One Night in an EVIL Sanatorium. What Could Go Wrong? “Haunted Hospital: Heilstätten” review!


Among the outskirts of Berlin lies a vacant and dilapidated Heilstätten hospital once used by the World War II Nazis to conducted “mercy deaths” for tuberculosis patients. Over the years, the hospital has remained dormant in its subsequent closure after the war and infamous labeled cursed and haunted during daytime tours, becoming the sole connection between instances of madness and murder through the decades. When a pair of YouTube pranksters and social media influencer gamble against each other on spending 24 hours inside the hospital for viral stardom to gain more followers, they’ll put the hospital’s paranormal notoriety to the test with the help of Heilstätten tour guide Theo as their access onto the grounds. With all the cameras set up and the stage set for an all-nighter spook show, their viral glory campaign becomes a malevolent presence’s bloodbath welcoming.

“Heilstätten,” also known as “Haunted Hospital: Heilstätten” under the North American market, is the gruesomely supernatural found footage horror film from “Potato Salad” director Michael David Pate. Pate, who also co-wrote the script with Ecki Ziedrich, helms his own perspective on the sanatorium (English term for Heilstätten) horror that offers more than just a phantom in hospital wings. Deranged and soulless Nazis performed immoral experiments on not just the Jewish people, but also sought to eradicate the sick for their feverish impurities, such as those afflicted with tuberculosis. “Heilstätten” pits history against the present in a egregious tone of respecting the past and diminishing the importance young social media influencers without a peck of smarts or appreciation.

The 2018 film stars “Tape_13’s” Sonja Gerhardt as Marnie, a social media star who records and implores people to face their worst faces, catching up with the group of YouTubers before they dig themselves deeper into their own graves. Gerhardt’s hard sell of her character doesn’t quite shape the sincerity in stopping the carnage before it happens as Marnie is the proverbial monkey wrench in the overnight blood bath. Marnie is drawn to Theo, an ex-lover that hasn’t quite severed her interests in him, played by Tim Oliver Schultz. As the tour guide breaking all the rules, Theo’s compulsion to help wavers on the idea of being just as renowned on the internet as those he’s helping, but there is more to meet the eye with Theo than the surface level material. The more complex characters revolve around the pranksters, Charly and Finn, played by Emilio Sakraya and Timmi Trinks, who become wedged by social media influencer Betty, Nilam Farooq. Charly’s strive for world wide web fandom drives him blind to the circumstances around him, especially when Finn and Betty become romantically involved, and despite Finn’s willingness to be part of the prank, his conscious breaks beyond Charly’s gimmicky barrier where lives actually do matter over stardom when people end up missing or dead at the hands of an ominous force. “Heilstätten” cast rounds out with Farina Flebbe, Maxine Kazis, Lisa Marie-Koroll, and Davis Schulz.

The trick about “Heilstätten’s” allure is the moments that the ghost film isn’t afraid of the blood and flesh bits founded upon a nicely laid foundation with the Nazis’ extermination activities and all the notorious lore surrounding a hospital. The hospital itself, Heilstätten, wasn’t created out of thin air just for the story sake. Pate and Ziedrick used the withering Beelitz Heilstätten as their base, utilizing actual historical facts, such as Adolf Hilter was treated at the hospital during World War I, to even further demonize the setting, but in reality, Beelitz Heilstätten rehabilitated the war wounded rather than mercy death the Tuberculosis-stricken. Yes, the hospital was Nazi occupied, but so did the Russians after the war. “Heilstätten” has rich backstory that basically breeds itself into a horror film. However, one aspect about what discourages “Heilstättens” effectiveness is the use of soundtrack for a found footage horror film. No found footage horror film should ever have a soundtrack that doesn’t add to the realism and renders the film more closely to William Malone’s “House on Haunted Hill” in more than one similarity.

