Canada’s Evilest Alien Movie…Ever! “Phobe” review!

Posted by Steven Lewis on October 3, 2016

Sergeant Gregory Dapp, A lone wolf space cop, travels lightyears to Earth, ordered to hunt down and capture one of the universe’s deadliest and sought-to-extinction creatures, simply called a Phobe, before the extraterrestrial being reproduces on a massive, world obliterating scale. This particular species has wiped out all of Drapp’s special Phobe hunt and destroy unit and were thought to have been blotted out off the face of his planet until one lands on Earth. Drapp must team up with Jennifer, a local high school girl caught in the middle, to help capture the Phobe before spreading it’s seed for world domination.

“Phobe: The Xenophobic Experiments” is an extremely ambitious sci-fi action film from Canada. Directed by Niagara, Ontario filmmaker Erica Benedikty, the 1994 film had a ultra-micro-budget of only $250 to cast a two-world, space odyssey complete with light-saber action and a behemoth amount of laser fodder. Being a slave to nearly no financial backing, “Phobe” had to manage without shame and roll with the flawed punches and, somehow, obtained popularity when broadcasted at a television station with which Benedikty was associated even when the film had to be diluted down to PG content. Fast forward 22-years later, Intervision Picture Corp. releases the aspiring director’s DIY fantastical vision in a glorious and plentiful remastered DVD edition.

The Benedikty written and directed alien action feature pulls inspiration from many admired blockbuster sci-fi films including some potent familiarities, such as a revamped form of the alien from “Predator” who stalks with heat vision and blends in with camouflage or the dazzling lightsaber duels from the epic saga that is “Star Wars,” creating an endearing homage from a knowledgeable science fiction enthusiast with a dedicated cast and crew during a year long shoot. The Ontario filmmaker scribes her hero as not necessarily the hunter, but as the hunted because as soon as Dapp lands his ship and saves Jennifer’s life from a Phobe laser (a roman candle blast), Dapp and Jennifer spend the entire night on the run, never challenging the being until forced to do so and the structure harps upon a plot similar to “The Terminator” with a “Battlestar Galatica” villain presence.

Rostered completely with unknown local actors, John Rubick stars as the mullet sporting, Phobe asskicker Sgt. Gregory Dapp who bolts into light speed with a very John Belushi appeal set upon the shoulders of a calm and candid Rubick demeanor throughout the entire Phobe capturing and Phobe egg destroying ordeal. Dapp’s semi quasi love interest Jennifer, Tina Dimoulin, blankly unconditionally follows Dapp into certain utmost danger. The Dapp and Dumoulin combo are Earth’s last hope against the Merv Wrighton’s portrayal of an invading, combat-ready, ultimate killing machine species. Wrighton’s tall and broad shoulder stature ideally constructs an intimidating antagonist being ultimately unraveled by a very inanimate casted mask with no texture or any kind of cosmetic makeup whatsoever and that highly resembles a toothless ivoried skull.

“Phobe” won’t be palatable to every sci-fi devotee’s intergalactic taste. Only a microscopic niche fan base will greatly appreciate the tongue-in-cheek fashioned computerized imagery, the depth scale modeling, and the automaton deadpan acting that establishes “Phobe” as cult material and Severin’s InterVision Picture Corp. label does right by this small time Canadian film by remastering the original video elements and supplementing the DVD with a vast amount of bonus material. The video quality presented in a full frame 1.33:1 aspect ratio is as good as it’s going to get with the inconsistencies of magnetic tape from a camcorder as the darker scenes are, at times, hard to visually construct because of the digital noise, but the Dolby Digital 2.0 stereo audio quality is quite balanced and clear. The laundry list of bonus material includes an audio commentary from writer-director Erica Benedikty, the first feature film from Benedikty “Back in Black,” “The Making of Phobe,” Q&A with cast and crew, original FX shots from the 1995 broadcast version of “Phobe,” outtakes, and “Phobe” theme performed by Gribble Hell. Whew, that’s a lot of extras. To sum up the experience, “Phobe” is campy sci-fi schlock with stellar intentions and with tons of heart made of grenade tomatoes (this reference will make sense once you see the film) all while breaking the DIY mold.

