Nicotine Stains

“Tobacco is a loaded pistol; time pulls the trigger.”

Can cigarettes be your god, your religion, or at least the little voice within you that is as powerful as a god anyway?  Even before seeing Nicotine Stains, I would have answered with an expected, resounding yes.  After seeing the movie, I will yell “Hell, yes!” louder than ever before!

Nicotine Stains (the latest film from writer/director Gennaro Desposito), introduces us to a man who could be any of us, transforming into one who could hopefully be but a few of us.  Charlie Lewis (Matt Fowler) is a crude but well-educated man, not always responsible, and well-intentioned but unable to control his impulses.  He is subject to stress and temptations more so than the rest of us (or so, I’d like to think).  Sound like anyone you know?  Perhaps a friend, a neighbor, someone you dislike, or all to the above?  Even as we meet Charlie, initially, he is the type of man whose typical nature is uncomfortable for the viewer, precisely because it is “typical.”   He’s the type of man we want to distance ourselves from because we sense—even before we know the worst—that his weakness will lead him to ruin…at least.  From the beginning, he is vulnerable and prone to self-destruction; his type is everywhere, and parts of his unlikeable, flawed character are within us all—that is, if we are honest.

Charlie’s less than likeable traits don’t stop there.  Oh, no!  That’s just everyday reality for many of us.  If that was all there was, we’d have difficulty moving this story in the direction it’s headed—horror!  “Where does the horror begin?” you ask.  It begins, quite simply, as it can for us all, with an addiction—that inner voice of unreasonable urge that tempts us always to the worst of places.  What is it?  Charlie is a smoker, and that is where his horror only begins.  Nicotine is his god, and he must worship it daily by inhaling the carcinogens from the cigarettes he cannot live without.  Ironic, isn’t it?  (Yes, you can tell I don’t like smoking.  Sorry.)

“…my whole family smoked—grandpa, grandma, my mom, my aunts.  I was always just fascinated by it….It was like all the adults had some sort of superpower…like they could breathe fire.” ~ Charlie Lewis

What’s worse?  Yes, we all know this has to get a lot worse (and trust me, it does).  Just smoking cigarettes and worshiping them as a god is too common for such a unique horror film.  Sugar (Renee M. Sher) is a woman whose job it is to make people try (and hopefully get addicted to) the latest lines of cigarettes.  The only thing sweet about sugar is her appearance; otherwise, her words are the devil’s voice when it comes to hooking the next nicotine fiend.  In Nicotine Stains, Sugar must also be selling the Devil’s brand—Vallero Ultimate Extremes.  In this case (or pack) “ultimate” is an understatement that understates all others!  Yes, we’re talking some serious nicotine here, and Sugar sells it well!

“You know you wanna light me up, Charlie.” ~ Sugar

“Does Charlie get addicted?” you ask.  In the interest of not spoiling an awesome ride into madness, mayhem and insanity, I’ll only say the obvious: “Yes, he does.”  Nicotine Stains is a brooding, downward spiral into the darkest places we must call “human,” like it or not.  The process of Charlie’s deterioration is precisely what makes Nicotine Stains such a standout movie in the genre.  Charlie’s change from a mildly unlikeable but typical character to one at the extreme of all that is human is made all the more convincing and realistic by the performance of Matt Fowler.

Yes, Nicotine Stains is a great story, filmed well, directed well, with all else that makes a great movie; but, in this case, a performance like one delivered by Fowler is the glue that holds it all together—or should I say, the paper that holds the tobacco together?  Acting like a person going crazy and finally being all out insane is not easy.  Realism, realism, and more realism is the necessary ingredient.  But here, Fowler makes child’s play of it.  Watching him react to voices inside his head (and if outside, being all the worse) is, indeed, a cinematic tour de force, unlike what I often see in such films.  I have seen Fowler play such a part before, without saying a word in Bryan Ryan’s Trespasser (also reviewed on Space Jockey Reviews), and he has done it with perfection here again.  In the hands (or mind) of a lesser actor Nicotine Stains could not have been the success it is; without Fowler as Charlie, it might not have been crazy enough to be committed to the genre.