Well Go USA Entertainment admits proudly Michael David Pate’s 20th Century Fox International produced “Heilstätten” onto a dual format, DVD and 1080p Blu-ray, release. The Region 1 and A, not rated film is presented in a widescreen, 16:9 aspect ratio, that’s relatively free of problems. The second act shadows find definition hard to make out under the quick, stark edits, but the “Predator” heat vision is nice touch to liven things up when the darkness is as black as night. The German language DTS-HD Master Audio lives up to the supernatural maelstrom that cause the covers to be pulled up to your eyeballs with range and depth to personify the gloomy corridors and multi-level death snares. The hard-lined English subtitles are well synced and accurate and the release also offers up an English dub track. The DVD comes with an English language Dolby Digital track too. Bonus features a slim with a just a trailer to it’s name. “Heilstätten” is one effectively spooky, atmospherically creepy, and dreadfully engrossing good time with a full-bodied backstory topped with Blut und Eingeweide.

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A Kingdom Engulfed by Evil! “Rampant” review!


The kingdom of Joseon is in a state of great turmoil as the absolute monarchy is being influentially divided. The King has treacherous whispers being fed to him by head of the nobles, Minister Kim, and the eldest royal son, the Crown Prince, witnesses his father’s dominion being redirected against the common people despite his best efforts to persuade his father. When the Crown Prince’s insurrection plan for kingdom stabilizing is foiled, the Crown Prince commits public suicide as act of sacrifice to spare his cohorts and their family from capital punishment, but before his death, the Crown Prince sends word to his younger brother, Lee Chung, to return home from the Qing Dynasty and escort his sister and unborn child out of a country soon to be in the throes of chaos. In the midst of the struggle, a foreign ship cargoes new age weapons and the Captain has secret dealings with Minister Kim, but is raided by the Crown Prince’s rebellion The ship also holds another human eradicating payload, a plagued foreigner in the brig is transforming into a blood hungry monster with grayed out eyes and razor sharp teeth With one of the raiding members being bitten, the carnivorous outbreak spreads throughout the kingdom days before the pleasure seeking and arrogant Lee Chung returns home. Chung not only finds his people suffering from bloodthirsty monsters, but also from a turbulent hierarchy sought for destruction by a devilish and traitorous orchestrator who will do anything, like leave a plague go unchecked, to see the lineage die out.

From the same studio that delivered the critically successful, zombie apocalyptic nail biter, “Train to Buscan” comes Kim Sung-hoon’s martial arts horror-fantasy, “Rampant,” that’s a perfect accompaniment double feature film involving a familiar fast-spreading zombie-like outbreak with gripping, non-stop action based on the webcomic Kingdom of the Gods. “Rampant” is the filmmaker’s junior film from 2018, a film blended with truly epic magnitude and an ancient Korean civilization that’s penned by “Scary Hair” writer-director Shin-yeon Won and Hwang Jo Yoon to weave battling aortic stories that inherently funnel toward the dismantling of an established empire. While not serving as a straight genre film with savage moments of on the edge of your seat horror, the theme hones in on the separation of classes, peasants and blue-blooded or high ranking officials, and the reuniting them by compassion and strength. Inklings of fear, greed, and ignorance are stitched in the very hanbok and gat-laden fabrics of the story and serving as a precursor to the Netflix produced television series, Kingdom, scripted by Kim Eun-hee and directed by Seong-hun Kim, involving virtually an identical premise of a troubled monarchy being plagued by a horde of diabolical creatures.

Prince Lee Chung is a stimulating character to say the least; the prince’s introduction isn’t favorable to royal morals as a pleasure seeking, womanizer who gets his kicks by doing what he wants, when he wants. Yet, Chung arches so prominently that the transformation goes seamless, and covertly, to persuades audiences to rally behind Chung in the least-to-most extreme circumstances. Hyun Bin’s confidence in the prince ceases to amaze. From his impeccable arrogance to selfless protection, Bin sustains high level performance no matter the situation while bearing a giant blade, holstered on his lower back. Chung has the skill of a warrior, but the tact of a barfly at first and comes to be a complete better version of himself at the dire end that also completes Bin’s full range of the role. Chung is pitted against Minister Kim, the head of all the court’s ministers, and Kim plots to dethrone the Joseon kingdom in chaos by any means. Jang Dong-Gun is Korean’s version of Mads Mikkelsen. Jang envelops a deepening mystery that’s hard to deescalate and emits a presence on screen just by the way he positions himself in an ominous, if not anime swordsman, manner. Minister Kim is a staggering and formidable nemesis, more overall suited to be the main villain amongst an ever-growing sea of plague-spewing creatures. The remaining lot of characters feel auxiliary around the protagonist Chung and antagonist Kim and these roles are supported by Kim Eui-sung (“Train to Buscan”), Jo Woo-jin, Jo Dal-hwan, Jung Yoo-An, Lee Sun-Bin, and Seo Ji-hye.

