Become Evil’s Best Bud in “My Friend Dahmer” review!


Senior year 1978, right before the start of his 13 year killing spree, Jeffrey Dahmer struggled to fit into the high school equation. Spending much of the time in his makeshift laboratory, dipping roadkill into jars of acid to retrieve the bones that were still intact, Dahmer didn’t have many friends to socialize his unbalanced behavior. His interest in dissecting animals and an unearthed fascination with the same sex drove him to stay in serene isolation, but when his parents, between the marital spouts and his father’s projections, pressure him to make friends, to live an active lifestyle, Dahmer reduces himself to being the class clown for acceptance, catching the attention of three students who befriend him because of his classless antics. Just as his life begins to form something that similar normalcy, the familiar urges overwhelm when he fantasizes about a young male doctor of sleeping with his fresh corpse. With the inkling to kill creeping to ahead, Dahmer drowns himself in alcohol while still maintaining what’s left of his friendship that suddenly feels more like his exploitation for the benefit of others.

What a hell of an origins story! “My Friend Dahmer” is the 2017 biographical docudrama from writer-director Marc Meyers that becomes the looking glass into the catalytic events, or even last moments of hope to reform, infamous serial killer Jeffrey Dahmer. The film is a visual adaptation of John “Derf” Backderf’s graphic novel of the title. Backderf was also one of Dahmer’s only friends in high school and relates his experiences through exaggerated illustrations of his graphic novel. With in the film, Meyers notably recounts the pages of the Backderf’s novel with a story that puts Dahmer justifiably at the epicenter that focuses almost entirely from Dahmer’s disturbed and warped point of view of inner body interest, homosexuality, and standards of social acceptance. Rarely, does Meyers stray from that structure in obtaining the external thoughts and opinions of Dahmer’s friends, and perhaps even enemies, who’ve made some sort of interaction, but being that the novel is a work of someone else’s non-fictional perceptions and not of Dahmer’s, Meyers puts weight forthright with Backderf’s opinion with the characterized Backderf interjecting here-and-there on accounts that significantly courses Dahmer’s actions.

Surely an eye brow raising casting choice, Disney Channel actor and Kids’ Choice Award winner Ross Lynch enters into a polarizing role that is the pre-monster of Jeffrey Dahmer and creepily channels in a powerful performance the embattled younger image of the soon-to-be murderer, cannibal, and necrophiliac. Lynch portrays Dahmer as a rare emission of emotion and almost frighteningly stiff or mechanically with hunched shoulders just below his wavy blonde hair that wrap around the large and rounded rectangle glasses. New York City born actor Alex Wolff picks up the graphite pencil to spun out probably Dahmer’s closest friend John “Derf” Backderf. Perhaps in a way, Backderf had manufactured a piece of Dahmer’s destined genetic makeup and Wolff lays in the guilt, and the fear, thick when around Dahmer near the end. Anne Heche (“Psycho” remake) and Dallas Roberts (“The Walking Dead” and “Mayhem”) become Joyce and Lionel Dahmer, Jeffrey’s parents. Heche and Roberts seize every on screen opportunity to lay into one another, a persistent and regular difficulty that stemmed between Joyce’s mental and physical heath and Lionel’s withering patience for his anxiety riddled wife. The cast rounds out with Vincent Kartheiser Liam Koeth, Tommy Nelson, and Harrison Holzer.

Aside from the retelling of Backderf’s recollections, “My Friend Dahmer” shoots scenes right inside what was once Dahmer’s actual home in Ohio. That bit of realism adds monumental flavor to enrich the inherently dark subject matter of how a young Dahmer was subjected to compounding blows to his psyche in the short timespan that was his senior year. From his father tearing down his makeshift laboratory and junking his precious dead animal experiments, to his mother’s divorce inducing schizophrenia, and to being the class clown in order to make friends, Dahmer couldn’t maintain control over his ebb and flow urges and Meyer effectively highlights these chapters in Dahmer’s frayed playbook of life that tipped the scales of unfavorable malice.

