Love. A Complicated EVIL. “Me You Madness” reviewed! (STX Entertainment / Digital Screener)

Catherine Black, a materialistic and narcissistic hedge fund businesswoman, prides herself on expensive fashion, a healthy appetite for wealth, and a keen appreciation for 80’s music.  There’s also one little other aspect of Catherine’s life that excites her immensely, she’s a total sociopathic serial killer and cannibal who gets off on inviting the detrimental to society to her Malibu home for the slaughter.  When petty thief Tyler thinks he’s pulling a fast one over the megalomaniac by casing her lavish home full of luxurious jewelry, cars, and décor, he’s actually walked into a trap set by murderess.  Toying with her prey before springing her trap, a typically emotionally detached and cold Catherine begins to feel something for not only Tyler’s ruggedly handsome looks but also for his down to Earth knowledge of the world around him, but upon his discovery of her freezer full of preserved dismembered body parts, a love and hate cat-and-mouse game ensues as Catherine and Tyler battle it out between either their individual survival or to pursue the sensation of madly falling for each other. 

A hyperbolic whirlwind in how opposites attract to the new wave tune of an 80’s soundtrack with a glitzy siding of the modern macabre, “You Me Madness” visually defines the coined idiom to be crazy in love.   The debut dark comedy of 2016’s remake of “Cabin Fever” and “The Midnight Man’s” actress, Louise Linton, introduces the Scotland native not only as a director, but also as a screenwriter, penning “You Me Madness’s” unflinching admiration to homage music, films, and their clichés and incorporate them into a fiercely funny comedy that sows unusual seeds of love.  Shot primarily on location in Malibu, set atop of a promontory in and around the sleek modern Ed Niles’ glass-and-steel architecture of the marvelous Henman House, that lists with a hefty price tag of nearly ten million dollars in today’s housing market, and has been the backdrop as Johnny Rico’s family home in Paul Veerhoven’s 1997 authoritarian war on the bugs, “Starship Troopers.”  Linton’s Stormchaser Films serves as the production company with financial backing from Christopher Rush Harrington (“Dead of Winter”), Jijo Reed (“Deadly Famous”), and Christelle Zeinoun.

If I didn’t know any better, I would say “Me You Madness” is the riley, subconscious projection of Louise Linton who not only directs and writes the film but also leaps into to the star role as the self-absorbed Catherine Black.  It is my opinion that Linton’s desire to be a filmmaker stems from her love of moves, especially from the 1970s and 1980s, from the slew of references deliberately spoken throughout to either bring attention about and to avoid the overused tropes all together or a story structure style to galvanize the, sometimes historically ridiculous, long lineage of serial franchises like with “Texas Chainsaw Massacre” when Catherine wields a chainsaw and stops to quickly turn toward the camera to harp about the series longevity.  But, in any case, Linton is wonderful as the powerful corporate sociopath saturated in elegance and is near impervious in breaking her principles about stylish perceptions whether be her designer made outfits during kill mode or keeping red wine, and blood, of her Italian-purchased sofa…or is it a couch?  Linton is opposite the sweet, yet skillfully crafty, innocence radiated from Ed Westwick as conman Tyler Jones.  The British born actor steps into an entirely lighthearted, yet dark, role that’s undoubtedly different from his previous cache of disconsolate films of “Children of Men” or “S. Darko,” the sequel to “Donnie Darko,” with stories of gut-wrenching dread and a general sense of uneasiness throughout.  Despite having a black-comedy tone, “You Me Madness” evokes Westwick to gleam with hopeless love for a smart and beautiful woman undeterred by her then wanting to then needing to kill him because he knows too much about he in spite of her feelings for him.  As you see, the coupling dynamic in this Catherine Black and Tyler Jones show is tremendously complex and both actors are able to reach that level of radical commitment of killer zany passion but only to a limited extent.  Linton terribly overshadows Westwick’s dry, almost deadpan, manner that leaves Tyler feeling unworthy of pursuit because here you have this beautifully intelligent and aggressively possessive woman with Linton’s grand presence coming to life on screen over everyone, and everything, in the film and in strolls a rather silent and express soft Westwick that doesn’t quite fit the bill. 