Grab a copy of “Phobe” at Amazon.com!!!!

Get Caught In Evil’s “Flytrap” review!

Posted by Steven Lewis on September 28, 2016

Newly hired UCLA astronomy professor James Pond becomes mixed up with peculiar behaving individuals when his car breaks down in a quiet suburban neighborhood. Held hostage in a small house, James reluctantly follows orders from an automaton man named Gilligan involved with a unusual plan for James to reproduce with the lovely Mary Ann. James’ ensnarement feel like a gag at first until he awakes bound to a bed and strapped with a shock collar; the once thought innocent fling with Mary Ann has taken a turn for the worse when he the realization that the whole human race could be in jeopardy. James becomes captivated by Mary Ann’s innocence, naivety, and beauty making his attempts to escape more difficult without her, but if he decides to stay, a ominous question mark will determine his fate.

“Flytrap” is a micro sci-fi thriller production written-directed by 1995’s “The Mangler” screenwriter Stephen David Brooks and stars television series “Salem” Jeremy Crutchley as Jimmy Pond, Austrian born Ina-Alice Kopp as Mary Ann in ambivalence, and Jonah Blechman as the emotionless Gilligan. From the get-go, “Flytrap” slowly builds a momentum, but never really gains the full steam while revolving around Jimmy Pond’s detainee state. Ambiguity plagues the story with many unanswered questions, leaving more for the audiences’ imagination rather than to the exposition and that begs the question whether everything that did happen to the astronomer happened in reality or in just in his mind? For example, the voice in the air condition duct stays anonymous until, maybe or maybe not, the end and, perhaps instead, that was all just Jimmy’s subconscious informing him of his rational side opposed to what his heart desires such as, for instance, Mary Ann is not who she seems. Is Jimmy that much wrapped up in his paranoia?

If you didn’t notice from the film’s synopsis, references from “Gilligan’s Island” are abundantly staged throughout, especially with the character names. Jason Duplissea has a minor role as the Skipper for only a brief moment and we never see Duplissea grace the screen with his presence again. Besides, Duplissea didn’t resemble his television show namesake as the others. Other pop culture references, such as Alfred Hitchcock, MTV’s Punk’d, and various others, are mentioned but the conveying of these felt as if the film didn’t have a single original thought starting with their characters, especially with the hip English astronomer and his vast knowledge of American and British pop culture. Yes, Jimmy Pond was struggling to humanize his captors, who supposedly hail from the planet Venus, with bad dancing, some romance, and an unquenchable yearning to be free, but the intention comes across technically clunky, delivered with no substantial soul. Other technicalities fair far better with great lighting to create an inauspicious atmosphere. Combine that with some solid performances from Jeremy Crutchley, Ina-Alice Kopp, and a frightening mechanical Jonah Blechman and the situation turns hopelessly weird.

Aside from Jason Duplissea making little less than a cameo, other characters quickly pop in and pop out of the story. Billy “Sly” Williams involvement lacked girth when his character Rondell sits rather very patiently through the weekend, waiting for Jimmy to call or pickup his cell. There’s no motivation other than sit and wait and call the police where the inept police department uses a machine instructs to leave a message of a crime being committed. When Rondell finally has the opportunity to do big things in order to assist Jimmy, another moment is zapped away without a trace. Like Williams, Jonathan Erickson Eisley’s Azarias had a brief scene shunted even more quickly away once introduced chained tightly bound in the house’s basement and at that precise moment, a window of opportunity cracks open to help clear up the baffling enigmas giving much puzzlement to Venus’s plan to take over or destroy mankind. Given his incarceration, we can assume Azarias is Jimmy’s equal, a previous captive with a failed outcome. Omit Williams and Eisley roles and the Brooks’s film prospers into comprehension that much more.