 

 

Included in the story and Charlie’s life are his girlfriend, Jen (Lacy Hornick), his best friend Ryan (Chris Ehling), Ryan’s girlfriend Christie (Sunny Williams), and the would-be homeless roommate Max (Kyle Duncan Graham).  They all live, not-so-harmoniously, in one apartment, dividing the rent—as long as Max produces his share.  The dynamics of this quintet alone are enough to spawn a sitcom, if Desposito ever chose to take it in another direction.  However, as the plot unfolds in Nicotine Stains, things are anything but humorous.

I have seen Lacy Hornick before in the first episode of Zombie Whisperer (also from Gennaro Desposito, starring Matt Fowler).  In Zombie Whisperer, Hornick plays a distressed woman with an unruly zombie in need of—you guessed it—zombie whispering; she adds loads of great humor to the episode, like the best of Saturday Night Live performers I’ve seen.  (Honestly, I think she’d make a great addition to the SNL cast!)  In Nicotine Stains, Hornick plays a serious role as Jen, Charlie’s girlfriend—and what a great job she does of it, showing her awesome versatility as an actress!  Always believable in her roles, never conscious of the camera, absorbed in the character like a chameleon, Hornick is always a joy to watch.  As I said before, I look forward to seeing her in the many more roles I’m sure she’ll have in the future.  I’d wish her luck, but I don’t think she’ll need it.

“Okay, enough with all the plot and well-deserved praise,” you say.  “Is there enough gore and blood to make this one satisfy a gorehound’s sweet tooth?”  Absolutely, positively YES!  If you have an appetite for show-it-like-it-is, don’t-watch-it-till-the-kids-are-in-bed (or not in the house at all) horror films, then Nicotine Stains is enough to overload your calorie count for the day…and then some!  Yes, you might even need to go on a movie-watching diet for a few days after you see this one!  Desposito holds back nothing, with a movie reminding me of the best in old-school special effects and in-your-face visuals that truly stick to your stomach.  Yes, I’m still thinking of a certain decapitation scene unlike anything I’ve seen before, even as a veteran of [seeing] such things.  The gore is graphic, while still leaving room for the imagination; a most cutting effect is the result.  While not too much for my taste, it is definitely not for the squeamish or those with a weak vagus nerve; so be forewarned.  However, at times, there is an ironic but effective dark humor slicing its way into you, as you watch some of the most graphic scenes.  Or, maybe it was just my subconscious attempt to find relief from the otherwise effective realism—indeed, quite a compliment for a horror film, I’d say.

And who is the one deserving extra praise for the special effects and makeup in Nicotine Stains? Kelsey Boutte, that’s who!  Yes, with a horror film that delivers the gore so copiously (and so realistically), with blood and guts aplenty, this horrorhound gives a high five to Boutte!  Kudos to Boutte for making the movie so visually disturbing, giving it a cringe factor of 10 Rockets in the gore department alone!  Yes, in a horror film I can actually thank someone for making something “disturbing.”

I don’t always mention soundtracks or scores in a movie review, but there are some films that require it to properly praise all who deserve credit.  Nicotine Stains is one such movie that truly owes a huge amount to the composer.  Ian Flux has done an insanely awesome job of creating an original score that captures the ever-darkening madness in Charlie’s mind.  Increasingly disturbing sounds and lingering, heightening notes accompany the exact moments when things are getting worse visually (for the viewer) as well as mentally, for Charlie.  A soundtrack is always a monster part of what makes a movie work; Ian Flux delivers the goods in Nicotine Stains, making its effect, like Charlie’s madness, slow burning but powerful, and more than addictive.

Writer/director Gennaro Desposito has created a most original story about cigarettes, in a time when I thought everything had already been done—at least everything so original.  I am a fan of Desposito’s work, and Nicotine Stains is yet another example of why.  He pushes the boundaries and defies the odds to find something new and horrifying in the most ordinary things.  For more of his work, also check out the Zombie Whisperer series (also featured here on Space Jockey Reviews, and also starring Matt Fowler.)

