There’s EVIL in the Saying, No Other Choice. “Violation” reviewed! (Acorn Media International / Blu-ray)



On the precipice of her loveless marriage ending, Miriam and her not-quite-yet estranged husband getaway to visit her sister, Greta, and husband, Dylan, at their quiet woodland and lakeside home, an area where Miriam and Greta fondly grew up together.  Also sharing a past together as high school friends, Miriam and Dylan enjoy each other’s company in a playful and quipping manner after a lifelong friendship, but after a night of drinking and an outpour of internalized emotions, Miriam slowly awakes to Dylan forcing his way inside her and is unable to stop him.  Confronting Dylan and Greta separately further strains the tense situation to the point that Miriam is made out to be the villain in her own sexual assault, sending Miriam to plot a thorough premediated revenge to not only avenge herself but also to save her sister still married to her attacker. 

Real hands-and-knees puked vomit splattering over a black tarp.  A blindfolded, naked man tied to a chair with a real erect penis saluting tall.  If you’ve never seen this Shudder exclusive 2020 released film and you’re reading this review opening fresh eyed, you might automatically presume Dusty Mancinelli and Madeleine Sims-Fewer’s “Violation” a work of pure vomit gore and BDSM pornography.   Let me quickly put your mind at ease by saying “Violation” is nothing of the sort, but these unmistakable aspects in the Canadian revenge drama are real and explicit as a deep-seeded personal choice for the writing and directing duo’s first feature length project.  Mancinelli and Sims-Fewer’s collaborated history goes back to 2017 as they together write, direct, and produce a handful of short films with a core base of dysfunctional sexual themes in “Slap Happy,” “Woman in Stall,” and “Chubby,” to name a few in their credits.  “Violation” continues the trend, providing cathartic discussion for the filmmakers’ tabooed motif at an attempt at bold realism.  “Violation” is self-produced by Sims-Fewer and Mancinelli under their production banner, the Toronto-based DM Films, in association with Telefilm Canada and The Talent Fund with financing from the executive producer line of independents, such as François Dagenais (“Ankle Biters”), and the husband-wife duo of David Hamilton and Deepa Mehta of Hamilton-Mehta Productions.

In the lead of Miriam is the writer, director, and producer herself, Madeleine Sims-Fewer, succumbing to a characterized funneling toward piteous rock bottom within her role who, from the get-go, is already in hot water with a dissatisfied husband about their trip to see Miriam’s sister. There’s rarely any happiness for Miriam throughout, even amongst the contentious heart-to-hearts with her own sister, and the little designated of joy to her is quickly squashed by the narrative’s crux and then that’s when Sims-Fewer has to about face to a deeper austere level than even before when those closest to Miriam push her away and become her worst enemies in a blink of an eye. Those mercurial enemies are played by Anna Maguire as Miriam’s fickle younger sister Greta, reteaming with her “Forgotten Man” costar Obi Abili as Miriam’s distant husband Caleb and rounding out the cast as Miriam’s alleged rapist and Greta’s husband Dylan is Jesse LaVercombe who also previously worked on the directors’ short films “Slap Happy” and “Chubby.”  Sims-Fewer and Lavercombe really deserve praise for their dedication and courage that circles back to the beginning of this review about real puke and real erection.  There’s vulnerability when totally exposed and these two actors, who have tremendous chemistry, shy very little away from the uncomfortable provocations in hard to swallow scenes of realism.  We also know where Greta stands in the whole scheme of things, but a big plot hole obtrudes with Obi Abili’s Caleb who unexplainably vanishes in the latter half of the two part narrative.  There’s an unsaid presumption that Caleb left Miriam as already rocky marriage kept spiraling down the toilet in the first act, but there was no resolution, leaving the character out in the wind and neglected from the what could have been an interesting interplay of Miriam’s obsessive plot.