FilmRise and MVDVisual present “My Friend Dahmer” on a AVC encoded 1080p High Definition Blu-ray with a 2.40:1, widescreen presentation. Through a vista of small town quaintness, picture quality immensely defines a cold embrace of a softer, fluffier effect. The color palette strongly reflects the whitewashed and faded of the era. The English Dolby Digital 5.1 stretches the ambient with a film that doesn’t necessary pack an audio punch. The dialogue is rendered cleanly and the retro soundtrack is a boost to docudrama with clarity and pace. Bonus features are a bit thin for a non-fictional individual with humungous notoriety and they include a brief interview with star Ross Lynch, Behind-the-Scenes slide show, and a theatrical trailer. “My Friend Dahmer” revitalizes the feelings and the chills that washed over us who are old enough to remember Jeffrey Dahmer’s grim-storied apprehension and, yet, director Marc Meyers is able to strip Dahmer of his monstrosity for 107 minutes and make him simply human as a young man with everyday problems without a ounce of parental, professional, or friendship guidance, funneling to the notion that we all have a little Jeffrey Dahmer in us.

“My Friend Dahmer” is on the Amazon today!

Be Careful of the Evil You Wish For! “Pyewacket” review!


In the wake of losing their father and husband, Leah and her mother struggle to cope and are at their wits ends with each other. Leah, an impressionable and angst-filled teen, embraces the occult lifestyle after her father’s untimely death despite her mother’s distaste for it. Leah’s mother also battles the everyday familiar feelings of her constant surroundings that remind her of her dear husband and the sensations compel her to move her and Leah more than an hour away, away from Leah’s only friends including a boy she’s become fond of, but the constant and languishing heated disagreements invoke Leah to act impulsively, gathering her ritual articles, and while in the woods, naively summon a witch, named Pyewacket, to kill her mother. Regretting her actions almost immediately and fearful of what’s to come, Leah is cautiously ever attentive to her surroundings as each passing night a presence makes itself known and is eager to not only harm Leah’s mother, but also intends to rise it’s wickedness toward Leah.

“Pyewacket” is a 2017 Canadian horror-thriller from writer-director Adam MacDonald. The Montreal born MacDonald constructs an impressive and suspense-riddled sophomore film that offers a beautifully bleak atmosphere while touching upon layered themes that are relatable to anyone who grew up with an overbearing parent. “Pyewacket” succeeds as a stark melodrama of a hurting mother and daughter who are looking for some kind of pain relief and a fresh start. MacDonald takes it to the next level, churning out a cautionary tale, by implementing the theme of being careful for what you wish for because you just might get it. Oh, and there’s spine-tingling moments involving a ghoulish witch with an appetite for deception and have you squinting yours eyes in fearful anticipation of when she’ll strike.

Another Canadian, the Vancouver born Nicole Muñoz stars as the disquieted Leah. Muñoz dark assets heighten her disdain and resentment she evokes out from her character toward her mother, played by the former “The Walking Dead’s” Laurie Holden. Tall and blond with a more verbose attitude in putting her feelings outward, one would have difficulties placing Muñoz and the “Silent Hill” star as daughter and mother on screen. Holden manages to be the glue that keeps the story moving as Leah rarely has much to the say and is only reactive instead of proactive about her situation, making the two actresses dynamically challenging that purposefully sparks uneasiness in every scene. Leah’s friends serve as her lifelines to the world outside her new country home that her mother has unfairly displaced her to. Her best friend Janice, the Toronto born Chloe Rose, whose alternative appearance and nonchalant, cocky persona encourages her to be Leah’s confidant. Rose seemingly enjoys the role that offers vibrantly colorful stripes of hair with lots of gothic makeup that comes complete with leather and plaid outerwear. I was a little disappointed with Leah’s love interest that was Aaron, shoed by the tall and thin Eric Osborne. Aaron really wasn’t showcased much though MacDonald’s script attempts at hinting more to the character, but unfortunately for Osborne, Aaron falls the ranks of a back burner boyfriend trope.