In case you haven’t figured it out already, I highly recommend that you seek out Nicotine Stains.  It’s a movie I will definitely add to my own collection; I will add it even though I’m trying to cut back on movie buying in order to leave at least minimal living space in my home.  Yes, there are always a few movies that make me look for extra space on my movie shelf, and Nicotine Stains is one of them.  It’s a slow-burning ride into madness, mayhem, murder, and more; and the gore smokes, unfiltered, from its smoldering story, making us oddly happy we inhaled it in the end.  Yes, there’ll be no urge to stop this one “cold-turkey” halfway through it.  If you’re lucky it will only stain your psyche with nightmares vicariously lived, without transforming you as well.  Now, enough with all the cigarette similes and movie metaphors, I’ll say; enough with all the addicting details before your first puff.  Just see the movie, before you kick the habit!  But, whatever you do, don’t let your cigarettes talk you into it.

“…once I got a taste for the blood, what a goddamned rush!” ~ Charlie

 Visit the official Nicotine Stains webiste!

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See Nicotine Stains on IMDb!

Nicotine Stains is written and directed by Gennaro Desposito, form Brooklyn West Productions, Inc., Starring Matt Fowler, Lacy Hornick, Chris Ehling, Sunny Williams, Kyle Duncan Graham, Renee M. Sher, Donald McCutcheon, and Chelsea Collins as the lead cigarette, Produced by Gennaro Desposito, Kimberly Desposito, and Chris Ehling, with Associate Producers Megan Powers, Terie Desposito, Joseph Desposito, Don McCutheon, and Alicia McCutcheon, Assistant Director Megan Powers, Director of Photography Graham Robbinson, Stunt Coordinator Matt Fowler, with Special Effects & Makeup by Kelsey Boutte, and original music by Ian Flux.

Now, go ahead and check out the trailer!  Go ahead!  You know you want to!

The Black Dahlia Haunting in Fangoria #319 (Got my copy!)

 

Hello all you Space Jockey star seekers out there! It's Chris Rennirt here with the latest news, hotter than a rocket booster off the launch pad! What's it all about? The Black Dahlia Haunting--the latest bloody-good movie from director Brandon Slagle, that's what! The film is featured in the current issue of Fangoria magazine--issue #319, with an article by Baker Appleton!  With the way this is all going, issue #319 is sure to be a collector's item soon enough. 

The Black Dahlia Haunting stars, among many, Devanny Pinn, Alexis Iacono, Jessica Cameron, Sarah Nicklin, Brit Griffith, Noah Dahl, Cleve Hall, Daniel Murawka, and director Brandon Slagle himself.  The launch pad at Space Jockey Reviews is already waiting for this one!

What's double special about it is that Alexis Iacono (soon to be interviewed at Space Jockey Reviews) is herself photo-featured in the article.  Yes, the photo in the right corner above, in my very hands, is Alexis looking nowhere near her normal beautiful self.  Only makeup here does the trick for the movie...and what a wonderful trick it does, indeed!

I already have my copy of issue #319, as you can well see above!  (The photo proof is there!)  So, fire up those rockets and get yours too, before they're all gone.  If you wait, you might have to pay extra for one on ebay...and who wants to pay extra for anything!  While you're at it, go ahead and take a photo of yourself with it like me, and post it somewhere--like Facebook!  Also, be sure to look for The Black Dahlia Haunting, and see it light-speed fast...or, since that's impossible, as soon as you can will do!  From the looks of everything--including all the great reviews--it's sure to be more than worth your time, your money, and whatever else!  As you can see on the poster below, Chris Alexander, of Fangoria magazine is already calling The Black Dahlia Haunting "Amazing."

The Black Dahlia Haunting movie poster (featuring Alexis Iacono)

While you're waiting to see the movie, check out the first official full trailer for The Black Dahlia Haunting!  No!  We're not talking teasers here--just that little frustrating bit to get your mouth wet.  This is the full meal deal!  Enjoy!

Finally, here's a screenshot with Alexis Iacono (left) and Devanny Pinn (right)!  This is the kind of treat thrown in like an extra after the credits in the theater!  You know what I'm talking about; the kind of stuff you always sit and wait for, just in case.  Would I disappoint you?  Never!

 

 Okay, enough said and seen!  See the movie!

