The Cologne Space Labs launch their project billionaire sponsor and gold-greedy astronaut Eli Cologne into a two-year journey in hopes for a beneficial Mars expedition. Cologne, being the first man on the red planet, encounters a shiny gold-like object that infects him with a foreign organism. As mission control rashly make the decisive decision to abort the expedition and leave Cologne stranded on the wasteland that is Mars, the brazen astronaut plans not to die on the alien planet, fleeting back to the return module, and blasting off back into space where he becomes lost for one year until his return module crash lands on Earth under the massive cloak of Hurricane Katrina. His human form ceases to exists, transformed into a flesh feasting, hideous extraterrestrial in a space suit who wreaks havoc and terror for years in a podunk Louisiana bayou where the nearby local Sheriff, Dick Ruffman, attempts to save from ultimate destruction.
When Tempe Video and TomCat Releasing dropped the news of “First Man on Mars” feature on my e-doorstep in a Tempe Video press release, something very deep in the cavernous, unholy part of me wanted to screen the film’s trailer. After witnessing a primo homage of super-8 b-horror schlock, I immediately brought my finger tips to my laptop’s keys and typed ferociously, requesting a press coverage copy for a film that had me instantly reminisce of “Lobster Man of Mars,” a 1989 sci-fi comedy directed by Stanley Sheff. As weeks passed, no response of my request was returned from the distributor. However, when the film’s director Mike T. Lyddon, an experienced independent filmmaker with more than two decades worth of low-budget films under his belt, e-mails Its Bloggin’ Evil and wonders if the site could review his latest project, a satirical sci-fi comedy, by forwarding over a screener link, I gladly jumped at the opportunity and, low and behold, I wasn’t disappointed when the end credits started to roll!
Under a massive umbrella of pop cultural science fiction references, “First Man on Mars” oversteps many plot conventions, exaggerating to the fullest extent a simple story of one man’s plight of an unquenchable desire for shiny gold that literally consumes him and, consequently, consumes others surrounding him in a cauldron of cannibalistic campiness. Even though the lesser part of Benjamin Wood’s dual role shows his mug as a friendly bar patron, his Eli Cologne performance never shows character face beyond the golden shield of his space helmet or before his pre-gruesome transformation into a hideous, razor-teethed, otherworldly beast, providing anonymity to an important character much similar to that of the character V in “V for Vendetta,” if you don’t consider the stock footage prior to the film’s title. Okay, so I might be comparing caviar to spam, but nonetheless, Lyddon uses comedy and a jerry-built space suit to create an ambiguity villainous character.
Trust me, “First Man on Mars” is not at all serious as the feature is comprised of zany rednecks, birdbrain scientists, and gratuitous violent hilarity garnished with suitably colorful dialogue that can be funny while being extremely crude, can be smart in it’s admiration, and can be juvenile with bathroom-riddled humor where appropriately scened. Every actor executes the swallowing of pride process to extend verbal and physical indirect comedy that purely goes hand-in-hand with this sort of satirical storyline constructed from the certifiable portions of Mike Lyddon’s brain that might or might not be sizzling on an illegal and dangerous narcotic. Gavin Ferrara, Kirk Jordan, Marcelle Shaneyfelt, Roy “Rusty” Jackson, Jr., Kelly Murtagh, Joey Harmon, Sam Cobean, and Tresslar Burton round out the comically darling cast.
“First Man on Mars” is an absurd blast from low-budget director Mike Lyddon and his team of willing actor and crew participants, putting everything on the proverbial line to make this ambitious project first and put their seemingly absent shame second. The TomCat Releasing was presented to me as a screener link, therefore I can’t officially review the audio and video quality nor any bonus features that might have accompanied the release, but as a soft judgment, the 16mm stock that “First Man on Mars” is shot on revels in the hokey dialogue, the substantial monster violence, and the utter gore as a remembrance of the once larger than life creature feature movies from the drive-in theater era.
“Harley Neville is an Actor, Poet and Producer, his feature film credits include supporting roles in Second Hand Wedding and Older as well as lead roles in the films Ghost TV and most recently I Survived a Zombie Holocaust in which his performance received rave reviews from critics. Harley is one half of the filmmaking duo ‘Pigville Productions’ alongside Writer/Director Guy Pigden, together they have been creating content for 17 years, including two feature films. They are also YouTubers with 20,000 subscribers and more than 11 million views.
As a poet Harley has performed at TEDxRuakura and is a 2016 Auckland Slam finalist and his poems continue to find an audience online.”
