No Sam Raimi. No Bruce Campbell. Just the EVIL! “Evil Dead Trap” reviewed (Unearthed Films / Blu-ray)



Nami, a Japanese late night show host, is seeing her ratings dipping.  Though not in danger of losing her all-female produced show, Nami decides take her team on an investigation of a mysterious snuff tape that was mailed to her specifically.  Left for her is a bread crumb trail of directions to an abandoned military base, Nami and her crew explore the campus’s rundown structure, searching for evidence, a body, a story that they can televise.  Ignoring the dangerous presence around them, they dig deeper into the dilapidating labyrinth where they horrifying discover something waiting for them laid out in a cruel plan of deadly traps with a maniac pulling at all the strings. 

Bred out of a pedigree of pinkusploitations and a nation’s crisis of identity after the Second Great War, “Evil Dead Trap” is a greatly symbolized Japanese machination tale helmed by pink film director Toshiharu Ikeda (“Sex Hunter,” “Angel Guts:  Red Porno”) and penned by an equally historical pink film screenwriter and “Angel Guts” manga series creator Takashi Ishii (“Girl and the Wooden Horse Torture,” “Angel Guts” series).  Also known under its original Japanese title, “Shiryô no wana,” as well as, and my personal favorite, “Tokyo Snuff,” in Spain, “Evil Dead Trap’s” smorgasbord of rape, torture, and gory death naturally shocked viewers upon release and continues to do so as one of J-Horror’s branched out films that segued out from the brutal and depraved pink film inspired context into the new longstanding ghost genre we’ve seen over the last few decades with “Ringu” (“The Ring”) or “Ju-on” (“The Grudge”).  The production company Joy Pack Films, behind the 1980’s obscure Japan films, such as Genji Nakamura’s “Go For Broke” and Banmel Takahashi’s “Wolf,” houses the “Evil Dead Trap” from executive producer Tadao Masumizu.

If you recognize a couple cast members, or maybe just their naked bodies, then there’s something depraved about you!  With all kidding aside, but no seriously, if Rei (Hitomi Kobayashi) or Kondo (Masahiko Abe) look familiar, then you my friend are pink film aficionados as Kobayashi has starred in “Hard Petting” and “Young Girl Story” and Abe was in these pink film hits the “Pink Curtain” trilogy and “Female College Dorm Vs Nursing School Dormitory.”  If these faces didn’t touch you in any kind of sensual way, no worries, leading lady Miyuki Ono brings the star power.  The “Black Rain’s” Ono plays Nami, a go-getter television host/personality with her sights set on ramping up her late night show’s ratings, but also sucked into the posted snuff film’s darkest allure that’s personally calling her into to a precarious story lead.   Nami could also be a homage to one of screenwriter Takashi Ishii’s manga-inspired pink films entitled “Angel Guts: Nami” and the title might not be the only aspect paid honor to with that particular Nami written with a journalistic vocation drawn into and obsessed with a serial rapist’s attacks, making a striking parallel between the two stories that are nearly a decade apart. Eriko Nakagawa and Aya Katsurgagi fill out Nami’s investigating team as Rei and Mako. As a whole, the characters lack personality; Rei and Kondo tickle with relationship woes that are snuffed out before fruition, Rie’s timid innocence barely peaks through, and Nami and Mako’s thicker bond compared to the rest of the team is squashed to smithereens way before being suckled into note worthy tragedy. This late night show team has been reduced to slasher fodder and, honestly, I’m okay with that as we’re only here for the deadly traps. Noboru Mitani, Shinsuke Shimada, and Yûji Honma, as the mystery man looking for his brother, complete “Evil Dead Traps” casting.