TRESPASSER

As Trespasser begins, an alarm clock wakes a man in bed.  He could be any man, but soon we feel and see that he is not; quickly he becomes not only a stranger but something far worse.  Flashbacks and scenes from the moment tell a grim tale of something terribly wrong—of something getting even worse.  If I went on, I’d ruin the impact of a most effective short film, and, of course, I never like to do that.  I’ll only say that this man is a monster.

Human monsters are the worst and scariest of all, because they are real.  Even the most flamboyant villains from Hollywood—Pinhead, Freddy Krueger, Jason, and the like—are no match for those of the human kind that live each day, in the real world, stoking fears in the light as well as the dark.  Just the names of such killers are enough to disturb and chill the nerves of even the most desensitized of movie watchers.  I don’t need to name any here; we all know them.  (That one in your head right now probably has you a bit disturbed already.)

Trespasser is a short film that includes, as its main character, a generic man who could be anyone—the man next door, the man who teaches our children, the man who defends our case in court, ad infinitum.  He is methodical, apathetic, and cold, without concern for anything in his environment—other than what he needs for himself.  People are as disposable as trash—their bodies like useless packaging, after the product is consumed.  Human suffering is dispensed with purpose, as a routine, but never felt.

Already, I’ve explained the reason that Trespasser is so effective as a horror film, be it short or long.  It’s art imitating the worst things in life.  However, there is another element in this film that chills the marrow of even those most resistant.  I’ll only say that a child is involved.  Combining that with what I’ve already described should be more than enough to make the point.

Matt Fowler, the actor who plays the psycho, does it with creepy authenticity, as well as it could be done by anyone—even the best stars out there.  Although it may not take as much effort to portray someone with no emotions, in a silent role, for little more than three minutes, Matt certainly puts forth the effort and shows true talent.  For this, he gets a ten-rocket salute!  Matt's detached, unaffected appearance is chilling!  Katy Rowe also does a convincing job of portraying the tortured and terrorized victim.  As minimal as her role is, it is necessary and well done; she is the girl next door, the one we all know, and just like someone we all love.  I can only imagine that terrorized victims act as much like her; the fear on Katy’s face in the closing scenes looks real, fooling my imagination into believing it is.

Trespasser is another outstanding short film written and directed by Bryan Ryan.  (Bryan also directed The Guest, also featured here on Space Jockey Reviews.)  Trespasser, like The Guest, showcases Bryan’s ability to captivate an audience quickly, delivering a distilled but ever-potent dose of fear in record time.  No, he’s not the first to do a film on this subject, of course.  However, he pulls it off here as well as I’ve seen it done, in a fraction of the time it usually takes.

Trespass was shot and edited by Brian Smith.  Scenes flow smoothly, easily followed, with flashbacks that connect without confusion; scenes linger on the moments, giving (if not forcing) the viewer to think about what is happening.  Dwayne Cathey’s score is brooding and ominous, reflecting the dreamy, out-of-touch mind of the killer; Kelsey Boutte’s special effects make Katy Rowe look convincing as the victim, in anything but a dream.  All in all, the production team works well to create a film that fits all elements together successfully to achieve its effect.

Some of the most chilling scenes in Trespass occur as the credits roll.  In the end, the viewer is a witness to the killer’s recorded events, making things even more horrific.  Just when you think it’s over, it’s not; visuals are added at just the right moment to heighten the effect and make it stick.  Yes, Trespasser is a movie that hangs with you long after it’s over, even if you try to shake it off.

Why does Trespasser stick with you?  Again, it’s because it’s about reality—what happens everyday, somewhere, and what could also happen, at any time, to us.  The killer has no name, but his anonymity makes him all the more horrific; he could be anyone and everyone.  Trespasser reminds us, as a warning, that we, or our loved ones, with just the right mistake, could be his next victim.  What greater horror is there?  I say none.  Real horror is what reminds of what could happen to ourselves, and Trespasser reminds us of that from beginning to end.

Starring Matt Fowler and Katy Rowe, Written and Directed by Bryan Ryan, Shot and Edited by Brian Smith, Special Make-Up Effects by Kelsey Boutte, Music by Dwayne Cathey, A Final Girl Films Production

To watch the entire short film, click here!  VIEWER DISCRETION IS ADVISED!