What I found to be thoughtful and carefully worked was Catherine Black’s image from the male perspective.  Like I said, Catherine is a power-hungry, manipulative, and material-driven narcissist but also beautiful, elegant, and well-versed at stratagem, but this larger-than-life character isn’t demeaning to women as a whole nor is she degraded by the, essentially, the one man in this story with her.  Most rape-revenge or women with a cause narratives inflict a barrage of choice nasty descriptors, such as cunt or bitch, toward the heroine or anti-heroine because she’s battling back against the man or men who’ve wronged her or a loved one. Linton further moves away from the odious layers of destruction lamina by stylishly beefing up the neon effervesce exterior and glam lifestyles of the rich and famous hyperextended upon with a love of an 80’s music soundtrack complete with 80’s arbitrary dancing with Ed Westwick jumping, kicking, swaying, and hypersexualizing dance moves around the Black’s house to the omnipresent soundtrack that includes bands Yello, New Order, The Pointer Sisters, A-Ha, The OJ’s, and Thompson Twins just to name a few. Linton also adds a meta touch where the main characters can turn and narrate directly at the audience to narrate their thoughts.  The unlikely of couples Tyler and Catherine have a relationship that’s being sewn together during their deadly love skirmish right before our eyes as the Catherine led audiences with a narrative disclosure of her confined world seeps into Tyler’s unguarded bubble to the point where he can now turn to the camera and speak to the audience that forms a stronger bond between them.  Yet, “Me You Madness” doesn’t quite have that perfectly coursed transition from enemies to lovers with a story that starts to become lost in itself from being built up strongly by Linton establishing, overtly, Catherine Black’s dark lifestyle choices and the kill scenario plot on this street smart thief to then watering down Catherine’s intense resolute that peters into a shoulder shrug of giving up and in to Tyler after a ferociously hellbent to cut his throat and Hannibal Lector him for dinner.

“Me You Madness” starts off hungry like a wolf film that gets physical with a smooth criminal but turns into a total eclipse of the heart that’s addicted to love and is never gonna give you up!  “Me You Madness” hits video on demand services Valentine’s weekend, releasing February 12th, distributed by STX Entertainment (“Hardcore Henry,” “The Boy”). The 97 minute duration is a celebration of enriched love more powerful than money, fancy things, and diabolical desires while also contributing playful banter and dazzling with the overkill of a voluptuary femme fatale. Ray Peschke’s cinematography grasps the “Miami Vice” vibe. Peschke’s can be on both sides of the coin with a sterilizing bright white of elegance to then flip around into a drug-fueled, kind of smoky robust color variant scene chosen carefully from a broad palette to accentuate the mood. Obviously, going full neon is important too and with Catherine’s dark room spin class, you get that rich fluorescent coloring when all riders are adorned in wearable glowsticks and a neon light illuminates their light colored clothing. Since “Me You Madness” is a brand new film opening right into the video on demand market, there were no bonus materials with the feature nor were there any extra scenes mid-or-after credits. Often wordy to be an adjunct of pop culture name-dropping, “Me You Madness” still renders as a beautifully shot, sybaritic-inclined film that slightly misses the intended mark of connection and love, but does take us out of our dreams and down the lane of playful nostalgia and frivolous fun.


Watch “Me You Madness” on Prime Video! Click the poster to watch!

Being Slobby Drunk Doesn’t Excuse EVIL Deeds. “Promising Young Woman” reviewed! (Focus Features / Digital Screener)

On a weekly basis, Cassandra hits the night clubs and drinks herself into a stupor.  A male “Good Samaritan” will come over to assess her well being only to be selfishly determinedly for her to return to his place for a nightcap.  When on the verge of passing out or too immersed in drunken lethargy, the man makes his move with uninvited, unwanted show of handsy affection.  That’s when Cassandra springs her trap.  Feigning inebriation, the clearheaded Cassandra rouses a sobering, befuddled moment of blank expression, misplaced justification, and anger when the man’s seemingly easy lay catches them in an unsolicited sexual violation.  Her traumatizing past has molded her to become very good at pretending to be vulnerable until hearing a familiar name of a man, long thought to be out of the country, sends Cassandra down an itemized path of vengeance that not only includes ruining the life of the source of her unorthodox, yet necessary, campaign but also clump in every facet associated in with his shining existence.

