Burt Gummer Neutralizes EVIL Graboids in “Tremors: Shrieker Island” reviewed! (Universal 1440 Entertainment / Digital Screener)

A wildlife preservation maintains categorizing and tracking of native elephants, but when one of the company’s philanthropist turns his private island, just across the water from the preservation campsite, into a game reserve for apex predators, nothing will stop him from wagering the thrill of the hunt on expensive, top-of-the-line game.  That is until the graboids he’s illegally bred and genetically modified starts to hunt the wealthy trophy gamers back, especially when the Precambrian lifeforms metamorphize into the fast-spawning shriekers.  With an island full of graboids and shriekers that contributed to already one death, graboid expert and arms enthusiast-survivalist, Burt Gummer, is tracked down and brought out of retirement to once again battle his longtime killing machine adversary.  With no munition weapons, an obstinate playboy’s maniacal urge to hunt the fierce predator, and the most powerful of the graboids bred on the island able to wriggle underneath the sea floor between land masses, Gummer and a team of preservationists must band together to stop the graboids from being an invasive and unstoppable species. 

From an icy Canadian landscape in “Tremors:  A Cold Day in Hell” to the tropical beaches of Thailand, “Tremors:  Shrieker Island” is the seventh feature film in the Tremor’s 30-year franchise.  Heading straight to video on Blu-ray, DVD, and Digital, including Streaming and VOD platforms come this October 2020, the subterranean monster action-comedy is steered by serial sequel director Don Michael Paul, who directed the last two “Tremors” installments, off a Paul script co-written with Brian Brightly that set sights on expanding the graboid footprint even farther East and surrounded by the seas of Thailand, further more distancing itself from the dust bowls of Perfection, Nevada and Mexico into new and unexplored terror-itories.  Universal Pictures’ off-shoot subsidiary banner, Universal 1440 Entertainment, and Living Films serves as the presiding production companies. 

 

The smart-mouth, quick-wit, arms-toting Burt Gummer has become, dare I say it, the Ash Williams of the Tremors’ franchise as a perpetually dragged back hero into monstrous circumstances to battle graboids and their offspring on land, air, and in the pits of hell of the innate underground habitat.  Aside from Bruce Campbell, there are not too many heroes in a genre that usually has a villainous backbone and so Michael Gross is the longest lasting reoccurring actor, spanning now 30-years, to return as an original hero who first encountered and killed the bastard creature who “broke into the wrong God damn rec room” in Perfection, Nevada.  Gross, now gray with a few more wrinkles sporting his iconic Gummer mustache, fits into the military-esque attire under his ball cap to square off alongside a ragtag team of unprepared, unqualified, and novice graboid hunters in Jon Heder (“Napoleon Dynamite”), Jackie Cruz (“Orange is the New Black”), Caroline Langrishe, and Richard Brake (“31”).  Heder fills in for the Jamie Kennedy role of Burt Gummer’s son, Travis, from the two previous installments and though Travis is mentioned briefly, the character’s presence is extended through Caroline Langrishe as Travis’s mother and preservation camp leader.  Heder and Langrishe complete that entangled trio that has been a trope present in nearly all the Tremor Films, starting with Val McKee, Earl Basset, and Rhona LeBeck, battling side-by-side to overcome the odds.  Cruz and Brake offer a serious side dish of badass on a polar opposite spectrum.  Jackie Cruz as Freddie, an entrenched team member of elephant tracking, is the Latina MacGuyer and is a weapon in herself that only someone like Burt Gummer would fully appreciate while Richard Brake, with his trademark sinister smile as obsessed game hunter Bill, relishes the role, pulling a watered down, PG-13 version of his typical bad guy motif from the more violent-venomous Rob Zombie films.  However, a minority of characters fall through character development cracks, such as Anna played by the up and coming Cassie Clare (“Death Race 4:  Beyond Anarchy”).  The archery expert Clare is a pertinent show off with a bow and arrow and is Bill’s right hand, but the Anna, under Cassie’s muscular thin frame and ironclad persona direction, has an inclined built up that goes to naught as she’s snubbed-shoved to a lesser role without having a significant impact in the latter half.   The reverse can said for Heder’s Jimmy character with first impressions of a top class scientist with lower class ambitions; yet, in an instant, Jimmy becomes a battle-worn graboid and shrieker killer while more experienced hunters, especially one wielding a mini gun, have less of a handle on the situation. 