You might have noticed that the term creatures were used to describe the menace that plagues Joseon. Characters often reference the plague transformed attackers as demons and, to be honest, these grayed eyed, pointy teeth demons could pass as extras in Lamberto Bava’s “Demons” or Kevin Tenney’s “Night of the Demons,” but the U.S. marketing of the Well Go USA Entertainment release promises zombies and zombie action, even going as far as splaying on the front and back cover that the same studio produced “Train to Buscan.” To be fair, a plague did start the mayhem, transmission of the disease was by bite, and the course ran the kingdom very, well, rampant like a traditional, George A. Romero style, outbreak. Either way, to kill a demon and/or zombie, an assortment of kill method was acceptable such as: beheadings, severing the heart, and, to thoroughly ensure death, kill with fire. Demons. Zombies. Audiences won’t be too hard up on how to label the hungry hordes as “Rampant” slices, dices, and crucifies the the living hell out of the living dead.

Well Go USA Entertainment presents the VAST Entertainment and Leeyang Film, “Rampant,” onto a dual format, DVD and Blu-ray combo, release. The 129 minute runtime Blu-ray is exhibited in a widescreen, 16:9 aspect ratio. There’s money behind this release as visual effects are one of the superior cases over the lot of 2018 releases with pinpoint detail from the mass of infected, the textures and coloring of fire, and the Joseon Kingdom structures and detail attire. The attention is really in the details with not only historical authenticity, but also realism. Human coloring looks rather natural and the no issues with compression either. The Korean DTS-HD Master Audio track suits the action heavy film with LFE combustions and explosions, unlimited range and depth amongst a vast Kingdom battleground, and dialogue that right up front. The DVD has a Dolby Digital audio track. Well constructed and syned English subtitles are available on both formats. Inyoung Park’s ho-hum score is the Achilles’ heal of brittleness that downplays the feverish action and reducing the entire sequence as mediocre that doesn’t aspire greatness to come or to be beheld. The same can be said about the bonus material too with a making of featurette that’s more of “Rampant’s” Stateside promo reel, Behind the Scenes featurette that also feels like a marketing campaign ad focusing on character introductions, and Well GO USA Entertainment trailers. In short, no substance in the bonus features. With sound swordplay choreography, a swarm of multiplying reanimated corpses, and an engrossing narrative with a lore foundation, “Rampant” is the next Korean mega hit in the fantasy-horror catalogue.

Evil’s Eager to Loop You In! “The Endless” review!


Brothers Justin and Aaron struggle to maintain a normal and fruitful life outside Camp Arcadia, the UFO death cult camp they fled as young men. When Aaron feels empty, poor, and hungry as a cleaning serviceman on the brink of poverty and social misfortune, he convinces his older brother to take him back to the camp for one day. Once they’ve arrived, the two felt as if nothing has changed, even the cultists haven’t aged in the decade they were gone. Aaron seeks to reintegrate during his time at the camp while Justin is eager to vacate the premises pronto, but an otherworldly phenomenon promises answers to Justin and Aaron’s perceptions of their former cult and leaves questions to the unexplainable events that surround the camp site. The brothers must solve the mystery before being ensnared by the phenomena that lurks all around them with an ever present eye.

“The Endless” is the 2017 science fiction horror film from a pair of directors, Justin Benson and Aaron Moorhead, who helmed a segment in the anthology, “V/H/S Viral.” The duo also star as the leads in the film as Justin and Aaron. Benson penned the film’ script that has grand originality and fosters an underlying Lovecraftian concept and despite the limited budget, “The Endless” has favorable special effects of mind-boggling proportions incorporated with a splash of mildly dark humor in this blithe fantasy horror. Reminiscent of such other off-the-wall commingling genre films such as Don Coscarelli’s “John Dies at the End” or Madellaine Paxson’s “Blood Punch,” where the supernatural and bizarre collide and the characters are equally demented for a pinch of extra pizazz.