If you needed a slap across the face in order to reassert yourself from the painful numbness of incessant news stories of young women being the vilified victims of sexual assault then “Promising Young Woman” is a stinging hot whack of four fingers, a thumb, and an open palm of wake the hell up!  From Emerald Fennel in her debut written and directed full length feature film comes a blunt narrative of systemic injustice involving rape and the social delusions stemmed out of grades of maturity, lengths of time, and levels of alcoholic drinking.  Coming off fresh from her recent role on Netflix’s period biographical drama, “The Crown,” Fennel draws motivation for her black comedic thriller from the infamous Brock Turner case of sexual assault on Chanel Miller that turned into a conviction judgement with abhorrent caveat in his early release for good behavior that the white, educated, star athlete’s life shouldn’t be destroyed because he’s a promising young man [sic].  “Promising Young Woman” targets every broken system that is meant to protect violated women despite their socializing determined conscious or unconscious state of affairs and has some mega star powers producing the social commentary material in such with “Suicide Squad” and “Bombshell” star, Margot Robbie, under her co-founded LuckyChap Entertainment along with the film’s star, Carey Mulligan, as executive producer. FilmNation Entertainment’s Glen Basner and Ben Browning fully finance the first real award contender of a 2021 release.

“Promising Young Woman” has an all-star, diverse class of actors surrounding principle lead, “Drive’s” Carey Mulligan as the methodically standoffish Cassandra, caught in a web of denial, self-depreciation, and straight up ignorance of the hurt caused directly and indirectly to whichever means to satisfy their own different shades of gray conscious. Mulligan is terrific as a coarse character rare to be juxtaposed against a veneer of bubble-gum chic with a reserved demeanor outside her burning the midnight oil working hours and coming out like a ferocious grizzly bear when calling out club scouting douchebags on their objectionable behavior. When Cassandra crosses paths with Ryan, comedian and “Eighth Grade” writer and director, Bo Burnham, Mulligan’s range is tested to take that disinterested and glassy eyed crusader and turn to a state of daily conformist complacency, the very dangerous thing Cassandra seeks to rectify one man after another, that slips Cassandra out temporary from her anti-heroine role until her dolled up, doughy eyes snap toward the camera and into a kill mode that goes straight for the pervert’s throat. An inclusive cast speaks volumes on not only how “Promising Young Woman” incorporates different ethnic and genre backgrounds and ages, but also doesn’t throw man to completely under the bus as Satan’s puppet on Earth with performances from Laverne Cox (“Orange is the New Back”), Alfred Molina (“Spider-Man 2”), Jennifer Coolidge (“American Pie”), Clancy Brown (“Starship Troopers”), Adam Brody (“Jennifer’s Body”), Christopher Mintz-Plasse (“Kick-Ass”), Alison Brie (“Scream 4”), Connie Britton (“American Horror Story”), and Molly Shannon (“Hotel Transylvania”).

“Promising Young Woman” wields a powerful theme to shed a brilliant light on everything that is fragmented with the way sexual assault accusations, trials, and punishments are handled.  The film also probes deep into the soul in how people who are not directly affected digest sexual assault but become accomplice in proximity in a range exhibited from complete, unnerving guilt to locking away the events in their mind in order to forget.  Fennel plausibly fashions a motif of passing judgement from assailant to victim while chiseling out the flawed logic in each deplorable excuse as to why a University Dean, a defense lawyer, and a good friend could cold-heartedly denounce, and frankly not lift one single finger threaded with moral fiber about, a young woman’s accusations.  The unpleasantry core of “Promising Young Woman’s” topical subject is nestled inside a sparklingly and colorful cladded showcase, housing an energetic and upbeat arrangement around a dark tone that, in a way, reflects the pretense goggles most see through to avoid any responsibility or conflict.   Empathy never seems to run it’s course as Fennel treads without fear on a mission to take back the blasted to smithereens dignity by deconstructing and exposing every unjust particle in this atypical rape-revenge thriller robust with heart paraded on by an ugly truth.