While it’s neat and cool and nostalgic to see graboids and Burt Gummer back in action, much like the disconnect with lopsided arch able characters left to be graboid-fodder, “Tremors:  Shrieker Island” falls short of earlier predecessors, replacing personal filmmaking style over story substance.  For one, graboids just haven’t been the same since going from practical applications to computer imagery since “Bloodlines” on that has radically evolved the creatures from a less-is-more model to a complete overhaul of their veneer, resembling the dark and slimy man-eating tentacles of “Deep Rising,” and as well an overhaul of the creature mechanics that lead graboids to leap out of the ground and into the air like a flying fish, spiraling and twisting back into their dirt environment.   The graboid burrowing irks me as well as the ground explodes 10-15 feet up into the air in a blatant uses of detonating charges by the effects team to create the earthworm moving effect instead of just a perpetual hump and collapse of the ground that’s more of a menacing effect. Nuances run amok, causing subtle points of frustration in how Paul’s direction is really more a passive glance than a serious absorption of the franchise. Meandering people on the ground when they fully well know graboids are attracted by movement, half the film scaled back to slow motion to accentuate big money explosions, and the mother of all graboids able to target Burt Gummer for a mano on monstro showdown are just more examples of the charmless details in, what is, a palpable comedy with Earth dwelling monsters. “Tremors: Shrieker Island” is the equivalent of “Jaws: The Revenge;” the story may not make sense, but watching gigantic monsters cause mortal destruction is pure creature feature bliss.

What may be Burt Gummer’s last ride (or so they said in the last film), “Tremors: Shrieker Island” tunnels onto Blu-ray, DVD, and VOD come October 20th, 2020 and soon to be streaming on Netflix shortly after. The BD50 Blu-ray will feature an anamorphic widescreen, 16:9 aspect ratio, with an English language DTIS-HD Master Audio 5.1 while the DVD9 is presented in a widescreen 16:9 with a Dolby Digital 5.1 surround mix. Both formats will include optional English Dolby Digital 2.0 as well as a dubbed French, and Spanish DTIS Digital Surround 5.1 with a slew of option subtitles: English SDH, French Canadian, French European, and Latin American Spanish. Since the film was reviewed on a digital screener, the A/V aspects will not be critiqued. The exclusive bonus features listed on all physical and VOD include a Burt Gummer narrated “The Monster of Tremors” that gives you everything you need know about the diabolical monsters, “Tremors Top 30 Moments” that hone in on 30 years worth of scenes that provide laughs, Burtisms, and some of the most gory moments in graboid history, and, lastly, “The Legend of the Burt Gummer” that focuses on the iconic graboid hunter character told by his persona creator himself, Michael Gross. Richard Brake, once again, nails the villain, Jackie Cruz stuns as a resourceful Gummer-ite, and Michael Gross fleshes out one more commando swashbuckling Burt Gummer in the zany seventh installment of the unstoppable “Tremors” franchise.

Pre-order Tremors: Shrieker Island on Blu-ray/DVD/Digital!

EVIL Doesn’t Joke Around. “Let’s Scare Julie” reviewed! (Shout Studios! / Digital Screener)


After the sudden passing of her father, Emma stays with her cousin, Taylor, along with her aunt and drunkard uncle. Taylor pressures Emma to be part of her prank habitual group of friends, trying to convince Emma how this is how things will be from now on while also trying to be a compassionate shoulder to her reserved cousin. With Taylor’s uncle passed on the sofa downstairs and her mother flying in from out of town, an impromptu sleepover encourages the group of girls to connive a break-and-entering prank to scare a new neighbor, a teenage girl named Julie, across the street. Emma half-heartedly participates by producing a way into the house, allowing her cousin and her heedless new friends onward on their scaring scheme, but when only two of the four girls return, the prank has turned terribly wrong as an urban legend about the house across the street might actually be true.