Benson and Moorhead may be the stars of “The Endless” and essentially are the epicenter of the entire premise, but their characters wouldn’t be aptly as important if it wasn’t for the cast that supported them. One of the actors is Tate Ellington (“Sinister 2”) as the unofficial camp leader Hal with the gift of gab and just as mysterious as the camp itself. Ellington’s one of many of the camp so called UFO Death Cult characters that make the story really stick out as odd as there’s Lew Temple (“The Walking Dead”) too. A very unshaven and unkempt Temple weighs the look of an Civil War soldier in Tim and Tim’s distant expressionless is very much Temple’s bread and butter. Rivaling the unnerving silence of Lew Temple is “Alien: Covenant’s” Callie Hernandez. As Anna, Hernandez plays the girl next door, flirting with Aaron with trivial matter that toys Aaron’s inherent innocence. The rest of the cast includes Emily Montague (“Fright Night” remake), James Jordan, Kira Powell, Peter Ciella, and David Lawson Jr. as Smiling Dave.

“The Endless” could be said to have a slew of metaphors and symbolism, even the older brother Justin frustratingly points out how camp leader Hal always speaks in metaphors. So, what is causing all the weird and terrifying atmospherics at Camp Arcadia? Arcadia ends up being an oxymoron as the camp is not harmonious or a utopia as believed, but rather a coiled purgatory with an ominous presence thats ever present. Don’t know what’s watching, where it came from, or what it wants, but it’s driven fear of the unknown as noted during the title card epilogue of a quote. What we do know is this presence, this thing, is massive, looming over the hills and in the depths of a nearby lake; the thing is very Lovecraftian in proportion to what that means. Hell, even the quote I mentioned earlier about fear of the unknown is pulled from H.P. Lovecraft himself – “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” The brother symbolism fear for they have fear of the outside world and fear of their unforeseen and possibly poverish future, but once Justin and Aaron come to terms with ending being at odds with each other, the brothers know they can conquer whatever comes at them together.

Well Go USA Entertainment presents Snowfort, Love & Death, and Pffaf & Pfaff productions’ “The Endless” onto Blu-ray home video. The single disc BD-50 has a widescreen 16:9 aspect ratio. Image presentation has fair natural tones with a set of a rather light yellowish tint during desert sequences. Color palette is enriched especially when the inexplicable does come ahead; moments of heavy tinting, such as a heavy red flare, inexplicably stand out. Blotching, DNR, or banding are an issue here, leaving the details considerably intact in a plenty of the duration. The English DTS-HD Master Audio 5.1 surround sound has not gaffs about it. The plentiful dialogue is clearly present to get the full story told, ambient and phenomena effects proportionally ranged and appropriate, and the soundtrack supports to dialogue and story with the amount of depth. Overall, the tracks are consistent throughout. Bonus features include an audio commentary with directors and producers, a 30+ minute make of segment, a behind the scenes featurette, deleted scenes, Visual effects breakdown, a “Ridiculous Extras” featurette that includes casting, and trailers. Don’t let the peppered black comedy in “The Endless” fool you; Justin Benson and Aaron Moorhead have constructed an original sci-fi horror that shells out an unsettling ambiguity of a modern and universal fear too invasive to try and stop the perpetual replaying of attempting to know the unknown.

Purchase “The Endless” on Blu-ray!

Don’t Let Those Evil Voices Fool You. “The Mimic” review!


When the Mt. Jang cave is broken into by a couple of lethal wrongdoers, a ominous presence is released onto the mountainside, a malevolence that can precisely mimic voices of loved ones to lure victims to their ultimate doom. A young family, hanging on to a last bit of unnerving hope, moves into a house on the surrounding area, seeking to reverse the impossible by rejuvenating their semi-catatonic grandmother whom perhaps knows the last whereabouts of their missing boy from five years ago, but what the family encounters on the mountainside is a harmful specter hellbent on using the body of a obsessive and loyal shaman and his innocent, preschooler daughter to obtain more souls for a fearful urban legend, the Jangsan Tiger.

