Tag Archives: Jake Heineke

EVIL Needs a Living, Breathing Vessel to be Destroyed! “The Mortuary Assistant” reviewed! (Acorn Media International / Blu-ray)

Posted by Steven Lewis on

Recovering drug addict Rebecca Owens finishes her training as a mortuary assistant with praise from her tutor, the owner of the River Fields Mortuary.  On her first solo assignment, a late-night double embalming, Rebecca finds it unusual she must embalm as well as incinerate the corpses.  The bizarre aspects of the night don’t stop there as the corpses seemingly move in what seems to be very real and frightening hallucinations after she wakes up in her apartment bed.  Her employer, Raymond, owner of the River Fields Mortuary, ensures her what she’s experienced and the visions are very real as a demon possesses the mortuary, easily inhabiting the lifeless bodies but trying to permanently attach itself to one of the livings.  Having been targeted himself, Raymond’s been able to avoid possession by way of ritual but can’t fully banish the demon without Rebecca’s assistant with a reagent formula he must obtain from living people caught in the middle.  As Rebecca returns to the mortuary to try to unlatch herself from the demon’s grasp, she must attempt to capture the demon in a corpse by using her own ritualized-infused blood and then incinerate the corpse to ashes, but the demon won’t go down without a fight. 

Based on the 2022 popular horror role-playing game of the same title that was developed by Brian Clarke of DarkStone Digital and published by DreadXP, the video game department of the horror network and news outlet Dread Central, “The Mortuary Assistant” 2026 film adaptation brings virtual mortician madness to the big screen with all its demonic appurtenances with Clark penning the script alongside co-writer Tracee Beeb and “Slapface” director, Jeremiah Kipp, calling the shots.  The Dread presented movie is released under Dread’s parent company, Epic Pictures Group, since they already own the rights to the video game and attempt to bring the creepy mortuary atmospherics and terrifying twitching corpses from the first-person perspective game to a third person perspective film narrative.  Creative Capital and regular Dread co-production collaborator, Traverse Media, serve as production studios with Patrick Ewald, Jake Heineke, and Cole Payne in the producer role.

The video game characters, Rebecca and Raymond, and you can also through in the demon too, transition to the film with Willa Holland (“Straw Dogs,” “Legion”) as the green Rebecca Owens alone on her first shift, getting her hands dirty with the insides of corpses and dodging demonic aggressions with half-baked rituals and spells by her mortician employer/demon fighter Raymond, played by Paul Sparks (“Headspace”).  Sparks carries himself plainly through what should be a more interesting, puzzling peculiar as a deadpan mortician business owner with a rich background in demonology and a two-bit exorcist.  Instead, rooting for spark in Sparks’ performance can extinguishable hope for Willa Holland who has to carry much of the fanaticism and strength, as well as fear, as a woman battling demons metaphorically and literally, or perhaps literally battling her demons in an off-the-wagon experience that it becomes metaphorical in her own warped mind.  Either way, the game and it’s characters translate to screen one way or another, supported by pawn characters the demon exploits to gain advantage over Rebecca, such as her grandmother (Shelly Gibson) and her drug addict anonymous sponsor (Keena Ferguson Fraiser), to take powerful, matriarchal and influential people in her life, ones who guide a vulnerable woman, and distort them into traps and hellish visions to break down the young mortician’s self-assurance and ability to tell what’s real or not.   “The Mortuary Assistant” rounds out the cast with John Adams, Emily Bennett, Elisa Marti, Mark Steger, Sydney Haner, Brian Clarke, Gabrielle Mathews, Adam Woolley, and Michael W. Crowley.

Having never played the video game, which is widely available on multiple consoles and platforms, such as PlayStation 4 and 5, XBOX One and Series X/S, Windows PC, and Nintendo Switch, the movie has all the hallmarks of what makes people’s fears tick: that innate fear of mortality of your corpse lying motionless on a cold, sterile table, environmental atmospherics of a stormy, dark night, demonic mischief that puppeteers and malevolently toys, paganistic folklore and ritual, the lack of hope, religion, and God, dark shadows and slithers of steely lighting, and an overall sense of cynical dread.  Yet, somehow, “The Mortuary Assistant,” the movie, feels terribly clunky after a satisfying disturbing creepy setup that includes the ghastliness of mortician embalming process.  The story’s second half, and more definitively in its third act, loses traction and falls to pieces in it’s trying to explain too much with too little information of the game’s evolving plotline.  The game works well because of it’s lingering through the narrative, letting fear settle in before unleashing bit-by-bit it’s unearthing of secrets.  The film adaptation rushes through climatic guts to make possible the many several hours’ worth of game endings to be comprehendible in under an hour and half.   Aside from the cliff fall finale, the atmospherics are palpable and the blood and gore, mostly perforating of corpses with a cannula and some of their exposed viscera, has sticky-icky and fleshy texture. 