Breaking out from helming television documentaries and into the genre feature realm is filmmaker Jud Cremata debuting with his written and directed bloodcurdling slumber party, “Let’s Scare Julie,” premiering on in home theaters on digital and VOD come October 2nd, 2020. Starting off Halloween with an innovative filming structure and a good ole fashion horror tale, Cremata never eases on the reins of terror from nearly a single, continuous take of his mischievous teenage girls meet malevolent ghost story that occurs over a single night, condensed further to a time frame that’s almost parallel to the film’s runtime. Formerly known as “Let’s Scare Julie to Death,” the Santa Clara filmed, real time hijinks gone awry spook show is the first horror production from the Los Angeles and Moscow based Blitz Films in association with “Becky’s” Buffalo 8 Productions. Jud Cremata and Marc Wolloff produce the feature alongside Blitz Films’ Eryl Cochran and Nick Sarkisov.

Comprised with a small cast of new talent, “Let’s Scare Julie” focuses around a group of five teenage girls and one elementary grade school girl concentrated more so around a life rebounding Emma played by Troy Leigh-Anne Johnson, making her introduction into feature length films. What makes this a phenomenal role and performance for Johnson is the fact that the young actress has to maintain in-character for the entire length of the film with the camera rarely parting away from her in every moment of the nearly continuous take and she has to adjust her dynamics with a variety volume of characters ranging in temperament from meek, to obnoxious, to terrifying, to drunk, and to the perpetuance of adolescence behavior from her protective, yet peer pressuring cousin Taylor (Isabel May), the obnoxious goof Madison (“Ladyworld’s” Odessa A’zion), the unassertive duddy Paige (Jessica Sarah Flaum), and the confident showoff Jess (“Unearth’s” Brooke Sorenson). Individually, the characters are well developed, hinting more towards unravelling their true selves with each progressive moment their on screen, but not overly enough to have each figured out and that leaves their hopeful futures in ruin, offering more substance to their potential demise. Rounding out “Let’s Scare Julie” cast is Dakota Baccelli, Blake Robbins (“Rubber,” “Martyrs”), and Valorie Hubbard (“Resident Evil: Extinction”) as the evil spirit, Ms. Durer.

Uncomplicated with less fancy footwork adorned, “Let’s Scare Julie” is all about the story and less about the effects hoopla usually associated with vindictive phantasma creepers, especially ones like Ms. Durer who like to seep into her victim’s personal bubble using voodoo black magic dolls while wearing nothing more than her dirty nightgown and scathing glare on her face. The simplicity of the movie is almost refreshing in the inherent campiness of the anecdotal urban legend spieled by the girl living next to the house of ill repute, but one thing about the story that irks me is the marketing of “Let’s Scare Julie” being shot in one continuous take; yet, there are a few edits that not necessarily cut to a different scene, but rather just jump seconds of a frame and continue the moment. Whether the edit’s intent was because of timing, reducing frames in a scene to meet a certain runtime, or to give the actors a slight break, the expectation wasn’t fully met when the handful of edits are slipped in condemning that anticipated single take to just a still impressive compilation of long takes. Chuck Ozea’s maneuvering cinematography seamlessly tells the tale without so much of a hiccup as the veteran music video DP choreographs somewhat of a dance around Troy Leigh-Anne Johnson to capture her slow simmer into terror. “Let’s Scare Julie” does more with less as a round about ghost story, building up suspense above the guise of guilt-riddled themes without placing the perspective in the middle of the supernatural action.

Sometimes, pranks backfire and, in this case, this prank is to die for in the Shout Studios distributed “Let’s Scare Julie,” scaring up into home theaters on Digital and On Demand at the beginning of Halloween season on October 2, 2020. Being a brand new film, there were no psychical media specs to report nor would there would be any A/V if specs were available since this review copy is a digital screener of the film. As a digitally recorded production in this day and age, expect the found footage-like video and sound as faultless as expected, but the quality will be determined by your internet connection and streaming platforms. There were no bonus material with the screener nor were there any additional scenes during or after the credits. Five teens’ prank spree ends on a dark and stormy night of terror where urban legend trounces cruelty over shenanigans in the crafty and solid shiver-inducing “Let’s Scare Julie.”