I wanted to say first that I’m a big fan of “I Survived a Zombie Holocaust” (as you can my positive review here) and all of its actors and crew.
Lets get this interview started:
How were you approached (or coerced) to star in “ISAZH?”
Guy and I had been creating content together for about 10 years by the time we applied for the funding so the character was actually written with me in mind to play it, however that didn’t guarantee me the role, Guy had a say in the casting but ultimately it was the Producer that needed to be convinced and from her perspective I wasn’t necessarily the best person to carry a feature film, I was relatively inexperienced and I think that being ‘Guy’s friend’ actually worked against me because that was all the Producer could see when she looked at me. However I did 2-3 auditions and managed to convince everyone that I was the man for the job. The stakes were quite high for me because if I didn’t get the role of Wesley Pennington then there wasn’t really any other roles that I would have been suitable for, I would have been relegated to a small one or two line part.
Was funding very difficult to obtain for this zombie-comedy?
Yes it was, in fact it is the only funding we have ever received for any of our productions in nearly 17 years of filmmaking, it was a long, drawn out process that required a very in-depth proposal, we had to do a full budget as if we had the money already, we had to create video content saying who we were and what we had done, mood reels, a full script, character breakdowns etc, it was months and months of full time work.
What did you do to prepare for the role of Wesley Pennington, a dreamer and optimistic horror nerd who has just secured his first job on set as a runner? Comedy seems to come natural for you, did that help Wesley obtain his quirkiness?
I approach acting the same way I approach women, I walk up, I say my lines, and I leave before security ask me to. Just kidding. Mostly. Physically for Wesley I had to lose some weight so I was doing a lot of boxing, I was very poor at the time so my diet mostly consisted of toast, but somehow that worked for me. As far as preparation for the character goes, I like to know my lines inside out so I did a lot of rehearsal with Guy and the other actors, beyond that I simply let Wesley shine through, when the cameras were rolling it was almost as if he was possessing me a little bit..
Did the cast and crew tease you when shooting some of the more embarrassing and awkward scenes, such as your sex scene with Jocelyn Christian?
The cast and crew were far too busy to be giving me grief! We were on quite a tight schedule which meant that everyone always had something important to do, that being said we did all develop a great camaraderie. We actually had to shoot the sex scene twice, so if you look at how hairy my body is in that scene you will notice ‘back hair continuity’ issues, that is because the first time we shot it I wasn’t at full-power hairy because I had manscaped some weeks before the shoot, but when we shot pickups for it months later my body hair was fully grown. If you go back and have a look you will see what I am talking about!
Harley Neville and Jocelyn Christian
Wesley is a very demanding and physical role with a lot of sticky gore effects, was it difficult to stay in character sometimes?
No, it wasn’t really a problem for me to stay in character for a couple of reasons, one was that it was at the time the biggest role I had ever had in my life so I was very happy to be there and took it very seriously, it was important to me that other people on set saw me as a reliable and passionate actor that would get the job done, I also had to prove to the Producers that they had made the right decision!
The second reason I was so focused was because I was personally invested in the production through my relationship with Writer/Director Guy Pigden, I would talk to him outside of the shoot and get the inside information on how things were going and what areas needed more time, so because I understood how time-sensitive the shoot was I did my best to nail every take. There was one take when I got shot in the eye with a brain cannon that was far too powerful and far too close to my head, the lens of Wesley’s glasses popped out and hit me in the eyeball, it felt like I had been punched in the face! I stayed in character as best as I could, however there was no chance of me delivering my next lines, I was in agony, so instead I just whimpered and cringed like Wesley would until they called cut.
How’s working with director Guy Pigden? This was Pigden’s first feature film; how was the director on set as far as confidence, direction, and stylistic creativity? Did you also throw in your two cents into the creativity?
Guy is great to work with, he always has a very strong vision but is also open to suggestions, which can be a difficult combination to find! On set he was confident and was definitely in charge, it was great to see this young, first time Director taking control of hundreds of people, I am very proud of how he held himself. Unfortunately due to the budgetary and time constraints he didn’t get much time for stylistic creativity, often times we were so far behind schedule that he just had to get what he could and move on, fortunately he always found time to rehearse with the actors before a scene which is why the performances are all so great. I put my two cents into the creativity but mostly in the writing process, months before we were on set.
You and Guy seem to have built up a strong relationship in the last 17 years, putting out a self titled mini-series television show together and a weekly podcast amongst other content. How did that relationship come about?
