Nab’em, Chop’em, and Feed’em to the EVIL Ox! “Butchers” reviewed! (Breaking Glass Pictures / Digital Screener)

After the death of their firm handed, elderly mother, brothers Owen and Oswald Watson remain isolated in the boondocks, off the beaten path to nowhere, to live in their rundown family home, like the generations before them, to do the one thing they desire and born to do – abduct stranded motorists, kill the men, and imprison away the women for their sadistic and misogynistic pleasures.  After breaking down passing through on a rural bypass, four young friends find themselves fighting for their very lives against a pair of siblings with a deep rooted heritage of experienced violence to show for it, but when one of the brothers starts to become even more unhinged than normal, the remaining survivors seek to take advantage of the situation to escape, but their captors know the woods inside and out.

Everyone believes Canadians are overly nice and well-mannered.  Our considerate neighbors of the North withstand the plethora of static noise from the turbulent South, willing to forget and forgive in a moments notice with nothing more than a smile and slap across the back, but has anyone ever bare witness to Adrian Langley’s dog-gonna-hunt, exploitation film, “Butchers,” hailing from Ottawa, Ontario?  The 2020 survival horror thriller displays the unseen dark side of Canadian’s grinning and friendly façade and, boy, does it familiarize and rival some of the similar backwoods doggedness we’ve seen in the last quarter century.  The film is written and directed by Langley and co-written with Daniel Weissenberger (“Come True”) in the intent of being a gritty, hillbilly-gone-wild hoedown with butcher blade sharpness.  Langley’s cinematic shiplap usually provides hard to swallow and violent themed content set to put one on tenterhooks established from his string of unflinching crime dramas (“A Violent State,” “Crook”) when the director is not moonlighting as a made-for-television PG-rated filmmaker for the holidays (“Candy Cane Christmas,” “Homemade Christmas”).  Christmas is long gone and a long way off and no amount of jovial spirit can guarantee a happy ending in “Butchers,” a production of Langley’s Unit XIX Films and Nicolás Onetti, producer and filmmaker behind retro-manufactured giallo horror “Abrakadabra” and “Francesca,” attached under his production banner, Black Mandala.” 

Principal characters are essentially the entire cast, small in size but pack a punch with their performances.  Starting off with the brothers, Owen and Oswald Watson, whose story begins during the snow and icy-filled heart of the winter months with them standing graveside, freshly filled with the remains of their mother, well before the hapless four protagonists breakdown in the summer’s heat.  The Watson boys story arc from second fiddle to top brass in a brief moment of background with the death of their mother as they quickly set to work pouncing on a young couple and exploiting the chained up and captive wife/girlfriend for carnal pleasure while abiding by a certain set of harshly punishable rules.  Television’s “Age of the Living Dead’s” Simon Phillips and Michael Swatton reteam in their respective roles of Owen and Oswald who are very much human characters with carefully planned and executed uncontrollable urges, callous whims, and fallible actions, sullied by a mixture of mental disease and rotten nurturing.  Philips is terrifying as in the intellectual brother, with his sophisticated word hole, very willing to get his hands dirty as the more perverse of the two brothers, but his relationship is on the rocks with his unstable brother, Oswald, as Swatton channels the internal family quibbling mindset of Leatherface from the “Texas Chainsaw Massacre” franchise with the exception of the crossdressing obsession and the iconic, rip-roaring chainsaw.  Oswald instead wields a custom butcher’s knife with jagged shark life teeth as he manically runs through the forest hunting down the four youngsters played by Julie Mainville (“Ghastlies”), James Gerald Hicks (“Killer Mom”), and “The Nights Before Christmas’s Anne-Carolyne Binette and Frederik Storm.  With these lambs for the slaughter characters, this is where Adrian Langley succumbs to tropes that instill a misplaced sense of courage, uncontrollable and shallow horniness, and a turmoil amongst friends to be the divisive factor leading of their fate.  “Butchers” rounds out the cast with Jonathan Largy, Samantha De Benedet, Blake Canning, and Nick Allan as uncle Willard. 