“Evil Dead Trap” boasts a melting pot of inspirations, a mishmash of genres, and spins a nation’s split identity variation crowned in aberration. Diversely colorful neon-hazy lighting complimented by a Goblin-esque synth-rock soundtrack from Tomohiko Kira (“Shadow of the Wraith”), Toshiharu Ikeda shadows early Dario Argento inside and outside the popularity of the Italian giallo genre as the “Evil Dead Trap” murder-mystery horrors resemble more of a westernized slasher with a killer concealed behind a mask stalking a fringed, neglected compound in a conspicuous outfit. While the killer dons no hockey mask or snug in a mechanic’s jumpsuit, an equally domicile, yet more calculated, antagonist taunts more brains than brawns, especially with the severity of traps that seemingly float from out of nowhere. The fun is chiefly in the imagination of how the trap designs operate in the void of physics of a slasher fodder film so wipe clean the Jigsaw and the “Saw” films from your mind completely and relax to enjoy the outlandish kill scenes. Some of the kills are imperialistically inspired by Imperial Japan, that is, to blend the wartime nation’s atrocities with how the proud country wants to distance itself from that old-fashion, war-criminal, stoically perverse superstratum layer, but that’s were “Evil Dead Trap” pulls for most of the juicy parts as well as supplementing with Argento lighting, some, believe it or not, “Evil Dead” elements of that menacing presence bulldozing through the spiritual world, and an divergent climatic finale stuck to the narrative body that’s akin to pulling off the head of a doll and replacing it with T-Rex head’s. The uniformity quells under the pressure of how to end Nami’s and her attacker’s coda with pageantry weirdness that’s typical status quo Japanese cinema. Lots of symbolism, little modest explanation.

Get caught in “Evil Dead Trap” now back in print and on Blu-ray courtesy of Unearthed Films, distributed by MVD Visual, as part of the extreme label’s Unearthed Classics spine #5. The Blu-ray is presented in a matted 1.66:1 aspect ratio, a format rarely used in the States but widely used in other countries. Reverting to the 1.66:1 from Synapse’s 1.85:1 crop, Unearthed Films showcases more of the European feel, heightening that colorful vibrancy of the Argento-like schemes. Image quality has peaked on this transfer with natural grain with the 35mm stock, but details are not granularly sharp in an innate flaw of the time’s equipment and lighting. Shinichi Wakasa’s unobscured practical effects heed to the details and don’t necessary suffer the wrath of miniscule soft picture qualities when you’re impaling someone or birthing a slimy evil twin…you’ll see. Add in Ikeda’s wide range of shooting techniques, you’d think you’re watching Hitchcock or Raimi and the focus really lands there with the differently camera movements and techniques. The Japanese language single channel PCM audio fastens against that robust, vigorous quality to make “Evil Dead Trap’s” diverse range and depth that much more audibly striking, but there’s a good amount of silver lining in there being no damage albeit discernable, but not intrusive static to the audio files, dialogue is unobstructed and prominent, and the stellar synth-rock soundtrack nostalgically takes you back to when you first watched “Suspiria” or “Dawn of the Dead.” English subtitles are available but display with a few second delay which can be cumbersome if trying to keep up. Special features includes three commentaries that include director Toshiharu Ikeda and special effects supervisor Shinichi Wakasa, filmmaker Kurando Mitsutake (“Gun Woman”), and James Mudge of easternKicks. Plus, a Trappings of the Dead: Reflecting on the Japanese Cult Classic retrospect analysis from a Japanese film expert, Storyboards, Behind the scenes stills, promotional artwork, trailers, and a cardboard slipcover with phenomenal artwork. Highly recommend this atypical Japanese slasher, “Evil Dead Trap,” now on Blu-ray home video!

Own “Evil Dead Trap” on Blu-ray!

Sit Back. Relax. And Wank Off to EVIL’s “Live Feed” reviewed! (Unearthed Films / Blu-ray)

While on vacation in China, five friends traverse the local festivities and drinking holes, relaxing in the surroundings of an alien culture of their getaway destination, but when one of them accidently bumps into a depraved Chinese Triad boss, they believe to have nearly escaped a localized international incident with the help of a Japanese vacationer who seems to know quite a bit about this particular Triad boss.  To blow off steam, and to blow off some loads, the friends patron the Venus Theater, a sleazy porno theater offering 1-hour couples VIP rooms.  Their short-lived, and short-comings, visit turns into a terrifying nightmare of broadcasted kill rooms as they find themselves trapped inside the theater owned by the Triad boss for his personal snuff cinema experience and fine dining of cannibal cuisine.  Fried dong and balls are 100% MSG free. 

