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Forcing Conformity on EVIL is a Violent Cause. “Murder in a Blue World” reviewed! (Cauldron Films / Blu-ray)

Posted by Steven Lewis on

“Murder in a Blue World” now available on Blu-ray!  Purchase a Copy Here at Amazon.com!

Nurse Ana Vernia lives in an authoritarian, dystopian world where she just received a commendation for her work, but beneath the archetype of a scrutinizing society seeking to acculturate deviants by way of involuntary electroshock treatments, Ana moonlights in her own violent behavior as an act of mercy. Under the pretense of disguises, Ana seduces men aberrant to the social norms, returns them to her luxurious mansion, sleeps with them, and to then only murder them with precision before they can be subjected to imperious judgement for being different. All the while, societal dissentient David, an exiled member of a brutal gang, witnesses Ana’s exploits and infiltrates her home, her life, to garner incriminating evidence in order to blackmail her for money, but when David is tracked down for his former gang and beaten to near death, he comes ironically under the care of nurse Ana who plans to fix David before his fate before the electroshock treatments.

Get ready to dial high on voltage on the social commentary scale, “Murder in the Blue World” is a fascinating, dystopian look at social disorder. Heavily influenced in more ways than one by Stanley Kubrick’s “A Clockwork Orange,” the Eloy de la Iglesia 1973 picture was once entitled “Clockwork Terror” in the U.S. to ride the lucrative coattails of Kubrick’s symphony to violence. Also known in other parts of the world as “To Love, Perhaps to Die,” “Satansbrut” (“Satan’s Fiend”), and “La clinique des horreurs” (“The Clinic of Horrors”), Iglesia’s original penned script and title actually “Una gota de sangre para morir amando” (“A Drop of Blood to Die Loving”), co-written with José Luis Garci (“El Teroso”), Antonio Artero (“El tesoro del capitán Tornado”), George Lebourg, and Antonio Fos (“Panic Beats”). The Spanish film goes internationally by many monikers but has one objective and that is to counter the dictation of free-thinking individuals with violence. “Murder in a Blue World” is produced by José Frade under his self-titled production company, José Frade Producciones Cinematográficas S.A.

“Murder in a Blue World” is so much so in the Stanley Kubrick wake, the film stars Sue Lyon who played the titular character in Kubrick’s “Lolita.”  More than a decade later, the “End of the World” and “The Astral Factor” actress enters another emotionally lacerating role of a woman, a nurse, sworn to do no harm who sees that a quick euthanization is the only possible mercy she can offer to spare societal downcast souls from a fate far worse than death in a cold and cruel condemnatory world.  Lyon’s excellent in curating her different disguises and looks, taking on a variety of personas with subtle mannerisms despite how comical or implausible they may appear on screen, such as the idea of being an old, gray-haired woman.  Lyon is fair and small in stature compared to her male counterparts but commands the screen with her confident approach to Ana’s advantageous beauty and eroticism that can turn a gay man straight apparently.  Former gang member David shares her ideology to an extent, to the extent of capitalizing off her nightly murder for mercy escapades in order to survive on the street alone.  Christopher Mitchum, son of the late Golden Age of Cinema actor Robert Mitchum (“El Dorado,” “The Longest Day,” “Scrooged”), plays the nihilistic gangbanger with aversion to any or all rules that tell him how to think.  Mitchum’s impressive motorbike skills are utilized for an impressive chase sequence that incorporates ramp jumps and car crashes at a high speed velocity, a talent Mitchum and film producers utilized often in his other credits, such as “Sumertime Killer” and “Big Jake.”  Lyon and Mitchum don’t have much screen time until later in the story but their interactions are playful, flirtatious almost, but in a predator-prey kind of way and we’re not really sure which-is-which in that shifty relationship.   French actor Jean Sorel (“A Lizard in a Woman’s Skin”) rounds out the three-prong principal characters as a diehard representative of the authoritarian body and a potential love interest for Ana.  Playing Victor Sender, a neurologist experimenting on the criminally insane with electroshock therapy and working at the same hospital as nurse Ana, Sorel is the epitome of the calculating stability and clean-cut coldness of the ruling class that’s doesn’t see what they’re doing to be a unjust, cruel, or even a problem at all. “Murder in a Blue World” rounds out the cast with Ramón Pons (“Scarab”), Charly Bravo (“The Cannibal Man”), Alfredo Alba, Antonia del Rio, Domingo Codesido Ascanio, and Fernando Hilbeck (“The Living Dead at Manchester Morgue”).