Guy and I met when we were 13, at first he didn’t like me but eventually we became best friends, when were were 16 we shot our first short film, it was a zombie comedy called ‘Superstition Bites’, we filmed it on a Hi8 camcorder and Guy edited it on two VCR’s, after that we continued creating content together and with each project we learned something new and honed our art a little bit more. We continue to be best friends and create content together to this very day.
Neville and Guy Pigden
Why do you think New Zealand horror is so far and few in between or so under the radar?
I think the problem is that New Zealand is a small country at the bottom of the world, we have four million people here so the film industry is actually quite small, which means that securing funding to shoot a local horror is difficult. I think due to our small population the people that hold the purse strings are more inclined to invest in content that is more likely to see a financial return, so we have an abundance of really shit reality shows and very little good, original, scripted local content.
American audiences don’t seem to be enamoured with New Zealand horror. What did the “ISAZH” team try to accomplish to appeal to audiences Stateside, if any?
Often times New Zealand cinema tries too hard to be ‘Kiwi’, the result is a lot of cringeworthy content that doesn’t appeal to either international audiences or local ones. We didn’t go into this film with a particular country in mind, we wanted to tell a universal story that happened to be set in New Zealand, ironically I think this is what helped increase our appeal to American audiences, the USA is the place where ISAZH has been the most widely distributed of any country so far, in fact it is playing on Showtime at the time of this interview which is a premium cable channel.
What can you tell us about “No Caller ID?” Do you think the story will go from short to full feature if received well?
No Caller ID just screened at Screamfest in Los Angeles, I attended and it was an amazing screening, people seemed to really love it. It was so nice to see a cinema full of people jumping and screaming on cue. The reviews have been universally excellent, the worst rating we have had so far is 4/5 Stars.
The interesting thing about ‘No Caller ID’ is that it is actually part of our second feature film ‘Older‘ which will be out in 2017. Older is a Drama/Romance about an aspiring filmmaker that released his first film and it was a smash hit, however despite it making a lot of money it was critically panned, and he hates it. We needed to show a couple of scenes of this ‘film within a film’ but instead of shooting just a few scenes we decided to shoot a standalone short film with the hope that it would turn out well and we could submit it to festivals. We succeeded! I don’t think the story will ever be developed into a feature film, but never say never!
YYou, Jocelyn, and Guy have teamed up once again with “No Caller ID.” Was this because of the chemistry with “ISAZH?”
We teamed up with Joce again because she is a great actor, easy to work with and a good friend of ours, she actually went to high school with us and starred in our second ever short film when we were 17, Guy and I really wanted to find a way to get her into ‘Older’ and we realised a great way to do that would be to cast her as the lead in ‘No Caller ID’
Are there horror projects coming up in the near future for Harley and team?
We are still deciding what our next project will be but there is talk of shooting a horror set in the world of New Zealand gang culture, watch this space! If people would like to keep an eye on our future projects please go to the Pigville Productions Facebook page.
What are your top three horror movies of all time?
I really enjoyed Rec, 28 Days Later and The Grudge (Japanese version)
I appreciate your time in between being a producer, actor, writer, poet, and a great beard enthusiast. Would you like to add anything in conclusion?
Guy Pigden and I do a weekly podcast called The Guy and Harley Podcast, it is about love, life and loss in the pursuit of filmmaking glory..
Daryll, a New York City night shift janitor and decorated Vietnam war veteran, becomes obsessed with beautiful female reporter and wealthy socialite Tony Sokolow. When Daryll claims to be a key witness to a murder of one his business building’s high profile tenants, a once in a lifetime opportunity opens up to meet Tony when she’s assigned to cover the murder and as Daryll pours his heart out to the reporter, he’s also torn by his claim that could place his war buddy friend Aldo, a hapless former employee of the recently deceased and the prime suspect in the murder investigation, in jeopardy even more. Is Aldo the killer or is the mystery much deeper, tied to a world unforeseen by Daryll whose working in the depths of the building’s janitorial confines?
Hot off from her success from Ridley Scott’s “Alien,” Sigourney Weaver goes from sci horror-thriller to mystery-thriller and alongside her is up and coming co-star William Hurt in Peter Yates’ 1981 mystery drama “Eyewitness.” The film sparks a string of obsession suspense features that would span a decade and firmly place the genre into a popular notoriety among audiences who couldn’t get enough of the peeping tom debauchery. A hefty roster of talented actors also co-star, some on the verge of stardom to the likes of Hurt and Weaver, including Christopher Plummer (“The Sound of Music”) in the prime of his career, the crazy eyes of James Woods (John Carpenter’s “Vampires”), an un-grayed Morgan Freeman (“Se7en”), Kenneth McMillan (“Dune”), “Mission: Impossible” television series’ Steven Hill, and Pamela Reed (“Kindergarten Cop”).