“Violation” is not the typical rape-revenge thriller where the victim rises from the ashes like a phoenix and has an insurmountable, if not endless, amount of hate and determination for street justice to see their rapist or rapists six feet under.  “Violation’s” slow burn method leans toward a character study with Miriam.  Her compassionate human side commingles with her victimized treatment and anger as she’s constantly and consistently second guessing her actions or feeling the utmost, sick-to-her-stomach remorse for her actions that needed to be done in order to avenge herself and also protect her sister as noted in a parallel dream she tells Greta about Miriam sitting in the next room while her sister is unintentionally self-strangulating.  Yet, another side to this tale that could also explain Miriam’s hesitancy and, perhaps, guilt.  Sims-Fewer and Mancinelli are very explicit in Miriam’s unhappiness with her marriage and also her flirtatious wanting of Dylan, pent up by the lack of sex and joy in her marriage, and she also initiates a kiss with Dylan.  Combine those details with a night of drinking, Dylan’s firm stance, and the way the film is shot ambiguously, a pressure cooker moment builds between the characters and viewers whether what stated happened actually happened.  Now, I’m not arguing a case for rape culture or make excuses for rapists, but “Violation” tilts toward Miriam’s mental quality that has been compromised by a contentious marriage, life envy, and the preconceived notion that she’s not a good person.  Either way, what follows the inconspicuous moment is sharply horrible, a real unsettling exhibition of meaningful art. 

“Violation” is certifiably fresh and deservingly so with jarring scenes of gruesomeness, a topical theme of trivializing rape accusations, and compelling character study of one woman’s disharmonious existence in her small inner bubble.  Now, you can own it the Sims-Fewer and Mancinelli film on UK Blu-ray from Acorn Media International. The PAL encoded, region 2 Blu-ray presents the film in 1080p full high definition in a widescreen aspect ratio of 2:39:1. “Violation” embodies an engulfing nature domination of the screen through an Adam Crosby lens. No matter how big and important the moment may be in the story, Crosby’s entrancing us with the tiny embers with a close up of the camp fire or having the actors dwarfed by towering trees until the second act that compartmentalizes two antagonistic characters in the same room. The release shows no signs of deflating Crosby’s and the filmmakers’ semi-surreal, flora and fauna vision with a sleek digital recording teeming with a range of wide landscape shots, stark long shots, and super closeups. The English language Dolby Digital 5.1 surround sound captures as snap, crackle, and pop of the great outdoors; however, the dialogue, though quite clean and clearly audible, sounds a bit boxy at times. Special feature include two extras that are essentially one and the same taking up double the space on BD25 with a meet the filmmakers (Sims-Fewer and Mancinelli) talk very briefly about the genesis of the “Violation.” The second extra, the TIFF Intro, mirrors nearly world-for-world the first special feature. “Violation” has a runtime of 108 minutes and is rated 18 in the UK for strong violence, gore, sexual violence, sex references, and nudity. Viscerally intimate and ghastly, “Violation” is labeled the anti-rape revenge narrative with a close examination of trust and the unfortunate triviality of rape sure to churn stomachs and second guess the intentions of those close to you.

Own “Violation” on Blu-ray Home Video!

The EVILs of Slasherman! “Random Acts of Violence” reviewed! (Acorn Media / Blu-ray)

Comic book writer Todd has hit a writer’s block wall on the last issue of his one-shot, popular and extremely graphic series Slasherman based off the gruesome string of I-90 murders of the late 1980s where the killer murdered and mutilated his victims without ever being caught.  Looking for inspiration to conclude his life’s work, Todd, his girlfriend, investing publisher, and assistant head out on a road trip from Toronto to America, specially through the small town of McBain where the murders took place, but when recent mutilated bodies resemble the grisly deaths inside the colorful pages of his comics, the semi-fictional Slasherman story becomes full blown reality that places him and his friends in a maniacal killer’s path whose flipping through the pages of Todd’s murder-glorifying comic for inspiration of his own. 