The Shudder Original presentation comes to UK Blu-ray from Acorn Media International.  The AVC encoded, 1080p hi-def resolution, BD25 is on the smaller side of disc capacity for decoding and with an array of textures – from clammy skin of a corpse to the burnt amber of blood – “The Mortuary Assistant” Blu-ray teeters the meticulous detai line as if it wants to show you all the glossy and gooey innards but can’t quite flesh them out.  No issues with decoding albeit some negative spaces do seem lightly washed and not fully inky to create the possibility of the unknown within the blackness.  The Blu-ray has a 2.35:1 aspect ratio presentation to take the smaller confines of a quaint mortuary and have them seem more imposing and closeups a made to be like the surface of alien planets when covering cold corpses, really blowing up the image in greater, better detail.  The English DTS-HD 5.1 Master Audio provides crystal clear composition of layers with unobstructed and robust dialogue that can reproduce the resonating monotone of Paul Sparks, an eclectic layering of sounds between the storming elements of non-diegetic weather to the transfixing squishiness and cannula friction of the embalming process that can get under your skin, pun intended.  The soundtrack by Jeffrey Alan Jones, who did ADR mixing on “Obsession” as well as compose scores for many indie horrors over the last two decades, is a bit lackluster and doesn’t become its own distinctive character within its pedestrian horror tones.  English SDH and French subtitles are available for selection.  Special features only include a behind-the-scenes featurette on the static menu that goes briefly into the game and the making of the film.  The physical Blu-ray Amaray comes standard with monochrome sleeve art that’s blue and black and barely definable.  There are no other tangible elements in the exterior and interior of the release.  The UK certified 18 release has strong injury detail and has a runtime of 91 minutes in its region B playback only.

Last Rites: “The Mortuary Assistant” is one of those videogame adaptations that probably should have stayed as a videogame. Plenty of atmospheric tropes to make it haunting and spooky, but too many core story elements and not enough cohesive tape to make “The Mortuary Assistant” work.

There’s No EVIL Treat with This EVIL Trickster! “The Jester 2” reviewed! (Dread Present / Blu-ray)

Posted by Steven Lewis on

“The Jester 2” Blu-ray Is a Must-Get Sequel!

15-year-old Max is a girl without friends and with her bordering the edge of maturity that leaves her too old for trick-or-treating.  Dressed as magician with an enthusiasm for card tricks and slight of hand, Max tries unsuccessfully to make the best of her Halloween night as school peers mock and tease her until the animated and sinister Jester comes before her to show her a trick of his own.  When Max foils his trick, the Jester’s undertaking to contractually collect souls for Devil every All Hollows Eve comes into jeopardy as he loses his power to trick others.  The Jester forces Max’s hand to play tricks on others for their souls to be collected by the end of the night before his own soul burns in the internal inferno.  As the night goes on, Max must outplay the supernatural killer whose desperate game to spill as much blood as possible before the end of the night is coming to a full carnage head.

Our review of Colin Krawchuk’s “The Jester” called it “clever, entertaining, and devilish,” concluding out the review with “The Jester” acts the whimsical clown of conscience-stricken torment with an indelible joker different from the rest of the villainy pool. Yeah, we liked it.  Krawchuk and team return for a sequel, simply entitled “The Jester 2,” that opens backstory doors for the mischievous maniac whose mask grins from ear-to-ear and knows all of the tricks of the soul reaping trade.  Only one problem lies in his path, a 15-year-old girl who may be better a deceiving than he is.  The standalone sequel doesn’t segue with the original film, creating a new whole installment that anyone could enjoy without watching the original 2023 film or it’s viral short films both films are based off of.  Krawchuk writes-and-directs to be inherently different not only from the first film but from the large slasher genre that’s seen its fair share of clownish killers as of late.  Traverse Terror and Epic Picture Group collab once again for another Dread Presents release with Epic Picture Group leadership of Patrick Ewald coproducing side-by-side with “Bag of Lies” producing team of Victoria McDevitt, Jake Heineke, and Cole Payne. 