Performances all around are phenomenal as every actor and actress cultivates their character’s purpose in the story and you can surely experience the humble beginnings to some of the biggest A-list celebrities of today; however, Hurt’s performance was one of the only concerning factors. Hurt’s portraying a modest, perhaps slightly traumatized, Vietnam veteran with an afar obsession toward an attractive public figure and his presentation was overly awkward and certainly creepy too the point where I even felt embarrassed and uncomfortable. What made the situation more bizarre was the verbal and facial exchanges between Hurt and Weaver’s characters. Tony didn’t quite seem affected by the oozing creepiness this supposedly good man seeps from every pore of his skin and she, in fact, embraces his forward, if not crossing the line, affections that would certainly warrant a restraining order in today’s society. Maybe social interactions vary from generations and decades, but this type of relationship building dialogue and scenes didn’t produce the appropriate type of chemistry between Weaver and Hurt reducing the strength of their bond.
The Steve Tesich script strummed the strings reminiscent to my viewing experience of George A. Romero’s “Land of the Dead.” Yes, you read that correct – “Land of the Dead” – and what does this zombie horror film have in common with “Eyewitness?” Well, in the 2005 film about the continuous decline of humanity in a zombie apocalyptic world, Romero had written a social commentary about the separating of social classes where, even in a dying world, the rich stayed safe in their loft, sustaining an obsolete lifestyle, and the poor suffer below their feet living in the present, but in the end, anyone and everyone is fair game for being unprincipled and for the undead. Tesich’s script does the same without being lavishly upfront and without the hordes flesh eating zombies. Beneath the obvious murder mystery lies the merger of the classes as Dyrall and Tony eventually fall for each other, but their friends and family on either side condemn the relationship, making the statement numerous times that a janitor absolute can not fall for someone as wealthy as Tony. James Woods’ Aldo becomes just another example out of many where a court-martialed and discharged Marine with erratic behavior and struggling with living a middle class life becomes suspect number one in a murder case, but with a victim whose profession was international trading, the pockets might be a bit deeper and with a laundry list of ill-will individuals.
Signal One Entertainment releases “Eyewitness” in the UK for the first time on Hi-Def region B Blu-ray anywhere with a 1080p presentation in a widescreen 1.85:1 format. The video quality is far superior than, of course, it’s DVD revival with the restoration of much of the natural color tones without a hint of compression artefacts or obvious image or edging enhancements from the 35mm stock footage. The English LPCM audio 2.0 track is fair, full-bodied, and well balanced with really no issues, especially not with composer Stanley Silverman’s lively score. Signal One Entertainment certainly knows how to treat a classic film providing a slew of extra features including an audio commentary with director Peter Yates and film historian Marcus Hearn from 2005, an audio only conversation with the director along with film critic Derek Malcolm and another conversation with another film critic Quentin Faulk on a separate extra feature. Composer Stanley Silverman discusses his approach to scoring “Eyewitness” and there’s also an alternative VHS presentation of the film under one of the original titles “The Janitor.” Original trailers and TV spots round out this robust bonus feature cache. “Eyewitness” on Blu-ray is a must own with a clean and refreshing version of a this classic whodunit thriller from Signal One Entertainment!
Master thieves Blair and Ollie have known heists for most of their young lives but promise themselves one more job before a long overdue retirement with their stashed earnings. When the job goes South and Ollie gets pinched by the police, Blair has to use all of their savings and borrow on top from a ruthless crime boss to utilize his connections for Ollie be released from jail. With the first payment due in a week, Ollie and Blair have no choice but to put their lives in the hands of Blair’s brother Connor, a two-bit thief with a seemingly full-proof plan of scoring big at a vacant vacation home. The only problem is is that the home is a murder den for a deranged serial killer and with being trapped from the inside, Blair, Ollie, Connor, and their crew are being separated in a maze of murder with no way out.
