Frontman Bobby Gray and his Southern rock band, Dark Roads, were supposed to be next big hit next to The Rolling Stones, but there fame and fortune started dwindling after some short-lived success. Barely surviving on a here-and-there gig in 1979, Dark Roads manager, Grace King, secures a secluded cabin in the woods for them to find their new sound before being dropped by their record label. Along with their female companions, chatty coach driver, their sensible roadie named Cash, and a handful of some hallucinogenic drugs, the trouble band members continue to squabble amongst themselves, especially more so against the vain and alcoholic Bobby Gray. Gray holds a terrible secret from his bandmates, a secret involving a pact he made with the Devil ten years ago and, now, the debt is due, placing the entire group in mortal danger…the price for fame and fortune.
Based loosely surrounding the tragic circumstances of the infamous 27 Club mythos, a moniker given for a collection of up and coming talented musicians who die unexpectedly and prematurely at the ripe young age of 27, “Dark Roads 79” incorporates into the fold the legendary tale of Blues musician, a 27 club victim named Robert (Bobby) Leroy Johnson, who sold his soul to the devil at a Georgia crossroads during midnight for to be the greatest blues musician, or so the story is told. The 2017 film is the fifth macabre picture from writer-director Chase Smith who co-wrote the film with documentarian filmmaker, Richard Krevolin, who no doubt kept the script on a historical accuracy path, as much as one supernatural storyline can stay on. “Dark Roads 79” is a production from Smith’s Georgia based independent filmmaking company, Spirit World Productions, and brought to viewers by “Old 37” executive producer “Jason Anderson” and co-executive producer Nicholas Frank Auger.
Already donning many hats, Chase Smith slips on one more broad brim and trashy cowboy mesh hat with Ian Cash, the level-headed, good natured roadie with a voice like an angel, but built like a Mack truck. Cash serves as narrator who sets up the story that swerves across the dotted line into spoiler territory just a tad, but Cash becomes the vehicle that brings the viewers up to speed on the legend of Bobby Johnson and the rise and fall of the Dark Roads, like a cowboy quick connect in case you needed help in establishing that Dark Roads’ success hinges on a fatal pact with the Devil himself. While Cash may seem like the focal point of the story, there’s a split with lead singer Bobby Gray (David A. Flannery, co-star from a few of the homoerotic thriller series “1313”) whose vanity flushes Dark Roads’s stardom down the toilet. Cash and Gray go toe-to-toe many times and Smith’s emits formidable tough guy appearance on screen while Flannery impresses with a complete loathsome veneer. Neither Smith or Flannery make top bill however as long as “Devil’s Rejects” Bill Moseley has a show stealing bit role as the wicked tongue Christian, Caretaker Williams. Moseley’s short, catchy tune of “Boys and Girls they’ll make some noise. They’ll all be burning in Hell” is a classic, archetypal Bill Moseley character idiosyncrasy. Though Moseley’s scenes are short, they’re definitely sweet and rememberable. “Dark Roads 79” rounds out with “Creature Feature’s” Austin Freeman, Lance Paul, Libby Blanton, and Chance Kelley alongside April Bogenshutz (“Attack of the Morningside Monster”), Jessica Sonneborn (“Never Open the Door”), Jennifer Masty (“Rabid”), Eddie George, Ramona Mallory (“Piranha Sharks”), and co-writer Richard Krevolin as the bands’ chatty driver, Thomas ‘Motormouth’ Jones.
“Dark Roads 79” is categorically a a mystery slasher with a supernatural edge that tinkers with blending lore and the theme of lost good times and friendships despite how unfriendly and uncouth they might be, but Smith and Krevolin purely tiptoe around the keynote of terrible, yet sense of family, camaraderie, failing to capture the coherency of the melancholic essence due to loss and despair built upon years of cathartic criticism, distrust, loathing, and continuous bickering between best buds. In fact, the band and it’s entourage displayed little love if it wasn’t under the influence of some drug, but we must remember that the narrative is told through the perspective of roadie Ian Cash who believed in the band, and, in so, believed in each band member albeit their merciless fair share of busting his balls. The editing, cuts, and transitions are, perhaps, some of the most interesting with “Star Wars”-like wipe transitions that effectively heightened as a hallmark of the swanky 1970s era and the emotion-extracting lingering shots, such as with the handheld super 8 cam that roams the room of an abiding jovial moment in time, capture more of the tender times between the group of bitter and weary druggies, alcoholics, and vain temperaments. Unfortunately, the positives do not outweigh the negatives with a scatterbrained and predictable story that comes off as another failed spawn of the 27 Club urban legend and shaves off the emotional baggage with cheap kills and too many unfulfilling characters.
Make a pact with the Devil himself by watching Chase Smith’s “Dark Roads 79” that’ll debut on stage with a wide digital release by the end of May from genre distributor, Terror Films. No set date has been announced. The film will be hosted on multiple digital platforms, such as TUBI TV, Google Play, Prime Video, ITunes, and various other streaming options. Since “Dark Roads 79” will be a digital release, the video and audio specifications will not be reviewed as it’ll be different for all personal devices, but I will note that some minor portions of the dialogue elements were echoey at times. The original soundtrack has strength behind it with Southern Rock tracks by Black Mountain Shine, Mark Cook, Benton Blount, and HK Jenkins, who composes the single “The Road You’re Going Down,” written by Chase Smith, for the film’s official music video. There were no bonus features with the digital screener. “Dark Roads 79” has the necessary ingredients of a backwoods-frat party gone awry slasher except with Southern Rock, but this Georgia based production is tuneless and tone deaf as it stutters through the Devil’s network of deadly deals.
