In the year 2022, orbital satellites carry nuclear missiles and maintain flight patterns around the moon. When a satellite repair ship, known as a “refab” ship called Spaecore 1, attempts to intercept a satellite for maintenance, the system wide computer goes into an unexplained power failure that jeopardizes communications, life support, and navigation. Drifting helpless toward sector Centrus B-40, the dark side of the moon, all hope will be lost within 24 hours unless operations can be restored, but a mysterious spacecraft, NASA’s Discovery shuttle, heads toward them and docks onto their outer hull without so much of a hail from the shuttle. Captain Flynn and Lt. Giles investigate a seemingly abandoned ship until coming across a dead body of a presumed missing NASA astronaut, eviscerated with an opening left in a perfect triangle as the cause of death, and that opens the door to more questions than answer as a sinister presence boards their ship, pursuing damnation for their souls.
Just think, in two more years, weapons of mass destruction satellites will loom just above fluffy white clouds, ready to mushroom clouds out of targets with a 10-ton yield; at least that’s what director D.J. Webster and the screenwriters, identical twins Carey W. Hayes and Chad Hayes, modeled the future when conjuring up this delectable Sci-Fi horror film approx. 20 years ago. With special effects models and techniques that withstand against powerhouse space films, such as from the immaculate effects of Alien franchise, “The Dark Side of the Moon” becomes more than just a 1973 Pink Floyd album title Fabricated out of warped creativity of old and new concepts with a Biblical horror base that only the 1990’s could loosely spin into an hour and 27 minute feature, for many of the filmmakers involved, “The Dark Side of the Moon” credits as their first taste of a feature length, large scale production, especially with the mainly music video director D.J. Webster, who loves his closeups, and director of photography Russ T. Alsobrook, as they auto clicks into a team that seemingly have experience of seasoned veterans or, perhaps, spent some secretive, unlogged time in space. Who knows, but the outcome ruminates about the dark side of religion and how each of us deal with it internally.
When mullets and giant framed glasses are afoot, the late 80’s, early 90’s filming era is beyond evident with interestingly gritty characters lined up for an evil figure eager to knock them down and, of course, the story’s lead character is the mullet sporting pilot named Lt. Giles Stewart who is unwittingly thrust into the fast track of a hero’s lane. Giles’s atheism framework has a pleasant sardonicism about it when face-to-face with the immortal conqueror of his ship and crew. Will Bledsoe paints Giles as such as faithless space pilot, bound to duty, and willing to do anything to just not save himself, but others. One of the only recognizable faces, at least for myself, in the cast is John Diehl. The “Stargate” and “The Shield” television actor is best at being a wild card in turmoil situations and as shipmate Phillip Jennings, the same can be expected without being utterly conventional or warrant any kind of typecast label. Another actor to note is Alan Blumenfeld as the ship’s panicky Dr. Dreyfuss Steiner. Blumenfeld, who had a role in the best Jason Voorhees film, in my humble opinion, “Friday the 13th Part VI: Jason Lives, is once again stalked by a larger-than-life villain while maintaining a profusely sweaty persona that’s symbolically intended to be true, unadulterated fear. As a whole, the cast is amazing regardless of some first time filmmakers at the helm, rounding out with “Re-Animator’s” Robert Sampson as the ship’s Capt. Flynn, Joe Turkel from the first “Blade Runner,” “Blood Frenzy’s,” and overall erotic thriller goddess, Wendy MacDonald, stunt man (“Kill Bill Vol. 1 & 2, “Army of Darkness”) Ken Lesco, and another “Friday the 13th” actor, Camilla More, or Tina from “The Final Chapter,” as the stationary sexy, ship’s onboard computer-robot named Lesli – think on the same lines as Mother from “Alien,” but in the flesh.