Michael Sheffield returns with his top hat and cane as the manically mute and mischievous Jester but with a slightly different approach to the Jester’s appearance.  Instead of a Venetian mask strapped around his head by an elastic band, the sequel’s Jester has a mask that’s seemingly an extension of his face, delineated by the rivulet of exposed under flesh between where skin ends and where mask begins.  Without Sheffield’s enthusiastic harlequinade and long, drawn out glares and motionless menace through empty, black eyes of the mask, “The Jester” films and shorts would without a doubt not be as entertaining and terrifying.  This time around, the Jester has a new foe in a 15-year-old girl with puerile dreams of magic and trick-or-treating.  It’s safe to say this girl, Max, is a loner with her peers making fun at her expense, but Max, as a final girl against the Jester, is intelligent and crafty in the face of pure evil despite her ounce of fear to live and be free of his threat against those she cares for – mother (Jessica Ambuehl, “Black Mold”) and sister – and strangers, even the ones that bully her.   Making her feature film debut, the then early 20-something Kaitlyn Trentham has a convincible foot in the door of “The Jester’s” awkward teen being the equalizer against supernatural Hell spawn.  Trentham can pivot between dejected loner to confident talent to the improvising fighter in the matter of circumstances, and when one of those circumstantial events involves Max’s family, a game of wits opens the chessboard for the next few moves.  Forced to align before “Halloween” night comes to close, “The Jester 2” is exclusively between Max and The Jester, good versus evil, for most of the narrative with filler, supporting characters weaved into the pattern to support the threat of tension and a high body count a sequel can be proud of.

Sequels tend to do everything bigger with their inlaid bigger budget off the back of a successful first film.  Big name talent, bigger effects, higher body count, etc., but character and story creator Colin Krawchuk doesn’t take the bait for a bigger boat and pushes that need to multiply tenfold “The Jesser’s” presence amongst audiences down to a suppressed level.  While that might seem counterintuitive to the idea of sequels, “The Jester “thrives on story and sf/x simplicity, letting Sheffield and Trentham battle it out and drive the story of certainly a different scenario from the first film.  The original “The Jester” embodies a similar tone but the control was imbalanced to “The Jester” with a supernatural upper hand always on the pulse of his tricked prey.  The sequel kinks the hose, stopping the Jester’s paranormal flow of life and soul snatching to be humbled by his need from a mortal who ultimately has his existence hanging in this teen girl’s sleight of hands.  This creates a perceptional shift from the Jester’s omnipresence, omnipotent immortality to he’s scraping by with desperation and longshot dependency on a young teen magician with a homemade costume.  This is not to say this new installment into the Jester’s ethos and extended qualities is downgraded or is riding the exact same original wave toward a mundane surf as the kills do have incremental whimsical value and there’s certainly more of a visual effects presence than before and it’s done well to push the sequel to be a step up and forward in conjunction with the good versus evil alliance storyline.

Epic Picture Group and Dread Presents returns the Jester for another go-around of illusionary ill intention with a Blu-ray release.  AVC encoded with 1080p, high-definition resolution on a BD25 and presented in a widescreen 1.78:1, the standard for video metrics supplies “The Jester 2” with adequate levels of a color saturation on a graded scale that leans toward ever so slightly a piano black finish.  Details hover between great depth to vague depending on the focus which Krawchuk and “2 Lava 2 Lantula’s” cinematographer Kevin Duggan who play with the perspective focus in the realm of an already detail-vague and hard-lit night shoot that’s contrast heavy, obtaining nice shadows around the contours of the Jester’s mask.  Duggan is not the returning cinematographer from the original 2023 film but really channels Joe Davidson’s (“President’s Day”) style that’s near raw with graded elements and focus precision.  “The Jester 2” offers an English Dolby Digital 5.1 surround sound and a Dolby Digital 2.0.  Much of the 5.1 is frontloaded with a trickle of atmospheric coming through side and back channels in a watery compressed copy of the track, that was likely recorded in Dolby.  Dialogues rendered clearly and cleanly, the Jester doesn’t speak anyway so much of his diegetic sounds are the ruffling swifts of his suit and hat with some walking cane taps, and the supernatural and killing ambient action has a punchy quality of a slight toon quality.  English subtitles are available for selection.  Special features include a director’s commentary, a making of featurette which is of Colin Krawchuk speaking on camera about the genesis and fruition of creating a sequel and sustaining villain with clips intercut into the interview footage, and the trailer as well as other Dread Presents’ previews.  The 87-minute Blu-ray is open to all regions for playback and is the film is not rated.

