An Evil Hog Demon Won’t Let You Escape this Island! “The Forlorned” review!


Just off the rough stormy shores of Nova Scotia is a remote island where American Tom Doherty becomes the newly hired lighthouse caretaker in search for good money. Already overwhelmingly cloaked with the lighthouse’s creepy adjacent housing and being forewarned by the island’s infamous legends, an isolated Tom experiences the abilities of dark force first hand and doesn’t know whether the forces are real or madness has swallowed him from the extreme isolation. As Tom continues the work, he discovers clues along the way that suggest the island holds a nefarious past involving murder, suicide, and cannibalism, but an old bible with a list of names is the key that has the potential to unlock all the island’s mysterious doors and can also be Tom’s unfortunate undoing if he maintains being the lighthouse caretaker.

Based off the Angela Townsend book with the same title, “The Forlorned” is the 2017 silver screen adaptation of Townsend’s mystery-thriller from “Dead Noon” director Andrew Wiest who has helmed a jolting, supernaturally visual and auditory accompaniment to Townsend’s literary work. To maintain authenticity, Townsend co-wrote a script alongside Wiest and Ryan Reed that’s riddle with an ill-omened story leading audiences down a path of insanity-ladened darkness. But what exactly is “The Forlorned?” Forlorn has two definitions: 1) pitifully sad and abandoned or lonely 2) unlikely to succeed; hopelessness. Either of the disparaging definitions, if not both, can be used to described “The Forlorned’s” eerily gloomy story that’s saturated in a motif of burdensome loneliness and relentlessly bashes the concept into our heads in a constant reminder that no one can ever escape the island even in postmortem. The character Tom is the very definition of the forlorned. Whether because of due diligence or a dark force, his role of caretaker is a permanent position allotted to him unwillingly by a sadistic, secret-keeping demon that seeks to swallow more unfortunate souls.

Colton Christensen inarguably shapes the role of Tom Doherty into his own with a solid solitary performance for more than half the film. Christensen also, for much of the last ten minutes of the story, had to systematically break away from his character in order to forge a combative persona to Tom and while Christensen does the job well for one character, shouldering a second didn’t suite the actor’s abilities despite a total embrace of character and a few jabs at his own humility. Wiest has worked with Christensen prior to “The Forlorned” and has seemed to continue the trend of using his own entourage of actors with the casting of Elizabeth Mouton (also from “Dead Noon”). Mouton’s character is briefly mentioned near the beginning as a little girl of a previous caretaker, but her adult version only makes the scene in the latter portion of the story to provide a better clarification and exposition into the demon’s background. Also serving exposition as story bookends and peppered through as emotional support is Cory Dangerfield’s “Murphy,” a sea-salty old bar owner who liaisons with the lighthouse committee and can make a mean clam chowder. Murphy hires Tom to do the restoration and caretaker work and while Murphy initiates Tom existence into the fold, Murphy, for the rest of the film, serves as slight comic relief and, in a bit of disappointment, an unfortunate waste of a character. I also wanted Benjamin Gray, Shawn Nottingham’s priest character, to be built upon and expanded more because the character is a key portion that, in the end, felt rushed with quick, messy brush strokes in order to finish painting the picture.

At first glance, Townsend, Wiest, and Reed’s script screens like a typical, if not slightly above par level, haunting where Tom encounters sportive spirits, ghastly visions, and a slew of ominous noises inside a time-honored lighthouse home, but then a twist is written into play, pitting Tom against a masterminding demon whose conquered many other bygone caretakers and whose the epicenter of all that is sinisterly wrong with the island. The demon, who has taken the form of a man hungry hog, lives only vicariously through the camera’s point of view, never bestowing an appearance upon to Tom or even the audience, but referenced numerous times by island locals and boisterously given hog attributes whenever the demon is near. The concept fascinates with this demon-hog thing kept stowed away deep inside the isle’s bedrock even if the dark entity never makes a materializing appearance, but where that aspect thrives in “The Forlorned,” a pancake thin backstory for the demon goes simply construed with a slapped together account of its languished two-century long past and wilts the demonic character wastefully down with backdropped uncertainly, powerlessness, and puzzlement that’s forlornly misfired. There’s no deal with the devil, no selling of the soul, no medieval rite that gives the demon-hog it’s power; it just turns into an evil spirit out of greed.