What makes “The Dark Side of the Moon” very interesting is the film being an unofficial precursor to other science fiction horror films like “Event Horizon” that was released roughly seven years later. Space as this gateway to Hell concept is sorely under-appreciated and underutilized. Space is already vastly frightening to begin with and by adding a devilish abyss aspect to it makes the idea an absorbingly scary thought. What’s also fascinating is the Hayes brother. “The Dark Side of the Moon” is the brothers’ roots film; the proverbial patient zero that spread successful movie writing careers for the twins, spawning turn of the century horror with the remake of “House of Wax” that saw the on-screen death of Paris Hilton, had “Underworld” star Kate Beckinsale track down a killer in Antarctica in “Whiteout,” and they penned “The Conjuring” that constructed its very own universe.
“The Dark Side of the Moon” comes in at #2 on the Unearthed Films’ Classics label distributed MVDVisual. The newly restored 4K transfer of the Wild Street Pictures production is presented in a widescreen, 1.85:1 aspect ratio, region A Blu-ray release. Surprisingly sharp despite consistent low-lit scenes and not as washed like previous VHS versions, this restoration fine tunes the nitty-gritty specifics needed for proper presentation that doesn’t falter from heavy digital noise or blotch artifacts and shows no signs of enhancing The English language LPCM 2.0 audio track is strapping for a dual channel format. Dialogue pronounced clearly, ambient spaceship clinks and clunks create atmospheric range and depth, and the relentless brooding score by “Society’s” Mark Ryder and Phil Davies delivers shuddering spinal-tingles without being monotonously dull. Bonus features include a commentary with executive producer Paul and Unearthed Films’ Stephen Biro, interviews with Alan Blumenfeld, FX artist R. Christopher Biggs, and stuntman Chuck Borden, plus vintage audio track, trailers, photo gallery, and a insert booklet that dives into about the production and the cast. All packed into a nice little slipcover package. “The Dark Side of the Moon” pioneers into the future of space horror as a good ole dread-inducing fear-monger of the great expanse, deserving this Unearthed Films’ release, hands down.
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Ancient Aztec EVIL in the Heart of U.S. “American Mummy” review!
A group of anthropology university students discover the remains of a mummified corpse in a New Mexico desert. A dig site is erected and weeks go by as they unearth the entirely wrapped skeleton out from a shallow grave inside a small cave. The work week wraps up and only the weekend crew stays behind to maintain a presence of study and security at the excavation area, but when one of the students, obsessed with notorious legend of Lord Tezcalipoca, performs a primordial blood ritual with the mummy, the student releases hell on Earth when blood tainted by Lord Tezcalipoca become his blood hungry servants and willing acolytes. The skeleton weekend team has to piece together the carnage before rendering themselves helpless against the vehement and poisonous blood of an once almighty Aztec autarch.
Based off the factual historical figure, Tezcatlipoca, that’s TezcaTlipoca which is left out in the film, who was one of the deities in the Aztec religion. In Charles Pinion’s “American Mummy,” Tezcalipoca has a backstory that reflects the “smoking mirror” God as evil divinity and will one day resurrect from his resting place to lay claim to all. Though listed as a 2014 film, the San Fran cannibal “We Await” director, Pinion, actually shot “American Mummy,” also known as “Aztec Blood,” back in 2011 in California and wasn’t released until approximately three years later in 2014. The director pens the script with “Adventures in Pornolands'” Greg Saleman and, together, the duo bring the inverted Aztec lore soiled in blood and wretched with horrible havoc on the land of the free.
“American Mummy,” from the beginning, conjures up, through perhaps it’s own ominous blood ritual, the final girl trope used in many previous horror films prior to, but Pinion and Saleman do their due diligence in building in many other characters who could, with a sliver hope, be the ones left standing by the end of the ordeal. However, from the beginning like mentioned, we can all count on Becca being the survivor to tell the tale of the Mummy madness. Played by “Dick Night’s” Jennifer June Ross, Becca is an obvious shoe in for saving as she bares the least skin. That’s right. “American Mummy” follows all those slasher rules laid out by Randy Meeks in “Scream.” Those who give a little peek-a-boo to their private parts, Carmen (Esther Canata of “Hired Gun”), Connie (Erin Condry), and even the faculty staff who sits around in a mini-kimono for lengthy scenes, professor Jensen (Suziey Block from another Aztec horror – Aztecsploitation? – film “The Aztec Box”), all put their I’m a survivor of an Aztec deity cards into question. The male cast, well, no a lot of hairy backsides to speak about, but their blatant cowardice and slow-witted qualities might as well put them out to pasture. They round out the cast with Aidan Bristow (“All American Zombie Drug”), Aaron Burt, Jack Grimmett, Rudy Marquez, Peter Marr, Rigo Obezo, and even Greg Saleman as the Russian scientist Dr. Lobachevsky in his best Russian language.