Last Rites: “The Jester 2” is the same but different and kills as a context sequel for a villain on the right path to being a successful franchise.

“The Jester 2” Blu-ray Is a Must-Get Sequel!

There’s No EVIL Magic Cure for the Inevitable. “Bag of Lies” reviewed! (Dread / Blu-ray)

Posted by Steven Lewis on

See What’s in the Bag! “Bag of Lies” on Blu-ray!

When everything seems to be going Matt and Claire’s way with a strong marital bond, a beautiful house, and rising careers, life throws them a nasty curveball – Claire is hit with inoperable, terminal cancer. Laid up in bed, her weak immune system and fleeting strength are spent on retching up the remains of the chemotherapy treatments she suddenly quits. Matt, under a considerable amount of pressure in losing his wife, has tried everything from conventional medical treatment to the snake oil practices of holistic cults. Desperate for a cure, Matt turns to a man and his bag. Not just any bag, but a bag given the right ritual and stated purpose will produce all that Mark desires and, in this case, the return of his wife’s good health. The man warns that rules must be followed and when Matt can’t uphold his end of the agreement, what he wishes for will still come true in a way most unpleasant.

“Bag of Lies” is the 2024 released supernatural thriller to boldly state that no matter whatever miracle cure is trialed or desperate attempted, one can’t stop the juggernaut of grim inevitability, and if somehow, someway one beats the momentous odds, nothing will ever be the same again or, perhaps, it will be worse.  Debuting his first feature, David Andrew James is the mastermind behind the screen treatment of the story, directing and writing the shooting script based off a story by Nick Laughlin, known for his art and props on “Wrong Turn” remake and “Bones and All,” and “Clever Girl” creator Joe Zappa that tackles one of the more painfully enduring occurrences of impending loss, the slow and excruciating rot of cancer that selfishly takes everything and all anyone, especially loved ones, can do is sit and watch the wasting away from internal consumption of being.  “Bag of Lies” is another Dread Presents and Traverse Terror collaboration, produced by Dread and Epic Picture’s Patrick Ewald and Matt Cleckner alongside Spencer Frazen, Joe Hui, Victoria McDevitt, Jake Heineke, and director David Andrew James.

One of the problems “Bag of Lies” has lies with the married couple Matt and Claire Quimby, played respectively by Patrick Taft and Brandi Botkin (“Bystanders,” “Wicked Ones”).  The problem is not chemistry as the affectionate teasing and relationship frustrations are the hallmarks done right to reflect any kind of amorous partnership on screen and the fact that Taft and Botkin have previously collaborated also makes establishing an already established couple a lot easier but the latter has been under different roles and conditions with Taft producing projects, such as “Wicked Ones,” and both also having roles in the same television series entitled “Wildfire” but overlapping only once in their own three episodes span.  The problem falls upon how their characters got to be where they are now and that creates an injustice to that particular unpleasant side of the story because the audience never experiences the good times the Quimby’s once had before cancer strikes at Claire, not even in a remote sense, and that ultimately fails them because its hard to fall long and hard if not privy to the height of their good fortune.  The lack of backstory extends to the supporting cast with Matt’s awfully empathetic cousin Harold (John Wells, “The Possessed”) who hangs around, brings over a 6-pack, and occasion reworks their basement to surprise Claire with an in-house music studio, more so the former two, and the mysterious man Al (Terry Tacontins) who offers or is sought out or is just happened upon, it’s unclear, the even more mysterious bag option to Matt with a vague understanding of instructions or the cost of what he’s about to unleash or sacrifice or both.  These supporting characters lack of reason for being a cog in the bigger machine seems happenstance rather than necessary to the progression or the problem in what evolves into more of a three-way triangle between Matt, Claire, and an unusual young woman sneaking into their house and property and has a quirky laugh and a dark circle on her palm, played by Madison Pullins (“Baby Oopsie: The Series”).  Aja Nicole and a Kayla Theis round out the cast as Matt’s doctor friend Gwen and local bartender Lilly who has loved one ailment issues that parallel to Matt.

