While at a Spanish night club, Lucy meets a darkly tall and handsome gentleman who takes her back to his luxurious yacht and spends a romantic night with him inside his cabin on the sea. The next morning, Lucy suffers from a terrible case of amnesia, unable to recall where she’s met this mysterious man before or even remember her own past and as she relaxes in her hotel room after a soothing bath, a past life vision of herself entangled with her one night stand, otherwise known as Dracula, establishes her place amongst Dracula’s side as his undead love, but vampire hunters, Doctor Van Helsing and his faithful assistant Seward, are hot on Dracula’s scent toward his brooding castle in order to save Lucy from succumbing to Dracula’s cursed evil forever.
“Apostle of Dracula” is a Spanish retelling of the classic Bram Stoker “Dracula” tale, versed in Edgar Allan Poetry, and is directed and co-written by Emilio Schargorodsky. Also known more in other parts of the world as “Dracula 0.9,” Schargorodsky’s film boldly tiptoes through a minimalistic approach regarding the mythos of the legendary vampire that dabbles in some special effects when required and uncomplicated imagery that still relishes in wondrous imagery. The “Spirits of the Dead” poetic works of American macabre writer Edgar Allan Poe reinforces the Gothically garnished settings and costumes and heightens the gloomy sensationalism in Schargorodsky’s melodramatic horror soap opera that redesigns slightly Dracula’s origins and his infatuating love interest that isn’t Mina Murray.
Instead, Dracula’s focus is resuscitating the undead cursed life into Lucy dreamily and elegantly portrayed by model-actress Nathalie Le Gosles. Le Gosles has ghostly grey eyes that pierce vividly on screen through her Lucy Westerna performance that’s quite different than what audiences might be typically used to in the character. Lucy is the titular character, being the “Apostle of Dracula,” and Dracula (Javier Caffarena) spares no expense or time and effort in making Lucy his forever. Caffarena’s Dracula is very much overshadowed by Le Gosles’s beauty and performance as Caffarena’s acting experience before his freshman film only credits him in on other role in a short film directed by Schargorodsky, but Caffarena’s a busy body on this feature, delving into many facets from cast to crew as also one of the three co-writers and also donning not only the cape and fangs of the vampire but also creating a composing soundtrack, editing the film, and acting as a producer. In all honest, Paul Lapidus stole the show with his role as the most famous vampire hunter that was ever created – Van Helsing. Virtually embracing every facet of his time hopping character, along with the rest of the cast, Lapidus’s steadfast approach toward a more conventional Van Helsing relieves many anxieties of jumbling up Dracula’s mythology. Antonia Del Rio, Francisco Del Rio, Jose Luis Matoso, and Virginia Palomino round out the cast.
Schargorodsky’s indie Gothic Dracula feature is not immaculate; however, because Schargorodsky is an experienced photographer, a silver lining in his filmmaking playbook is his impeccable eye for cinematography. Whether in the framing or capturing the organic beauty of the landscape, Schargorodsky blends a dream with classic styles that had once scared the pants off people by incorporating shadow imagery that pays a dear homage to that of F.W. Murnau’s “Nosferatu” alongside Caffarena’s Dracula shaving his head and extending his fingers to be a lookalike Max Schrek. Captivating as many of the frames might be, the juxtaposition to the story doesn’t hold water as the story hops from one century to another without much regard for exposition. Lucy’s passionate yacht fling with a daylight walking vampire not only raises many vampire mythos questions, but also leads into Lucy displacing much of her memories of herself and her past. She then goes into a trance after returning to her hotel room, envision her great lineage self intertwined with Dracla and that story unfolds for a good portion of the film from the time Lucy’s bit to when Van Helsing and Seward interject at Dracula’s Castle. The story then returns Lucy’s back to present time where she then fights to urge to be a bloodsucker, but can’t stop her desires to be with her undead beau all the while a modern day Van Helsing and Seward, sporting sleek Secret Service-issues shades and wardrobe, seek to protect Lucy at all cost. Lost somewhere in the midst of the story is an important pice of the puzzle that goes unexplained.