Andrew Wiest’s production company, Good Outlaw Studios, presents “The Forlorned” that found a distribution home in Midnight Releasing, the fine folks who released “Blood Punch” and “WTF!” “The Forlorned” is available on DVD and multiple VOD formats such as iTunes, Vimeo, Vudu, Xbox Video, and Google Play. Since a screener was used for this critique, a full review rundown of the technical specs will not be provided and no bonus materials were featured on the disc. Director Andrew Wiest and his cast and crew entourage are able bodied participants in assembling a good, entertaining, and sufficient indie mystery-thriller brought to fruition out of Angela Townsend’s story with the author’s pen ship assistance. With a little tweak here and there on the antagonistic demon-hog, “The Forlorned” might have necessarily escalated into a richly dark territory of a more volatile, blood thirsty spirit that’s scribed to have racked up body after body, century after century; however, the fleeting chronicle of how the demon-hog came to be a malevolent being leaves a bittersweet aftertaste on a premise that started out spooky and strong.

Available on DVD at Amazon.com!

It’s in Human Nature to be Evil. “It Comes At Night” review!


Set in an infectious diseased post-apocalypse world, Paul, his wife Sarah, and their son Travis have fortified themselves in a dense forested and isolated house to ride out the easily spreadable disease. Always prepared and ever suspicious, Paul expects everyone to follow a rigorous routine, following procedures in order to avoid becoming infected, but when a young family, seeking supplies and refuge, enters their lives and their home despite Paul’s hesitations. Paul’s family’s routine and order face disruption that opens themselves up to the ever present danger outside and inside their home.

“It Comes at Night” is an intense, heart-pounding mystery thriller set inside the close quartered confines of a desolate house where trust doesn’t come without auspicious interrogation and teeth clinching suspicion. Writer-director Trey Edward Shults’ sophomore feature has layers upon layers of underlying human nature undertones when people are put up against an unsurvivable situation inevitably with their backs against the wall, literally, when confronted to whether to implement the good will nature of their humanity or not, to take that risk to help others or to save their own skin, and to attempt to reconnect with other people or stay separate from the masses. Even the “it” in “It Comes at Night” isn’t as simple as one would first think. Most unfamiliar audiences would assume “it” is a snarling, brooding, oozing, and grotesque creature, or perhaps even a devilishly grinning clown, that comes around when the sun falls; instead, the “it” is an occurrence, an event sparking nightmares inside the human mind that formulates fear and a tall order of exemplary caution.

The Australian born Joel Edgerton (“The Thing” remake) stars as Paul, the father of the family he’s trying to protect at all costs. Edgerton perfectly pitches as a, supposed, American voice, since the story doesn’t exclaim a locality, but the assumption is the setting is nowhere, U.S.A, and plants a firm foot down as a rugged resident of wilderness survival accompanied by his wife Sarah played by Alien: Covenant’s Carmen Ejogo. Ejogo’s offering to her character gives Sarah a powerful will to do what’s necessary and to support Paul in his determination to protect their only son Travis (Kelvin Harrison Jr.). Edgerton, Ejogo, and Harrison opposite up well against the foreign element, another family with their performer genetic makeup of Christopher Abbott, Riley Keough, and Griffin Robert Faulkner as Will, Kim, and their just above toddling son, Andrew. Each actor embraces the role in their respective family and at first, the interactions are genuinely jovial, but then the uncomfortable thick tension evolves from the point of an extreme pivot into the folds of deception and fear.

Shults maintains an ominous atmosphere of overwhelming strain amongst the characters and “It Comes at Night” has a unique perspective set inside an already apocalyptic ravaged population despite the lack visual expositions. Yet, the finished project feels incomplete. Pacing is the biggest concern with the timing of events between the introduction of Will’s family and their destined downfall that results in a climax that’s so bellied-up in an sorely anti-climatic fashion that the notion of being cheated out of a more gut-punched ending pulls at the core of the cinematic soul. That’s not to say that the film has one, if not more, interpretations; in fact, Shults’ entire feature is or could be considered open for interpretation, with examples from the duly noted “red door” to the Travis’ child-like personality, and usually those types of heavily subtext films stick around more way after the credits roll, but also, in a slightly bittersweet cause and effect, leaves more of a foggy formulation of events during the unfolding of the story. Also, an aspect that didn’t help the cause was shying away from a powerful scenes that should have left an impact, but R-rated feature delivered no acute moments of remembrance and leaving much to the imagination with only the majority of the rating pie being flavored with tasteless language.