Remember when I said this film is a slap in the face wake up call? It’s more of a gut check, a conversation starter, and a watershed moment rolled up into one and now “Promising Young Woman” will land right into all the living room smart television sets in America with a Friday, January 15th VOD release from Focus Feature films. The rated R, 113 minute runtime release presented in a 2.39:1 aspect ratio will available for a 48-hour rental on Amazon Prime, Apple TV, Vudu, Fandango, and Google Play, but if you don’t want to wait and want to brave a pandemic climate, select theaters have showings available. Benjamin Kracun’s camerawork, shot on an Arri Alexa, offers a lush and delicate milieu surrounding Cassandra who, with a Panavision lens, gleams in the scene and the soundtrack, comprised of early 2000’s pop inspired from Spice Girls, Paris Hilton, and even a strained violin rendition of a Britney Spears track, cues moments of levity before annihilating the live of the blank conscious. As far as special features go, there were no bonus materials or scenes included. “Promising Young Woman” revamps the way women approach vigilante justice with a candy coated shell and the maestro behind it all, Emerald Fennel, aims to redact or nullify the expression promising young man to no longer be a part of the conversation.

Pre-order “Promising Young Woman” on Blu-ray or DVD. Watch it on VOD come January 15th

The Dead Don’t Stay Dead in EVIL Burial Grounds! “Pet Sematary Two” reviewed! (Scream Factory / Blu-ray)


After the accidental and traumatizing death of his beautiful actress mother, happening right before his eyes, Jeff Matthews and his veterinarian father move from Los Angeles to his mother’s quaint hometown of Ludlow, Maine to start over. The father and son are met with small town hostility from an arrogant, abusive Sheriff and the high school bully, but the ease of settling into their new surroundings with a new veterinarian business going well and Jeff gaining friendship with the Sheriff’s stepson, Drew, provides some inkling of comfort after their loss. When the Sheriff’s hot-headed temper murders Drew’s dog, the disconsolate Drew, along with Jeff, buries his beloved best friend in a sacred Indian burial ground with a smidgen of hope of the dog’s return, as the town’s urban legends suggest, but the dog becomes the first to return in a series of deaths and catastrophic returns that stagger to a family reuniting climax Jeff and his father won’t ever forget.

With Stephen King removing his name and separating himself from the overall project, the sequel to the 1989 “Pet Sematary” raised a few eye brows from the general public, and I’m sure some anxious investors, of how just would a non-adapted sequel to one of Stephen King popular novels would pan out come release. “Pet Sematary Two,” released three years after first film, would follow the predeceasing story a few years later with an entirely new cast of characters while still evoking the presence of the first film to linger about with director Mary Lambert to return to the director’s chair and helm a script by a relatively unknown writer, Richard Outten. Yet, Lambert’s return didn’t necessary equate to the reimplementing a broody, ominous, darkness facade as the well versed music video and television director flipped the script on a film she might not have any control over albeit financial backers did. Instead, “Pet Sematary Two” garnishes a scoffing rock’n’roll polarity that’s a raiper-like obverse approach of merriment morbidity doused with flammable fun and demented delight.

Hot off the presses of his first major role as a young John Connor fighting man-killing machines from the future in “Terminator 2: Judgement Day,” Edward Furlong stars as the scathingly broody Jeff Matthews. While Jeff Matthews isn’t as punk, off the street, as the delinquent turned hero John Connor, Furlong is about to turn Jeff back into being a kid with real life problems such as bullying, father-son quarrels, and dealing with the death of a parent. That screeching cry, those sunken eyes, and that bad boy attitude from “T2: Judgement Day” convinced thousands of young teenage girls that Edward Furlong was a desired heartthrob and “Pet Sematary Two” continued to showcase those attributes even further. However, in my humble opinion, Clancy Brown is the real heartthrob of the sequel with his over-the-top performance in the abrasive Sheriff Gus. The New England twang instantly sells Gus’s malignancy and crimson temper without even lifting one ill-fitting moral finger. From another King adaptation in “Shawshank Redemption” to being a bug hunter Commander Zim in “Starship Troopers,” Brown’s distinguishable deep and resonating voice, square jaw, and tall with broad shoulders has made the veteran actor the picture of law enforcement and military type and while “Pet Sematary Two” played into that typecast, Brown, who didn’t want to venture into horror, saw the laughter in the darkness and came out on top with a stellar exaggerated and unforgettable Sheriff Gus as a full blown undead maniac. Furlong and Brown stands out immensely over the rest but the remainder of the roles are just a grand with performances from “Revenge of the Nerds'” Anthony Edwards, Jared Rushton, Darlene Fluegel (“Freeway”), Jason McGuire, and Sarah Trigger.