On the surface, director Eloy de la Iglesia carves a rib right out of Stanley Kubrick’s “A Clockwork Orange” with themes of exquisite, unprovoked violence sparked by the very basis of rebellion against authority. Not to also forget to mention the elaborately dressed gang of four, the electroshock treatment that aims to cure the criminal cerebrum, and the dystopian, futuristic guild with hints of fascism. “Murder in a Blue World” is a mixture that’s two-third post-Kubrick and one-third part pre-Paul Verhoeven, the latter reaching into fascist imagery as well as extreme commercialism that has surely inspired the “Robocop” and “Starship Trooper” director. Blue wellness drinks and panther-primitive men’s underwear are just a few the commercials fabricated for Iglesia’s coloring of an influential culture as the filmmaker uses the motif to symbolize and parallel brainwashing that becomes more severe when the government attempts to force a cure for criminality down incarcerated individuals’ throats. Even David announces to the world in multiple scenes how he doesn’t care what others think and he’s a free thinker. Homosexuality, prostitution, and physical imperfections suggest master race ideology amongst the domineering class hierarchy. Those who Ana seduce, as well as David, struggle in poverty and are considered inferior though not explicitly mentioned in the story. Iglesia integrates his trademark graphic violence, closeups of stabbings and throat slitting, but only really visualizes post-third act climax to keep more of an implied violence, off screen, and quickly edited to maintain an unclear vagueness of what’s right and what’s wrong in what Ana’s accomplishing.

A phenomenal companion piece and second bill to Stanley Kubrick’s “A Clockwork Orange,” Eloy de la Iglesia’s “Murder in a Blue World” finds Blu-ray love with a high definition, 1080p release from the genre film eternizing Cauldron Films. The Blu-ray debut is a 2K restoration of the 35mm transfer that has held up fairly well over the decades to only show pockets of wear and tear. Presented in a widescreen 2.40:1 aspect ratio, there’s no edge enhancement or digital noise reduction to clear out the natural stock grain, leaving the picture quality with more texture. Skin tones are, for the most part, natural and popping color grade doesn’t stray too far from its integrity until one brief scene goes full Oompa-Loompa orange before reverting back to normal. Light scratching is common throughout but not obtrusive to the viewing. Two audio options come with the release, an English dub dual mono and a Spanish dub dual mono. Since the cast is comprised of American, French, and Spanish native actors, neither track appears attractive from a lip-reading and audio-hearing perspective. Preferably, I went English dub as Sue Lyons and Chris Mitchum monopolize the lion’s share of screen time. There’s quite a bit of hissing and popping on the single channel output that can render dialogue almost indistinct but passes with a D+. The English subtitles synch well and show no sign of inaccuracy or grammatical issues. English SDH captions are available as well. Special features include a 2008 archive interview with Chris Mitchum, an interview with dubbing guru Ben Tatar Dubbing in a Blue World, a video essay read by Spanish Gothic film and literature scholar Dr. Xavier Aldana Reyes who dives into the themes and constructs of Iglesia’s film, audio commentary by film historian Kat Ellinger, the VHS cut of “Clockwork Terror” in 720p standard definition, and image gallery. The physical release comes in a clear Blu-ray snapper with a colorfully illustrated cover art that is reversible with one of the more notable and beautifully shot scenes on the inside. With a runtime of 97 minutes, the release is region free and is unrated. “Murder in a Blue World” receives a gorgeous Blu-ray restoration and debut as it’s an eclectic work of inspired and pioneering visual art from one of Spain’s most individualist directors.

“Murder in a Blue World” now available on Blu-ray!  Purchase a Copy Here at Amazon.com!

Biding Time Can Be Dystopianlly EVIL and Claustrophobic. “Tin Can” reviewed! (Dread / Blu-ray)

Posted by Steven Lewis on

“Tin Can” on Sale Now at Amazon.com!

A viral fungus pandemic has plagued the world.  Fret, a parasitologist, has worked toward a cure to stop the spread of a virus that grows Clavaria-like basidiocarps from inside out the body that’ll eventually enclose the victim to death in an organic cocoon.  Before Fret can develop and distribute the recently discovered global cure for the virus, she awakes in a confined metal container constructed to suspend life duration for those who contracted the illness.  Confused and disoriented, Fret learns she’s not alone as others awake around her and able to talk with through the containers, including your infected husband John.  Unaffected by the virus and believed to be encapsulated in error, Fret works desperately on an escape from her well-intended prison in order to save humanity before it’s too late.   