Lionsgate Entertainment presents the Animal Kingdom and A24 produced “It Comes at Night” on a 1080p resolution in an aspect ratio of 2.39:1. The imagery lavishes in a gritty, woodsy detail that organically defines the sea of trees and natural flesh tones, but as the title suggests, most scenes are shot at night that are moderately blanketed, yet ineffectively intrusive, in digital noise. The English DTS-HD Master Audio 5.1 mix definitely has more girth during the livid nightmares and vigorously tense scenes, but, surprisingly, the dialogue track lacks gusto in the wake of a more lively surround quality. During exchanges of hushed tones, dialogue is rendered nearly inaudible and the option English subtitles had to be deployed. Spanish subtitles are also available. Special features include an audio commentary by writer-director Trey Edward Shults and actor Kelvin Williams Jr and a cast and crew discourse in a segment entitled “Human Nature: Creating ‘It Comes at Night.'” Overall, the psychological and humanity breakdown of the characters of “It Comes at Night” is worth the price of admission along with the teachings that family is key and to never rely on the goodwill of strangers, but finishes with a weak sense of direction that ruptures an unsavory cyst that doesn’t conclude coherently.

Own It Comes at Night on Blu-ray!

Evil Hate Trumps Good Love! “The Hatred” review!


In 1968, former Nazi occult officer, Samuel Sears, runs a strict farm in rural America, restricting his only daughter Alice from the corruption of the outside world with an infinite workload, and Alice violently rebels against her tyrannical father, Samuel kills her with rage. Hidden deep in the dark basement of his plantation home, a powerful Nazi-occupied amulet, charged by fear and hate, feed on his rage and fear and curses him to do the unspeakable. In the present day, four college girlfriends retreat to a friend of the family’s recently purchased foreclosure farm house, the abandoned and forgotten Sears farm, for a relaxing weekend getaway, but after night of drinks and games, the amulet reignites an ominous and dark cloud, reviving long forgotten, evil spirits who search for an endless quantity of fear and hate and will stop at nothing to swallow the souls of each and everyone inside the Sears’ estate home.

“The Hatred” is the 2017 haunting thriller from writer-director and Brooklyn native Michael Kehoe and produced by long time “Halloween” franchise producer Malek Akkad. Kehoe tells the story in two parts with the first delving in the Sears family, getting a first hand look at the hardworking German mennonite character that is Samuel Sears whose a former war time Nazi that’s settled down and raised a family in America’s backcountry. From what can be gathered about Samuel Sears, the farmer protects his past identity and isn’t ashamed of yet, but rather proud of his accomplishments alongside the Führer. All of the attributes of a proud countryman come suddenly alive when he receives a mysterious package containing the amulet, a photo of him in full Nazi dress standing with Adolf Hitler, and a signed letter personally acknowledged by the Nazi leader himself offering him the amulet as a gift for his fine work during the War and that ultimately becomes his downfall, pitting him against his family. The second part of the film tells a more uncharismatic story of four young girls staying at the Sears farm in present day. One of the girls, Regan, just finished college and is about to start a new job and what’s her ideal getaway with her girlfriends? An old (haunted) farmhouse.

“Wishmaster” himself, Andrew Divoff, gives “The Hatred” much more life despite his joyless character Samuel by somehow giving the former Nazi, now American farmer personality traits that are haunting in an unforgettable performance during the first act. The same can not be said about the four girls – Regan (Sarah Davenport), Layan (Gabrielle Bourne), Samantha (Bayley Corman), and Betaine (Alisha Wainwright). There’s no comparison as Samuel is a superiorly written and finely performed character than those he stalks beyond the afterlife. The gaggle of women offer no substance in the face of adversity or just plain ole progression of their character. Numerous times does Regan’s sick grandmother have scenes and Regan passively forgets about her poor grandmother’s health or Samantha’s uncanny interesting in history that really goes no further than the random facts that she spews. Regan and Betaine seem to have this close knit relationship, yet it founders and is suddenly cut short when all hell breaks loose. There are no personal connections established, offering little-to-no worth to their lives when Samuel comes calling for their souls, and leaves “The Hatred” in the take-it or leave-it column in the second and third act. Darby Walker, Nina Siemaszko, and Shae Smolik complete the cast.