“Crush the Skull” is a cleverly scribed 2015 horror-comedy from writer-director Viet Nguyen and co-star, co-writer Chris Dinh that was molded from the brimstone and fire of two successful short films, “Crush the Skull 1” and “Crush the Skull 2,” and a modest crowd funded financial backing that brought this witty and terrorizing film to fruition. Seriously, it’s been a long time since I’ve been entertained and jumpy with a film, especially one that’s working with a little more than a $75,000 budget. The superb character development and dialogue produces lively characters built upon an established dynamic group of tight knit actors whose on screen chemistry is beyond just a spark. Much of the character interactions are comical with a wrap around horror story and the mixture is purely potent and damn good that’s trying to pinpoint whether “Crush the Skull” is a dark-comedy or a flat out thriller.
The unconventional lead man Chris Dinh is Ollie, the quintessential good guy despite his lawbreaking thievery profession and Dinh provides a semi-serious, semi-standup comedian performance that makes Ollie likable. What also makes Ollie likable is the character’s main concern ultimately lies with concerning for the love of his life Blair, casted by the gorgeously talented Katie Savoy. Savoy’s Blair has fathomless compassion for Ollie and the Boston-bred, actress can imitate that affection, stating she would do anything for her lover. Both characters connect well within the context of the roles played by Dinh and Savoy, but connect them with actors Chris Riedell and Tim Chiou and you have a fearsome foursome of hilarity. The merciless jabs, the daunting quips, the pleasantly bad jokes, and the utter goofiness somehow manages to be experienced very naturally from the hapless heist team of Connor (Riedell) and his simple-minded, light-hearted crew Riley (Chiou). Though Connor is far more bright than Riley, their additions add colorful farce to production, causing more mayhem than mending to Ollie and Blair’s predicament.
“Crush the Skull” doesn’t strike as a very effective horror title at first glance with a slight vapidness about it. Yet, the title works as an appreciation to the series of events leading up the final moments when reformed do-gooders combat a demented and unspeakable evil and only then does the title reach out, grip tightly your neck, and slap you right in fat part of your cheek. Now, that’s a horror title! The horror portion inside this genre blend is an effective outer hull providing a superstructure of motivation and to stimulation. “Crush the Skull” doesn’t splinter at the first sight of blood, keeping the bones intact to scare the pants off edgy audiences when the diabolical game begins between naive robbers and a calculated killer until the instant of truth serves a fracturing blow that’s hard to reset. Nguyen and Dinh’s script isn’t overly gory; in fact, with a few blood splatters and a brief moment of a decapitated body, gore shouldn’t even be in the film’s glossary, but their script works diligently and brilliant along side amazingly gritty production design of the maze-like torture dungeon from Eloise Ayala to produce traumatic moments of gut-wrenching terror that’s hard to forget.
Breaking Glass Pictures absolutely crushes it distributing “Crush the Skull” on a not rated DVD. The 80 minute film is presented on a widescreen 1.78:1 aspect ratio DVD9 MPEG-2 disc with an English Dolby Digital 5.1 mix. No issues with video and audio qualities with balanced color hues and audible tracks though the David Frank Long score was generically clunky at times as I swear I’ve heard that particular score before in other microbudget films. A small band of powerfully punching bonus features include both shorts that I’ve mentioned prior to and an informative behind-the-scnes with the cast and crew speaking about their experiences of the 18 day shoot. “Crush the Skull” is one part “The Bone Collector” and two parts “Silver Streak” with Gene Wilder and Richard Pryor – an entertaining cult inspiring horror-comedy that’s shamefully too far under the radar.
In a wake of fatally striking down a young woman with their vehicle, two errant and drunk men, Goyo and Gordo, are arrested for the gruesome crime at the scene of the accident While handcuffed in the back of a squad car, an unorthodox police chief named Juarez discovers a video tape recorder in the front of their mangled car with a tape revealing the violent torture and killing of a young transvestite hooker. One tape leads to another, and then another, individually exhibiting a trail of cascading blood and merciless torture in the deaths caused by Goyo and his unstable and dysfunctional life. Juarez digs further into Goyo’s ghastly cases going through each horrific tape setting up Goyo for a shocking conclusion from his past he long thought was dead.
“Atroz” will make you never want to tour Mexico! I can fully understand why “Cannibal Holocaust” director Ruggero Deadato fully backs Lex Ortega’s graphic horror film an associate producer and presenter as the two films, separated by decades, are much alike with the majority of their likeness in found footage techniques, frighteningly realistic imitations of murder, and their artistic and austere grandeur of filmmaking narration. Ortega also sustains an effective horror feature through the confines of a problematic ultra micro-budget. Along with aid from a talented roster of actors and crew, no way was Ortega’s film was not being made. “Atroz,” translated to “Atrocious,” opens with the unsavory side of Mexico’s impoverishment that contributes to much of the Central American nation’s disturbing amount of unsolved murders. The montage opening is so powerful and moving that what precedes shocks as a gritty insight of what everyday Mexican residents might experience one way or another in their lifetime and though Ortega goes that extra mile to be obscene and disgusting in every way possible, the director supports his work with seeding a traditionally patriarchal society with gender identity afflictions that evolves organically and is purposefully displayed in reverse order to add more, if it wasn’t possible already, to the shock value of “Atroz.”