Like many opinionated reviews before mine, I never imagined Jay Baruchel directing a horror movie.  The long time comedic actor with solid relationships working with other high profile comedians, such as Seth Rogen, Jonah Hill, and Danny McBride in some of the best notable comedies on the side of the century, has stepped into the shadows and professing his admiration for the genre we all love – horror. Baruchel cowrites and directs his first horror film, the big screen adaptation of Justin Gray and Jimmy Palmiotti’s “Random Acts of Violence” graphic novel. Fellow collaborator on the “Goon” movies, Jesse Chabot, branches out with Baruchel on the script and the two Canadian filmmakers yield an intense meta-gore picture focusing toward themes of lopsided public perspective and the glorifying of violence on other less physical mediums. Published in 2010 under Image Comics, the Gray and Palmiotti publication supplied a wealth of visceral material that unfolded faithfully in Baruchel’s Shudder distributed film as a stylish comicbook-esque narrative under the Toronto based Elevation Pictures, Wicked Big, and Manis Film production in association with Kickstart Comics and JoBro Productions. Palmiotti and Gray also serve as executive producers.



Struggling in the search for his perfect ending to Slasherman, Todd immerses himself in a cerebral fixation that envelops him more so then he would like to think.  Todd’s played by social activist and “Cabin in the Woods” actor Jesse Williams whose character is thrust into essentially making a choice, entertain his profession that earns blood money off the backbones of the I-90’s victims or subside his eagerness to finish his graphic novel and be team victim alongside his girlfriend Kathy (“The Faculty” and 2006’s “The Texas Chainsaw Massacre: The Beginning’s” Jordana Brewster) researching a novel that gives the slain victims a voice over their killer.  Brewster hasn’t changed one bit in a role that resembles a mature version of her “The Faculty” Delilah Profitt character complete with glasses and a thirst for reporting.  As a couple, Williams and Brewster hit little on their unconditional love  that’s apparent in the film’s final scenes.  Aside from their opening segment in their Toronto flat, their road trip is filled with Kathy berates Todd at times or Todd never seeming interested in Kathy or her work that’s seen counteractive to his own.  Affection is thin between them and I’m wondering if that’s more of the script writing than a flaw on Williams and Brewster who are credibility solid in their roles.  Same can be said about Jay Baruchel’s Ezra, the indie publisher sponsoring Slasherman, as the writer-director plays little to a publisher’s position of pushing the sales and marketing envolope and appears more to just be a tagalong friend with moments of quietly hawking.  Without much competition surrounding him, Slasherman is the most interesting character of the bunch from prolific stuntman, Simon Northwood.  With a 1000 yard stare that’s more menacing inducing than stemmed by trauma, Northwood brings the graphic novel character to all his glory as an aspiring artist in a contemporary parallelism to Todd who both see one another as their muse.  Northwood’s Slasherman is silently frightening, even more scary when he has to psych himself up to kill, and brings the physical stature of an unstoppable slasher genre maniac.  No one is safe from the merciless Slasherman, including those rounding out the cast in Niamh Wilson (“Saw III”), Clark Backo, Eric Osborne (“Pyewacket”), Nia Roam (“Polar”), Aviva Mongillo, and Isaiah Rockcliffe.   

The hyper violence lands more with a firm hand making good on film title.  Baruchel doesn’t hold much, if anything, back when rectifying violence as the monolithic theme while hitting a few thought-provoking notes involving the public’s perspective on the infamous legacy of serial killers and the tragic, forgotten memory toward their victims.  Somewhere in the gutting-clutter is a message of meta-existentialism tearing between that thin line of a person’s cause and effect actions.  Without the I-90 killer, Todd would not been stimulated into creating the deeply grim anti-heroic antics of Slasherman and, visa-versa, Slasherman would not have returned, coming out from retirement, if it wasn’t for Todd’s life’s work and lack of series conclusion for the Slasherman character speaking to Slasherman’s sanguinary artistic side.  One aspect stiffly hard to place your finger on is Todd’s connection with the town of McBain.  Other than a brief voice over exchange with Ezra, who mentions Mcbain is Todd’s hometown area, not much more of that pivotal connective tissue seizes grounding Todd, but the graphic novelist experiences a multitude of images streaming through his far off gazes, thoughts, and dreams. A boy, the boy’s mother who we know to be one of Slasherman’s victims because of Kathy’s research book, and the collateral damage of some great magnitude of violence surrounding them carry little weight to Todd’s psyche when struggling to piece his visions and these people’s bloodshed moment together and one reasonable theory that might explain that disconnect on our part is partially racially motivated, a detail indicative of gross assumption but a detail that can easily deceive you if you’re not knowledgeable enough about the cast you’re watching. My two cents is not randomized at all on Jay Baruchel’s “Random Acts of Violence” as it’s a brazenly deep and vicious first attempt horror in his own manic words from the glossy, leafy pages of the same titular graphic novel to the tellies of terror now on home media release.

