Chainsaws, Tanks, Booger Flicking! So Much Bloody EVIL! “Premutos: The Fallen Angel” reviewed! (Unearthed Films / Blu-ray)



Grab “Premutos:  The Fallen Angel” on 2-Disc Blu-ray at Amazon.com!

Before the fall of the angel Lucifer, Premutos was the very first angel to fall from heaven.  More wicked and desirous for power, Premutos resurrects legions of the undead to conquer mankind on Earth and throughout the centuries, the ruthless former angel of Hell casts his conduit son to build his army of the dead, but has failed again and again to squash the spirit of man into servitude submission, discarding Premutos back to the depths of Hell to try again at another time.  This time being present day Germany when a young man discovers a book that chooses him to be the emissary of death, paving the way for the rebirth of Premutos, but an arms and ammunition’s enthusiast and his party guests must fight to survive and kill every last zombie and underworld creature thrown at them.

After having reviewed his 2010 existential horror “No Reason,” a need to dive into and experience more the splattering Armageddon of Olaf Ittenbach’s gore shows has been gnawing on my fairly acutely demented subconscious and this past week, I was fortunate enough to receive a newly released extended director’s cut of the director’s late nineties, pseudo creed, blood berserker “Premutos:  The Fallen Angel” and get my corneas dirtied by its unholy high body count.  Doom-estically translated from “Premutos – Der gefallene Engel” and more commonly known in the States as “Premutos:  Lord of the Living Dead,” relies very little on the unrefined visual special effects that were going through a massive evolution with computer advancements pre the turn of the millennium.  “Premutos” is a big practical effects enchilada with exploding bodies, gallons upon gallons of blood, and there’s even a real tank painting the walls and everything surrounding the walls red with a detonation of blood and gut splatter!  Kaboom!  Ittenbach mind-to-movie visualization goes from zero to 1,000 in a blink of a plucked-out eye and nothing stops the filmmaker from his warped creativity and comedy that can take the more puritanical few back a few steps and cause a ruckus of disgust.  “Premutos” is produced by Ittenbach, stars Anke Fabré and André Stryi, and cinematographer Michael Müller with IMAS Filmproduktion serving as principal the production company.

“Premutos” begins with an epic epilogue, historizing the horrific mythos alongside equally horrifying visual components of Premuto’s death and destruction attempts to conquer man.  When the history lesson ends a transition begins with Olaf Ittenbach himself as a bumbling mama’s boy Matthias coming across the ancient resurrection incantations of Premutos his gun nut father Walter (Christopher Stacey) unearths in his backyard.  Ittenbach plays a wonderful pitiful thumb sucker in contrast to Stacey, who doesn’t look that much older to Ittenbach, as a rugged, hardnose, hard=working ammosexual.  Before we can bask in what could have been a good diatribe, Matthias goes through a painfully metamorphosis of wrapping barbed wire and impaling steel rods to become Premuto’s death commencing son.  Corpses exhume themselves and attack the living to form an army of the fleshing eating undead and descend upon Walter’s birthday party and his wide-ranging personalities in attendance with the snobbish and loud Tanja (Ella Wellmann), Walter’s oblivious wife Rosina (Heike Münstermann), the drunkard Christian (Fidelis Atuma), Hugo’s ex-love Edith (Anke Fabré), and Edith’s ex-love Hugo (André Stryi) who has gone into a meek shell as he marries Tanya to fill the gap in his heart Edith had left.  The whole dynamic is an ostentatious display of vulgarity, a hyper overextension of behaviors that clash in one room before clashing with another over and beyond presences, beyond being the key word in being those beyond our plane of existence.  A blood gushing fight for survival ensues as the partygoers become trapped and only Walter’s arsenal of weapons can blow away the undead into slimy bits of smithereens. 