The outer story involving Goyo’s interrogation about his stash of tapes is only the tip of the iceberg, sheltering three background influencing stories about Goyo that set up more familiarly in an anthology manner. Inked with intricate arm sleeve tattoos and perforated with metal facial piercings, Goyo and his larger friend Gordo, which means large man in Spanish fittingly enough, seem nothing more than your typical lowlife gangbangers. However, Goyo and Gordo are more disturbed than any Mexican cholos from the first torture tape of a transvestite prostitute, a punished, bit-part role awarded to actress/singer Dana Karvelas. The next two tapes are just as hard to swallow and stomach from the assorted fluid being consumed, to the explicit varying degrees of rape, to the vivd genitalia multination, and to just the sheer ultra violence depicted makes “Atroz” the gorehound’s holy grail of horror. Never have I’ve witness a film so graphic to come out of Mexico and, by golly, I thought the world needed this Lex Ortega film. In most cases, extreme gore and shock features run a course shortly after hitting the play button on your home entertainment device, but with “Atroz,” a drive to learn more about what motivates Goyo’s unholy acts unravel little-by-little and that quality is usually omitted and uncharacteristic of explicit gore horror.
Performances are firmly established all around with Carlos Valencia and Lex Ortega himself leading the charge as Juarez and Goyo. While Ortega doesn’t necessary have much of dialogue role with Juarez during interrogations, the undiluted carnage he lays down on the tape recordings are a rare and twisted characterization hardly visited by the indie circuit and certainly not given the light of day from Hollywood, being mostly sidelined to an underground context. Rare is it to have one actor who can impersonate malice upon others that when a doppleganger appears in Goyo’s younger years video tape, “Atroz” becomes that much of brighter highlight as a dark film birthed from Mexico. Carlos Padilla truly frightens as the younger version of Goyo staged in an abusive household with an unsympathetic father, an naive mother, and lots of physical and verbal mistreatment. Goyo’s a psychoanalytical unicorn, an epitome of the mind’s deranged wealth, and a testament that his surroundings molded the very fibers of his intentions do commit evil. The sight of blood is all it takes arouse Goyo and “Atroz” provides the character an ocean of sangre ready for lapping.
Practical effects wizards Jamie Lopez and Alfredo Olguín produced unrivaled effects on a budget that didn’t provide a second chance if the effect didn’t spin right the first round. Absolutely flawless did the duo’s work gleam in the blood it was soaked in and firmly how I held on for dear life my testicles when seeing a set being cleaved graphically severed. Lopez and Olguín have a combined 23-years of experience in the special effects game and that surfaced buoyantly at the top of “Atroz’s” shocking content. In the nature versus nurture debate, “Atroz” sides with nurture putting Goyo in the impoverished and traditional meat grinder that is Mexico and spat him out where wades in a chrysalis until bursting out into a state of lust for an endless stream of revenge and blood. Ortega accomplishes nurture’s wickedness by tenfold and Lopez and Olguín exemplifies it even more.
Unearthed Films and MVDVisual’s limited edition 3-disc Blu-ray and DVD set includes a JH5 & Eggun soundtrack. Presented in a widescreen 1.85:1 aspect ratio, the 79 minute runtime feature sports no blemishes and falters on any flaws, baring and setting a fitting desolate tone through a number of camera options. There’s also and English and Spanish language Dolby Digital 5.1 with optional English subtitles intent on properly channeling every port of your surround sound system. A pair of issue lie with the subtitles involving quite a few typos in English and some synchronization problems delaying captioning a full second or two after dialogue has proceeded. Bonus material includes the short film of “Atroz,” a crowd funding video, behind the scenes: music and sound design, behind the scenes: practical effects, behind the scenes: production, Unearthed trailers, a behind the scenes image gallery, and, of course, the aforementioned soundtrack. Whatever you do, don’t consume any food before and during experiencing the gore charged “Atroz,” Mexico’s most deranged cinematic delicacy to date!
LIMITED EDITION 3-Disc Blur-ray/DVD/CD Set! Hurry! Get It Quick!
It's Bloggin Evil! 