Tag Archives: Never Open the Door
When Evil Lurks Outside… “Never Open the Door” review!
Six friends break bread for the holidays in a remote woodsy cabin. As their jovial and joyful conversation continues, a wicked evil lurks in the forest. A sudden and harsh knock at the door confuses the group on who would be calling at their isolated retreat and at the late hour. When Tess volunteers to answer the knocking, a stranger spews blood all over her and falls to the ground as she opens the door. With his dying breath, the aging stranger warns them to never open the door. stunned with complete shock and terror, the group doesn’t realize that the very moment the strange dies on their doorstep is the very moment of the beginning of the end as weird occurrences and odd behavior pits friend versus friend, girlfriend versus boyfriend, and spouse versus spouse when staying or fleeing the cabin becomes a life or death decision.
“Never Open the Door” strikes as an odd feature that marries projecting horror genres with resurrecting structures from the past into modern times. The Vito Trabucco directed 2014 released film, who also had producer Christopher Maltauro collaborate on to pen the script, stirs up vintage Alfred Hitchcock cinematography craftwork and mirrors the enigmatic nature of particular and peculiar “Twilight Zone” episodes. Trabucco and director of cinematographer Joe Provenzano voids the film of color to encompass the mood of bygone black and white thrillers and employs composer Carlos Vivas to enchant the story with a classically engaging score that embellishes upon harrowing pivotal moments in the story. Vivas and Trabucco have a prior working relationship under Trabucco’s previous nunsploitation slasher “Bloody Bloody Bible Camp.”
Vito Trabucco casted his staple entourage of actors. If you’ve ever seen “Bloody Bloody Bible Camp,” you’ll recognize many faces with the exclusion of George Troester, who plays the crude, unhitched Terrence. However, Troester does fit into the whole seven degrees of Kevin Bacon theory, being a co-star in “Crack Whore” along side Kristina Page and Steven Richards, Angel and The Stranger in their respective roles. Contemporary scream queen Jessica Sonneborn, the lead actress in “Never Open the Door’s” quasi-dual Tess performance, has a director’s credit under her name for her work on “The Haunting of Alice D” starring the iconic Kane Hodder. The 2014 film also rostered supporting actresses Kristina Page and Deborah Venegas, who portrays in Trabucco’s film as Maria, Luke’s wife. Luke is portrayed by Mike Wood with fellow “Bloody Bloody Bible Camp” co-star Matt Aidan as Angel’s fiance. Whew. Overall, the actors click as a group with a dinner room dynamic that’s natural with slightly pretentious moments that don’t really kill the mood. When the story ramps up, performances start to dwindle and overacting starts to unfold. Mike Wood absolutely murders the shower performance with ghastly exposition, but, again, this might be playing the retro card. Sonnerborn does well as the headliner. Her demon-like twin dominates, but just didn’t receive much screen presence in measly 66 minute runtime.
Continuing with the Tess demon, the black and white style fortunately masks most of the low budget special effects with the aid of some great uses of silhouettes and editing. Evil Tess’s pudgy demon sausage fingers dressed with cheap plastic looking fingernail attachments couldn’t fool a fool that they’re razor sharp, but with jagged teeth and glowing eyes encircled by a pitch black ring, she’s a nightmare inducing boogeywoman. Aside from a pair of demonic dispatches with one involving the razor blade finger caps, the effects were safely contained inside the realm of an independent feature. A few spurts of black blood and a handful of stabbings share a common bound of having being what remains of the effects which were executed well enough to serve the intended purpose. Mostly, “Never Open the Door” relied heavily on editing. Editing that involves characters’ hallucinating future or past events, attributing their frantic confusion and life threatening situation toward an endless loop of purgatory.
Yes, the characters are afflicted with a hell on repeat, switching identities on a continuous horizon that leaves fragments of prior rebroadcasts. From gathering information about the characters, none of them strike me as a damned souls. Tess is a veterinarian who performs the occasional neutering and spade and dates a man nearly twice her age. Terrence just doesn’t want to grow up, but no skeletons appeared from out of his closet. The couples, Angel and Isaac and Luke and Maria, grow suspicious of each others’ intentions that involve jealousy, paranoia, and hatred. Unlike a “Twilight Episode,” “Never Open the Door” leaves open doors of unsolved questions, such as answering the question of how the group came to acquire the house. Before the abrupt knock at the door, the person who located the isolated question seemed to befuddle the entire group. Another loose end lies with the person texting Luke messages about an illicit affair his wife’s having with one of their friends. Again, the loop doesn’t quite close on this interesting caveat.
Maltauro Entertainment presents in association with Baumant Entertainment the Vito Trabucco film “Never Open the Door” on Blu-ray. Unrated in a HD 1080p, the widescreen 1.78:1 is delectably sharp on a BD-25, but that really isn’t a surprise here with a black and white feature barely over a hour long. However, black-upon-black scenes define the Blu-ray with a low bitrate, displaying some blotchy, compression issues. Audio quality is quite fair. Carlos Vivas score channels through a Dolby Digital dual output that caters, again, to a vintage replication, but in creating an atmospheric feature, having surround sound would have boosted the result tenfold. The dialogue is a bit wish-washy, pending on the scene and character positioning, but forefront evident in the quality and that is what really matters. English subtitles are also available. “Never Open the Door” has grand potential in a small package, but trips over it’s own inconsistencies with erratic editing and walled details. Director Vito Trabucco’s vision in modernizing classic techniques and styles merely becomes just that, a vision, and was inches, or rather seconds, away from opening the door for potentially a far greater anxiety-riddled psychological thriller.