Wild Eye Releasing MVDVisual present the 2012 “Apostle of Dracula” onto DVD for the first time in the U.S. The DVD, graced with a cover illustrating an unrelated naked female vampire crotched down and glaring outward, widescreen presentation sports a digitally shot transfer that fairly mediocre throughout despite soft details, faint aliasing, and spotty moments of digital noise during darker scenes. However, the worst technical aspect lies with the dialogue audio track that’s horrendously dubbed in non-optional English in such a flat, monotone voice that all the passion behind the actors is lost. If you watch close in the special features, clips of untainted portions of the film can be caught with the original Spanish track, bringing a whole new life into the scenes. There are no options to play the original language or even optional subtitles. Caffarena’s looming score comes out clean with subtitle details in the LFE emitting from Stereo audio which can be seen discussed on the bonus material about composing the score. Another special features contain a pleasant surprise with a never before scene interview with the late Jess Franco, who looked to be on his death bed, conversing his positive thoughts and praises on Emilio’s film that does have a faint resemblance to Franco’s work consisting of elements, but not limited to, the gothic, dream-like, and slightly sleazy. Bonus material comes full circle with Wild Eye Releasing trailers. Emilio Schargorodsky’s self-funded Dracula film proves any filmmaker can be a auteur without losing focus despite some flaws being on the grand stage of an iconic horror monster and while “Apostle of Dracula” flips the script on Bram Stoker’s telling of one of the greatest villains ever scribed, there’s something to be said for the multiple ways to skin a cat in this and still able to construct a solid story in this European horror.
Special effects technician Dom joins a small cast on the scenic outskirts of Pittsburgh to work on a horror film with wealthy director Lacey Bickel at the helm. Filmmaker Bickel’s indifferent passion about obtaining the perfect shot for his movie puts Bickel at odds with the other cast and crew, rendering Lacey just another irregular and peculiar director attempting to show the general public his ultimate vision, but during one particularly odd behavioral moment, Dom was subjected to the exhibition of a presumably snuff film possibly directed by Bicket during a coke-filled round table discussion. Dom begins to suspect that the movie he’s laboring over isn’t the sole objective of Bickel’s, but stays quiet about his instincts and he forms a romantic relationship with Celeste, a gaffer whose worked with Bickel prior to, and the two resume their work on the film despite the being the oblivious subjects of a real snuff film.
In 1978, the Godfather of the modern zombie film, the late great George Romero, had an inner circle of friends conjure up their own funding for an idealistic, ahead of it’s time horror film entitled “Effects” with then newcomers and Pittsburgh natives Dusty Nelson at the helm, John Harrison producing and starring as the offbeat Lacey Bickel, and post-“Effects” “Day of the Dead” and “The Dark Half” editor, Pasquale Buba, as the other producer. Filming had wrapped with tons of positive public review potential to be the next big horror film of it’s time being produced out of Pittsburgh, but a major distribution complication had put the kibosh on any theatrical and home release run, leaving “Effects” to be shelved for nearly thirty years until 2007 when Synapse released the film on DVD. The snag resonates soundly with the group of filmmakers who are probably more than acquainted with their friend and colleague George Romero’s “Night of the Living” and the copyright problem. However, the American Genre Film Archive, or AGFA, began a kickstarter funding campaign to buy a 4K scanner to remaster cult and underground titles to Blu-ray and “Effects” became one of the first selected!
“Day of the Dead” star Joe Pilato stars as special effects technician Dom and Dom is a far cry from being his future role of the sadistic and stir crazy Captain Rhodes. Pilato brings a lot of peace and tranquility to his mild mannered, if not very gullible, character. Along side Pilato is another fellow “Dead” series star, Tom Savini, as portraying not his trade of a special effects tech, but as a producer of sorts in the film. Off camera, Savini handles the gruesome special effects with a straight blade and gunshot sequences. In character, Savini doesn’t stray too far from his character on “Dawn of the Dead,” donning the black leather jacket and sporting a cocky-jerk attitude. Producer John Harrison also has a role as the callus director Lacey Bickel who bosses around his two surface actors “Life of Brian” actor Bernard Mckenna and a “Dead” series dead head zombie in two of Romero’s films, a Mrs. Debra Gordon. McKenna delivers question mark after question mark of a performance that Matthew Lillard, perhaps, imitates the best in Wes Craven’s “Scream” whereas Gordon just provides a straightforward background performance with her scene with Lacey conversing over the idea of stress releasing sex being one of the more intense moments of the movie. Susan Chapek, Charles Hoyes, and Blay Bahnsen complete the cast.