With a Ryan Nicholson directed film, you never know just what to expect.  From our reviews of the Vancouver native’s work, his teen slasher “Famine” was an angsty disappointment, his destitute slaughterhouse “Collar” collided technical gaffes with sordid satisfaction, and his most renowned direction on the bowling-themed retro-slasher, “Gutterballs” displayed a primal brilliance that rolled one hell of a strike down the lanes of indie filmmaking, but the late, great gore hound filmmaker always lit up our screens with a single reoccurring theme – flashes of red.  Lots and lots of red blood that is!  The blood geysers and gushes in heaps in Nicholson’s 2006 release, the written and directed, “Live Feed” that touts SOV violence in an arcane snuff style.  Co-written with his father, Roy Nicholson (“It Waits”), the self-taught, special effects prodigy bursts onto the full length feature scene with an introductory exploitation and survival horror full of ambition, insane effects, and a narrative bred specifically for fountaining blood.  Self-funded under Nicholson’s Plotdigger Films, the ”Live Feed” legacy continues to output interest in the gore and snuff subcategories with updated home video distributed releases throughout the years, keeping the resourceful, twisted humor filmmaker alive and well in our hearts and collections. 

The story revolves around five friends, or more intimately, the hapless stars of a snuff theater production, who are not the most chaste or morally concerned individuals finding themselves center stage because of their wanton whims and uninhibited fortes.  Out of the touristy Americans in a given the impression of being a strange and sordid foreign land, one of them quickly becomes established as the primary beacon of hope as an unassertive wiser in Emily played by Taayla Markell in her first lead performance.  Though their long history makes for easy persuasion into participating, from a distance, in their lewd behaviors, Emily’s hemmed in around familiar perversities derived from her good friends and even her finance.  Mike, a muscular, drug-fueled blowhard develops his crass charisma from “Stan Helsing’s” Lee Tichon, Mike’s current and former girlfriends, Sarah and Linda, in tinge of tattered relationships by Caroline Chojnacki and Ashley Schappert, and Darren, Emily’s douchebag, philandering fiancé played by “Skew’s” Rob Scattergood, lead Emily astray from her own self-preserving inner voice when their arrogance and laxed attitudes place them in hot water with a sadistic Triad Boss.  Stephen Chang fills in the gangster roll with a plastic energy that’s over-the-top and absurd just like the two women who hang off each side of his arm in hackneyed fashion, offering very little to outshine as a sadistic megalomaniac.  Luckily for the out-of-towners who are soon-to-be-goners, they coincidently meet the conversant Miles Nakamura (“Mortal Kombat: Legacy’s” Kevan Ohtski) who round houses his way through a torrent of bad guys to save his newfound American friends, but for what reason goes over our heads other than the potential guilt of knowing he left them to their demise.  Greg Chan, Mike Bennett, Ted Friend, Colin Foo and introducing boner-fide stripper, Charlene McCulloch, with an in your face pole dance rounding out the cast.   

Whether in a stroke of good luck or an ill-timely misfortune, Eli Roth’s highly popular and profitable “Hostel” was released a year earlier in 2005 and while Nicholson’s surely cantered behind that gore porn locomotive in the early 2000’s that sauntered a path for many filmmakers to make unbridled torture and tits productions in the wake, “Hostel” undoubtedly provided some hinderance by scraping some of the shock value from off the sticky theater venue floors of “Live Feed.”  The characters were also nothing to write home about, or in this case, to write highly about, as the circumstances that churn the dynamics amongst their closed circle friendship don’t dissolve until well onto the cusp of being dismembered and thus becoming a moot investable or relatable venture that was, in a way, still crawling for the finish line with spotty payments on Darren and Emily’s acute about-face relationship, the only turbulent character context that saw contentious action.  Yet, there is wonder why “Live Feed” even attempts to brittle or outright break the bonds between friends and lovers in a film that’s all about the blood, about the blood, no trouble, as I channel my Megan Trainor phrases that probably sounds better in my head than in my review.   Unless Emily and Darren’s woes play later into the story, as a point of significant break from the other or in a glimmer of salvaging something between them, the purpose is purposeless and the blood should pool together the entire snuff narrative without an emotional hiccup.  Speaking of blood, the effects between Jason Ward (“American Mary”) and Ryan Nicholson couldn’t have been better executed with a pliable, tangible, and free from visual imagery arsenal at their fingertips with prosthetics upon prosthetics of grisly skirmish matter.