What might be the undoing of “Pyewacket” is simply the timeliness. Robert Eggers’ “The Witch” and André Øvredal’s “The Autopsy of Jane Doe” completely overshadow the JoBro Production & Film Finance (which is kind of funny because the same production company also did some funding for “The Witch” so in essence, “Pyewacket” is “The Witch’s” little cousin) with two already fantastic tales of non-broom riding and mind tampering witches that share the same intense ferocity of pure hatred and dark magic on a much bigger and grander scale when considering production value that relies on a viewer relatable story. A story involving a mother-daughter warfare is inarguably human to us all, but in competition with that, MacDonald seems to embrace that side of the story with slight favoritism as the director is light with a slow burn of the catalytic turn of events that evokes the titular character despite it being the most gripping portion of the film; instead, the focus is more honed in on Leah’s experience that intimately distances her from each of those that are closest to her: Janice, Aaron, her mother. Left in the wind is much of the witch’s background and how the witch becomes familiar to Leah which goes relatively unknown. And, also, not to forget to mention that the witch, or familiar spirit, is screened through shadows, long shots, and quick takes so to get a shape or a image around the appearance, all I can suggest is that Pyewacket resembles Samara from “The Ring” with stringy, filthy hair, slender figure, and moves around like a spider. Aside from a popular teeny-bop occult novelist, Rowan Dove played by “Bitten’s” James McGowan, the only facts touched upon about “Pyewacket” are that the spirit is extremely malevolent and can deceive the perception of people and events.

From Signature Entertainment, the DVD and Digital release of Adam MacDonald’s “Pyewacket” hits retail shelves April 23rd and digital retail shelves even earlier on April 16th. Since a digital screener was provided for this review, an in-depth critique of the video, audio, and bonus material will not be covered. Though clutching to the money-bagged coattails of bigger, better witch films from the last three years, “Pyewacket” is still a mighty story with complex characters complete with sheer dread from an obscure and grievously sorcery crone pure with black heart that will definitely elicit shortness of breath and rapid heart palpitations if watched alone in the dark.

The Evils After World War III! “The Aftermath” review!


On the space shuttle Nautilus, three astronauts are returning home after one year in deep space. Their outbound transmissions to Earth are not being returned nor are they being received and as their ship draws closer to Earth, the only option for reentry is to take a risky crash landing into the Pacific Ocean, just off the coast of California, hoping someone, anyone, would see their shuttle coursing downward from the sky. Only two survive the crash and swim to shore where no boats, no planes, nor onlookers were around to receive them. They soon find out why. World War III had engulfed much of the Earth during their time in space, reaping the land of the urban jungles and making food and living conditions scare. Germ warfare had mutated much of the population to cannibalistic creatures and when torrentially raining, acid rain pours from the war torn atmosphere from ferociously brilliant and deadly clouds. Only a small band of good people remain and the two astronauts seek to keep them safe from the harsh elements, even against a merciless gang of thugs.

In the early 1980s, an ambitious and visionary filmmaker sought to produce, write, direct, and star in his very own modest budget feature film that would rival Hollywood’s glamourous and expensive effects while still maintaining a down-to-Earth independent production. That filmmaker was none other than Steve Barkett, creating his debut film, the 1982 science fiction post-war catastrophe, “The Aftermath.” “The Aftermath” is like if the “Planet of the Apes” met “The Walking Dead,” a sheer blunt for trauma of returning to your home to discover the world in shambles with different factions of hard nose killers ready to plunder all that you own and all that you will ever have. Barkett, with assistance from the brothers Dennis and Robert Skotak, who’ve went on to work on major studio films such as “Aliens” and did the matte work for John Carpenter’s “Escape from New York,” create a destroyed Los Angeles landscape through the power of some serious movie magic considering the time period and the budget.

Steve Barkett is Newman, one of the three astronauts with no first name, and the tough hombre’s hard disposition comes from his background exposition where he lost his wife and child before going up into space. Newman’s cold, but not heartless, and Barkett taps into that fairly well despite some robotic and formulaic performances. However, Christopher Barkett, Steve’s son, was a complete first generation cyborg, a regular toaster oven with teeth and eyeballs that monotones through all the lines and actions. The most interesting casting here is Lynne Margulies, who at the time of this release, was or was not yet the late Andy Kaufman’s girlfriend. Margulies, who previous worked on an adult film entitled “Young, Hot ‘n Nasty Teenage Cruisers,” continued the racy trend with a shirt-pokey role in Sarah, Newman’s quick-to-sack love interest with a briefly, well-endowed nude scene. Yet, Sig Haig manages to steal the Barkett’s film from right under his nose. The young and ruggedly muscular “The Devil’s Rejects” star sports his trademark shaved head and thick, dark goatee, labeling him the perfect casting choice in gang leader Cutter. Alfie Martin, Forrest J. Ackerman (“Dead Alive”), Larry Latham, Linda Stiegler, and Steve’s young daughter, Laura Anne Barkett costar.