THE GUEST

More and more often, I find short films that truly deserve a full review, alongside any of the most mainstream movies out there.  The Guest is just such a movie that deserves its very own cinema showcase here on Space Jockey Reviews—and many other review sites out there.  The Guest, in its 14-minute running time, packs as much punch as most movies running much longer.  Suspense, dread, character development, plot, and all other essentials are generously included to make one seriously effective piece of horror that is sure to surprise all of those expecting the "same ole same ole."  In a world with so many predictable horror clichés, The Guest is one seriously welcome visitor!

As The Guest begins, we see the outside of any-house USA, and hear the familiar neighborhood dog and chirping crickets.  Inside, we see a girl—it could be any girl—washing dishes, in a dimly-lit kitchen, with the sights and sounds of a horror-movie victim in the background.  Yes, we feel vulnerable already, because it’s all so familiar.  Even if we don’t watch horror movies while washing dishes, the scene makes the viewer familiar enough to be a part of it.  The horror movie only makes us feel, reluctantly, a part of something dreadful ahead.  Suddenly, the news breaks to report a manhunt underway for—you guessed it—a man responsible for attacks and disappearances in the area!

I know, by now you’re thinking you’ve got this one all figured out.  But, trust me, you don’t!  If I say any more about the plot, I’ll ruin the film.  So, from here I’ll try to ramble and confuse you a bit, discussing things in a round-about, somewhat irritating way—that is until you finally appreciate not knowing, while watching the movie I know you’re about to watch (wink, wink).

The first eye-popping essential in The Guest is the first-rate acting of Alyshia Ochse and Robert Seay.  Alyshia plays Dana and Robert plays “The Man.” Alyshia has previously played the role of Irina Cassadine on the soap opera General Hospital, and I admit that I had never heard of Robert Seay.  These two actors are a very talented pair indeed; together, they make The Guest the success that it is.  Alyshia Ochse is as natural as any of the most seasoned professionals I’ve seen in horror films.  She is totally believable in every nuance of the part she plays as Dana, bringing the character alive in every scene.  As the vulnerable girl alone, her emotions, expressions, and fears are real enough to make us forget it’s a movie and she’s just a character in it—at least for some time, before our left brain yanks us back again.  (Unless you’re one of those film-watching conservatives who keeps chanting, “It’s only a movie, it’s only a movie….”)  I actually can’t say enough good things about Alyshia’s acting, and I was blown away by her performance—especially with her ability to transform her character so completely!  She's so authentic as an actress that she makes us feel as if we know Dana, whether we want to or not!  Dana is a complex character, and Alyshia fleshes out those complexities very nicely.  As for what else Alyshia’s acting talents fool us with, I’ll leave that to surprise you later.  Let’s just say that she easily takes her place on the pedestal of short-film leading ladies!  I predict that we'll be seeing a lot more of Alyshia, and she'll be taking lots more pedestals wherever she goes!

Yes, Robert Seay (mentioned earlier) also does a knockout job in his role as “The Man.”  Even with such a generic credit title, Robert is no such generic actor.  He does a great job of keeping us confused about who he is, whether he's one type or the other, while making us wary of his stereotype at the same time—over and over, right down to the screaming, bloody end of it all.  Oops!  Did I just say (I mean type) “screaming, bloody end”?  Yes, I did!  Well, at least I didn’t say who is screaming and who is bleeding.  Again, I’ll leave that for you to see and…yes, hear…in the end.

Other refreshing surprises about The Guest are in the variety of directions the film takes in its short time.  Just when you think you have one thing figured out, there’s something else to surprise you, leaving you with yet another thing you think you’ve figured out.  Okay, I could go on and on with that, but I’m going to stop right here again—at least one more time!  (Or, at least I hope so!)