In continuing my reign of beating dead horses, I’ve sure I’ve mentioned that mummy films are few and far in between. These types of undead ghouls, though classic, are not the it undead go-to films. Zombies and vampires reign supreme in that department, churning a feature film out every 10 seconds or something like along those lines. To put in simply, “American Mummy” was an anticipated treat from a genre teeter on the edge of literals mortality, but Pinion’s entry is about as desiccated as the genre itself for at least the first two acts that drown out in heaps of abysmal performances, an effortless progression, and a first act that’s peppered with nudity, which is not necessarily a bad thing. No? However, by the climatic end, I ended up enjoying “American Mummy’s” schlocky and immensely gory posture in a very zero to 60 in 1.8 seconds way. I’m not talking infinitely bloody, but Pinion has a splatter third act that can spellbinding despite the obvious technical goofs that give his movie magic secrets. Also, a healthy amount of background research offers a bit of positive authenticity. The burial mask is beautifully faithful and Tezcatlipoca was an Aztecan God.
“American Mummy” comes courteously from Wild Eye Releasing, Tom Cat Films, and MVDVisual onto a not rated, limited edition triple formatted DVD, Blu-ray, and Blu-ray 3D release! Despite being listed as an all region Blu-ray, the playback is locked on region A for those will region adjusting players. Perhaps the first 3D picture to be shot with a pole cam, the image, without 3D glasses, will be an eyesore. Unfortunately, “American Mummy” does not include a pair, you’ve been warned. If by chance you don’t have a stockpile of 3D glasses, have no fear, the 2D version is available on both formats. The lossy English language DTS-HD Master Audio 2.0 frailly packs little punch. The uncleaned dialogue suggests bad mic placement and the distortions run rampant through the dialogue mix while the losing much girth muffled by the soundtrack. Topped with shameful cheap foley, the audio expectation was little more than just a simple let down for a film shot in 3D. Bonus features include a miscellanea behind the scenes, a few outtakes, promotion videos, and the official trailer. I think the lack of 3D glasses is the stinger here. Simple bloodshed gratification saves “American Mummy” from being a widely cursed dreck dumpster fire of a film, but don’t embalm, dry-up, and wrap Charles Pinion’s film for entombment in haste, the filmmaker does have some blood he’d like to spill.
Tom Cruise Couldn’t Stop an Aztec Curse! Buy it over at Amazon!
Undead EVIL Versus Hot Shot Mercenaries in “The Jurassic Dead” Review!
After being terminated from Government involvement and dismissed as a professor at a prestigious university, controversial scientist, Dr. Wojick Borge, vows retaliation against those who deem his life work, re-animating lifeless cerebrals into fevered ferociousness, irresponsible and dangerous, but before developing his plan of attack, an irefully distracted Borge is struck down and crippled by a pickup truck. Surviving the accident, Dr. Borge joins a radical militant group with a mission of destruction toward the United States of America. An elite team of five special ops hired guns are dispatched to Borge’s isolated desert compound to locate and destroy the mad scientist and revoke his dastardly end of days card that also involves a pre-calculated asteroid strike on Earth, leaving an EMP trail that wipes out all electronics and with America dark, the crazed scientist intends on releasing his toxin amongst millions of people that will vehemently destroy themselves. Caught in the mix are college kids on a road trip when their car dies and nothing can prepare them when they come face-to-face with an undead pre-historic sentinel at Dr. Borge’s compound.