One aspect that’s really appreciated in Barkett’s enterprising venture through post-war commentary and morally righteous themes is the special effects matte work from the Skotak brothers. Detailed paintings, such as exampled in the war-ravaged metropolis that was formerly L.A. embodying the once towering buildings, are now destructively cut short in a mangled heap in a matte effect with live actors. Practical effects work wonders for Barkett’s large scale premise despite the small scale performances, except from Sid Haig. The detail in the violence dawns a newly restored faith in early 1980’s sci-fi films; violence that was more prevalent in the genre later in the decade, in such films as “Aliens” or “Robocop,” making Barkett’s film a trail blazer that paved the way to deliver more sensational savagery and lots of blood of a high body count to a already fantastic genre.

MVDVisual and VCI Entertainment release Steve Barkett’s “The Aftermath” onto a dual format, DVD and Blu-ray, combo pack. Presented in 1080p on a MPEG-4 AVC encoded BD-50, the post apocalypse never looked so good in a widescreen 1.78:1 aspect ratio from a 2K remastered transfer of the original 35mm negative. VCI has bested the rest with colorfully enriched scenes and untouched framing. Slight grain more so over the matte special effects that optically contrasts between the two different layers where a little touchup could have smoothed out the indifferences, but other than that, the details are quite stark. The clean and untarnished English LCPM 2.0 mono track is also vastly well constructed that contains minuscule hissing and the occasion pop, clearly making the dialogue a prevalent force. Composer John Morgan’s traumatically dramatic score is full-bodied and robust that coinciding renders well with the action sequences and tranquil moments. The extras offer the original laserdisc bonus material that provide snippets of interviews from cast and crew, Steve Barkett’s short film “Night Caller,” over an hours’ worth of John Morgan’s soundtrack complete with title information, VCI promo announcement for Barkett’s other director “Empire of the Dark, and the original theatrical trailer. A retrospective journey to the early 1980’s science fiction indie sector is also a visually stunning resurrection of “The Aftermath” courtesy of VCI Entertainment and with impressive effects and a bigger-than-life concept despite an underwhelming performance as an actor, director Steve Barkett’s legacy as a filmmaker remains stronger than ever with this prominent and well-deserved upgrade of the lazer-gun and mutant inhibiting world reckoning.

The Aftermath available at Amazon.com!

Evil Climbs the Cut-Throat Corporate Ladder! “Mayhem” review!


In a world under sieged from a highly contagious virus, known as the ID-7 virus, that blocks the uninhibited and explosive impulses, workaholic Derek Choe attempts to make a footprint at his ruthless, white collar firm, but lands on the receiving end of a frame job that results in a pink slip and being escorted out of the building. Before being able to walk through the exit by security, an ID-7 invasion as quarantined the office and symptoms are seeping to the surface. All hell breaks loose amongst co-workers, exacerbating the already highly caffeinated, extremely strung out, intensely coked up, and amoral aggressive behaviors of a volatile workplace environment, and an infected Choe aims to reach the top floor to violently express to the firm’s board on why they should reconsider his termination, but a drug-fueled, and also infected, boss strives to make that endeavor challenging with the assistance of his lower tiered, corporate suits.

“Mayhem” is a HR nightmare! The Joy Lynch 2017 directed action-horror film is “The Firm” meets “The Raid: Redemption!” Luckily for the viewers, “Mayhem” is a hardcore insight into unlocking all of your deepest, darkest inhibitions to the tun of explicitly telling off your boss with every four letter expletive in the book, giving your rotten colleague a firm piece of your mind, or just knocking everyone’s teeth down their smug throat. Yeah, it’s that kind of movie. Lynch (Wrong Turn 2: Dead End) runs with the first time feature film from screenwriter, Matias Caruso, who designs a virus, called the ID-7, that removes or ceases to function what defines us as human, from compassion to sympathy, in order to frankenstein a demented rendition of Donkey Kong and Caruso’s characters basically all have singular mode – asshole – but that subversive level stems from an infection induced state and the characters, deep down, maintain a slither of their original selves in an extremely dark comedic sense.