“Live Feed” has it all:  cannibalism, decapitations, sex, bondage, medieval torture, kung fu, snakes, pole dancing, barbecued penis, sword play, a “Big Trouble in Little China” old man Lo-Pan lookalike, and gallons of spattering blood.  All of the above now arrives uncut and uncensored onto an Unearthed Films Collector’s Edition Blu-ray release.  The region A BD50 presents the transfer in a widescreen, 1.85:1 aspect ratio, enclosed with various formatted styles from the poor resolution of SOV to a full-bodied and unstrained digital playback lit up with vibrant neon lightening by director of photography, Sasha Popove, to create an illuminating florescent color splay of a universal Asian urban district.  The sundry of styles can be weighty on the sequences that challenge what should be natural segues into the next scene, but the format choices, from mostly handheld vantage points, interrupt the flow with a nonsensical fluidity.  Unearthed Films amassed a legacy-stamping amount of extra content with a commentary with Ryan Nicholson and cast, a making-of segment entitled “Behind the Blood” which is geared toward being a tell-all on how they spun and produced “Live Feed’s” fruition, a return to the Venus Theater location with a low-key walkthrough of scene locations and you get a little X-rated show during a live project run, deleted scenes, alternate scenes and ending, the video feed footage, photo gallery, trailers, and a short film entitled “Womb Service” of the softcore feature playing background of the feature story. There’s also an “Adult version” of “Live Feed” in the bonus material that includes the original runtime feature but with edited in hardcore footage; however, personally, did not notice any sultry inserts. Maybe they’re brief and missable…? In the experience unravelling Ryan Nicholson’s work, “Live Feed” is the filmmaker’s second best movie with wholehearted intention to jazz it up with as much blood and exploitation as possible and his loss, as a person and an exorable filmmaker with room for ghoulish growth we’ll never experience, stings to this day.

“Live Feed” blu-ray now on sale at Amazon.com. Click the cover to go to Amazon.

The Pangs of an EVIL Movie in “Virgin Cheerleaders in Chains” reviewed!


Shane desperately desires to be a part in the making of a low-budget horror movie. Failure after failure of submitting to production studios who opt out rather than option his scripts and the discouraging financial hits with each festival entry, Shane and his girlfriend Chloe decide to venture into producing, writing, and shooting a film themselves. With the script still a work in progress, the promising title alone scores a film crew from his friends and roommates, generate a small fortune of crowdfunded cash, a leading scream queen from the skanky residue poles of a strip club, and a set location provided by a local video store clerk and schlocky indie horror filmmaker named Machete Mike. As the young film crew bumbles through raising more money and the headaches of production woes without a completed script, a demented clan of hardcore snuff and cannibalistic filmmakers seek a hostile takeover of their ambitious endeavor that’ll produce authentic screams and real blood, the very basic foundations of a good horror movie.

You have to admit it. “Virgin Cheerleaders in Chains” is an appetizing, exploitation glazed carrot of a title, a salivating lure that’s hard to ignore for any enthusiast for licentious material. Brazilian born director, Paulo Biscaia Filho, helms the Big House PIctures and Vigor Mortis Apresentam production of an ostensibly horror-comedy that leisurely alters into a slasher-survival-esque structure courted with all the admirations of torture porn with a pinch of homage toward the iconic Sawyer family without a Texas size chainsaw wielding maniac wearing a flesh mask. Blueprinted as a meta-horror with twists and turns galore, “Virgin Cheerleaders in Chains,” by name alone, doesn’t take itself seriously as an inebriated version of the genre it represents and layers to weave a non-linear, outlier story into the heart of the plot, sewn together by the co-producer Gannaway and went in and out of production in 20 or so days to finally hit festival markets a year later in 2018.

While Shane might feel like the focus of the story, Amber and Chloe undercut his presence and steal his thunder as the naïvely ambitious filmmaker with their final girl fight and vengeance. Amber’s the stripper whose yearning for her spot in the limelight no matter how small and she’s portrayed by prominent Manga voice actress Elizabeth Maxwell (“Dragon Ball Super”) and Maxwell is paired with “Last Girl Standing’s” Kelsey Pribilski in Chloe, initially as a mortal enemy toward Amber when the issue arises of the most common, basic, and core division between women – men. Yet, Amber and Chloe dominate the principal antagonists whose subtle quarrels frame an mulishness and aversion relationship build a stronger support for one another when they come toe-to-toe with utter sadism that threatens what collectively matters most to them. Maxwell and Pribilski demonstrate the conventional markings of the popular final girl trope, acting as a single unit, while Ezekiel Swinford bares the helpless victim and ignorant filmmaker, Shane, to be in the crosshairs of death and for the two corners of his semi-triangular love affair to be his saviors. Swinford acts the giddy fool well enough to warrant his character’s witless person in distress calling. Machete Mike lastly, but not at the least, rounds out the core four personas from Don Daro. The “Sex Terrorists on Wheels” actor has little-to-no kindness in his face, marking him intriguing and guileful as the video store clerk whose more than what meets the eye. Ariana Guerra (“Hollow Scream”), Lindsey Lemke, Gary Kent (“Bonehill Road”), Ammie Masterson, Larry Jack Dotson (“Humans vs Zombies”), Kaci Beeler, Michael Moford, Woody Wilson Hall, Ken Edwards, and professional bassist musician in the band Drag, Dominique Davalos “Howard the Duck”), co-star.