“Flytrap” is a festival winner – “Best Non-European Indie Feature at the European Independent Film Festival in France, Best Low Budget Feature at Worldfest Houston, Special Jury Prize at the Chelsea Film Festival as well as Best Feature, Best Supporting Actor (Jonah Blechman) and Best Ensemble at the Los Angeles Independent Film Festival” – but falls to captivate and entertain even if chocked full of shadowy undertones of paranoia and loneliness. Pond, Jimmy Pond – a Bond reference “Flytrap” also made – needed more development to sauté an emotionally motley character until he’s well burnt to an cracked crisp. There will be no critiques on the audio and video as the disc provided was a screener. Check this psychological sci-fi thriller on digital HD through Amazon Instant Video, Vudu, and iTunes.

Buy “Flytrap” on DVD!

Watch “Flytrap” on Amazon Instant Video!

Evil is a Long Trip Home. “Earthrise” review!

Posted by Steven Lewis on May 26, 2016

Earth has become an uninhabitable wasteland. The human race have resettled and colonized on the red planet of Mars. Years have past and the younger generation has never had the experience of living on Earth. Every year, a select few, those who pass multitudes of tests and reach the age of 30 years, will join the Revive Program and will travel through space on a seven day journey to Earth in order to aid in the planet’s rehabilitation of their once ancestry home. The journey between Mars and Earth is this story, a story of psychological perplexity between three travelers who get to go home for the first time.

“Earthrise” is the creation of writer-director-producer Glenn Payne, tackling the production limits of a space film in an independent market. Payne and his production team effectively generate the illusion of being a single speck in a vast universe without getting overly galactic (i.e. “Moon”) and widely interstellar (i.e. “Interstellar”). Yes, “Earthrise” embodies a minuscule budget that’s certainly evident, but the ambitiousness to recreate the innards of a spaceship without being too blatantly cheap gives creativity credit to the crew. The brief transitional moments outside the ship are about as good as money can afford, but still don’t quite cut the mustard with some big Hollywood blockbusters or even larger independent films.

Along with much of the crew, Payne’s experience mainly stems from a variety of short films with “Earthrise” being his latest full length feature out of a total of four. The three actors who portray the focus-centered characters also mostly come from a short film background. Meaghin Burke (“Trick or Treat” short), Casey Dillard (“Blackout” short), and Meaghin’s husband, Greg Earnest (also from “Trick or Treat”), portray the three protagonist Dawn, Vivian, and Marshall, voyaging to Earth. Within a non-linear story, their tensions cut through finely as an unexplained terror has overtaken, not only their flight to Earth, but their minds that visualize apparitions of people and creatures that shouldn’t be there. Giant spiders, man-eating alligators, alarming amounts of blood – just some of the psychological tensions testing the characters. Is it a form of space dementia? Or the inability to grasp leaving your home, your family, to live on another planet and not having the ability to contact anyone from home for a year, per the Revive Program’s policy? Or is it something else? “Earthrise” domes the answer fairly well until the end.

The sequence of events surround a near catastrophe involving a sudden meteor collision. One side of the collision tells the story prior to their insanely dangerous visions, building upon their backgrounds and delivering their soon obtained new found hope, while the other side explores their descent into madness and, eventually, the two stories meet in the middle with the major calamity. Contrasting the two sides defines, in a good light, director Glenn Payne’s editing style while still able to clearly convey the crews plight. Mise-en-scene clues were used to differentiate the catalyst, such as Marshall’s head wound or Vivian’s limp, but these details were minor enough to not pose an extravagance in order to make clear the outer edges of the story.

The 2014 sci-fi thriller is presented by Indie Rights Movies and MVD in a widescreen 2.35:1 aspect ratio. The details are richly sharp, drenched in a metal tone to create a ship’s inner hull racing through space atmosphere. The dual channel Dolby Digital mix is clear and balanced and purposefully isolating to get inside the loneliness of the great big infinite. Accompanying the 100 minute runtime, a couple extras include the film’s trailer and a commentary. Sci-fi on a budget, “Earthrise” is enjoyably subtle, sleekly structured, and soaked with heart and soul. Many will not be attracted to “Earthrise” and it’s slow-to-build momentum, leaving only true film aficionados and appreciators to find Payne’s work entertaining.