By now, most of us can relate to a pandemic-driven storyline because, well, you know, COVID.  The 2020 sci-fi body horror “Tin Can” is no exception despite having been filmed prior to all the pandemic induced deaths and lockdowns.  Perhaps premise creator and director Seth A. Smith had a little foresight into coming events that inspired the Canadian project co-written with Darcy Spidle.  “Tin Can” is the fourth pen-to-paper collaboration between Smith and Spidle who previously completed two feature films (“Lowlife,” 2010 / “The Crescent,” 2017) and one short (“The Brym,” 2016) along with “The Willows,” the duo’s fourth feature film and revolving once again around preternatural events, that is currently in pre-production. For “Tin Can,” Smith and Spidle entangle a science fictional, dystopian, Hell in a handbasket world with selfish motives that outweigh saving the world. Seth A. Smith’s Nova Scotia based production company, Cut/Off/Tail Pictures, develops the story produced by company producer Nancy Ulrich and financially backed by the executive producing team of Michael Baker, Marc Savoie, Tim Lidster, and Rob Cotterill (“Possessor”).

“Tin Can” might evoke a sense that one main character will be the focus point for the entire storyline, such as with “Buried” that stays put on the singular person trapped in this very tight, very claustrophobic-inducing soda can. Yet, that is not such the case with “Tin Can” that does circle around a centerpiece character in Fret (Anna Hopkins, “V/H/S/94”) but the cure-all scientist waking up in a life-extending canister while on the edge of saving mankind isn’t alone. Surrounding Fret are strangers, colleagues, and even her husband, some of whom, such as her husband, are suffering the protruding fungal fairy fingers of the virus. Anna Hopkins fields a hefty, difficult role after an initially a humble beginning as a scientist that more so-or-less feels the pangs of a low rent indie, but as Hopkins’ Fret transcends time by waking up weeks (or maybe months…years?) later, her environment becomes frantically imprisoning. The tight confines of the titular object with medical tubes dangling from the ceiling, a Tracheostomy tube down the throat, a malfunction video screen, and mysterious bars that light up one-by-one set a stronger stage for the actress to be put up against and Hopkins nails the mindset of a woman vehement and determined with escape to not only save her own life but the life of billions across the planet. In the cans beside Fret, providing Hopkins with more serve-and-volley fuel, is her husband John (Simon Mutabazi) inflicted by disease but becomes more than just a victim, Wayne (Michael Ironside, “Starship Troopers”) who I couldn’t really grasp as a component in the story as he’s like a project financier in the tin can project to save his own skin from being reskinned by fungus, Darcy (Amy Trefry) as a colleague-friend of John and Fret, Whistler (Tim Dunn, “The ABCs of Death”) who is the most interesting and weird doomsayer of the bunch, and a fist banging mute (Sara Campbell) also inflicted. For much the back-and-forth in the cannister talk, the dynamic is more of a talking head roundtable of initial discussions of popping open a small air vent so they sce outside their enclosed cell and eventually lead to more depth and deception that narrows the story with the what, when, why, and how.

“Tin Can” aspires to be a chaptered three-act conundrum. I don’t mean that in a negative perspective. What Smith brings into existence is a polished independent film of Cronenberg-esque and has ensuing weirdness act-after-act only paralleled by the double-crossing exoneration or a retaliating impugn of keeping one alive after being severely scorned. The first act plays out like the world of today, a devastating pandemic that has ravaged the human population. The second act unsheathes the mystery of waking up inside the tin can device with people she knows and is eager to discharge herself from a capsule that’s supposed to sustain her life. Then, the third act rolls in, the third and final chapter, and time has officially been corrupted as we know it with a futuristic beings suited in various colored alloys. Alloys are definitely a theme beginning with title “Tin Can.” Fret discovers a cure for the diseases by commingling it with an alloy and each containment artificer is suited in a different metal and are credited as Copper, Gold, Silver, etc. What Smith could be suggesting is the element that could cure us could also incapacitate or, even worse, transfigure our existence with a lifesaving, yet life altering, solution to the extreme. Cinematographer Kevin Fraser industrializes the look of “Tin Can’s” existential view and is a glorious rusty bucket of a cheerless life. If Smith wanted to convey a life of nihility and automaton, Fraser nailed down the oxidation state. “Tin Can’s” a cold hard look at the cost of saving the world that, in the end, might not be worth saving.