Pre-order “Let’s Scare Julie” on Prime Video.

EVIL Is Everywhere. Even in Idyllic Alaska. “No Way Out” reviewed! (Baird Media & London Levine Pictures / Digital Screener)

3
A wilderness camping trip in the rural terrain of an Alaskan landscape becomes the serene backdrop for a pair of couples on a romantic getaway. With their backpacks in tow and a sense of adventure in hand, one of aspirations amongst the peaceful setting would be to create an ideal engagement spot for a happily affectionate couple while the other couple taps the trip as a therapeutic escape to rekindle or salvage a flailing relationship. Deeper and deeper they trek into the woods that begins to feel engulfing with a sense of lurking, ominous eyes voyeuristically peering at them from afar and as gunfire rings out in the distance and camping gear winds up missing, spine-tingling fear starts to set in for the couples eager to leave quickly as they came, but those in the woods, those menacing figures that have been keeping distance, are now toying with the campers’ very lives.
5
Impelled into a throng of horror films set with backpackers becoming lost on a camping trip with a mysterious figure in the midst, “No Way Out” struggles to find a distinct voice from writer and star Chris Levine and introducing Joe Hamilton in his very first feature length directorial. Following his 2017 “Anabolic Life,” a crime-injected thriller circled around bodybuilding, co-written alongside Cameron Barsanti and Landon Williams, Levine steps solo into the horror ring, penning a camping-gone-wrong 2020 released thriller that displays themes of secrecy, family, and the mentally unstable futile pursuit of happiness compounded by half-frozen isolation off of sideroad Alaska and a tactical gas mask wearing loom creeping through the thicket. “No Way Out” is an independent funded production by the Alaskan based companies, Baird Media (Charles A. Baird) and RocketJoe Films, which I believe “No Way Out” used the latter company’s monolithic humanoid props from a defunct film entitled “Seven Bones,” and in association with services provided by Levine’s own co-founded London Levine Pictures company.
2
The small cast is centrically focus around the four campers for approx. 98% of the film, only briefly swerving away from the core characters to interject some meaningless exchanges between backpackers and to also setup a lying-in-wait antagonist to build up prelude suspense. Leading the foursome is Chris Levine as a multi-hat contributor along with his written and co-produced thriller by playing Blake, a hands off, anti-woods boyfriend being dragged against his will to go camping in order to recoup his girlfriend’s goodwill in their sinking relationship. “Apocalypse Rising” and “President Evil’s” Johanna Rae is Blake’s contentious other half as girlfriend Jessica. The dynamics between Levine and Rae couldn’t push the turbulent couple’s interpersonal problematic parameters beyond the scope of vomiting their frustrations to the same sex individual of their camping buddies on the trip with only one minor other instance of a short-lived spat in an attempt pull in some kind of concerning emotion for either Blake or Jessica, but the scene falls flat and so does that thick air tension that repels any kind of bridging of the gap forcing Blake and Jessica to seem not like a couple with progressing relationship issues, but rather argumentative friends with benefits. On the other side of spectrum, Norah (Jennifer Karraz) and Kyle (Christopher McGahan of “Virus of the Dead”), portray parallel mirror opposites of a happy-go-lucky couple on the brink of engagement and parenthood and while the couple should be gleaming with affection, Norah and Kyle barely speak a couple of sentences to each other, marking their character profoundly shapeless and plain among the limited roles to root for survival.
1
Aside from not being able to relate to the characters, who more or less meander about asking each other what they should do or not do next, “No Way Out” can’t find a way out of the nonsensical design to shepherd audiences into the throes of character plight and make the hairpin turn toward revealing the abhorrent culprit of their situational terror. The story seems stuck in a rut in garnering not enough background or tidbits of intricacies to formulate a clear answer to the subtle hints being conveyed along the way about what’s unfolding before our eyes. Luckily, our brains start to take over, filling the gaps where needed, and coming to a haphazard conclusion that through the characters wavering suspense of the unknown encased around them, not everything is what it seems and that aspect really comes early on in the film, whittling down the complexity of the story to a low-effort thriller that can be solved by the time the four campers reach their terminus by car and have to hoof it aimlessly rest of the way. Unfocused editing of a fragmented story and misused ambience, such as the prolonged whooshing of highway cars when characters are supposed to be deep in the woods, added to the viewing friction. I liked the headspace of the story concept for “No Way Out,” where a shadowy, uncouth stalker sets a target on unsuspecting camping folk accessorized with a shrouded plot twist, but, ultimately, the execution flopped as a pitched tent overwrought thriller set in the icy, backwoods topography of Alaska.
4
From filmmakers Chris Levine and Joe Hamilton comes a brand a new backpacker thriller, “No Way Out,” premiering the last weekend of August in Alaska and then hitting VOD platforms in the next couple weeks, including Prime Video, Google Play, Pluto, Tubi, and more. Since “No Way Out” is a new, completed feature film and a digital screener was provided for review coverage, the typical A/V evaluation will not be done, but the debut of cinematographer De Gosh Reed’s hybrid found footage and observational shot style captures a pair of perspectives of not only an outsider, but also as the characters to join in as a terrified participant. Aforesaid, the English language audio mix is a bit wonky with some ambient missteps. The dialogue also comes and goes in an undiscernible pinpoint of depth that, at times, is trounced by the steadily vivacious soundtrack. The film felt very technically raw and unfinished, but, again, this is a digital screener of an unreleased film on the brink of debuting and maybe altered or adjusted for the premier/VOD. There were no special features included with the screener nor were there any bonus scenes during or after the credits. Though not my cup of flavored untamed tension tea, “No Way Out” has the bones to be a straight forward VOD thriller outlier despite being misshaped and disjointed around the particular edges.