“Virgin Cheerleaders in Chains” resembles a movie inside a movie that tries to pull a fast one over the audiences with an open for interpretation of the true nature of events and leaving those once thrilled at firsts sight of the title moviegoers kind of stun like a mouse batted over the head right before being fed to the famished pit viper. Filho and Gannaway’s film does swallow you whole, down it’s gullet, and dropping you right into the stomach acids that begins to dissolve the disillusion of what was imagined from the get-go. Nothing wrong with some slight of hand, but the overall result meanders on the promise of being hyper meta; an attempt to disrupt the conventional and tummy tuck in the tropes from being too loose and obviously exposed. The attempt is well intentioned, but that’s where the summiting the mountain ceases, at attempted, with a great, low-budget desired, premise aimed to upheave the genre and the audience’s expectations, whirl them all into a massive maelstrom, and spit out a “I fooled you!” expose. One aspect that made the grade were the Creeper Labs FX’s Andy Arrasmith and artist Shelly Denning’s special effects work that held a modest candor of blood and severity when the proverbial shit hit the fan. Heads being lopped off, eviscerated stomachs with guts oozing out, and just enough chainsawing and machete work to go around to properly finish the beautifying of “Virgin Cheerleaders in Chains” appropriately.

Rack’em and hack’em those chaste cheerleaders with a Blu-ray copy of “Virgin Cheerleaders in Chains” distributed as the 10th spine from the wild cinema aficionados of Darkside Releasing and MVDVisual. The Blu-ray is presented unrated and in 1080p on a BD-25 with a widescreen 1.78:1 aspect ratio. The estimated $70,000 crowdfunded budget has a rather aesthetic and sleek digitally recorded imagery, perky with natural lighting and dark tint where appropriate, and is an overall pleasant outcome on a moderately robust budget for indie horror out of Austin, Texas. The English language Dolby Digital 2.0 stereo track maintained a balancing act between dialogue and score where the two fought for priority. Dialogue should always have right of way unless intended not, but for the sake of “Virgin’s” story, there’s doubt that drowning out the dialogue momentarily was purposeful. Bonus material includes Brazilian promotional videos, a behind-the-scenes tour of the Bloorhouse Tour with Gary Gannaway being the tour guide himself, a Machete Mike introduction version of the film, and a 16 page booklet that includes stills, original sell sheet cover art, and the birth of the project penned by Gannaway. “Virgin Cheerleaders in Chains” is meta-sexy, meta-slasher, and meta-fun, but wanders into meta territory a little too long for comfort while still positioning a piecemeal survival horror with fine talent and high kill count.

“Virgin Cheerleaders in Chains” available on Blu-ray!

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!

Evil Wants To Profit From Your Death! “Red Room” review!


When Kyra awakes inside an unadorned room of the second floor of an isolated farm house, the woman, who last remembers herself walking to her car from an afterhours night club, finds her wrists and ankles bound together alongside two other women. The women, Lilly and Allison, have been locked inside the room for days, kidnapped the same way, and treated with an inhumane care that more-or-less maintains their physical beauty. Uncertainty questions their fates, but one thing is for sure, when their captors come to remove you from the others, like selected head amongst the cattle, and relocate you to the red room, that’s when the screaming starts and you’re never heard from again. Between the three captives, anger and fear struggle for common ground on a plan of desperate escape and with the iron grip of their abductors honed into their every move, Kyra’s determination to escape breeds sturdier when the possibility of death is more than likely imminent, but before their inevitable snuff, the red room holds sickening world-wide pleasures that anticipates their particular company.