Classified 18 for strong bloody violence and gore, “Random Acts of Violence” hits Blu-ray media shelves courtesy of Acorn Media International. The region 2, PAL encoded single disc BD25 has a runtime of 81 minutes and is presented in a slightly cropped widescreen 2.38:1 aspect ratio. A diverse hue palette of neon extricates Baruchel’s off-brand, real-time comic layout, creating a gritty, yet vibrant world all his own in a near window-blinds noir fashion. The tinkering of tints reaches almost Italian giallo levels without playing much with lighting and fog, relying heavily on the different neon vibrancy as if a colorist was right there pigmenting each scene as it played out. The English language Dolby Digital 5.1 surround sound discerns very well across the board with robust dialogue that even with Williams’ slight lisp, every single word can be hung on. I didn’t think there was a ton of opportunity for depth and range as much of the action is in staged front side of the camera, but for what little there was, those areas saw solid, identifiable outputs. Bonus features include a zoom interview with a very animated Jay Baruchel providing the in depth inner works of the conception of his film while sporting a retro Montreal Expos ballcap, a showreel-esque promo entitled More Than Just A Scary Movie offers brief opinions, thoughts, and highlights on the film edited from longer, on-set interviews, and a look inside how to make an action scene. An on-your-toes, gut-wrenching slasher with a juicy slice of meta proves Jay Baruchel can wander into any genre and come out on top, but “Random Acts of Violence” has kinks to straighten out in this young director’s sophomore feature.

You Can’t Run From the EVIL That Seeks Out the Competition. “Homewrecker” reviewed! (101 Films / Digital Screener)



Michelle is at the point in her life, struggling as a 30-something year old interior designer, where the urge to have children is strong.  When trying to conceive with her husband seems to be going downhill, she is befriended by an overly obsessive stranger, Linda, who has took an uncomfortably intense interest in her personal life.  An innocent enough invitation back to Linda’s house proves costly with Linda’s flickering infatuation for Michelle’s private business that turns quickly sour in a cat and mouse game of survival.  Trapped, Michelle must understand Linda’s madness in order to stay alive.

Ca-ra-zyyy!  That’s one of many ways to label Zach Gayne’s woman-on-woman scuffle in the comedy-horror “Homewrecker” that will surely turn many feminist heads at breakneck and contentious speeds with the better woman standing scenario.  Gayne’s freshman film tests the wills of two very different women and their counter mindsets while excavating a common core connection rooted subconsciously deep within them both.  A distinction that gives the 2020 riotous feature an edge is the two sole actresses, Alex Esso (“Starry Eyes,” “Doctor Sleep”) and Precious Chong (“Luba”), daughter of famed stoner comedian Tommy Chong, portraying Michelle and Linda are also “Homewreckers” cowriters alongside Gayne, equipping their characters with an authentic image by filling the roles themselves and getting out of the project exactly what’s desired.  The trio also produce the film in a coproduction with fellow producer Josh Mandel of Industry Standard Films and under the financials of Precious’s mother Shelby Chong, Chris Morsby, and Delaney Siren as executive producers.