On the coattails of his character’s brutal demise on AMC’s “The Walking Dead,” Steven Yeun remains in an dimension plagued by a different kind of viral infection. Instead of blowing the brains out of walkers, Yeun brilliantly and entertainingly fills the ambitious workaholic shoes of account manager Derek Choe who literally battles his way to the top after being canned by his unscrupulous consulting firm and when the ID-7 overwhelms each and every employee. Choe is a far cry from Glenn on “The Walking Dead,” a pure hearted character with a good moral compass. Yeun’s character’s moral compass is skewed without doubt and double skewed with introduced by the virus. Choe forms an unlikely pact with a desperately disgruntled borrower Melanie Cross fighting against the firm, and the firm’s bank, looming foreclosure and the sassy, blond ass kicker, embraced by “The Babysitter’s” Samara Weaving, can chew gum and kick tail all at the same time. The pair are pitted against the some of the office’s most ruthless suits, such as a sociopathic HR enforcer known as The Reaper (played by “The Walking Dead” vet in Dallas Roberts), a manipulative snake charmer Cara Powell (Caroline Chikezie of “Æon Flux”) and at the top is none of than the big boss played by “Hellraiser: Revelations'” Steven Brand. Not only does “Mayhem” have colorful, well-scribed anchoring characters, but the supporting parts are just as well-quick-e-quipped too with Kerry Fox, Claire Dellamar, André Eriksen, and Mark Frost (“Faust”).

“Mayhem” relishes in the ferocity of that of a Mark Neveldine “Crank” franchise, but lacks a certain coherency untuned to seamlessly sustain the story to the end. Moments of purely poor editing don’t convey the full message intended, leaving much desired when considering the hero and heroine’s plight through the firm’s ruthless hierarchy to the top. These moments don’t make or break the story and are minuscule in portion size but are large enough to thwart going unnoticed. Another annoyance of how the story is told is the off screen violence. With a feature entitled “Mayhem,” by very definition states, “violent or damage disorder, chaos,” one would imagine that any and all violence would be in full display, showcased proudly and exhibited without ambivalence, and the beginning starts off energetic enough with an explosive scene of a conference room brawl involving the attendees in a all out melee, a half naked couple sexing right on the conference table, and ending the scene with a murderous gashing of one’s carotid artery. Narrating why these berserkers are killing and humping each other is Steven Yeun’s Derek Choe, setting up the ID-7 as the uninhibited virus. The violence that pursues goes into a hot or cold state where the latter involves off-screen violence, especially between Chikezie and Clarie Dellamar’s characters in a fight to the death between boss and assistant, but in a heated exchanges that had more girth in the dialogue, their actual bout screens over to Choe and Cross’ blank stare expressions and the determination of who bests who goes into a big question mark status.

RLJ Entertainment releases “Mayhem” onto various formats include a not rated DVD, Blu-ray, and streaming platforms. I am unable to comment or critique on the audio and video qualities of the film as I was provided a streaming link that didn’t include bonus material; instead, I’ll comment on how Lynch and the rest of filmmakers did a remarkable job constructing an ambiguous building structure along with the help of the two Stateside based production companies Royal Viking Entertainment and Circle of Confusion. Though the film was shot in Bulgaria, the location could have been right in downtown of your nearest city and that fairs in “Mayhem’s” success to establish anywhere as a victim to the virus or a workplace go array in the world. The next time you want to take a heavy duty Swingling stapler to you’re supervisor’s noggin for assigning to many TPS reports to you, check out “Mayhem” to instill that visceral courage and audacity to do so all the while being entertained by utter, unadulterated violence and violent thoughts and actions that usually spur underneath the breath of a common office environment.

Sion Sono’s Brings the Evil Back to the Japanese School Girls! “Tag” review!