First, there was the baaah’d-ass, four-legged, undead lamb chops in Jonathan King’s “Black Sheep.” Then, these living dead aqua rodents didn’t give a dam in Jordan Rubin’s “Zombeavers.” Now, directors Milko Davis and Thomas Martwick go full pre-historic carnivore with “The Jurassic Dead.” A indelicate cross between “Jurassic Park” and any zombie film you could probably think of for a film that’s has nifty alternate titles, such as “Zombiesaurus” and “Z/Rex”, Milko Davis co-writes an intrinsic script with “Generation X-tinct” screenwriter Michele Pacitto that narrates the mining of calcified tree sap and extract the DNA from fossilized mosquitoes in the Jurassic period….wait….that’s, uh, “Jurassic Park.” “The Jurassic Dead” isn’t that problematical, so forget I said anything about an intrinsic script. No amber colored fossils and no GMO dinosaurs here. Just chomp and chew action that’s “Jurassic Park” meets “Re-Animator” in this farcical, action-packed tour de force.
With a film about a miniature zombie Tyrannosaurus that infects people into burning-eyed and enraged zombies with a single bite, just like your typical dead head would be able to accomplish, “The Jurassic Dead” moreover has character flair gaudy with macho-isms and sarcastic tiffs lined in every scene and entrenched in a saturated dialogue and the character flair is flared by an eclectic cast, starting with professional bodybuilder Andy Haman. The 53-year-old built like a Mac truck steps into the platform combat boots of Duque, head mercenary in charge, and is notably mentioned resembling the video game pop culture stud, purposefully varied as Duque, Duke Nukem with the blonde spikey hair, shades, cigar, and muscles bulging out from a sleeveless shirt. Get this guy a seven-figure contract before he gets any older! Another noteworthy cast member and biological badass is an Ultimate Fighter Championship boxing style fighter, Raquel “Rocky” Pennington. The 30-year-old Pennington goes silent, but deadly as Cuchilla, one of the mercenaries with a liking for raising a machete to one’s manhood. Haman and Pennington already pair as formidable force, but the rest of the mercenary actors based in Colorado, where “The Jurassic Dead” is filmed, stacks more assorted attitude and brute. Big Fish Talent’s Ruselis Aumeen Perry (“Tsunambee”) masses what’s left of his team against Dr. Borge and his re-animated fossil as Stick and then, there’s Spivey, a fitting role satirically portrayed by another Tsunambee actor, Shale Le Page. Spivey’s rootin’ tootin’ good ole boy show is the cherry on top levity that tops a mound of primordial preposterousness. The Hits’ lead singer Mia Klosterman (“Battered”), Ben Johnson (“Curse of the Black Lagoon”), Cooper Elliot, Adam Singer, Mary Jo Mauro, and Juan Gonzoalez bring up the tail end of the cast.
At first glance, the shoddy digital effects and disjointed storyline (like what’s up with the two prefaces about Dr. Borge’s downtrodden woes that really have no standing leading into the meat of the story) might write off “The Jurassic Dead” on surface level viewing, but look closer, beyond the 1990’s sorely stretched rotoscope and a dino who bites like a puppy dog playing with a knotted rope toy and you’ll notice a respectable layer of re-played movie magic that includes just as much practical effects than it does visual. Detailed miniature models and a man, who I believe was Cooper Elliot, donning those realistic personal T-Rex costumes used more notably when pranking unsuspecting Japanese denizens walking clueless down a vacant building hallway. Hell, even some of the black drums are miniatures constructed from food cans sprayed painted black and the military-esque Humvee is a RC doctored battle-worn. The man behind the effects, Thomas Martwick, shows that Davis and Markwick are a pair of jacks of all trades and wear many hats that define dedication to indie filmmaking culture. A quality that surpasses subjective tastes of good and bad effects or films in general.