“Pet Sematary Two” might have been profane against all that is (un)holy from the Stephen King’s novel and Lambert’s first film, but truth be told, the sequel is a whole lot of fun, a shell of the name worth watching, and provides substantial brutality with gory leftovers including skinning stark white rabbits, shredding the face off a young punk with the back wheel of a motocross bike, and an electrocution that ends with a head eruption. The Steven Johnson effects had range and bite, but unfortunately, the full brunt of the “Videodrome” and “Night of the Demons” effects artist’s work was perhaps not entirely showcased with some hard cuts to obtain a R rating, even unfortunately keeping the age-old rating with the new collector’s edition from Scream Factory that’s also the feature’s Blu-ray debut. Lambert certainly wanted the sequel to bask in a different kind of darkness that’s more comedic than gloomy and the schism between the two gulfs compares like a night and day, but the core principles of what makes “Pet Sematary” “Pet Sematary” remains faithfully intact. In hindsight, the sequel should have been labeled something else other than “Pet Sematary.”

Back from the physical media graveyard comes Paramount Pictures’ “Pet Sematary Two” onto a full 1080p, High Definition, collector’s edition Blu-ray from Scream Factory, hitting retailers February 25th. The release sports a new 4K scan of the original 35mm camera negative and presented in the original aspect ratio, 1.85:1 widescreen. The fact the source material remains unblemished becomes a plus that renders the newly scanned transfer with complementary darker shades of Autumn foliage and outerwear, delineating the burial ground and town nicely, and offering a range over hues that amplifying the perilous circumstances ahead. Still leaving some natural grain, the scan chisels through the softer portions and really does offer some nice details toward facial finishes, even in the dog’s mangy and matted blood stained fur. A few select poor edit choices, such as slow motion techniques, counteract against the detail naturally by disrupting the frames per second and causing a bit of a smoother finish than desired. If the English language 5.1 DTS-HD Master Audio could be described as one thing, that would be a menagerie of ambient gratification. The crinkling of leaves and the subtle cries of wildlife really set the primal and augury atmosphere. Dialogue clearly comes through and Mark Governor’s score shutters as a gothic western, an oddity for sure, mixed with wolf howls and Native American percussions, that fits the in the film’s black argyle pattern. All new special features accompany the single disc release, sheathed in an Laz Marquez illustrated cardboard cover, including a new audio commentary by director Mary Lambert, new interviews with Edward Furlong, Clancy Brown, Jason McGuire, special effectors advisor Steven Johnson, and composer Mark Governor, and a standard edition theatrical trailer. While not a fully uncut, “Pet Sematary Two” for the first time on Blu-ray is paramount to the genre the feature serves, swerving far from the antecedent, and evolving into a promising guilty pleasure.

Zowie Wowie! Check Out Pet Sematary Two on Blu-ray come Feb. 25th!

A Hell Ride in the Recreational Evil! “The Toybox” review!


An estranged and recently widowed grandfather purchases a used RV to take one last family road trip with his two sons, daughter-in-law, and granddaughter to rekindle a broken relationship. On an isolated stretch of desert highway, the family decides to pull over to assist two stranded motorists and offer them a ride to the next town. Suddenly, the RV veers out of control, steering itself to the middle of the dangerously sweltering desert. The group now finds themselves all stranded and alone with a RV that outputs a strange vibe, displaying vividly horrific secrets inside the RV’s enclosure. One-by-one, the RV kills them off and soon they realize that their ride to family fun is no more than a reincarnated recreational vehicle with a long lineage for death and thirsty for new blood.

Fan crushes are a strange phenomena. Once an actor or an actress imprints their image, their voice, or their one-time portrayal of a charismatic character onto you, the unexplainable captivation never releases the firm grip around the psyche. Denise Richards has had a long impression on this reviewer, resulting in a severe case of fan crush. The Illinois actress won my heart as the determinedly beautiful starship pilot Carmen Ibanez in Paul Veerhoven’s “Starship Troopers,” one year before her anticipated and unforgettable champagne popping nude scene in the convoluted thriller “Wild Things.” Twenty years later, Richards, an ageless beauty, co-stars in the Tom Nagel supernatural horror, “The Toybox.” Nagel (“Clowntown”) directs his sophomore film penned by screenwriter Jeff Denton and, together, the pair of filmmakers toy with and present an idea of a detestable serial killer leaving his twisted soul in the under the rusted hood of a his torture chamber, a beat up old RV camper. A killer RV story that sounds to be right up horror-comedy’s alley is actually a rather earnest narrative that has a solid kill count with an innovative, outside the box villain and a no one is safe attitude.