Mom Sees the EVIL in her Son in “M.O.M. Mothers of Monsters” reviewed! (Indie Rights Movies / Screener)


Abbey Bell is extremely worried about her teenage son, Jacob. Worried that Jacob, an intelligent boy with good grades and is a social magnet, is plotting a mass shooting at his school. After countless preemptive attempts to warn authorities and medical professionals of her suspicions of his psychopathic tendencies, Abbey begins recording a diary and setting up spy cameras inside the family home hoping to catch Jacob’s unpredictable and dangerous suggestions and threats on tape. The videos will also serve as blog fodder for other desperate mothers experiencing similar disturbing behavioral issues with their children. As the single mother and her son continue their at home war of bickering words and distraught suspicions, the maternal bond once shared between mother and son begins to deteriorate and evolve into unsurmountable distrust between each other; a distrust that has been simmering ever since Jacob was a toddler stemmed by Abbey’s dark family secret sheathed for many years until Jacob weaponizes it for his utmost survival against his concerned mother.

Before the coronavirus pandemic transformed powerful sovereign nations into panic-induced introverts wetting their pants at the first spray of a sneeze hitting their skin, news medias around the globe delectably ate up headlines of mass shootings as there would seem, at least for a good stretch, to be a sad and unfortunate mass shooting every single day. Tucia Lyman’s “M.O.M. Mother of Monsters” derives from that fearful climate while also purposing another sub-topical issue of a parent’s position in that circumstance. Lyman tackles one fictional woman’s tale of internal turmoil as her directorial debut and the sophomore script of a feature film not in a documentary format, pivoting away from the “Untold Stories of the ER” and “I Didn’t Know I was Pregnant” junk food that consumes about 2/3’s of television comatose Americans. The “found footage” 2020 released psychological thriller is produced by Elain White and Austin Porter whom both have collaborated with Lyman in the past.