MVDVisual and Wild Eye Releasing present another wild horror film with “The Jurassic Dead” onto a Blu-ray and DVD combo pack. The Blu-ray was the sold reviewed format which is a MPEG-4 AVC encoded BD-25 disc presented in a widescreen, 16:9 aspect ration, with a region free cherry on top code. From the view point of looking through some of the sour effects, the image quality is like looking through the murky surface level to find cleaner, bluer ocean water, but the non-green screen portions of the film are sharp and more defined. The English Dolby Digital 5.1 surround sound caters to a lossy audio mix that betrays the dialogue track, favoring a generic and boring stock soundtrack over what I think was semi-important dialogue about how events play out. Bonus features include director’s commentary, a petite behind-the-scenes featurette, a few outtakes and trailers. While saturated heavily with chintzy composites and a scare level hover around nil, the ambitious “The Jurassic Dead” still bares entertainingly sharp teeth as a fun, no frills, feast or famine action horror abundant with Dino action.
Undead DINOSAURS!!!! ROAR!
Insecurity is a Path to the EVILside! “Killing Spree” review!
Airplane mechanic Tom Russo is a newly married man; it’s his second marriage, in fact. Tom’s first go around in marital union didn’t go over so well as found himself on the other end of being a victim of adultery. Paranoid and skeptical, Tom requires his young and hot new wife, Leeza, to become a house wife as he works long, exhausting hours to support his family in a one income household. As the work hours pile, money becomes tight, and tensions build in the back of Tom’s mind, paranoia steamrolls Tom’s reality when he starts suspecting a lonely Leeza of screwing every delivery, repair, and lawn car man that knocks at their door. Without confronting Leeza with his delusions, Tom’s extreme jealously pushes him to kill and bury the men that he envisions involved in the affairs, but his victims don’t stay dead, they don’t stay buried, and seek the eternal suffering for their killer.
A few, long years have gone by since our last encounter with the practical effects-heavy, indie horror director Tim Ritter. From his disturbing tale of destructive descent in “Truth and Dare?: A Critical Madness to his “Switchblade Insane” segment from the SOV masters of horror in the ghastly-variant anthology “Hi-8 (Horror Independent 8)” that also helms short films from Donald Farmer (“Cannibal Hookers”), Todd Sheets (“Dreaming Purple Neon”), and Brad Sykes (“Camp Blood”), the filmmaker has a legacy of blood-shedding entertainment. Today, exploration into Ritter’s “Killing Spree” unearths his passion for horror that develops out of influences from other horror icons before leaving his bloody footprint in the indie scene. “Killing Spree,” written and directed by Ritter, displays the filmmaker’s deep affection for Fangoria magazine having it displayed, repeatedly used as coffee table literature prop. There’s also admiration for “Night of the Living Dead” in the bonkers film about one man’s mind snapping like a twig under the formidable stress. The main character’s name is Tom Russo and Russo is the last name of NOTLD co-writer John Russo and let’s not also forget about the undead rising from Tom’s backyard is fairly synonymous with zombie classic.
While Tim Ritter flicks may not be graced with star-studded actors and actress, even from the B-movie lot, and more than likely don’t spawn hidden talent, there’s still something to be wholeheartedly said about the cast of his films that can only be described as an eclectic bunch of marvelous misfits that bring underground brilliance to the screen. Asbestos Felt is one of those said characters. No, I don’t mean the toxic asbestos felt roofers use as a underlaying backing when nailing in shingles. “Killing Spree” is one of three films Felt and Tim Ritter have worked on together and the scrawny-build with a strung out Grizzly Adam’s head on his shoulders has a wide-eyed spectacle about him when playing Tom Russo spiraling down the crazy train drain. Tom’s obsession with keeping Leeza from the perverted grips on those naughty repairmen would drive any wife away, but not Leeza, played by Courtney Lercara. The “Slaughterhouse” actress is an aesthetic flower growing in the middle of all the mayhem and she protrudes an innocence well received by her character. Other cast members include Bruce Paquette with the white boy dance moves, indie horror vet John D. Wynkoop (“Brainjacked”), Kieran Turner, Alan Brown, Rachel Rutz, Cloe Pavel, and Raymond Carbone as a dirty old pilot with a wise guy brogue.