“Butchers” does have blatant derivative bones underneath a body that echoes the frameworks of pioneered films from the aforementioned “Texas Chains Massacre” to more recently “Wrong Turn,” the original film series formed in 2003 about inbred, cannibalistic mountain people.  These powerhouse of unpretentious and bloodthirsty franchises inspired much of what you’ll experience in Langley’s homage of a cyclical subgenre; yet, the filmmaker’s tale of two brothers with a bloodletting scheme of their own doesn’t lend itself as being a hack work nor does the story render like an atrocious carbon copy but, rather, “Butchers” lives in a moment of simple, matter of fact craziness living in the dark corners of the seemingly innocuous world.  Owen paints a near perfect picture of the one in a million chance that people, like his hapless captives, fall into the position they’re in, sophisticatedly monologuing with intent to his bound prey in a pair of scenes that slice a thinly opened gap of possibility and that, right there, is scary.  “Butchers” builds no momentum, but, instead, goes right for the throat straight from the get-go as Langley reinforces the attitude that this can happen to anyone by not getting too familiar with characters in their backstories.  In order to establish a pattern of action and to lay foundations in who we should and shouldn’t root for when things go to hell, virtue-less unfaithfulness becomes a promising wedge that doesn’t necessarily cause descension in the ranks of survival, but paves a trope-laden path of who will ultimately perish.

Backcountry exploitation might have seem to have run it’s course. I mean, really, how many times can crazy deformed cannibals wreak gut-spilling havoc on the naïve outlanders to their idyllic provinces? For me, as many time as it damn well pleases, especially when fundamentally satisfying as Adrian Langley’s “Butchers,” distributed by Breaking Glass Pictures and now available streaming on Prime Video. “Butchers” will be available on DVD at a to be announced date. Langley, wearing multiple of hats in the spirit of indie productions, dons the director of photography bowler hat…well, I don’t really know what hat the DOP would wear, but we’ll represent the position with a bowler for now due to the deluxe sophistication the bowler implies while still sustaining a classic touch and that’s how I see Langley’s clean and competent cinematography style whose able to frame scenes that force audiences to be a part of the action . As soon as a character turns to speak to another character or when a car hood slams, an effective rush of adrenaline courses through the veins when out of nowhere one of the brothers pop onto the widescreen 2.35:1 aspect ratio presented screen. “Butchers” come with no bonus material after a 92 minute runtime, but a single scene lingers during the credits that, again, harps back to a certain dancing killing machine from the original “Texas Chainsaw Massacre.” May not be an original concept, but “Butchers” can still castrate the soul with an exploitatively merciless family tree sowed with perversion and bloodlust.

Rent or Own “Butchers” on Amazon Prime Video! Click the Poster to Watch!

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!

The Myth. The Legend. The Evil…. “Leatherface” review!


Texas 1955 – the pride of the Sawyer family was not their tattered farm, but a bloodline taste for something else – callous murder and a penchant for human flesh. Verna Sawyer sought to instill that pride into her children, especially her youngest, Jed, but when Hal Hartman, hard nose local Sheriff, learns that his daughter becomes victim of the Sawyer’s suspect nefarious carnage, he executes the law to his advantage, deeming the Sawyer house unfit for children and removes Jed from his labeled degenerate mother Verna. Ten years later, a group of teenage patients escape a mental hospital, kidnap a young nurse, and reek bloody havoc in their voyage to Mexico in an attempt to elude the very same lawman who put them away, but this time, Hartman isn’t adhering to the law, straying off his moral compass to pursue a vengeance mission against unprincipled youth that’s personally driven by Jed and the Sawyer family. Once the embattled Hartman catches up with his prey, a series of gruesome events lead to the creation and the construction of one of the most notorious killers Texas will ever see.

