Get Caught Up in the Middle of a “Race War: The Rmeake” on DVD
Drug dealer Baking Soda is feeling the peddling pangs of dropped traffic for his crystal pure PCP. With no one buying his smack, he and his friend G.E.D. reside back home to drink with their close fish-headed friend Kreech and sleep off the day’s failure to try again tomorrow. Their persistence to sell puts them on the radar of a white supremacy group vending a new drug on the street, the cause for Baking Soda’s drop in sales, but their product isn’t just going to get users high, it will turn them into flesh-eating zombie slaves. When G.E.D. is kidnapped by the group, Baking Soda and Krrech have to run through the list of suspects – Jews, Hispanics, Chinese, and others – for the source of his sale woes and to rescue his friend, guns blazing if necessary or if unnecessary, but there may be more extraterrestrial motives that haven’t yet been unearthed.
“Race War: The Remake” is a 2012 politically incorrect, ultra-offensive spoof comedy and blaxploitation horror from writer-director Tom Martino. A Tom Savini school graduate, te special effects artist Martino (“Dead of Knight,” “Return to Nuke ‘Em High Volume 1,” “Doll Factory”) takes helm in the director’s chair for his debut in indie feature productions with one of the wildest, crudest, and tactlessly funny comedy-horrors I’ve seen since Troma’s “The Taint.” Set in and around Houston, Texas and the greater surrounding area with guerrilla filming in locations such as the Houston Space Center and shooting with permission at the Darke Institute’s Phobia Haunted House, “Race War: The Remake” doesn’t have an originating film despite the title in what is considered a spoof sequel – think of examples “Dude Bro Massacre III” and it’s standalone release or the non-existent second sequel between “Thankskilling” and “Thankskilling III.” Martino produces his own work under his outside of Houston-based company DWN Productions that doubles in making horror theme masks, busts, and props.
Thick-skinned actors comfortable with the narrative’s uncomfortable themes begin with Howard Calvert and Jamelle Kent as Baking Soda and G.E.D. Calbert and Kent have become regulars in the Tom Martino catalogue of cast members for his more recent films and their humble beginnings in “Race War: The Remake” proved their longevity to stay with the director, who is white, who wrote extensive race, gender, sexuality, and fart jokes in the context of a comedy-horror with cringy stereotypes and genuine tributes. Calvert and Kent have great comedic timing to pull off all the zany editing, sound bites, and practical effects distaste Martino has flaming axe tosses at them to achieve his vision. The two are joined by Danny McCarty, who would become another regular and be the visual effects supervisor for the film, dressed head-to-toe in loose-fitting urban attire to match the theme of Calvert and Kent’s black A-shirt and do-rags but his hands and face are masked to become the Creature from the Black Lagoon, aka Kreech. Martino’s “Race War: The Remake” isn’t just about the terrestrial races but intergalactic ones as well and we soon see that later on with the intentions of neo-Nazi white drug suppliers, led by Matt Rogers’ vulgarity in the horseshoe mustached Tex. There are various other encountered gross stereotypes in the trio’s urban quest, such as a large nosed, greedy Jewish lawyer, Mexican luchador bodyguards, and a Pai Mei-esque Shifu speaking gibberish har har sounds and listing off popular Americanized Chinese dishes in attempt to be derogatorily funny. With a film titled as “Race Wars: The Remake,” the cast is mostly white and black actors poking uncouth fun with a big unconcerned and insensitive stick with Corey Fuller, Kerryn Ledet, Sam Rivas, and Coady Allen listed in the cast.
“Race Wars: The Remake” isn’t funny, it’s stupid funny! Having grown up in the 1980-2000s, consciously I might add, Martino’s politically incorrect and his brand of juvenile humor resonates with me, reminding me how cinema has become numb to the spoof humor. Granted, Martino’s humor is over the top cutting, gross, and full of jest bigotry, traits that would trigger many in today’s sensitive awareness, and while cringy after a tasteless joke may result, there’ll likely be some a side of the mouth chuckle to go along with it. On the opposite side of the spectrum, Martino tributes to references of certain popular culture icons, though slightly bastardizing some for laughs. From Peter Jackson’s “Bad Taste,” to “Creature from the Black Lagoon,” to even “Mortal Kombat,” “Race Wars: The Remake” integrates the best parts of each these staples of pop culture and that gives his film a leg up on other offensive spoofs of the same crass caliber. Th one negative story structure item to highlight is the act one narrative takes a while to work the gears and get going as it attempts to setup the 40oz-drinking chumminess of Baking Soda, G.E.D., and Kreech but lags to a stagnant stall for hot second while still surround with the here-and-there gags, themed with G.E.D. homosexual tendencies and Baking Soda’s drug peddling woes on and off the streets, but once the antics pickup, there’s no stopping Martino and his filmic entourage from raining down an assault of insults.
If you’re easily offended or put off by off-color race comedy, then Wild Eye Releasing’s “Race War: The Remake” DVD is not for you! For me, and those like me, unaffected by the type of uncouth spoof, Tom Martino’s debut is for you! The Raw & Extreme sublabel’s DVD is MPEG2 encoded, 720p resolution, on a DVD5. Presented in widescreen 1.78:1 aspect ratio, there is a breadth of visual presentation not confined within’ pillar and letterboxing but is stretched vertically that affects the already par level resolution. Guerilla filmmaking also involves no production lighting and natural lighting is more than used here in Martino’s run around the Houston area, but one thing good about Martino’s naturally lit cinematography is its neutral set, avoiding under and overexposure. The lesser used interiors have some tint lighting and key lighting to avoid total flat, dark outcomes but give the image a haze of hue, especially inside Baking Soda’s living room scene in the first act that sees a thin layer of red and green. The English PCM Stereo has inconsistencies in volume. Some scenes discern quieter than others because of the guerilla filmmaking constraints as well as just using commercial recording equipment. However, the dialogue does land well enough for the jokes to hit and overlayed sound effects greatly lift the sound design where needed, such as with the Mortal Kombat video game sequence or with the array-spray of gunshots throughout and soundboard gag effects. There are no subtitles with this release. Included in the special features is Tom Martino director’s commentary, a gag/blooper reel, a behind-the-scenes reel of the gory moments, and Wild Eye Releasing trailers that include “Race War: The Remake.” The clear, ECO-Light Amaray DVD case houses stellar covert art illustration work by Belgium graphic artist, Stemo, with the inlaid narrative intensity and characters in collage. The reverse side includes a gory still from one of the scenes. The disc is pressed with the same front cover image but there are no other physical materials. The unrated DVD runs for 95 minutes and is region free.
Last Rites: Wild Eye Releasing re-unleashes another outrageous title on their Raw & Extreme label and the Tom Martino film is every ounce of the sentiment in it’s indie underground hokum of gore, racism, homosexuality, and aliens!
It's Bloggin Evil! 