Poised to be callously unsettling and keen to rip apart compassionate souls, “Red Room” hails from Ireland as a ghastly and shocking exploitation thriller from writer-director Stephen Gaffney. A production of Gaffney’s Deep Web Films and co-written with Erica Keegan, “Red Room” slides ever so covertly into the internet’s interlining of unspoken grisliness that exploits people for the darker desires of other people and Gaffney runs through the typical rational of the irrational abductions, such as sex trafficking, and though that’s certainly taboo enough to quench viewers with a powerful story in itself, the director taps a sex and death geyser a few filmmakers have reaped, perhaps more so retrospectively, the machiavellian benefits in finding a home in a rather thin genre with films that are akin to the plot, including works of malevolent personal satisfaction as such as in Dusty Nelson’s “Effects” or the investigated side that encompasses the snuff world in Joel Schumacher’s “8mm” starring Nicholas Cage.

The 2017 film thrills to inflict tortuous anticipation for what lies ahead of the tethered three women. Amy Kelly’s Kyra is the only colleen to be shown physically abducted and while Kelly maintains a fine performance as the strong female protagonist with no-choice-but-to-escape attitude, Kyra’s character arc has a confounding impact where Gaffney involves non-linear scenes into the story, providing the events leading up to her abduction and also other more linear scenes with her mother on the phone with the police irate with her disappearance, but none of those scenes had significant impact to Kyra’s predicament or motivation and felt out of place. Kyra doesn’t necessarily talk about her child much either, which is always a powerful motivator for anyone with a need to live. Instead of carrying on with Kyra’s needless background, Richard, played by John D’Alessandro, could have benefited from the excess framework capacity of how he became groomed by his stern father, a role fit for a cruel king by “Game of Thrones'” Brian Fortune, and how his calm, sensible, and business casual character admixed himself with various complex villainy, roles donned by JP Albuquerque and Rodrigo Ternevoy, and how they became a triad of high end brunette liquidators of sorts. The other two women with Kyra, Alison (Saoirse Doyle) and Lilly (Sohaila Lindheim) spread the reactionary affects in a petrified Alison and a realist in Lilly when contrasted to Kyra’s defiance, but Alison carries the crux of the story, the reason why there is a story, that falls right smack dab in the red room and, frankly, she becomes the star of the gritty show. “Red Room’s” tops out the cast with another “Game of Thrones'” star Eddie Jackson and Fiona Twamley Hewitt.

“Red Room” has been compared to “Hostel” with a plot that does walk a familiar path of a pay-to-die morbidity and that comparison is a fair assessment with the ancillary connotation that “Red Room” could be seen as an extension or a byproduct of Eli Roth’s sadist of a film. However, a microscopic obstacle provides just enough to dispute that claim, to whither back a formidable opponent in the game of who has the most visceral body of work, and that evidence lies in Gaffney’s creative style. The filmmaker, for lack of a better term, pulls punches, not delivering the full on aggression required to provoke and stimulate the masses. The scenes of gore are ghastly to a point and that’s not necessarily the issue that’s more so with the unravelling of their inhuman nature that doesn’t genuinely denote a persuasive emanation of their victims damnation. We see a little of spark with JP Alburquerque’s Andras who is clearly insane with an limitless immoral conscious whereas the others teeter about more of the business margins or struggle with a tough guy image.

From Stephan Gaffney’s Deep Wed Films in association with Sicario Pictures enters “Red Room” onto DVD home video from Breaking Glass Pictures. Presented in a widescreen, 2.35:1 aspect ratio, on a one-sided, doubled layered DVD9, the Canon C300 Mark II digitally shot feature cleanly and sharply provides quality throughout that falters occasionally with some choppy video speed controlling in the more extreme scenes. Color palette isn’t lush with brilliant hues, but with the darker tone of the film, the expectation of vividness lies more so with graphic content and adds to the value. The English language Dolby Digital 5.1 surround mix is meaty and balanced, strong enough to even tune uneducated ears to the Irish accents. The dialogue is rightfully upfront with fine range and depth with no issues on mic placements. Bonus features include a short and sweet radio interview with director Stephen Gaffney, cast interviews, test screen reaction with the finale climax, a director’s audio commentary, a single deleted scene, and a concept promo. Ireland makes a play for extreme horror with Stephen Gaffney’s “Red Room,” a twisted and a humanly fathomable thriller with a cold-hearted gape at the worst of human nature that lingers into the vast virtual and essential disconnect amongst online gawkers that will never face the exploitive repercussions of what wets their appetites as they sit behind computer screens.

“Red Room” DVD available at Amazon!