Remember when I said these types of horror films don’t typically expose acting artistry? Well, behind the camera, one or two crew members start their illustrious careers in the indie trenches. Such can be said for special effects master Joel Harlow who makes his introductory launch with “Killing Spree” and then find work on a couple sequels for “Toxic Avenger,” “Basket Case 2,” and all the way up to the Neil Marshall “Hellboy” and “Godzilla: King of the Monsters.” Yeah, I think Harlow made out OK. Harlow’s effects on “Killing Spree” will “blow your mind,” as stated on the back of the Blu-ray cover. Well, when Leeza’s head turns into giant lips then goes oral on Raymond Carbone’s head until his crown ejaculates, then, yes, these effects will blow your mind…literally! The medley macabre showcase Harlow’s craft from A to Z that includes a torched corpse, a disembowelment, severed undead head, and a nosy neighbor without a nose or without half a face for that matter.
Sub Rosa Studios re-releases “Killing Spree” onto the dual format, DVD/Blu-ray combo set with MVDVisuals providing distribution of the limited 666 copies. Essentially, this is the same release that was made available a couple years back presented in a standard television format of 1.33:1. The Betacamp SP 16mm video has held back the test of time since 1987, but with any video film on a budget, the rather cheap recording method does come with inadequacies, even if being remastered. For the entire runtime and not just in the tinted moments of carnage, the skin tones are akin to Donald Trump’s uncanny neon orange flesh and perhaps could have gone under an extensive color correction. Aside a few very minor tracking issues and faded coloring, the video transfer passes substantially well despite the continuous flare of orange. The English stereo 2.0 mix isn’t hearty or robust. Whenever Tom goes into maniacal mode, his crazy quips are quite soft even when he elevates his voice, and that goes the same with depth and range which are non-existent over the course of a flat audio tracks. Though soft at times, dialogue strongly comes through in the forefront with some fuzzy nuances. Bonus features are killer on this release with the Blu-ray sporting the majority with a never before seen extended director’s cut, a new commentary track from director Tim Ritter, a 90 minute documentary entitled “Blinded by the Blood,” a radio show commentary by H.G. Lewis and Tim Ritter, music tracks, photo slide show, three alternative scenes, blooper reel, and a Joel D. Wynkoop segment. The DVD also includes the director’s cut version of the film, the new commentary by Tim Ritter, and commentary for the original cut by Tim Ritter. “Killing Spree” is as grisly as the SRS cinema Blu-ray/DVD cover implies and then some with all the characteristics of a deranged and unhinged man exerting himself beyond the limits of sanity and mortality to unambiguously protect what is his; a dramatize example rendered as a metaphor for those who will do anything to protect what’s theirs.
Limited Edition. Get it now!
Its Just Not Any Evil Film. Its “A Serbian Film” review!
Milos, an aging porn star, struggles to provide for his wife and son. Though still working here and there with mediocre gigs, Milos longs for the glory days as the stud every starlet desires for a scene with, but for Milos, his family comes first and foremost. When an admiring former colleague offers him a meet and greet with a provocative director presenting a contract that would set his family stable for life, Milos assures himself doing the right thing along with the permission from his wife. He meets with Vukmir who captivates with progress pornography art, a new age of adult material, that will be novel and exciting that’s enshrouded with obscurities about who exactly the seasoned star is performing with and what exactly he is supposed to do in this project. What unravels before him is Vukmir’s mad vision that not only breaks every law and moral fiber know to mankind’s sexual nature, it completely obliterates the rules toward sexual deviances in an underground criminal industry that banks on the wealthy’s sordid tastes.
