle” is obviously not the same brainchild from the people behind the “Dead Island” video game. One could only help and what happens to high hopes usually? High hopes are usually squashed and sure enough “Zombie Isle” was a big bust for not only meeting my expectations of being like the “Dead Island,” but for also being one of the many sheep in the undead genre.
A group of university students and their teacher embark on a field trip to an uninhabited island to study the habitat. When they split up into groups of two, all hell on the island is unleashed and the students succumb as meals for the zombies that inhabit the uninhabited island. Not only do the flesh eaters swarm the island, but a mad Nazi doctor looks to replace the brain his deceased love into one of the bodies of the gorgeous girls trespassing on his island.
“Zombie Isle’s” plot is, first off, way too scattered to fully explained how this island became ground zero for possible Nazi or U.S. Army experimentation – it’s not really explained. The Nazi mad doctor has a syringe he injects into the neck of the dead bodies to awaken them into flesh eaters. Nobody knows how he got to the island and no one really seems to ask. Also, the doctor keeps a giant three headed mutated zombie chained to a tree. Again, this all goes unexplained. Half the characters gets rip to shreds in the first 15 minutes of the film and that makes caring for characters really difficult.
On the positive spectrum of “Zombie Isle,” the gory schlock really is potent. Zombies scooping out brains with their hands, stomachs being ripped open and disemboweled, and brains being munched on. With the gory and the blood, the parodical nature of the film, especially with the two dimwitted hotties, can kind of keep us awake at times; as for the rest of the duration, watch your eyelids become heavy and heavier. The zombies themselves do a good job. Hell, even the three headed mutant zombie has a certain ghoulish charm to it even though it’s obviously fake and goofy cladded, but with director Robert Elkins’ use of cigarette burns and faux faulty-like film strips the creature is hidden behind the throwback grindhouse cinematic style. The cast consisting of Crystal Howell, Tony Jones, Apryl Crowell, Kyle Billeter, Davids S. Witt, and Jonathan Moody are seemly a tight-knit group of people who’ve worked on films together before. They feel comfortable in what they’re trying to accomplish, but their really is no depth in their personas.
On a technical note, the dialogue audibility is absolute crap. One minute you can hear the characters fine and then the next you’re turning up the volume. Constantly I was fiddling with the controls to find a ideal setting and just wasted my time and energy. Also, the soundtracks is very repetitive and drowns out most of the dialogue as well. The sure signs of low budget filmmaking and not making use of something better than to just repeat soundtrack audio. The foley sounds of squished heads and knocks to people’s dome pieces might as well come straight out of a Roadrunner and Coyote cartoon.
“Zombie Isle” heart and soul likes with the gore effects not leaving the film to be an empty shell. The characters are the empty shells and the production kind have been better along with fine tuned story in which the parody could have stayed as some of bits were smirk-able. Surprisingly, no nudity for a zombie film with a bunch of university students, but that doesn’t give the film low marks at all. With that being said, “Zombie Isle” releases this Tuesday October 7th, but if you must venture into an overplayed genre, there are better zombie films out there that won’t leave you stranded on an island.
Independent horror is a firm fixture and an appreciated business here at Its Bloggin’ Evil and when The Houses October Built came across my lap, I had to post the trailer. Being released just in time for Halloween on October 10th, the film revolves around a group of documentarians looking for the ultimate and most extreme haunted attraction only to end up finding something more sinister – an extreme haunting attraction that found them.
The Houses October Built is based off director Bobby Roe’s documentary of discovering haunted attractions across the nation.
Image Entertainment acquires the Steven Schneider (“Insidious”,”Paranormal Activity”) produced film that also stars Zack Andrews, Mikey Roe, Brandy Schaefer, and Jeff Larson.