Despite the modest budget, Nelson and his team construct monumental frightening moments. When Dom, Lacey, Lobo, and Barney converse around a mirror laced with coke, Lacey wants to show Dom a film after their sharing their opinions on what the general public will or will not pay to see. The actors’ faces and reactions as the snuff film rolls is on the brink of teeth clenching madness. The catalytic moment bombards questions internally into the group of presumably professional people and starts the separation between whose really in control of their fates. “Effects” is a movie within a movie and a deception within a deception where the characters have more than one role and pinpointing their specific purpose is difficult to land that Nelson’s film will have your head spinning with guesses. A fierce and boldly ambitious film from a scrappy Pittsburgh crew of talented filmmakers taking a risk with an intricate plotted thriller.
AGFA and MVDVisual present Dusty Nelson’s “Effects” for the first time on a region free Blu-ray. The 1980 thriller has been scanned and restored in 4K from the only existent copy of the 35mm negatives and delivered the original aspect ratio, an anamorphic widescreen 1.85:1. The image quality is better, but only slight above the Synapse DVD that sourced from 16mm negative and still maintains a healthy dose of noised induced and film grain and print damage. The color palette has a dullish grey-brown combination fairly noticeable to the naked eye. The English DTS-HD dual channel audio has hints of a hiss and faint crackle in more scene intense segments, but relatively clean and clear inside a limited range. Extras included are an updated version of Synapse’s retrospective documentary entitled “After Effects” that brings a stingy melancholy when seeing George Romero converse with his friends. There are also two short films by John Harrison, an archival commentary track, and liner notes by AGFA’s Joseph Ziemba. Plus, the AGFA Blu-ray has a snazzy illustrated cover, with reverse cover art, encasement. “Effects” glorifies snuff film with ample attention to detail and precision that only this Pittsburgh all-star team of filmmakers could produce on a limited budget and AGFA, alongside MVDVisual, amplify their efforts by a hundredfold with a remastered transfer withstanding straight razor home movies, a bombastic car explosion, and cloak and dagger guerilla filmmaking that’ll have you second guessing if the effects are only movie magic or not?
Her night was supposed to be a wonderful occasion of celebration, a night to showcase her lustrous career as an established actress, a night where she was set to receive her crowning lifetime achievement award, but when the gowned Amanda stepped into a luxurious, fully-loaded limousine, the night that was to be a collective jubilee of the last twenty-years of Amanda’s life will be turned into a terror ride of unspeakable acts in the name of pure hatred. Once inside, the limousine’s inescapable locks detainee Amanda as a voice behind a voyeuristic camera commands her every subversive move and a sadistic chauffeur uses pain to thwart any of Amanda’s attempts of refusal in on an interrogation on four hellish wheels.
“The Glass Coffin,” aka “El ataúd de cristal” is a 2016 Spanish thriller from first time feature film director Haritz Zubilaga and co-written with Aitor Eneriz. From the moment Amanda steps into the limousine built like a tank, Zubilaga’s film goes from zero to sixty in a matter of minutes with thick tension and high horsepower suspense. “The Glass Coffin” is a depraved film. This isn’t a sugar-coated stuck in a glass box Hollywood thriller like “Phone Booth.” Oh no. Zubilaga and Eneriz hitch your emotions on a tow bar and drag them through the filthy muck without as so much of a care. Is this a game like Jigsaw would construct in “Saw?” No traps or snares here, but there’s an ominous shroud of mystery behind Amanda’s captor that could certainly give Jigsaw a run for his money. “The Glass Coffin,” in fact, goes more in tune with Joel Schumacher’s “Phone Booth” when considering the villain. Well, more like a Eurotrash, alternate version of “Phone Booth” antagonist anyway because aside from deriving the guilt and the sin from Amanda, there’s a sleaziness about the captor whose presence becomes more and more gothic the closer we learn more about them on top of their already extreme methods in the right-the-wrong stance.
Very similar to most films with a slim-to-no cast, like the Ryan Reynolds’ thriller “Buried, “The Glass Coffin” fits the bill as a one actor film. Paola Bontempi stars as the targeted starlet Amanda and the Canary Islands born actress musters enough courage to accept such a punishing role where her character’s humility and pride stems from a base layered motivation in not wanting to become the masked Chauffeur’s punching bag. Amanda goes from high time to gutter low in an ugly show of stripping moralities and ethics in order to reveal one true self. A pivot does occur, turning the shredding of facade into plain and simple revenge that becomes the flashy bullet points of European horror and Bontempi changes with it in one fluid motion of character revival and redemption.