I’ve already mentioned that the goddess Denise Richards co-headlines “The Toybox” and though I have yet to experience her more recent work over the years, “Valentine” was the last horror film that I can recall with Richards in the cast and her role in Nagel’s film as a loving, yet undisciplined mother and wife in “The Toybox” puts her at the opposite spectrum of her roles in the late 90’s/early 2000’s career. Still, the now recently re-married mother of two still has her unrivaled hots and still has her acting chops as a leading lady despite the lack of Hollywood glam and stardom. Her co-star, Mischa Barton, has been an upcoming figure in the b-horror community. “The O.C.” actresses has starred in a string of horror films in recent years such as “The Hoarder,” “L.A. Slasher,” and “Apartment 1303 3D.” Barton tackles a tomboy Samantha whose picked up, along with her brother, by the RV traveling family and while Barton has a fine performance, she doesn’t quite sell the intensity as a final girl. Greg Violand (“The Devil’s Toy Box”), Matt Mercer (“Contracted”), David Greathouse (“Yoga Hosers”), writer Jeff Denton, director Tom Nagel, and introducing Malika Michelle round out of the remaining cast.

“The Toybox” loosely aims to unravel the inner turmoils of the characters mainly focusing around the estranged relationship of the father and his two sons. The trio can’t quite shake the secret inducing uneasiness that boils inside their broken relationship, making a situational cakewalk for the killer RV to pit them against each other as a deranged therapy session to unsheathe their kindred issues. The bickering and the blaming hurts those they love the most around them first, a very relatable and unfortunate circumstance in beyond the sensational borders of movie magic. However, no matter how much movie magic Nagel constructs to gore-out “The Toybox,” a stiflingly story rears an ugly head via undercooked characters pivotal in being the heart of the narrative. Samantha, Barton’s character, has soft, buttery edges that don’t take shape to ultimate purpose for being a focal point and the same can be said for David Greathouse’s serial killer character Robert Gunthry whose RV-inhabiting backstory is whipped swiftly a single anecdote.

Skyline Entertainment and Steel House Productions present Tom Nagel’s “The Toybox” onto Blu-ray home video in high definition 1080p and a widescreen, 2.39:1 aspect ratio. Image is quite sharp despite lacking vivid coloring and going more for a dusty western-horror, exhibiting the rocky arid landscape of the pacific coast. The English Dolby Digital 5.1 audio track is nothing to write home about, but offers a clean dialogue track, ample ambience, and balance. Depth’s slightly weak, but won’t hinder the experience. Bonus material on the single layer BD-25 includes a behind the scenes of various takes throughout production, the theatrical trailer, and a feature commentary with cast and crew. “The Toybox” is no child’s plaything. A RV serial killer with the homicidal motivations stemmed from pure evil and, in a fair opinion, only director Tom Nagel could have poised a coherent film without making it out too, for a lack of a better word, campy and that’s not my weird obsession with Denise Richards talking.

Don’t Let Evil Give You The Shaft! “Down” review!


One of New York City’s popular skyscrapers, the Millennial Building, is a modern marvel with 102 floors sought to be visited by national and international tourists, looking to reach the zenith and take a once-in-a-lifetime, awe inspiring gander across the Big Apple’s urban jungle landscape or seeking to be a working stiff inside the immaculate bones of the building’s historical foundation. Every day, thousands of visitors and employees ride the Millennial Building’s 73 elevators, assuming the safest ride possible to the touch the bottom of the sky, but when a deranged scientist implements a controversial biomedical computer into the building’s elevator vascular network, one tragic accident after another compiles fatal consequences within the vertical box that draws negative national attention. Elevator mechanic Mark Newman teams up with a rebellious newspaper reporter Jennifer Evans to investigate and uncover the a larger-than-life conspiracy behind a killer elevator organism.