Kehoe does display intense, nail-biting visuals with the materialized embodiment of fear and hate as well as sly editing with a scene involving Shae Smolik’s Irene, a little girl whose friends with Regan, who asks Regan to check under her bed, for supposed shadowy figure. When Regan pulls back the skirt to look, she sees another Irene putting a finger to her mouth, hushing Regan, and saying, “that’s not me,” as she points upward toward Regan’s impending doom. The heart-stopping moment will tear eyes away from the screen in anticipation of what Regan will see atop of Irene’s bed. However, that’s the sad truth in the extent of Kehoe’s story; a story riddled with plot holes and underdeveloped subtexts in which one in particular pertains to the aforementioned subplot of Regan’s ill stricken grandmother that goes undercooked when attempted to connect with the supernatural portal that of the Sears farm home. Characters disappear to never be seen again, character motivations go unexplained, and backstories are like a hazy dream and the entire ensemble is a mismatched, muddled mess in a premise that should have continued with the motif of the Nazi infiltration into America and less about scaring the wit out of witless girls with the creepiness of an alternate dimension seeping out of an unholy amulet.

The Lionsgate Films’ “The Hatred” is presented by Anchor Bay Entertainment on Blu-ray and UltraViolet home video in a 2.40:1 aspect ratio from an encoded AVC 1080p transfer that’s sleek and well lit, especially capture Samuel’s earthly and grim nature. The overall atmosphere doesn’t particular hone in a horror palette design, but offers realistic ventures into brightly lit areas of dark scenes. Details are fine in more of the natural aspects of the film whereas the CGI goes soft at times, but still very well detailed. The English language Dolby TrueHD 5.1 keeps Kehoe’s film buoyant with a leveled mix through and through with clear fidelity and good, if not great, surround sound output. Instilled with conventional horror schemes, burdened with design flaws, and unfocused in it’s inability to pin down an narrative identity, Malek Akkad and Michael Kehoe’s spook house feature “The Hatred” requires much tender loving care to uplift this unkempt cliche horror into a coherent thriller.

“The Hatred” on Blu-ray+UltraViolet!

Dark Universe Resurrects an Ancient Evil! “The Mummy” (2017) review!


Entombed under the volatile sands of what’s now the Iraqi dessert, an ancient Egyptian princess Ahmanet, who made a pact with an evil God named Set, lies and waits for more than 500 years to rise again and fulfill a destined promise to birth hell on Earth and rule the world. Ahmanet resurrects after being mistakenly unearthed by loose cannon treasure seeker Nick Morton and curses a reign of archaic terror over Nick and all of modern day London in search for a gem cladded dagger to make good on her pact. With the help of a well-funded secret organization called Prodigium ran by mysterious physician Dr. Henry Jekyll, and skillful researcher Jenny Halsey, the cursed Nick will need all the help he can muster to save himself and humanity from a mummified, hellbent she-devil.

Alex Kurtzman’s “The Mummy” is the gateway reboot that’ll give life once again to Universal’s classic monsters and place them in Universal’s newly established realm known as Dark Universe, think what Marvel accomplished with Marvel Comic Universe but with monsters. The kickoff action-horror has the delectable adventure wit seen from the Stephen Sommers directed, Brendan Fraiser starred trilogy from 1999 to 2008 while channeling the Boris Karloff mysticism and menace that made a frightening black and white classic. So, how did Kurtzman exactly provide new breath to an ancient, decrepit mummy that’s been redone two times over and has been spun off more ways than wrapped? One major way was to be the inaugural launch of Universal’s Dark Universe that opens the door for other classic monsters such as Frankenstein, Dracula, and The Creature from the Black Lagoon. In fact, Dr. Jekyll and Mr. Hyde makes a brief appearance as the head of the Prodigium, the ringmaster that’ll be the epicenter connecting creatures together. In another aspect, Kurtzman isn’t afraid to use practical effects, such as Ahamanet’s mummy minions, while also lighting up the screen with some brutal thrilling moments, such as murdering a baby and killing pilots with a murder of crows, that clearly separates the 2017 film from it’s 1999 predecessor, but watch for the quick scene easter egg that pays homage to the Fraiser film.