The Guest is produced by Upstart Filmworks and Final Girl Films in association with S.L. Productions and Busted Buggy Entertainment.  (In an interview with Alyshia Ochse, I learned that S.L. Productions is actually Alyshia's own production company.)  The Guest was written and directed by Bryan Ryan.  Hollywood would do well to take notice and give Bryan a call to do a few films.  Like the actors in The Guest, Bryan’s talents are as professional as I’ve seen.  His objective use of the camera never reminds us that we’re seeing it through anything else but our own eyes.  The movement is fluid, natural, and just as we’d see it, if we were really there to see it.  Yes, some directors keep making us think of the camera—the mechanical, technical nature of it all—but Bryan doesn’t.

Okay, I know you’re probably wanting to know how much blood and gore there is in the The Guest—either because it’s a plus or minus in your thoughts about watching it.  My guess is, if you’re reading this, you’ll probably add a plus when I repeat the cliché, “Yes, there will be blood.”  But wait!  Don’t get too excited.  It’s not excessive.  It’s mostly in the faux-horror-movie scenes playing as background, and copiously in another scene that makes you wonder whether it’s in the movie or elsewhere—perhaps outside your own home?  Wait again!  Did I just say “copiously,” after saying it’s “not excessive”?  Yes, I did.  But, I think it’s because I’m trying to confuse you again, so you’ll be more surprised when you watch the movie.  Yeah, that’s it (wink, wink).

Special effects are also very well done, with the look of someone or something I won't describe (so as not to spoil it) having the effect of something on a much higher budget.  You won't see it coming; but when it does, you'll know what I'm talking about.  Overall, The Guest is a smaller budget movie with bigger budget effects.  Regardless of the cost, they're certainly "special," as well.

The Guest is another of the best short horror films I’ve seen, with an ending that’s far from predictable!  In a little over 14 minutes, it develops characters better than most films do in an hour and a half and packs as much suspense as well.  What’s more is that the acting is so substantial and exceptional that it further helps this short film seem more like a full-length feature.  I look forward to seeing more from Bryan Ryan, Alyshia Ochse, and Robert Seay; The Guest proves them to be quite a talented trio indeed!  In the meantime, enjoy The Guest in all of its 14-minute entirety, right here on Space Jockey Reviews; just make sure you don’t stay too long!

Watch The Guest on my website by clicking here, or visit the “Short Films” page there to view it in a slightly larger format.  Either way, I can think of many less productive ways to spend 14 minutes of your life—and I mean a list long enough to span light years of interstellar length!  Besides, if I don’t stop here, you’ll spend more time reading the review than watching the movie.  That just wouldn’t be right…would it?  Enjoy!

Starring Alyshia Ochse and Willam Seay, Director of Photography: Will Barrett, Music by Dwayne Cathey, Editor: Brian Smith, Executive Producers: Mel House, Robert Galluzzo, Courtney Daniels, and Bryan Ryan, Co-Producers: Alyshia Ochse, Suzanne Quast, and Katie Floyd, Produced by Heather Wixson, Written and Directed by Bryan Ryan
  

For an in-depth and very interesting interview with Alyshia Ochse on Dread Central, click here!  Visit Alyshia's Facebook page by clicking here!  See her IMDB page by clicking here!  Of course, watch the film first!  VIEWER DISCRETION IS ADVISED! 

RED BALLOON

A voyeuristic journey into a house and through a hallway leads us closer to a female voice in the distance.  The voice, we see, is from a barefoot girl talking on the phone and painting her toes.  She’s happy, carefree, and relaxed, as if nothing but the next social event is on her mind.  We soon learn that she’s babysitting, being tempted to go elsewhere by a friend.  I know you’re already saying, “I’ve seen that before!”  Yes, I agree.  Vulnerable young babysitters are the clichéd, predictable victims of the best and worst of horror movies.  The body count for child-watching cuties ranks among the highest I know on the altar of horror cinema.

Yes.  Red Balloon could be like so many other horror movies we’ve seen too many times, but it’s not.  What makes it different, you say?  Believe it or not, for one, it’s that clichéd babysitter, or rather the girl who so perfectly plays her part.  Rachel Bright is the icon of a fresh-faced, home-alone teen, unaware of the horror-film hell ahead.  With acting talents beyond her years, she breathes life into an otherwise common character.  Rachel’s wide-eyed enthusiasm makes us interested in Julie, not caring that we already know her.  She is natural and authentic in her role, as if she is the terrified teen she portrays.