While not as sexily depicted and as authoritative as Emilia Clarke is depicted to be the Mother of Dragons in HBO’s “Game of Thrones,” New York City born Melinda Page Hamilton can surely sell a mother of a monster as Abbey Bell, vending sharply laid out doubts and uncertainties with a mountain of convincing circumstantial evidence against her only child. The “Not Forgotten” actress quietly folds into herself as the submissively passive Abbey on a histrionics mission to out her son as a danger to society. Bailey Edwards commands a subversive and rebellious teenage Jacob Bell that can use his millennial powers to steamroll over his mother’s lack-of-assertive powers. This film will be Bailey’s first substantial co-staring venture, along with minor performances in “My Dead Boyfriend” starring Heather Graham and Netflix’s “Bright” with Will Smith, and who will subtly introduce Jacob as some white nationalist, gun enthusiasts who has a gas mask with a swastika insignia, first person shooter gear and video games, and scenes of him walking in front of gun shops. While Hamilton and Edwards dominate the majority of screen time, the short cast list rounds out with Janet Ulrich Brooks, Julian de la Celle, and a special appearance from “The Mary Tyler Moore Show’s” Ed Asner as a behavioral doctor Skyping perspective therapy with Abbey. Does anyone believe a 91-year-old knows how to use a video chat? It’s a bit of a stretch….

“M.O.M. Mother of Monsters” throws caution to the wind embarking on a viewpoint of how far a mother will go to expose her child’s dissident and, potentially, deadly behavior. Lyman also digs deeper into the psyche of the mother and the child, sticking them with a ticking time bomb that is the heredity factor. Mental illness is a huge underlined theme that Lyman slips into the fold as signs of one person’s erratic behavior can be stemmed from the secrets of little known relatives and their seemingly destined out of control path can no way be influenced externally without reserving counseling, extenuating the age-old debate of nurture versus nature. Lyman’s storytelling smartly preserves an obscured aspect, cloaked by selective denial and tremendous paranoia, that becomes a catalyzing game changer of disturbing consequences. The narrative isn’t at all flawless with weak spots in the character structure that pigeonhole the roles to be stuck inside this cat and mouse cycling mindset between Abbey and Jacob. For instance, Abbey’s an obsessive, 24-hour recording zealot whose documenting never reveals anything else happening in Abbeys life, like work, friends, etc., whereas Jacob’s intermixed recordings with a female friend outside the contentious home reveal a life beyond his skirmish with this mother and his videogame shut-in habitat, but these recordings stick out awkwardly as much of the story’s is from Abbey’s perspective so how did Jacob’s casual conversation videography become a part of Abbey’s cautionary tale for other distraught mothers? Whether intentional or not to exhibit the imbalanced social complexities between Jacob and Abbey’s personal lives or lack thereof, Jacob’s exterior scenes course out of bounds, penalizing portions of the plot.

Become submersed in dark thoughts and monomania with Tucia Lyman’s “M.O.M. Mothers of Monsters” hitting the digital HD VOD platforms soon after premiering at the Los Angeles Arena Cinelounge this past Friday the 13th through Indie Rights distribution. Since this is a theatrical and VOD title, there is no home video release to provide technical specs and assessments; this also includes no special features. “M.O.M. Mothers of Monsters” hammers down the sociopolitical hot topics of mental illness, gun violence, and presumptive fear teeming in America with a spitting image and climate aware psychological thriller bristled with family dysfunction.

The Scene Isn’t Over Until EVIL Yells Cut! “Incredible Violence” reviewed!


After squandering a shady investment group’s money, a struggling filmmaker stages a last attempt effort in writing and directing an all-out and profitable horror movie. Isolated on a stretch of private land sits a house which his movie will be set. The director installs camera monitors, archaic printers in each room, and fashions a room for himself in the confining attic space, turning the house into a platform for five young actors to perform at his instructional, omnipotent influence without having to ever personally interact with the actors, a group he strongly loathes. His despise for actors and the financial pickle he finds himself in with shark investors places him at the centerpiece of his slasher film as the masked killer. With the stage set and the actors all in place, the directing maestro helms unsuspecting actors to their violent deaths in the name of art, self-preservation, and actor genocide.