A part of the Dread Central at home release line, “Tin Can” arrives onto a high-definition Blu-ray distributed by Epic Pictures and MVD Visual. The region free Blu-ray is presented in a throwback 3:2 with letterboxing and has a color reduction implemented to give it that demoded depiction. Image looks amazing without an inkling of any kind of compression issues especially with many of the scenes shot in darker and bleaker circumstances. Fraser delivers some awe-inspiring, creative angles that produce a how-did-they-do-that response to get a 360-degree single take of Anna Hopkins in the cannister or the rotation of a limp body on a large wheel door. The Dolby Digital 5.1 English audio mix has solid sound design as more than half of the picture is off the principals talking through their metallic cylinder containers that created a muffled depth and low range flickering in the backorder, the mechanized hum mixed with scraping metal, does wonders to sell the dystopian effect that borders steampunk. No inherent or noticeable flaws in the final product. English subtitles are available. Special features include a commentary with Seith A. Smith, The Last Bell Doe Toll – the making of “Tin Can'” exhibits the construction and creation of the displaced subsequent future, how to achieve a few of those crazy Kevin Fraser shots, and provide cast and crew interview insights, and the bonus content rounds out with two music videos – The Last Bell Does Toll and ZAUM – The Enlightenment (Part I). “Tin Can” runs at 104 minutes and is not rated. “Tin Can” is ingenious on a level many will not fully understand and, frankly, I barely can tether my impression and have it make sense, but there’s a unique ore core to this science fictional, ill-fated fantasy that can be so odd at times you can’t help but not look away.

“Tin Can” on Sale Now at Amazon.com!

Out With the Old EVIL. In With the New! “Modern Vampires” reviewed! (Ronin Flix / Blu-ray)

Posted by Steven Lewis on

“Modern Vampires” available for purchase on Blu-ray at Amazon.com

Blacklisted for not killing the vampire nemesis Dr. Van Helsing, Dallas is shunned by most of the underground Los Angeles vampire scene now presided over by Count Dracula himself, but as he returns to the city after decades of being gone and gathers with old – very old – dear friends, Dracula threatens him with being burned alive if he overstays his begrudged welcome.  When a newly turned rogue vampire under the pretense of a corner prostitute starts ripping the throats out of unsuspecting Johns, Count Dracula doesn’t want the potential public attention drawn on his species.  Taking a shine to this mysterious woman’s insubordinate nature, Dallas finds her, cleans her up, and introduces her to his inclusive friends, but little do any of the bloodsuckers know is that the Van Helsing is in town and has recruited local Crips to be the holy servants of God in wasting away the vampiric filth that plagues humanity.

Here I thought Casper Van Dien’s only good film was 1997’s galactic war with the extraterrestrial bug species in “Starship Troopers!”  Nope, one year later, Dien follows up his iconic global militant-nationalism and gory-filled sci-fi blockbuster with the little-known American comedy-horror “Modern Vampires.”  Better known around the world as “The Revenant” to not confused American audiences with a highly ingrained British term, “Modern Vampires” is directed by a principal one-half of the 80’s American new wave band Oingo Boingo in Richard Elfman.  The other half of that duo is Richard’s brother, who we all know and love in his unmistakable musical scores of “Batman” ’89 and “Edward Scissorhands,” Danny Elfman who also scores the opening theme to “Modern Vampires” with recognizable and trademark notes from those previously stated Tim Burton pictures.  The script was also penned by a fellow Oingo Boingo original member and the Kiefer Sutherland and Reese Witherspoon “Freeway” film, and its sequel, screenwriter Matthew Bright.  Bright and Richard Elfman had previously collaborated on the comedy-musical “Forbidden Zone” surrounding sixth dimensions and damsels in distress as well as the Charles Band produced “Shrunken Heads.”  “Modern Vampires” is produced by Elfman, Brad Wyman (“Barb Wire”), and Chris Hanley (“American Psycho”) under the Storm Entertainment and Muse/Wyman productions.