A long time has this reviewer been patiently waiting for the opportunity to screen Srdan Spasojevic’s written and directed multi-country banned film, “A Serbian Film.” Also known as “Srpski Film” in Serbia, the 2010 exploitation that features substantially graphic material with themes of necrophilia, pedophilia, and snuff rarely finds a suitable medium for an uncut presentation as Spasojevic’s feature consistently, and perhaps rightfully so, goes under the governing censorship board’s scalpel to selectively trim the excessive violence, the crude depiction of children, and all the other shocking material that’s rammed unwillingly into your backside. Fortunately, or unfortunately depending on how one perceives artful censorship, the most accessible copy of “A Serbian Film” has limited cuts that total approximately one minute worth of footage left on the cutting room floor to just eek one out from the ratings’ club. Though listed on the DVD back cover as unrated, this cut will be the one reviewed below from U.S. distributors Invincible Pictures and MVDVisual.
How does an actor run with a performance that incorporates vile and degrading perversive qualities and circumstances upon a character? I don’t know and I don’t know how, but somehow Srdjan Todorovic killed the performance as Milos. Todorovic’s veteran filmography credits establish him as a natural switch between characterizations and choking up on the reigns of each facet to achieve maximum reaction. Milos is a physically challenging role with many difficult scenes and Todorovic found inspiration out of thin air; I’m sure the Yugoslavian born actor needed a months’ worth of showers to remove the disgust from off his flesh when the film wrapped. Another complex character is Marko, Milos’ dangerously envious cop brother who chomps at the bit for Milos’ sexual longevity, stellar porn career, and his gorgeous wife. Slobodan Bestic could have passed for a Serbian Hugh Jackman from “Swordfish,” complete with little dangly earring. Bestic’s performance is unnerving, haunting, and downright salacious that waves in and out of a potentially dangerous man with a hankering for carnal informalities. Speaking of which, Vikmur epitomizes the very definition of being a lunatic. The lavish filmmaker has grandeur style with repugnant tastes in content. Sergej Trifunovic puts on the shiny shoes and fancy suits to become the venomous underground kingpin with a torrent of tasteless videos and the “Next” actor really plays the bad guy well, really does a showmanship disenfranchising Milos and those that love him their ability to enjoy free will. The remaining cast include Jelena Gavrilovic, Katarina Zutic, Luka Mijatovic, Miodrag Krcmarik, and Andela Nenadovic.
A unforeseen aspect of “A Serbian Film” that rings surprising is the engrained story of an extremely fallible hero. Srdan Spasojevic proved shocking, exploitation horror doesn’t have to be completely allegorically benign and the filmmaker has even mentioned that his film is a composite piece of abusive power from authoritative figures forcing people against their will, as if spellbound, to do atrocious acts and while these acts might not be atrocious as rape, sexual assault on children, or using an erect penis to kill someone, Spasojevic creates moments where his statements are affirmed. The transition between act 2 and act 3 backs Vukmir against a wall, trying to salvage his star’s contract by debating material that’s good for all. Spasojevic hones in on Vukmir’s raving soapbox speech to Milos about how he and his company govern the country and how they are the backbone of his of the sovereign Sebrian nation, the true delusion of power and the wool over the sheep’s eyes as the action point.
Invincible Pictures, the same folks who distributed Kevin Smith’s “Yoga Hosers,” and MVDVisual present “A Serbian Film” as a re-release onto DVD home video. Presented in a widescreen, 16:9 aspect ratio, the image warrants no mention of issues as a clean picture in a dry-yellowish tint while still maintaining some natural lighting and depth in the gruesome details pop every sensory nodes. Banding problems are faint at best and the edits are what they are sense the film is slightly trimmed anyway. The Serbian language 2.0 stereo mix pounds with a pulsating electronic-rock score and shows the ranging with the screaming, whimpering, crying, and the sloshing of blood and semen fluids. The English subtitles are error-free and have hardline text that make reading them more easily. Though usually bonus features are preferred, in this case, just having “A Serbian Film” alone on this DVD release didn’t feel necessary to have the share the film with the bonus features, creating an intimate moment between viewer and feature. “A Serbian Film” sears a glowing hot lasting impression right into the mind and soul, twisted and perverse in an unfathomable immoral compass too messed up beyond the most descriptive of descriptions. “A Serbian Film” is best viewed alone, without food, and with your sensitivity left outside.
Must-by “A Serbian Film” on DVD!
It's Bloggin Evil! 