Life is seemingly pleasant and happy-go-lucky when two fully loaded coach buses of high school girls travel down a forestry passageway toward a lakeside hotel until sudden violence and gore turns Mitsuko’s classmates into minced meat. Overcome with shock and fear, Mitsuko escapes the terror only to find herself in another horrifying scenario. The vicious cycle continues as Mitsuko is thrusted into one chaotic, blood-splattering world after another, quickly losing her identity with each threshold crossing, and with no clue of what’s going on and how she got into this limbo of hell, Mitsuko must stay alive and unearth the truth behind the surreality of her being.

Nothing is more terrifying than being in a heart-pounding situation and not having one single clue why bodies are being sliced in half like corks popping violent out of champagne bottles, why childhood mentors break their professional oath and slaughter students with a ferocity of a mini-gun, or why being chased by a tuxedo-decked out groom with a gnarly pig head is in tow ready to drop kick anything, or anybody, standing in the way. Writer-director Sion Sono manifests that very chaos entrenched world in the 2015 action-horror “Tag” and, once again, the “Suicide Girls” director puts Japanese school girls back into the harrowed ways of gore and death over salted with an existential surrealism based off a novel by Yûsuke Yamada entitled Riaru Onigokko aka Real Game of Tag. Yamada’s story is followed more closely to that of Issei Shibata’s 2008 “The Chasing World” that involves a Government influence and parallel universes, “Tag” serves more as an abstract remake that Sono masters a soft touch of irrational poetry bathed in gore and strung with chaos rectified with a tremendously talented cast of young actresses.

Actresses such as the Vienna born Reina Triendl. Being Japanese doppelgänger to Mary Elizabeth Windstead with soft round eyes and the picturesque of youthfulness, Triendl transcends tranquility and innocence when portraying a content Mitsuko in the midst of many of her classmates boorishly bearing the typical, low-level adolescent anarchy. When Mitsuko’s thrusted into phantasmagorical mayhem, Triendl steps right there with her discombobulated character in an undried eye panicky frenzy whose character then spawns into two other fleshy vessels, a pair of recognizable names of J-Pop fandom in Mariko Shinoda and Erina Mano, when Mitsuko enters another zone in her fictional world. Though different in all aspects of their appearance and in name – Misuko, Kieko, and Izumi, the three women share the same existence and fathom a unbroken entity of character that hacks her way through the brutal truth. The remaining cast, Yuki Sakurai, Aki Hiraoka, and Ami Tomite, sport the high school miniskirt wardrobe and garnish a bubbly-violent J-horror persona very unique to the genre.

“Tag” is a plethora of metaphors and undertones likely to be over-the-head of most audiences, but if paying close enough attention and understanding the subtle rhythmic pattern of Sono’s direction, the gore and the fantastic venues are all part of an intrinsic, underlining message of feminism and sex inequality that’s built inside a “man”-made, video game structure thirty years into the future. Sono points out, in the most graphic and absurd method, how men treat women like objects or playthings. There’s also a message regarding predestination with white pillow feathers being the metaphor for fate and being spontaneous is the key to break that predestined logic and all of this corresponds to how Misuko, the main character, needs to break the mold, to choose her path, and to remember her past in order to free all the women trapped inside a male-driven purgatory of pain, punishment, and pleasure. Supporting Sono’s ability to disclose an epic survival-fantasy horror in such a way comes from multiple production companies, one of them being NBCUniversal Entertainment, providing the cash flow that allows Sono to flesh out the gore, to acquire massive amount of extras, and to scout out and obtain various locations.

Eureka Entertainment presents a dual format, Blu-ray-DVD combo, of “Tag” for the first time in the United Kingdom. However, the disc provided was a feature-only screener and a critique on the video, audio, and bonus material will not be conducted, but in itself, “Tag” is a full throttle encephalon teaser warranting a need for no supplementary content aside from conventional curiosity into what makes Sono’s “Tag” tick. When all pistons are firing, from the visual effects of Satoshi Akabane to “The Walking Dead” familiar score, “Tag” is no child’s game with a heavily symbolic, touch-and-go and bloodied pro-feministic essence that would serve as an abrupt and acute wakeup call to all the Harvey Weinsteins in the world that women are not to be simply playthings and that their gender destiny lies solely with them despite the misconstrued male manipulation.