Based off the South Korean folklore involving the Jangsan Tiger, a man-eating beast that lives and hunts on the Jangsan Mountains and can imitate a woman’s screams or the sound of running water to lure people in, “Hide and Seek” director Huh Jung helms “The Mimic,” his sophomore 2017 fantasy thriller that explores a highly entertaining, opt-ed version of the urban legend. Originally titled “Jang-san-beom” in South Korean, Huh also pens the script catered to blend fantasy with delusional, family-destroying hope. Even though hope is more than usually a positive aspect in all dire situations, Huh manipulates hope by molding it as an entrapment, leading friends and family members down a path to a false reality, psychological impairments, and, ultimately, to a melancholic demise.

“The Mimic” stars “A Tale of Two Sisters'” Yum Jung-Ah as a grieving mother, Hee-yeon, looking for answers to the mystery of her son’s disappearance while in the care of her grandmother. Jung-ah tackles a role that’s compiled with emotional affliction, fear, and chimera to which the Seoul born actress challenges herself to depict each complication as one connective element. Park Hyuk-kwon plays her husband, whom is struggling to cope with his wife sadness and inadequacy to let go of the past. Together, Jung-ah and Hyuk-Kwon’s character dynamics strive to unearth deep-rooted, therapeutical hurdles and they accomplish just that with the help of influential costars, especially in the 9-year-old actress Shin Rin-Ah. The sweet, fresh face of Rin-Ah Shin becomes the ultimate deception, a suspected sheep in wolf skin, that this pint-sized bundle of cuteness could be the family’s undoing. The cast rounds out with Heo Jin, Bang Yu-seol, and Lee Jun-hyeok.

Now while “The Mimic,” not to be titularly confused with Guillermo del Toro’s “Mimic,” is laced with unsettling camera angles and bottom-popping jump scares, the embodied Jangsan Tiger regrettably places the Huh Jung one notch lower on the proverbial grade scale. The shaman’s body, a rather thick individual, has been possessed by the Jangsan Tiger that’s been depicted covered with stringy white coat, long arms and legs like a sloth, a tiger-like maxilla and jowl on a human-esque face, and with cold, blank eyes. Instead, the Jangsan Tiger remains in human form throughout with subtle changes that reference the tiger; for example, the horizontal white fur on each side of the shaman’s rather gnarly face. Transformation effects just don’t do the antagonist justice and, frankly, should have kept the shaman a wretched shell of himself, spawning through mirror gateways, ever reaching to touch the next soul to digest, but when Hee-yeon and her husband enter the labyrinth Mr. Jang cave system, the shaman is a rabid dog, a ravenous trickster, but not as ferocious as the description might sound.

Arriving on Digital & Blu-ray June 12, Well Go USA Entertainment distributes “The Mimic” onto an unrated, 1080p Blu-ray presented in a widescreen, 16:9 aspect ratio, and the image suffers no compression issues, has a fine palette that more-or-less of a blue or yellow hue, and has a leveled up bitrate. The 100 minute runtime feature has a Korean 5.1 surround sound DTS-HD Master Audio that’s effective with the Jangsan’s imitation lures. The waterfall rain and echoing animal ambient tracks are spot on with range and depth. Optional English subtitles are available and, considering the film’s duration, are considerable accurate and timely, but I did manage to catch one error where “leaves” was typed instead of “lives” where appropriate in the context of the sentence. Extras are slim with a cursory making of featurette and the film’s original trailer. “The Mimic” revels in South Korean lore, even if it’s a variation of, and the menacing atmospheric and audio cues exhibit a precision that’s a testament to director Huh Jung’s psychological spook show filmmaking, but the build up behind the mysterious small girl, the bricked cave, and the alluring voices are quickly summed up with meretricious humanoid value instead of a mystical and enchanting beast.

A Twisted Heap of Evil. “Accident” review!