Ladies, if you thought you’ve seen the last of Casper Van Dien’s backside in “Starship Troopers,” then worry not! As the hunky, cigar-smoking, former World War II pilot Dallas, Van Dien, once again, shows off his hind parts in a steamy sex scene one top of Dallas’s car with costar Natasha Gregson Wagner (“Vampires: Los Muertos,” “Urban Legend”). As the indifferent vampire Nico under the pretense of a prostitute who seduces men into vulnerability before gashing open their necks, Wagner adds a bloodthirsty ferocity to her uncouth, undead character’s tremendous and tragic depth surrounding a trailer park trash childhood of sexual abuse and a grandstand mother. As a pair, Dallas and Nico are essentially made for each other or, rather, Dallas turned Nico because under all that pretty boy veneer, Dallas still has a beating heart for compassion and friendship as noted with Dr. Frederick Van Helsing’s crippled son, Hans, and the choice made between the two young men before the whole debacle of nixing to the fearless and relentless vampire killer of all time. Rob Stieger plays that character beautifully manically. “The Amityville Horror” and “End of Days” actor graces the production with seasoned vitality while also trying something new himself, a slightly fascist German vampire hunter who hires L.A. gangsters to help him do his dirty work and has to be the butt of the joke at times at the hands of Count Dracula (“Striking Distance”) as well as Dallas. Stieger does his scenes with great earnest yet great fun that puts the legendary actor into a new perspective. “Modern Vampires'” star-studded cast doesn’t end there was Dallas’s friends include performances from Kim Cattrall (“Big Trouble in Little China”), comedian Greg Furgeson, Natasha Lyonne (“Slums of Beverely Hills”), and the legendary Udo Kier (Andy Warhol’s “Dracula”) as well as a cast round out with Natalya Andreychenko, Gabriel Casseus, Peter Lucas, Victor Togunde, Cedric Terrell, Flex Alexander, and Conchata Ferrell.

Gory, sexy, and overflowing with politically incorrect humor, Richard Elfman’s “Modern Vampires” more than likely would not be a film made today, but definitely suits the 90’s scene.  There are stereotypes and jokes radically exaggerated for comical effect and land with such insouciant ease that the entire production felt at peace with the humor, emitting “Modern Vampires” as an enjoyable, blood-soaked, outrageous vampire comedy unearthed from over 20-years ago and landing onto a new Blu-ray release where the Elfman film deserved an upgraded treatment.  Los Angeles in ’98 didn’t look extremely different than what’s depicted in the film – late night clubs with half-naked patrons doing all sorts of weird and bloodletting fetishes, leeching prostitution on the delinquency riddled streets, and unsavory, unwilling gang bangs but, in “Modern Vampires’ case, the one tied to the bed is a female vamp fully-transformed into a human-sized bat and those who have sex with her, turn into a vampire themselves.  See the humor and symbolism in that?  Almost as if having unprotected sex with a creature of night is akin to contracting a sexually transmitted disease.  Despite the waggishness, “Modern Vampires” holds other staid themes as well with an arteria one being reflective in the title.  The genesis of the species emerged from Count Dracula who had moved from his old Germanic country to the hip and upcoming L.A. area. With each generation of vampire, the loyalty gap becomes wider until the turned from the 20th century are fully unmanageable by the Count’s supreme power. Nico, the youngest turned is in her vampiric infancy often noted throughout the film, can’t be contained and won’t be told what to do, much like teenagers butting heads with their parents on every little subject. Traditions are broken, heads are severed, bodies are burned, and the “Modern Vampires” is a wildly funny and gruesomely gnarly.

“Modern Vampires” is now the vintage vampires that hit the silver screen some 24 years ago and is now basking with the great 90’s flair of special effects, clothes, and hair on a new Blu-ray release from Ronin Flix in association with Quiver Distribution (“To Your Last Death”). Newly scanned in 2K of the Richard Elfman’s personal film print, the picture retains an unsullied quality with impeccable detail delineation for a story that’s mainly set/shot at night. There’s quite an overlay of purple flush that I’m fairly positive is not intended that pulls away, at times, from clearcut contrasting and blend the objects in the scene together. The film is presented in full high definition1080p in a widescreen aspect ratio of 1.85:1 with an English language DTS-HD master audio 2.0 stereo that retains the amplitude of every categorical track. Dialogue track provides a clean depth and clarity that doesn’t swerve into boxy territory like many indie productions do. Ambient and foley range is quite limited for a bunch of different locational shots and in a crowded location full of extras but the extent of the quality is good enough. The 91-minute film comes not rated and has an exclusive extra with an introduction by director Richard Elfman plus archival features, such as audio commentary with Richard Elfman and star Casper Van Dien, a behind-the-scenes featurette with on set mini-interviews with the cast and crew. and the theatrical trailer. “Modern Vampires” might now be long in the tooth (get it?) but has the classic campy escapades of an unpretentious good time and, that my friends, is timeless.

“Modern Vampires” available for purchase on Blu-ray at Amazon.com

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

Posted by Steven Lewis on

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)

Posted by Steven Lewis on

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