Upon first hearing Tom Cruise would star in a reboot of “The Mummy,” a long moment of hesitation washed over like a cold wet blanket as the “Mission Impossible” star hadn’t tackled a horror film since the adaptation of Anne Rice’s 1994 Lestat film “Interview with the Vampire” during a time when Cruise bathed in dramatic thrillers and added quite a bit of finesse to his characters. However, with every passing year, Cruise becomes more and more involved with not only his love for acting, but sides heavily with the unquenchable need to a part of action films and “The Mummy” promised to display his enthusiasm for accomplishing his own rigorous stunt work and the script provided the heart-throbbing intensity that’ll sure to awe audiences. Cruise’s performance as a shoot first, ask questions later Nick Morton snugly fits the razor sharp mold the megastar has equipped himself ever since the first “Mission Possible” film over two decades ago, but as a selfish knucklehead, Cruise short sells the charm with a flat expressive tone and doesn’t progress his shell of Nick Morton to a enlightened savior battling for the fate of humankind. Yes, there are other actors in “The Mummy” other than Cruise. Russell Crowe fills the mighty big shoes of Dr. Jekyll and Mr. Hyde, splitting his personalities into two and fulfilling both characters to the very epitome they’ve been classically scribed. Love interest Annabelle Wallis (who was also in John Leonetti’s “Annabelle”) sparked little-to-no chemistry with a overpowering Cruise and she felt rather like a Robin sidekick in a Joel Schumacher Batman film, but Wallis did a fine job as a historical researcher with a lifelong goal of discovering ancient artifacts. Algerian actress Sofia Boutella as the titular character was almost non-existent until the filmmakers had to scramble to redesign the villain due to similarities in another film, but the dark features of Boutella and her elegant performance made Ahmanet lustfully scary with dual irises and body-riddled tattoos, like a wild animal with deep blue eyes, and she sinks into Ahmanet’s malevolent soul and embraces the darkness that is the mummy. Jake Johnson (“Jurassic World”), Courtney B. Vance (“The Last Supper”), and Marwan Kenzari, who will star in Guy Ritchie’s upcoming “Aladdin” film, costar.

Now while “The Mummy” is overly successful and generally positive, an itch of amiss pains a slimly slithering way nearly through the entire runtime. Perhaps because the premise involving a mummy sets itself more in the dank and dark allies of London rather than in the hot Egyptian sands where thirst, heat, and isolation provide a slew of dangerous possibilities. During multiple scenes, a looming sensation that Jack the Ripper would pop out with blade in hand ready to strike at Jenny Halsey’s non-prostitute neck, but like a good adventure film, the story’s progression goes through numerous UK hotspots such as the Natural History Museum and tries to blow up London with every Mummy superpower. Ahmanet compounded concerns about her powers such as the introductory prologue of her characters, told in flashback scenes, where after she obtains all this evil power, the princess is easily taken down by Egyptian guards with blow darts and spears. You figured a Demigod like Ahmanet would be able to summon creatures to her aid, mold the sands of Egypt to free her, or resurrect other Egyptian dead, but none-the-less she was mummified alive and buried thousands of miles away under a giant crypt.

“The Mummy” is a win for the first of many Universal reboots under the Dark Universe label. The September 12th release of the 2-disc Blu-ray/DVD combo set, with also a digital copy, clocks in at a hour and 50 minutes and is presented in 1080p High Definition 2.40:1 aspect ratio with no flaws in the image, quality is crisp, and the coloring is naturally lively. The digital effects don’t exhibit an amateur hour complexion that was more attuned to the 1999 film, a different time two decades ago. The Dolby ATMOS is booming with LFE action that reverberates nicely with every nail-biting mummy scenes; certainly balanced with the surround sound. The dialogue is coarse at times during these intense sequences but overly prominent and clear for the most part. Extras on the release are about as monumental as the antagonist with deleted and extended scenes, Cruise and Kurtzman: a conversation, Rooted in Reality – a behind-the-scenes look at the making of “The Mummy,” Life in Zero-G: Creating the Plane Crash, Meet Ahmanet – the stark villain, Cruse in Action – a segment involving Cruise’s action in the film, Becoming Jekyll and Hyde, Choreographed Chaos, Nick Morton: In Search of a Soul, a graphic novel about Ahmanet, and featured commentary. “The Mummy” is all Cruise, all the time, but lives and breathes like a true Universal classic monster movie in modern day, providing superb visuals, an engrossing storyline, and delivers an action-topping-action ferocity. A whole new line of respect must be bestowed upon star Tom Cruise for his insane work ethic and his dedication to any project, especially a one half horror film that redesigns the gender of the iconic villain while maintaining the values of the original.

Pre-Order your Copy of “The Mummy” starring Tom Cruise right here!

Evil Who Kills Together, Doesn’t Necessarily Stay Together. “Capture Kill Release” review!