Two young women, traveling toward a music festival near Lake Tahoe on a lonely stretch of isolated Californian road, hitch a ride with a pair of seemingly harmless guys with a fast, expensive car. Their elated joyride goes south when the car flips over during a torrential downpour and crashes near the edge of a lake adjacent cliff, but this isn’t just any car these kids have completely wrecked. The car is stolen and belongs to a powerful criminal kingpin hellbent on getting the car back in his malefactor grips. With being pinned under the upside down car, sustaining serious injuries, and being accomplices to grand theft auto of a wired traced car, the odds of survival are slim and time is running out as henchmen move into retrieval mode to track down the stolen car and kill anyone they come across involved.

“Cheeseburgers and Ryan Gosling.” That direct quote fairly sums up the Dan Tondowski written and director action thriller titled unambiguously as “Accident.” The 2017 feature is Tondowski’s debut feature film; in fact, it’s his own credited feature film that embraces, or maybe just mirrors, the action sequenced camerawork of Russian filmmaker Timur Bekmambetov, director of “Wanted” and “Abraham Lincoln: Vampire Killer.” Tondowski begins his film impressively enough with a long take, nearly 7 minutes, of setting up the two women, Jess and Caroline, into their catalytic moment that forces into hitchhiking. After that, “Accident” becomes strictly popcorn cinema on a downward slop of insufferable filmmaking that maintains an afloat affliction with moderately entertaining special effects that include a slow motion car crash, an intense helicopter crash, and a 50 caliber machine gun.

Each and every single character in “Accident” was written without an ounce of redeeming value and Stephanie Schildknecht (“Death Race 2”) and Roxane Hayward (“Death Race: Inferno”), who were Jess and Caroline in the film, couldn’t rile up a brief moment why the plight bestowed upon them should have not have happened to them. The suspicion of how Schildknecht and Hayward received their roles might be due to the fact that they both look damn good in a bikini and black lingerie, featured when they strip to the said garments in a gas station bathroom during an back and forth dialogue. Don’t know why they removed their clothes, but that was certainly an aesthetic highlight. Tyrone Keogh (“Death Race 2” – if you haven’t noticed, three out of the four main stars have been in “Death Race” sequels) and Keenan Arrison portray the two car thieves, Fred and Thomas, who pick up Jess and Caroline to have everything they need, fast car and beautiful girls, so Fred states.

While the production value for “Accident” is top notch and ultra-glossy, that’s roughly the sole positive aspect of the film. The script by Dan Tondowski is a wild hose of loose-to-absent plots and subplots chased with misplaced dramatics and cringe worthy dialogue, the latter already stated earlier with the “cheeseburger and Ryan Gosling” line in the context of being the very one thing a person would want on the brink of death. The overall script as a whole is terribly superficial without much substance to care why these four joyriders should be saved from the pain that’s barreling their way and the answer to that is there is no recourse for any of the characters; no one single redeeming value is actioned or given in exposition to rejuvenate them to a higher standing. Jess is wish-washy with her life choices and a patsy to Caroline, Caroline deceives her mother and neglects her friendship with Jess, Fred wishes everyone dead to save his own butt, and Fred is a potential rapist with pivoting change of heart. Neither of them have self-respect and so when they’re thrown violently into a mix of blood and bullets, an agonizing amount of wait time goes by until their ultimate demise. The plot dissolves around the importance of the car and it’s connection to the great threat that descends upon the four naïve adolescents. At one point in post-crash, the carjackers find a suitcase thrown from the vehicle and they dig through it to only find clothing. The scene is awkwardly out of place and fizzled after the initial “AH-HA” interest that might have shed some light on what the hell was going on.

Exclusively on digital come April 3rd, Well Go USA is releasing Dan Tondowski’s action-thriller “Accident.” The feature-film will be not rated and have a runtime of 89 minutes. The image and audio quality will not be critique for this review due to the digital platform that varies in qualities and no bonus features were included with the digital screener. In closing, “Accident” crashed and burned after the nice 7-minute single take that dapples of nice imagery from then on out and figures to quickly run through the digital market, but with the Tondowski’s cinematography, I expect the filmmaker to only get better from here.