I love a good origin story. There’s something to be said about understanding the commencement of character, to be in the shoes of a long running icon, and to be able to sympathize with their story no matter how atrocious. Directors Alexandre Bustillo and Julien Maury’s 2017 “Leatherface” does just that with the film’s own origin enlightenment on how the chainsaw wielding, human skin mask wearing psychopath came to fruition inside a home of unspeakable brutality and influenced externally by a unforgiving society. From a script penned by Seth M. Sherwood, “Leatherface,” serving as a direct prequel to Tobe Hooper’s “The Texas Chain Saw Massacre,” briefly touches upon the preteen years to setup the catalytic road trip from hell, birthing a monster in a time of adolescence and if part of a legacy spanning over forty decades inspired by Ed Gein, the real life human skin wearing and notorious serial killer, then you damn well know “Leatherface” has to be genetically predisposed to be ultra-violent drenched in blood splatter. The French filmmaking duo, who’ve helmed 2007’s “Inside” and had directed the “Xylophone” segment in “The ABCs of Death 2,” nail the dark and gritty tone that not only breathes a gassy and exhaust fumed life into a massive flesh-ripping chainsaw, but also inflicts heartlessness across the story board into a heartfelt homage to the characters and to the story fathered by Kim Henkel and the late Tobe Hooper, both of whom were attached as executive producers.

Over the years, many actors have held the mammoth power-drive cutting tool in their hand that’s ready to chip away at flesh such as Andrew Bryniarski (“The Texas Chainsaw Massacre” 2003 remake), Bill Johnson (“The Texas Chainsaw Massacre 2”) and, most famously, Gunnar Hansen, the original Leatherface. However, I’m not going to divulge who the pubescent Leatherface is in the story because the film plays out as a who out of the group of degenerate teens is the son of Verna Sawyer, even though you can easily obtain the information in a simple click and search on Google. Instead, Sam Strike, James Bloor, and Sam Coleman portray the three escapees who are accompanied by an equally insane sociopath in Jessica Madsen and an eagerly novice kidnapped nurse by Vanessa Grasse. Amongst a sea of English actors are a pair of vets to shepherd the young cast and be the embattled bookends to the dawn of an icon. Lili Taylor (“The Haunting”) and Stephen Dorff (“Blade”) face off as Leatherface’s mother, Verna Sawyer, who butts horns with a longstanding sheriff, Hal Hartman, with a steadfast vendetta against the Sawyer family. Christopher Adamson (“Razor Blade Smile”), Nathan Cooper (“Day of the Dead: Bloodline”), and Finn Jones (“Wrong Turn 5: Bloodlines”) co-star.

Usually with a pair of directors, two different styles spawn to an end result. With Bustillo and Maury, styles merge into a seamless effort of elegant wonders. Each shot emerges a purpose to the story whether it’s painting an image of the Sawyer’s death house to pulling a one-eighty with characters, the filmmakers ability to combine each element into a single story, that has such a close knit cult following, and still manage to cinematically pull off the atmosphere, the grit, and the gory carnage of a Texas Chain Saw Massacre film is impressive. Cinematographer Antoine Sainer, whose worked previously with the directing duo on the “The ABCs of Death 2’s” segment “X,” has the ever so poised eye that’s able to well-round and solidify Leatherface’s terror tenor, particular exampled in a foot chase scene through a moonlit forest, smoke bellowing out of a growling chainsaw, and a tattered young girl bawling, screaming, and fleeing for her life from a deranged masked killer whose huffing, snarling, and growling during the pursuit.

Lionsgate Home Entertainment presents the Millennium Films produced “Leatherface” onto Blu-ray + Ultra-violet combo disc, a MPEG-4 AVC encoded disc with a 1080p resolution and presented in a widescreen, 2.38:1, aspect ratio that displays the Bulgaria landscape in a yellowish-brown, Texas-like backdrop. Details are noticeably fine that exquisitely reveal the death and destruction of the Sawyers and those who unfortunately surround the family. The English DTS-HD Master Audio 5.1 track evenly distributes and consistently a range of engrossing fidelity, ambient, and dialogue layers. Bonus material includes a play feature with an alternate ending that’s less superior in contrast to the final product, deleted scenes, and a behind-the-scenes making of that includes brief interviews with directors Alexandre Bustillo and Julien Maury, actors Sam Strike, Stephen Dorff, Lili Taylor, and others, and goes behind the scenes in creating the tone and style of “The Texas Chain Saw Massacre” while implementing their own vision. “Leatherface” forces the unsavory and unpleasant down the throats of TCM fans, jamming an attempt to exposition a futile chance to a destined maniac of cannibalistic proportions and manages to mix up the Tobe Hooper’s weathered franchise with a barbaric bruiser of a tale.

“Leatherface” on Blu-ray! Buy it here, today!