All Evil Breaks Loose! “Mansion of Blood” review!

Posted by Steven Lewis on February 12, 2016

Pretentious millionaire Mason Murphy hosts the largest and sexiest lunar eclipse party in the close knit community of River Ridge. Murphy renovates the old Mayhew estate, home to the mysterious disappearance of the wealthy Mr. Mayhew in 1926, as the party’s extravagant setting. One of the young party goers is also a practicing partaker of witchcraft and when she attempts to summon upon the spirit of her dead boyfriend to ask about whether he bought a winning lottery ticket or not just before his death, she accidentally aligns all things evil right as the eclipse takes place, trapping the oblivious guests in a nightmarish twilight zone that includes black bat demons, Civil War ghosts, lawn ornament zombies, bar tending vampires, and a slew of maniacal murderers.

Director Mike Donahue’s “Mansion of Blood” is a horror-comedy of an ambitious narrative that was doomed during the middle of production, resulting in a shameless, mishmash heap of a film. From what I’ve read from various article sources, “Mansion of Blood” came to a screeching production halt due in part of a sexual assault claim from an actress or two. The complaint was against the film’s headlining star, Gary “Lethal Weapon” Busey. Are we really surprised here? Busey, who suffered permanent brain damage in 1988 after a motorcycle accident, has sustained from his wild and crazy, sometimes delusional, antics that raises many eyebrows through almost the last three decades. The film’s crew was so fed up with Busey that he was actually fired and massive re-cuts and re-edits caused the story’s downward slope. Aside from the Busey debacle, executive producer and one of the film’s stars Tom Tangen is rumored to have screwed over the film’s investors, leaving director Mike Donahue high and dry.

Honestly, I strongly feel “Mansion of Blood” never came an inch off the ground. I get that the film is a horror-comedy in a slapstick sub-genre, but the story is in total shambles. Numerous characters and their individual stories are diluted to the point of being a suffering and aggravated attention deficit disorder. The severely choppy editing, the unbalanced dialogue and ambient audio tracks, and the oafish acting throughout only piles on top of an already high mountain of sadness. And even though I have a soft place in my heart for Busey and his sheer lunacy, in life and on film, his performance as the malicious party host Zachariah was, dare I say it, surprisingly stale. Only a few handful of scenes of Busey’s floating, grinning head faintly superimposed as a ghost or a spirit or as a something are uniquely guilty pleasurable. Not all has failed as the film’s other star, “Star Trek: Voyager’s” and “Innerspace’s” Robert Picardo, attempts and succeeds at a good performance as the party’s caterer who ends up almost being poisoned by his chef wife, played by Lorraine Ziff.

Again, I’m well aware that “Mansion of Blood” is a horror-comedy, but the no budget special effects couldn’t be any more offensive to our intelligence. The “demons” were extras in black face and black leotards with a dark cape and plastered with exuberantly adhesive bat ears. The computer generated lunar eclipse was near 1950’s animated cartoonish. These effects bog down the quality of the film, turning a potential Sci-Fi channel movie spoof to a more of an obsolete, outdated, and cheesy and campy schlock that could be deemed worthy of being presented on Mystery Science Theater 3000. Instead of solidly funded practical and computer generated special effects, Donahue leans firmly on the hard bodies of young (and some slightly older such as Lorraine Ziff) actors and actresses. The naked bodies of upcoming scream queen Mindy Robinson and the industry versatile Dustin Quick are two to name just a few who pair up with the rock hard abs of Kyle Clarke and Frank Mora Jr. One would think Jennifer Tapiero, Sarah Alami, and Tegan Webster would be the group of main characters that would develop and expand throughout the duration since they’re stories begin in a diner, but their characters become junk roles that fizzle into into oblivion and tangents are created for non-setup characters.