The diabolical game is, well, diabolical and sincerely rich in providing an attractive story, but the film doesn’t go without it’s problems. Whether lost in the Spanish translation or just simply unexplained, an opaque mystery clouds Amanda’s captors, especially with the maniac Chauffeur and his bizarre relationship with the planning perpetrator, that puts a sour afterthought into analyzing “The Glass Coffin.” The Chauffeur was one realistic element of an intriguing conglomerate that tipped the ice berg of sinister deplorability and I was yearning for more of that; instead the game turned, the plot transformed, and “The Glass Coffin” took an approach that routed far into left field. Not a bad route to take as, like much of Zubilaga’s film, the moment had me at an astonished state as the film continued to keep me guessing what was going to occur next.
MVDVisual and Synergetic Films distributes the Basque Films production, “The Glass Coffin,” onto DVD home video. Short in giving any sort of physical or emotion breaks, the 77-minute runtime feature is presented in a vibrantly engrossing widescreen presentation and while at times soft on the auxiliary background, the image quality is flashy and sharp surrounding Amanda. Darker scenes in the tail end lose quite a bit of definition that makes eyeing the moment difficult to capture. The Spanish 2.0 stereo mix does the job and profusely invigorates the voice behind the camera, a voice made of nightmares and all that horrifying in the world. The English subtitles sync well, but I spotted a couple of typos along the runtime. There are zero extras on this release and even though a smidgen of behind-the-scenes material would have been curious to view, the film is a simple bliss. “The Glass Coffin” arches over the niceties and lands right smack into obscenity to destabilize integrity in a cruel ride of exploitation. I wanted more, the unfiltered, fully unadulterated, story of Amanda and her polar opposite antagonist, but I’ll settle for the Cliff Notes version. For now.
Lisa is just your average high school student, except this particular teenage girl bares the blunt carnage of on and offline bullying. From her extreme bulimia to her sexual orientation, Lisa absorbs daily taunting from her peers in a merciless presentation of harassment and she has lost the connect between all of her close and dearest friends, even her childhood friend Andrew, the boy living next door, betrays her trust and privacy. Nobody seems to care about whether Lisa lives or dies, except for one individual who has taken an interest in Lisa and her situation. A mysteriously beautiful woman, who goes by the name of Destiny, befriends the teen, offering her hand in friendship as well as physical intimacy, but when Destiny reveals herself as Satan, Lisa is offered a trade that’ll not only benefit Lisa’s status and exact revenge on all who have done Lisa wrong but will also require an enigmatic desire of terrible consequences from the unholy beast. As Lisa soul hangs in the balance, she’s stuck between an deal with the devil and the evil bestowed upon her by her schoolmates.
“Devil’s Domain” is the 2016 new age horror from writer-director Jared Cohn. The New York born Cohn, known for his various contributions in the direct-to-video horror market, attempts his taste for horror by commingling the ongoing social issue of high school cyber bullying with a polished satanic spin. Cohn’s depiction of bullying, though a bit exaggerated, radiates with a lot of truth with the way kids nowadays treat each other from conniving behind their backs to exploit their privacy to straight-to-the-face insults. The way in Cohn constructs Lisa’s responses and reactions to all of that tormenting punishment is more-or-less accurate, if that’s fair to say, as Lisa is reclusive to her well-decked out room, showers with a hint of self-inflicted cutting, and attempts to fit in by committing dangerous acts of being thin.
Conscripted to tackle such a burdened role is Madi Vodane with “Devil’s Domain” being her only film to credit. Though Cohn squeaks by with the proper junctions at which a trouble teen might take, I can’t fathom actress Madi Vodane looking the part of the bullied Lisa. The whole scenario feels like how “Not Another Teen Movie” spoofed “She’s All That” with a good looking young girl portraying the unwilling participant of high school oppression and to top it off, Cohn has Vodane prance and lounge in her underwear for a good portion of the film, making Lisa’s plight even more harder to swallow. Lisa even partakes in a four-way with three scantily-cladded women in a devil manifested fantasy with one of the women being “Ratpocalypse’s” Linda Bella as Destiny/Satan. The French born Bella eagerly takes on the role of Satan in a familiarity akin to Elizabeth Hurley in “Bedazzled.” In the beginning when Bella comes onto the scene as the Devil, the supermodel statured actress is tucked into a skin tight, short skirt party dress wearing a long horned and barbarically cool satan latex mask. As she dances seductively toward her first victim Lexi (Molly Nolan) before commanding her minions to rip her to shreds with a chainsaw, the first thought was how interesting and intriguing this portrayal of Satan might be in Cohn’s film, but the character quickly becomes conventional, less evilly frisky as the story unravels around Lisa, and transforms more into a more grislier version of a trickster devil that we’ve all seen before. “Reservoir Dogs” and “The Hateful Eight” star Michael Madsen headlines the film despite being just a familiar face playing a side role of unimportance as Lisa’s sketchy, but understanding step-dad. As much as he tries and as much as I love him for it, Madsen can’t grasp being uncool, can’t fathom being understanding, and knows more about anger, thrills, and being the tough guy in the room. There other characters, played by Zack Kozlow, Kelly Erin Decker, Desanka Julia ilic, and others, but they come up short with sorely underdeveloped worth that they’re offed even before getting to know who they are and why we, as viewers, should care about them.