Precious Chong, hands down, steals all the glory in “Homewrecker” with her wide-eyed, mentally unstable, zany, and stuck in the 80’s single white female that makes Glenn Close performance seem diminutive and more like an innocent and shy little crush in “Fatal Attraction.”  Linda epitomizes the very definition of crazy as a person unable to progress from an era of her peak youth being the most popular girl in school, judging by the VHS tapes, 80’s soundtrack, and outdated board games, I’d say Linda’s popular party girl inner nature hasn’t disembarked from the late 80’s to early 90’s train, and Chong delivers a singularity tweak of neurosis and delusion that frighteningly teeters from over exaggeration to real representation.  Unfortunately, Chong’s invasive, off-the-rocker performance overshadows Alex Esso’s more level-headed, amiable, and fight or flight Michelle and her unconventional responses and reactions to Linda’s incessant behavior in, perhaps, a more poorly written character.  Michelle is the too nice to the point where opportunities arise for escape or attack and she chooses the total opposite in trying to reason with an unreasonable person.  The motivation behind Michelle for even going to Linda’s house is rather slim so either something deep in her subconscious wills her to go (maybe Linda’s eagerness to lend an ear on a torrent of personal unloading) or she’s a just gullible to a fault.  Rounding out the cast is the man in the middle, Robert, played by Kris Siddiqi and the friendly neighbor Wilson, played by Tony Matthews (“The Craft: Legacy”), in a bit part that’s a clever homage to the Wilson character in Tim Allen sitcom, “Home Improvement,” as he peeps just over the fence to say hello as well as an contradictory play on the “Homewrecker” title.

Aforementioned, there is gray area in the character actions and rationales that thins much of the story’s harrowing affect and even seeps slightly into the more dark comedic moments.  Yelling (in my head) at the screen for Michelle to jump out the window (after lingering half out for clearly a minute) or taking advantage to overpower Linda (during a moment of long poignant embrace) was just a waste of my mental breath as the Michelle is frustratingly too timid, too nice, too afraid to cut the unseen bounds that holds her back from reinstalling balance in her upheaved life held in Linda’s unstable hands.  The pacing a bit of a drag as well by holding onto scenes, with various cuts, longer than necessary.  For a film slightly over an hour long, the conversing segments between the principle characters, Linda and Michelle, could last up to 20 minutes with more than most of the chat awry by Linda’s idiosyncrasies.   What works for “Homewrecker” is single day story set inside Linda’s home that really hones in and develops the snowballing turmoiled relationship between the two women. Being the film’s strong suit in unveiling the crux of the problem that’s not surface level crazy person versus sane person, the plot point revelation truly did blindside me and I was like, whoa.  Everything made sense without having to dig deeper into exposition to understand the minor details of what was happening exactly.  “Homewrecker” also has great brief climatic gore involving an emblematic sledgehammer and a pair of sharp scissors that, again, comes unexpectedly from a cat and mouse game that has been rather tame for most of the film.  Zach Gayne’s film pleasantly puts a blood red cherry on top of a deranged ice scream sundae dripping with fanaticism fudge in a scrumptious little fatal attraction.

Efficiently compact but just as aggressive as an overly jealous and overactive girlfriend plagued by psychosis, “Homewrecker” premiered it’s way digitally into UK homes by 101 Films back on May 24th.  The Toronto, Canada production is presented in a widescreen 2.39:1 aspect ratio with a lean runtime of 76 minutes.  Co-producer Delaney Siren serves as the cinematographer for “Homewrecker’s” regular split screen and multiple angle shots denoting a clear sense of where each character location is without the film feeling like a typical slasher while maintaining the focus on telling both women’s side.  “Homewrecker” marks Siren’s first feature film as a cinematography, but has multiple credits in the genre for macabre inspired music videos under the Toronto based music recording and film production company, “Reel Wolf Productions.”  For a film that has completely and satisfactory bookends, there are no bonus scenes during or after the credits.  Quirky and dark, “Homewrecker” is a read between the lines comedy-thriller about abduction, devotion questioning , delusional obsession, and honesty.

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.