Fun-loving couple, Jen and Farhang, seem like your average young twosome. Underneath the common surface, they plot a sinister murder of a random stranger. Toying with hardware store supplies and dissecting the knowledge of the human anatomy, Jen and Farhang are well prepped to tackle the abduction, the murder, and the disposal of a human being, but when Jen’s obsessive nature can’t hold back her desire to kill any longer, the couple’s relationship will be harshly tested when a hesitant Farhang is unexpectedly confronted with Jen’s opportunity to kill a kind-hearted dinner guest and decides to pull out from their ghastly thought out preparations that results turning a potential grim bonding experience to a deadly relationship fallout.

“Capture Kill Release” is the 2016 Canadian film from co-directors Nick McAnulty and Brian Altan Stewart. McAnulty also penned the script. The handheld POV thriller has a story that places Jen and Farhang’s union in a familiar, yet deceiving manner, coupling routine relationship quibbles and desires with an unorthodox principles shared amongst them. While acting upon their romantic affair in the archetypes that include one-sided back rubs, jointly frustrating shopping adventures, and an infinite amount of trivial bickering, the dynamic between them feels no different from ours with their interaction with each other in their isolated internal pact being very relatable for audiences with partners or had the experiences with former partners. Enormous, thick tension sets the foundation for “Capture Kill Release” that continuously mounds an already pressurized and emotionally compromised partnership, strained to the brink of chaos that’s hard to dig out from under.

McAnulty and Stewart cast unknown Jennifer Fraser as Jen, much of the cast keep their namesakes with their respective characters, and Fraser, placing aside her remarkable beauty, inarguably locks in Jen’s sociopathic charm. Jen’s manic personality, jumping from conversation piece to conversation piece without smooth transitions and unable to focus without the determination to kill on the mind, contrasts sharply with the more reserved and constant Farhang, a role awarded to Farhang Ghajar who has worked on the directors’ prior film, “Uncle Brian.” Farhang’s conservativeness bares an ugly unconfident image that Jen wholeheartedly exploits, nearly forcing Farhang to go along, or play along, with Jen’s disturbed fantasy. Farhang Ghajar simply plants his character in a shot without much a change between appearance or delivery whereas Fraser frequents and embraces more everyday changes, including even minor ones like her hairstyles that seem to change every scene. Polar opposites, homeless guy Gary and ‘Rich guy’ jerk, round out the significant characters with actors Jon Gates and upcoming “Exorcism of the Dead” star, Rich Piatkowski.

In retrospect, “Capture Kill Release” feels rather depressing. The angst that’s imploding from within the Jen and Farhang bubble touches upon the everyday relationship attributes where couples fight or couples unite in not so extreme measures. Jen shows no empathy or sympathy for anybody with the exception of Farhang, a grappling, fleeting emotion to cling on someone who loves you for you. To further the depression, the recent hike in POV films beats into us the obsession with vanity. The camera, no matter the capacity, is a vain concept and McAnulty and Steward’s thriller spares no expense of arrogance when Jen can’t put down the camera, no matter how much Farhang pleads and persuades her, but If I were an amateur plotter toward killing an absolute stranger, I wouldn’t be a complete novice and record my handy work. This is where McAnulty builds in an unspoken caveat that Jen has a passion for filmmaking, dreaming big of directing, one day, her own feature, a notion that’s explored more during her rooting of her mother’s stored VHS collection from Jen’s childhood. The filmmaking approach to Jen’s obsession loosely bounds the implement of the handheld and feels forced like a last minute decision, especially when genuine home videos of Jennifer Fraser are cut into the story that’s out of place.

Midnight Releasing has released “Capture Release Kill” as a high definition online streaming video feature. I was supplied with a screener and can’t comment on quality or bonus features, but the co-directed film is available on these formats: iTunes, Amazon Instant, Google Play, Vudu, XBox, FlixFling and more. Even with the brief moments in gore, the blood runs extra thick with sickeningly realistic and shocking scenes of butchery. Gory found footage, such as “The House with 100 Eyes” or the more viscerally vigorous “The Butcher,” have been gaining momentum in their popularity with the handheld camera bringing a little authenticity to grisly murders that are on the other side of the spectrum of being a very anti-Hollywood concept that less sensationalized, but devilishly effective, on a budget. Throw in a handful of motivated and talented actors, such as Jennifer Fraser and Farhang Ghajar, in this semi-exploitation gore-thriller and you can strike gold with “Capture Kill Release” that’ll please even the harshest of found footage or handheld camera critics.