Cohn and his special effects techs bring some gore to the table in a few over-the-top kill scenes that show promise early on, but the blood flows tamer after Bella’s Devil character drives a machete over-and-over into one of the cruel schoolgirls at a kegger party. Also, when Destiny morphs into her true self, a wide wing-spanned and hideously grotesque Balthazar, played by a shorter actress named Angie Stevenson, the effect hardly sells itself, but Stevenson, I must admit, looks great in an elaborate, if not slightly Halloween-esque, costume accompanied with a set of razor sharp dentures on top of her bat-like outfit. However, one scene reaches new heights when the devil, though female in true form, rapes one of the female characters from behind in a show of pure malicious dominance that leaves a cold sweat and a gloomy mood over the treatment of dumped upon characters to whom never really dig themselves out of that deep hole from which they start, but rather they lay stagnant throughout without any hint of redemption. So you can say the whole story peters out after the apex of the she-devil climaxing because even though that particular moment is pivotal, the outcome briefly captures the meaningful intention as the message of the entire film becomes utterly lost and not anymore about resolving cyber bullying.
MVDVisual delivers the Cleopatra Entertainment production of “Devil’s Domain” on high definition Blu-ray. The unrated, 91 minute runtime of the 2.39:1 presentation is stored on a region free MPEG-4 AVC (BD 25). The image palette goes through a score of colored filters, from a scorching red to an intense blue, that removes much of the detailed definition, but natural coloring and skin tones do emerge from unfiltered sequences and bring full definition to the scene. The English Dolby Digital 5.1 track heavily promotes Cleopatra Records music talent for obvious reasons, such as Iggy and The Stooges, DMX, and Onyx. However, much of the track looses transitional traction between layers that abruptly pop in and out. The dialogue comes out clean and coherent. Extras include a making of featurette entitled “The Devil Made Me Do It,” a slideshow, the red carpet premiere featuring brief cast and crew interviews, and the theatrical trailer. Despite having gleaming moments of pure demonic appeal and a taste from many women in many undergarments, “Devil’s Domain” looses a bit of ground covering the topic of severe high school abuse and cyber bullying and doesn’t have the stamina to keep out from being a candy-coated horror film.
Washed up and dishonorably discharged Navy SEAL, Lieutenant Warren Carr, is haunted by the tragic death of his family and can’t manage to stop kissing the bottle, but when a Navy Lieutenant Commander offers him an olive branch toward redemption, one that involves facing the wrath of virgin blood thirsty demons in a Mexico bordering town called Jack County, Texas, Carr reluctantly accepts the black ops mission. Recruiting a pair of buddies of equally disgraced SEALS, Whiskey and Red, the three men go deep undercover as a bikers and join forces with an established Jack County biker gang to put a stop to the demons from spreading beyond the small town’s limits.
A good rule of them to live by when flipping through your DVD and Blu-ray library is if the film’s title reads and sounds like juvenile garbage – chances are – the film itself will be the same caliber, but there are diamond’s in the rough. For example, till this day, I still believe 2007’s “Shoot’Em Up” is one of the worst titled films, but the Clive Owen and Monica Belluci gory-action shoot out is great fun and undeniably attractive. Okay, so maybe that particular movie is a bad example, as “Shoot’Em Up” sounds pretty rad even if my 3-year-old daughter could have brainstormed a better title, but how about the AK Waters’ story, Charles Roy penned script, and Jeff Reyes directed film “Navy SEALS v Demons?” The common misperception is that a film entitled “Navy SEALS v Demons” must be an intentional farce, but is, in fact, a serious film about crotch rocket demons in search for pure virgin blood and three defamed Navy SEALS undercover as bikers who are hired for the black ops mission to take them out without support or backup. Demons weren’t the only prey of the American beloved, ass-kickin’ Navy SEALS as AK Waters, on the heel of Demons, had pitted the elite force against the living dead in a film entitled, you guessed it, “Navy SEALS vs. Zombies.” Put a KIA on the heads of demons and zombies, right up there with Osama Bin Laden, as our unsung heros can take on natural and unnatural enemies.