“Mansion of Blood’s plethora of characters is too much to handle, especially when the film tries to go in numerous directions that doesn’t give Donahue’s motion picture any direction. The story and script flounders as the legs are cut right from underneath both of them. I empathize that the Gary Busey and the rumored Tom Tangen issues might have derailed this project that categorizes this film into the scrap-to-salvage scenario similar to prior films like “Bad Meat” and “Old 37.” Tom Cat Films and MVD bring “Mansion of Blood” to retail shelves and I encourage those brave enough to venture into the film to remember this particular review because when the credits begin to roll and the popcorn is down to the last few underdeveloped kernels, you will know somewhere in the sands of time and space that I’ll be whispering in the ears of your mind, “I told you so.”

Changing the Past Could Lead to Evil Outcomes. “The Man of the Future” review!

Posted by Steven Lewis on November 12, 2015

Joao, a brilliant university physicist, lives in a suffering life of depression, anger, and vengeance for the last twenty-years. Back in November of ‘91, the love of Joao’s life, the beautiful Helena, betrays him and humiliates him in front of a large crowd of his peers, leaving him with nothing and bestowing upon him the name “Zero” to forever imprint on him his worth. In 2011, he channels all his hate to develop a cost saving energy to show everybody that he’s not a zero, but when he locks himself in the chamber of his machine in a show of defiance, his machine creates a black hole in which he’s sucked into and brought back to the past to the very same day he’s humiliated by Helena. Joao is determined to change the past to make a better life for himself, but his actions cause an unforeseen butterfly effect to which causes him to return back to the past over-and-over again.

A powerhouse Brazilian sci-fi comedy from a conglomerate of production and distribution companies such as Conspiração Filmes and Globo Filmes from production and Paramount Pictures and Simply Media handling the distribution across a worldwide realm. “The Man of the Future” is directed by Cláudio Torres and stars “Elite Squad” and “Elysium” star Wagner Moura as Joao. Moura’s physical comedy in this role spawns a likable and zany character whose constantly an underdog fighting and clawing his way back up to the top by any means possible. The film’s very similar to Ashton Kutcher’s 2004’s “The Butterfly Effect” sans the comedy, but similar in the sense of Joao’s life drastically changing with each trip to the past.

Moura’s costars compliment Moura’s Joao and the rest of the story. Former model Alinne Moras has a stunning beauty compared to the an average joe looks of Moura and her performance adds a bit of sassiness much needed in a comedy such as “The Man of the Future.” Moras delivers the sexiness and the female energy needed to keep up with Moura. A more subtle character is Joao’s good friend Otávio played by Fernando Ceylão. Ceylão dilutes the overzealousness in order to keep the zaniness in check and welcomes a change of pace. Moura and Ceylão’s only interact very briefly and don’t have the chemistry to the likes of perhaps Simon Pegg and Nick Frost, but when together, they’re solidly funny. Lastly, Maria Luisa Mendonça brings the wild card to Joao’s dilemma though her role as Sandra promises more of being a capital venturist looking to be all business and bossy. Mendonça scenes show more range than first thought and complete the main characters in good fashion.

Though heart-felt, entertaining, and delivers a message of hope, the story creates it’s very own black holes, zipping the story past what feels like crucial points in the film. With each trip to the past, less and less of the story is conveyed and while the understanding that some scenes are omitted because they would just be rehashed, other scenes needed to be restaged to build upon Joao’s and Helena’s momentum toward a happier future. With any film about time traveling, there will be plot holes, inconsistency, and improbabilities and “The Man of the Future” is not invincible from these time traveling complications.

“The Man of the Future” is a science fiction film with solid computer generated effects especially being a product of Brazil. Since the disc provided to this reviewer was a DVD-R, diving into the presentation wouldn’t be appropriate. However, the production value doesn’t appear shoddy. The only gripe to state stems from the English subtitles that seem to come and go from the scene in a flash, leaving hardly any time to read the text before the next piece of dialogue. There is such rapid fire dialogue that, in my opinion, the subtitles can’t keep up. Aside from that, I wouldn’t disregard this sci-fi comedy and would recommend this South American native film without a second thought.