The closest movie Ittenbach’s “Premutos” reminds me of, with all the zany and quirky hijinks, insanely high body count, a geyser explosion of pouring down blood, and all the unbelievably bilious hoopla yet, all that nonsensical napalm draws you in like a moth to the sweet-smelling flame, is Peter Jackson’s “Dead Alive” aka “Braindead.” “Premutos” has that exact same tactless tone and a soaking bloodbath quality with a major stark difference in the comedy style as Ittenbach leans more to a cruder-crass approach with setups involving boogers, penis injuries, and BDSM gags. Somewhere in there I want to say that’s typical German flare, to shock and disgust audiences with eye-adverting and head-turning taboos. The rest of Ittenbach’s is an up-and-down rollercoaster of highs and lows that begins with an expositional illustration, highly detailed and greatly edited, to showcase Premutos’ barbaric backstory up until the title card “Premutos” to where we’re dumped into half-assed cosplay battles still rendering excellent practical effect kills. Ittenbach is supposed to play a man, or rather a man-child, who is the reincarnated wicked herald who begins the end of days for his dark master, Pemutos., but the way Ittenbach structures the aforesaid concept falls upon more experimental means than literal ones and Matthias randomly succumbs to flashbacks of a former life in what looks like medieval times or maybe even early 20th century Europe – hard to tell – where he’s persecuted without reasonable justification until he turns into a large snaggle tooth and demonic monster in his visions. The latter half is where all the action is at with a horde of zombies laying sieged to a ragtag bunch of Germans drinking beer and ridiculing each other. Somewhere in there is also the rekindle of a former love life between Hugo and Edith who have to first regain their lost backbone in a rampage of mowing down the dead by any means possible before the two love-struck lovers rekindle a long-thought-lost relationship. That struggle is Ittenbach’s, about as elegant as he knows how to be, show of an obstacle between the power of love, to put the world facing the destruction of slavery in their path to deliver a blood, sweat, and tears of flesh robust connection of attraction between them that can’t be stopped.

ItsBlogginEvil says check it out, the extended director’s cut of “Premutos: The Fallen Angel” on a 2-disc Blu-ray released by Unearthed Films and distributed from MVD Visual. Coming in at number 6 on the Unearthed Classics banner, “Premutos” is neatly packed and presented in a widescreen 1.78:1 aspect ratio on a region A BD50. Full high definition and 1080p specs apply to the now 24-year-old feature shot on an Arriflex with 16mm stock and the results are immaculate from a pristine transfer. Palpable, yet palatable, amount of grain over top a sustainable image that sees almost zero artefact issues and the tactile textures are greatly fine in the details. Hues don’t exactly pop but display more naturally up until Ittenbach’s gothic and surreal side envelopes him into the swirling of smoke and backlighting to create otherworldly glows and Cenobite-like torments. The release comes with two audio options: a German DTS-HD 5.1 surround sound and a German 2.0 PCM. The 5.1 has excellent fidelity and outputs a work into all channels as the background chattering, especially in the bar scene, gives off the sensation that people are talking behind you. That signal flows every explosion and weapon discharge with strength and prevalence throughout. Dialogue is also strong and prevalent despite much of the gibberish that comes out of the characters’ mouths. English subtitles are available and sync well with accuracy intact but can be fleeting at times and hard to keep up with. The second disc is a compact disc of A.G. Striedl soundtrack which I found to be the most disappointing and lossy aspect in listening to lo-fi grunge and hard rock that provides no boost to chaos on screen. Other special features included on the Blu-ray alone are the original cut of the film with an English dub and original German language, the extended making of “Premutos,” the early years of Olaf Ittenbach, a photo gallery, and trailers all stowed inside a new cardboard slipcover. “Premutos” may be soaking in its meaningless, hellish narrative but it’s an unforgettable slaughter-ride through body, blood, and bone, a genuine practical effects wet dream made into gruesome reality and keeps surprising you at every frame.

Grab “Premutos:  The Fallen Angel” on 2-Disc Blu-ray at Amazon.com!

When the EVIL in Your Dreams Terrorizes You…”Nightwish” Reviewed!


A graduate dream research group experiment on paranormal and sensory deprivation sleep patterns involving controlling their own dreams, even if their terrifying, and examining their own deaths but when they pivot to investigate supernatural activity inside an isolated compound mansion in the midst of an arid desert, the four students and their eccentric teacher conjure malevolencies that include satanic rituals and alien encounters. With their professor spearheading an underlying motive to use them for his diabolical plans, the hesitant and scared group must decide to either force their participation or try and escape their instructors madness, but when the lines of reality blur, friend becomes foe and foe becomes friend with casualties in the middle on all sides as grisly depictions of death and suffering question whether their nightmares are spilling into reality.