The title “Bag of Lies” is a spin on the idiom a pack of lies, defined as a grouping of false statements or information led to deceit.  “Bag of Lies” plays and preys upon that deception of an all-in-one, quick-and-easy remedy aimed to be a cure-all when, in reality, the thing to solve all your problems is nothing but snake oil that builds hope out of desperation, that sees confidence stemmed from false promise, and instills blindness to the consequences it delivers.  David Andrew James favors suspending in disbelief more than what’s comfortable as Matt experiences haunting visions of ominous means to an end yet doesn’t seem too bothered to really dig into the background and so the story flounders in the second act with Matt just experience weird and frightening sights and sounds without even an attempt to explain, until near the end.  Frankly, if I kept seeing a quirky, quizzical madwoman constantly around and inside my house, the cops would be on speed dial.  Instead, Matt lets himself be silage for the taking, cut off from the rest of reality for the most part without ever going to the authorities, without ever confiding in his friends, nor without ever digesting his experiences and talking about it with his wife, who is usually part of the strange visional equation.  That isolation plays into the burdening effect of trying to beat the odds by doing it yourself and not asking for help, which is definitely being depicted here in Matt’s own surreal nightmare, but the lackadaisical effort and having one peculiar instance roll over him after another breaks down the story’s credibility.  Much like the cancerous rot that’s eating his wife from in the inside out, Matt’s own rot origins from being stagnant and it’s that do-nothing that bears the consequences of terrifying transfigurations in not only his sweet Claire but also in himself. 

“Invasion of the Body Snatchers” interlocked with desperation and a melancholic longing is how the “Bag of Lies” shapes fictional hope around a wrenched inevitability, similar to what the French author Guy de Maupassant once said,, “ the only certainty is death.”  Dread and Epic Pictures brings home an unrated, AVC encoded, 1080p high definition, BD25. Presented in a widescreen 2.40:1 aspect ratio.  Brandt Hackney’s shadowy cinematographer has a fairly nature presence in natural daylight sequences but utilizes a quite a bit of low-level, low-frequency lighting to create a soft incandescence and low-contrast shadows spreads.  Much of the same textures and colors are shown over and over and without that breadth of diversity, comparing scene-by-scene details are more than slim but what’s apparent is subordinate to the atmospheric lighting, or lack thereof, to create moody, broody dark house settings with little light to expose detail and color.  Even in bar sequences, the dimness doesn’t allow detail.  The English audio offerings are a Dolby Digital 5.1 and a Dolby Digital 2.0 Stereo. What’s uniquely about the “Bag of Lies” audio facet is the distinct distortional soundtrack by James Paul Bailey who, in his own words, could never recreate or repeat the score again because of the randomized tones and feedback produces by temperamental distortion boxes, overlayed and modulated to produce a one-of-a-kind soundtrack to parallel the rotting horror “Bag of Lies” corkscrews into. Dialogue does the job with a clean and clear rendering by an indifferently satisfying sort of humdrum performances unfazed by the surrounding sideshow of black bag magic and the curious curiosity that’s emerging vocally from within its capacity. There’s decent localized range within Quimby house with conversating interactions with a door or a vent in between, using post-production to fill in hurling diatribes from the basement below toward Matt in Claire’s voice. English and Spanish subtitles are optionally available. Special features include a brief behind-the-scenes featurette with cast interviews voicing their deconstructing opinions about the story. Though not listed on the back cover, there is a longer, more in-depth featurette around James Paul Bailey’s distortion oeuvre for the film that’s quite comprehensive, plus the film’s trailer and other Dread Presents film trailers. Physical features are just like all the other bare minimum Dread-Epic Pictures release with a standard Blu-ray Amaray and no inserts. The cover illustration has clunky written all over it with a photoshop job of what looks like a giant dirty taco, but it’s the titular bag, with a dirty disfigured hand reaching up and out. The release has a region A playback and has a runtime of 96 minutes.

Last Rites: Neither great nor is it terrible, “Bag of Lies” skips a few key steps toward being a promising indie horror and though the theme is poignant, fantastical, and infused with a jarring soundtrack, the ironic inevitability is there is no cure for what can’t be fixed.

See What’s in the Bag! “Bag of Lies” on Blu-ray!