Besides Rachel’s great performance, she has another big ally in her arsenal.  No matter how many times I see a babysitting babe in for the gale force of terror, I never get enough!  Let’s face it.  The fear factor is based on vulnerability, and babysitters are on a short list of clichés that work.  There’s also a great way that Red Balloon keeps Julie from being the dumb girl who won’t leave when the door’s open.  Imagine that!

As for other clichés that work, we also have an evil child, an evil toy, and, yes, the obligatory “things that go bump in the night.”  That’s another terror-tale trio that, if done correctly, can work every time.  Evil children scare the $%*# out of me, no matter how many times I see them!  There’s something that violates nature when you see an innocent face capable of malevolent things.  Evil children in movies only need to look innocent while they’re doing evil things; Niamh Palmer Watson naturally does that very well, while looking adorable at the same time.  As for toys and noises in the night, that’s all I’m saying.  This trio of toys, children, and nocturnal noise works again in Red Balloon, as well as I’ve seen it work the first time elsewhere.  There’s a couple of others involving news and nightmares that I’ll leave unreported here.  It's as if the writers threw in "everything but the kitchen sink" to prove they could make something extraordinary out of the ordinary.

Where Red Balloon really rises above the rest is in the cinematography and the acting I’ve already applauded.  As for acting, there’s a very natural feel about the whole movie, with due credit for this again given to Rachel Bright.  The camera angles, lighting, and perspectives give Red Balloon a claustrophobic, voyeuristic feel—as if we’re seeing something we shouldn’t.  It also makes us feel uncomfortable, instead of just jabbing us with cheap thrill scares.  Directing and editing is tight and crisp, with scenes smoothly flowing from one chop to the next.  There are more than a few things Hollywood could learn from the directing of Damien Mace and Alexis Wajsbrot, the cinematography of Nat Hill, and the editing of Chris Hunter.  These are some talents to watch!  In one scene, the camera focuses on Rachel’s feet as she sits on a couch, suddenly zooming backwards, down the hall and out the window, until the viewer is in street outside.  This is all done in what appears to be a single take.  Excellent!  It’s one of those “How’d they do that?” moments!

Overall, Red Balloon is a great short film.  The story is predictable, but the actors aren’t.  We’ve all seen the terrified babysitter story, but we’ve never seen it done exactly like this before.  What’s better is that this story takes place in just under thirteen minutes!  It packs all the punch of many ninety-minute movies in a fraction of the time.  Red Balloon removes all the fat of most movies, dieting to a bare-bones appetizer if not an entrée.  Put Red Balloon on your movie-watching menu today!  Even if you don’t like the taste, it won’t last long.  

To see Red Balloon in its thirteen-minute entirety, complete with all the thrills and chills reviewed above, click on the movie below.  Or, to view it in a larger format, visit the "Short Films" page on my website by clicking here!  (It's the first movie, at the top, and, yes, it's worth the time to click on it and go there instead!)  Enjoy!

Starring Rachel Bright and Niamh Palmer Watson, Directed by Damien Macé and Alexis Wajsbrot, Written by Alexis Wajsbrot and Jimmy Pinto, Cinematographer: Nat Hill, Edited by Chris Hunter, Music by Martin Macrae, Produced by Damien Macé, Alexis Wajsbrot, and Kerri Trounce.

SCARCE

Scarce is the story of three guys, traveling across country, who get lost and wind up in hillbilly hell.  You might already be saying, “Okay, I’ve seen this before.”  But wait!  This one actually has some qualities (if you can call them that) that make it stand out and take a respectable place on the must-see list of such movies.   While the title may indeed be scarce, it is certainly one to seek out.

Scarce gets off to a good start with a naked man drenched in blood, running frantically through the woods, attempting to escape something or someone unknown. From there, the movie switches to a party scene, loaded with goofy dialogue and behavior that insults even the most brainless party goers. There, the fast women are too fast, and the libido-loaded men are oddly too slow. Sex and nudity are there just for the sake of being there, and fan service is the likely goal. Judging from the credits, the director knows what he’s doing here and intends every bit of it. Some characters from the party are even named “Gratuitous _______ #1 and #2” in the credits. I’ll leave it for you to discover what goes in the blank.