Subconscious surrealism on an ultimate terror coaster from writer-director Bruce R. Cook with an unspeakable horror in every corner, from flesh eating extraterrestrials to disillusioned Mad Doctors, in the nightmare-inducing “Nightwish!” The 1989 made and 1990 released “Nightwish” is produced by Paul White and Keith Walley, both of whom collaboratively funded through their Wild Street Pictures production company the early 1990s horror which included another Unearthed Classics release, spine #2, “The Dark Side of the Moon” and, also, put a little cash into the Jeffrey Combs cult favorite, the Brian Yuzna sequel of “Re-Animator,” “Bride of Re-Animator.” However, the real star of the filming crew is none other than Sean McLin. Before going full fledge into being a camera operator, especially around the early days of Power Rangers’ television series, McLin had a short stint as director of photography and his cinematography beyond divine that engrossed to draw audiences into odd angles, mind-boggling depth play, and just colors after colors of spectre ghoulishness. McLin provided a pure motley of mental macabre of the Gregory Nicotero (“Day of the Dead”), Robert Kurtzman (“Lord of Illusions”), and Howard Berger (“In The Mouth of Madness”) powerhouse effects team.

The central characters essentially encompass four graduate students – Bill (Artur Cybulski), Jack (“April Fools’s Day’s” Clayton Rohner), Donna (“Friday the 13th Part VII: The New Blood’s” Elizabeth Kaitan), and Kim (Alisha Das) – along with their stern professor played by the solemn faced Jack Starrett (“Grizzly II: The Concert”). Relatively low on the totem poll names when considering a main cast; hell, I only know Clayton Rohner from his role in the mid-80’s teen transgender appropriation film, “Just One of the Guys” as well as being Admiral Jameson on one episode of Star Trek: TNG. Yet, the combination of crew talent along with the chiseled define facial features of a one Brian Thompson (“Cobra”), the meshed cast suffer no visible calamities or outright fumbles of performance as they each carrier about equal weight into a floating, weightless, construct of boiling human antagonizing fear. The cast rounds out with colorful supporting performances of a muscle head henchmen by Robert Tessier (“The Sword and the Sorcerer”) and the nitwit gate keeper, also animal feeder, Wendall played by Tom Dugan. Yet, Thompson tops the more colorful performances as Dean whose Kim’s ruggedly, manly boyfriend that’s more confident jock without the loss of brain cells. Thompson’s at the height of career, sporing a tank top for most of the film that puts his muscular form on display, but he isn’t the only actor to bare skin as Elizabeth Kaitan and, especially, Alisha Das bare a bit of flesh for the sake of providing a sexual desire to story.

“Nightwish” understandably has a hard chronicle to follow because any film, regardless of genre, incorporating dreams or delving into the state of madness is definitively ambiguous at best, hard to follow, and puts minds into high gear to either understand the just what the hell is going on or to make sense of the chain of events to deduct a reasonable explanation. Sure, over thinking “Nightwish” as a complex construct can be dead wrong. There could be simplicity strewn about and, maybe, we’re too dense or too complicated ourself be aware of the obvious, but Cook certainly knew how to piece together a disjointed storyline that distinctly defines part A of the plot, but parts B and C are so well blend together that the clarity of part A starts to disintegrate and more questions than answers starting whizzing through our think box. “Nightwish” epitomizes the resemblance of nightmare residue and is best left open for personal interpretation.

Spine #3 from Unearthed Films Classics label comes “Nightwish” onto Blu-ray distributed by MVD Visual. The Blu-ray is presented 1080p in a widescreen 1.85:1 aspect ratio through a newly restored 4k transfer, but the transfer, perhaps from the best negative possible, has some minuscule wear with faint scratches and dirt impressions; however, the definition and the color palette ultimately overrun the set hard grain with the minor damage also being an after thought. The uncompressed English 2.0 PCM has a better grade in comparison to the video with clear dialogue and a robust soundtrack throughout to which the ambience is nearly overshadows by but does present itself despite the lack of inertia to progress. Special features include a commentary track with Wild Street Pictures producer Paul White and the president and founder of Unearthed Films Stephen Biro. Also available is a photo gallery, trailers, and an extensive cast and crew bio booklet filled also with production notes and a slew of high resolution stills that’s great to flip through. As another judiciously placed classic for Unearthed Films, “Nightwish” is a dream come true for viewers that combines the effects talents of Nicotero, Kurtzman, and Berger with the terrifying ferocity of facing death through in the dark subconsciousness.

Nightwish available on Blu-ray!