Over three decades ago, Dutch filmmaker Dick Maas wrote, directed, and released the killer elevator film, simply titled “De Lift,” in the Netherlands. About 18 years later after his commercial success for “De Lift,” Mass spawned an American remake of the film entitled “Down,” also known as “The Shaft,” that transformed into the forgotten bastard when compared to Maas’ 1983 feature. To be frankly, “Down’s” terror-comedy knack with spunky characters and zany deaths put the 2001 remake right smack dab at the top of the repeat value charts and despite the lack of rigorous plausibility, the refreshingly no-holds barred, fun zone horror film doesn’t think twice, charging forward with gun blazing in an elevator ride to cinematic hell that shows no mercy and gives not one single care with each surpassing floor level. Be damned the backstory with meager exposition! Be damned the underdeveloped characters who are pivotal to the plot! Be damned the complexities of how the biomedical elevator system is able to live, breath, and reproduce through murder and mayhem! “Down” has a black and white, up and down glory that’s considered b-horror good that’s very reminiscent of the early films of Peter Jackson.

If you’re going to remake a killer elevator film, go big with the cast and Mass surely pulled through by signing cult genre stars of the time. Naomi Watts was just coming into the mainstream scene as she tackled well-received projects around that same time frame between David Lynch’s “Mulholland Dr.” and “The Ring” a year later, but the “Tank Girl” actress showed more than just her aesthetic assets, more than just shrieking horrific screams, and more than just displaying her big guns. In “Down,” she proved to be a gung-ho, rough-it-with-the-boys portrayer of a feisty reporter whose hot on the trail of a conspiracy helmed by surreptitious characters played Michael Ironside, who did not lose an arm in this film like he does in “Total Recall,” “Starship Troopers,” and “The Machinist,” and Ron Pearlman (“Hellboy,” “Cronos”). However, James Marshall, in the lead as the elevator mechanic, couldn’t ratchet tight a performance that called for concern and durability; instead, Marshall, known for playing James Hurley in “Twin Peaks,” schlepped clumsily on screen compared to the aggressively hungry Watts. Eric Thal (“The Puppet Masters”), Dan Hedaya (“Alien: Resurrection”), Edward Herrmann (“The Lost Boys”), and Kathryn Meisle (“Basket Case 2”) round out the remaining cast.

“Down’s” commercial success was plunging disaster. Reasons ranging from a flimsy premise to being an unconventional horror to the genre were, more than likely, not the major players in “Down’s” inability to elevate an audience. More so, the reasons stem solely between one or two factors, if not both. For one, Maas writes New Yorkers as belligerent morons, cocky, greedy, and deranged. Many of the characters are like this and if there was any that embodied any sliver of rationality or humanitarian attributes, there screen time was quick and fruitless. Secondly, though “Down” released in the spring of 2001, a film set in a New York City high rise with multiple mentions of terrorists and even verbally conveying a foiled plot to take down the twin towers probably hurt the film’s home entertainment value to the point where a DVD release didn’t surface until a good two years after the theatrical premiere.

Aside from all the delays, harsh reviews, and a shoddily cropped Artisan DVD release, Blue Underground delivers a godsend presenting “Down” on Blu-ray/DVD combo. The 1080 HD on a BD 50 dual layer disc has a widescreen 2.35:1 aspect ratio and radiates with clarity; so clear, that I had a hard time placing the year as the image certainly outshines most turn of the century products. An immense amount of detail just exemplifies the extraordinary content without appearing as a discount deal for special effects. Audio options include an English and French 5.1 DTS-HD and an English and French Dolby Digital stereo with both including optional English SDH subtitles and Spanish subtitles. The amount of range is leaps and bounds beyond the Artisan’s par quality with the 5.1 channelling maximized quality and clarity. Dialogue track is clear and free from obstructions with the only stain being the horrendously dubbed diner jerk that punches James Marshall in the face, but that’s not necessary a make or break blemish. Bonus materials include audio commentary with writer-director Dick Maas and stunt coordinator Willem de Beukelaer, the making of “Down,” behind-the-scenes footage that’s exclusive to the Blu-ray, theatrical trailer, poster and still gallery, and teaser trailers of upcoming releases. The casing itself harnesses a collectible booklet with new essays by Michael Gingold. “Down” finally shines through with a stellar release from Blue Underground, a leader in restoring and releasing cult films. If in the mood for a story without much thought while desiring to choke on out of this world terror-comedy then “Down” is a must on the upcoming marquee!

Own “Down” on Blu-ray!