As a film that turns the slasher mythology on its head, G. Patrick Condon’s “Incredible Violence” is a serrated vision of bleak, dark comedy too sharp to really fully digest and that’s okay. Filmed in Canada of 2018 and released this year on SVOD from The Hunting Party Inc., production studio, “Incredible Violence” strays away from the young, naive victims points of perspective and opens the path up for a nihilistic killer to control the narrative around his desperate motives. Though having complete control over most of the factors and planning ahead of time, “Incredible Violence,” as a partial comedy, folds miscreant mishaps and caricatured flaws on top of, indeed, incredible violence and while that vehemence is focused primarily on actors as a while, a good portion pivots and breaks down even further to the individual level that can be personal and can be insensitive for women who have to best themselves, sometimes together and sometimes separately, against two different antagonistic foes of the opposite sex.

The largely based Canadian cast begins with Stephen Oates playing the hack director and self-imposed killer, named after director G. Patrick Condon, of the titular film and though that might seem egotistical of the Condon, enough humiliation smothers the self-assuring and struggling character to the point of utter satire with even going as far as poking fun at his last name in a brief quip of dialogue. Oates, who has starred alongside Jason Mamoa on the historical Canadian action Netflix series, “Frontier,” is an intriguingly no-shame filmmaker who hustles together a plan schemed to save his life. Sporting a wife beater, long fur coat, and an unadorned mask, Oates exhibits Condon perfectly as a hack artist in filmmaking and in being a badass serial killer. Then there’s Grace, the lead character bound for stardom as an untrained actor taking a role in, what she considers, a performance art film and naively goes into the project with such gusto that she blatantly ignores all warning flags from the beginning, a role very well suited by the striking eyes of M.J. Kehler. Grace endures shots left and right, from friends and foes alike, as a hopeful artist, but like “Incredible Violence” shows, a true inclination comes out of people when push comes to shove and Grace, through Kahler’s physical bombarding of a final girl trope, doesn’t need acting school or any other doubters to trump her will, passion, and ferocity. One scene to note is between Foster, Kahler, and Kimberly Drake and Kahler’s Grace is just stricken by fear over being ask to kill someone, she’s screaming and is essentially rooted to her spot. The moment is grippy and terrible empathetic to know that true fear does freeze one’s fundamental functions of survival and of morality. “Incredible Violence” co-stars Michael Wotherman, Kimberly Drake, Erin Mick, Meghan Hancock, and Allison Moira Kelly.

“Incredible Violence” bursts with a talented cast with deserving of a curtain call performances and lives up to the title with incredible, if not whole heartily gratuitous, violence and some brief macabre nudity, but Condon’s story has a lot of zeal that doesn’t properly switch tracks when characters break under their obscure tormentor’s direction. Condon, the director, builds the tension more through the repetition of violence with a slight tweak every time rather than crafting a breaking point, a catalyst that dissembles sanity and refigures patchwork insanity, making characters alliances difficult to place that ultimately crumbles the dynamics into just a bunch of people beating each other to a pulp. The same kind pivoting told differently can be said about the strange, public television show Celebrity Autopsy paralleling as intra-story that often feels disconnected to Oates and his film. I guess with a film entitled “Incredible Violence,” a substance merit to the narrative would be a long shot, but as an exploitive, self-described meta-horror centerpiece, “Incredible Violence” is made up of all sorts of gut-checking goodness with torture, madness, and cynicism helmed by sadism without the presence of slasher-esque, blank evil.

1091 Films, in partnership with G. Patrick Condon’s The Hunting Party Inc., presents “Incredible Violence” that runs 89 minutes onto a plethora of media streaming platforms, such as Amazon Instant Video, iTunes, Google Play and Vudu, and on-demand cable services. Unfortunately, “Incredible Violence” is a streaming only feature so image and audio qualities will vary across streaming devices. There were also no bonus material or special features present, but as an extra tidbit about production, the film took approx. 2 years to complete with the unpleasant misfortunate of one of the original cast members passed away during rehearsal. This forced the script to be re-written, delayed, and ultimately triggered G. Patrick Condon to write himself, as a character, into the script. Futhurmore, the cast and crew had agreed to stay in the house set location until filming wrapped which resulted in some actual anxiety and stress to spill out into the performances. Contextually sound in the confines of violence, “Incredible Violence” finds footing staggering abroad the cascading carnage of horror-comedy with a single character arch involving making it big in the acting world only to just make it out alive and in one piece of this film.

Stream “Incredible Violence” on Prime Video