Built like a mountain Mikal Vega heads the charge as Warren Carr. Vega, with a resume that credits him a military or bodyguard typecast actor in some of Hollywood’s blockbuster films such as “Transformers: Dark of the Moon” and “G.I. Joe: Retaliation,” breaks from being a jughead extra for Michael Bay films and found a way to be a jughead lead actor in poorly produced nonsense filmmaking that has reared it’s ugly eye-sore head in horror films. By befriending AK Waters, Vega begins his career as a D-list actor with “Navy SEALS vs. Zombies” and working his way from there. Vega has potential and the talent, even if his talent’s rough and shaky at times. Alongside Vega are his two on-screen commando bros, Matthew R. Anderson (Red) and Les Brooks Jr. (Whisky). Together, the three don’t have great chemistry with no real bond forming that Military unspoken code of whether they live or die value. Liana Mendoza plays the semi-quasi female lead opposite Carr; her role of protective stripper mom doesn’t provide that one-on-one connection with Carr, especially since after her nipple-patch covered, incoherently edited lap dance for Carr upon his arrival into town was less than just okay (she’s much better in “Zane’s Sex Chronicles”), when her character is sorely underdeveloped to just be a waste of space and a fly on the wall. Lastly, there’s “Super Shark’s” Tim Abell as the ACES, special government agency whose acronym is never spelled out, acting head director Max Martini. Abell’s scenes in the command center are rather detached from the rest of the action. Abell does a fine job being the tough man in charge to a bunch of bewildered agents who look like they’re all sitting in a VFW mess hall, wondering how to keep operational their recon drone over Jack County, but Abell’s scenes are almost like a wasted effort in trying to sell his band of brother loyalty to Carr.
“Navy SEALS v Demons,” that’s not a typo in the abbreviated versus by the way, must have had storyboards that were shot from illustration-to-illustration because smooth transitions between scenes were anything but present. The 85 minute film also felt frustratingly rushed; for example, a portion of the finale tried to convey a death, a betrayal, and one other important antagonist upper hand all in 20 seconds of short clips, harshly edited together as the filmmakers said, “screw it, let’s just get it done.” The death of the major character didn’t get the respect the character deserved and I would be pissed if I was that actor, the betrayal comes out of far left field in such a brief scene, and the other scene, which I won’t go into details in case you want to actually watch this movie, goes relatively unexplained as well, but one can conclude that the dark powers of the head demon are Pied Piper-ly powerful. Special effects had some brief gory moments, all the demon makeup was obscured by off-screen voiceovers, structure impediments, and biker helmets, and to be frank, I’m still upset that Liana Mendoza, whose inherently sexy playing a sexy role, used pasties and the direction during the lap dance was to screen more of Vega’s mug of contempt as if the filmmakers themselves tried to intentionally censor themselves.
Ripped Boxers Entertainment and MVDVisual’s “Navy SEALS v Demons” goes to battle on Blu-ray home video. The Blu-ray’s image quality is actually quite good with an AVC encoded 1080p transfer presented in a 2.31:1 ratio. Color levels are balanced where needed, especially in the day time sequences, and skin tones naturally favor Carr’s middle-aged definition and heightens Mendoza’s ethnicity and womanhood. I can’t say the image quality did any justice to the demon makeup, rendering the oddly reddish hues on the shoddy latex an obvious quick job. The Dolby Digital 5.1 English only track has very little bite with some loss around the surround sound and the dialogue isn’t always in the forefront and clear. There are no extras on this release. “Navy SEALS v Demons” is, sadly, one of those bad low-rent movies with a low-rent title on a fairly good Blu-ray release and while Mikal Vega and Llana Mendoza share the intensity the story desperately needs, majority of the remaining is stale as week old bread, except for best part of the whole movie when Mikal Vega slaps around a lowlife biker in a barroom brawl. What will be AK Waters next versus project? Navy SEALS vs Vampyres, anyone?