After the brainless party scene, the movie speeds up again and makes up for the slow time earlier.  It’s as if the viewer is suddenly watching a different movie.  The tone becomes more serious, and the actors even seem to act better, or at least more “professional”.   Yes, after the party, it’s full speed to the slaughter!  No, I wouldn’t normally say that, but in a movie like this, we all know where it’s going anyway.

The performance of Steve Warren (who plays Ivan) is what really makes this movie stand out.  From his first appearance, smiling proudly with rotten teeth, we know we’re in for a treat.  This guy is creepy, even when he’s trying to be “normal”.  I’m not sure if it’s bad acting that coincidentally works for this character, or if Warren does it all with the calculated finesse of a seasoned professional.  In any case, he nails the part from the start.  This guy is a true caricature of a rotten-toothed, down-home hillbilly, naïve only in outward appearances.  He has the stereotypic behind-your-back stare of a killer down to an art, as well as the fuax-normal behavior you’d expect from a backwoods deviant up to no good.  Yes, this guy personifies a sense of dread about what’s coming, from the moment he shows up.  From there, it’s hard for audiences of this film to be disappointed.

Refreshingly, after the opening party scene, there are no more people doing anything particularly dumb.  The deviants do what deviants do, and the party-going guys do what all party-going guys do when they get caught by deviants.  They start acting like they have some sense, or at least develop a maturity about trying to escape and avoid death.   (Yes, it’s amazing what a little selfish drive to survive will do to even the most witless of party fiends.)   As a matter of fact, the later realism is an effective, ironic contrast to the moronic behavior earlier.  It somehow makes the movie seem even more real, for better or worse.  For example, while the victims are running for extended time through actual snow, they are also actually barefoot and half-dressed, falling in the snow, and surely also as cold as they look.   The viewer can nearly feel the pain in such scenes.  Yes, I actually felt cold just watching it! 

As for ironic contrasts that increase impact, there are also the dry but obvious doses of dark humor throughout.  For example, Ivan’s line about the ultimate fate of his victims (repeated just before the credits role) is an example of the darkest of cult-film dialogue.  This line alone is likely to live on for some time in the minds of most viewers.  I won’t repeat it here for more than a few good reasons.

As for the expected blood and gore, there is more than plenty.  Yes, the gore is even gratuitous here, in as much as it can be gratuitous in such a movie.   There is cannibalism, as well as graphic depictions of what cannibals do to prepare a meal.  We don’t just hear the cleaver chop; we also see what it chops.  Yes, the scenes linger on the gore, letting the viewers soak it in, whether they want to or not.  There are also various acts of deviance that I won’t go into here for reasons of decency as much as for avoiding spoilers.  I’ll let you discover those for yourself. 

Scarce is unsettling too many times to count, but, of course, that’s how such movies are supposed to be.  Without being unsettling, deviant, and gory, what value would there be?  Without all that, it would be just another movie about a bunch of rotten-toothed deviants who sit around and just think about being rotten-toothed and deviant.  Or, perhaps I should say that it would be the only such movie.  I say seek out this “scarce” gem of a movie!  If you’re like me, you’ll be glad you did.

LAID TO REST

Better Than Your Worst Nightmare!

I have read reviews that praise Laid to Rest as one of the best movies of its kind, while I have also read those that condemn it as one of the worst.  Ultimately, with this movie most especially, it’s all about what exactly one expects from a slasher film.  If it’s an information-rich plot that explains who the killer is, why he’s killing and/or specifically why he kills who he kills, you will be sorely disappointed.  Otherwise, I think you will be most highly pleased, as I was.

Laid to Rest, quite honestly, has some of the most brutal and graphic kill scenes I’ve ever seen in a slasher film.  What’s more is that these kill scenes are given more on-screen time for the viewer than those in most any other I’ve seen.  The camera never cuts away too soon, and, for better or worse, little is left to the imagination.  For example, when a certain victim gets a knife through the head, the viewer sees a most uncommon amount of detail.  When the knife is finally pulled out of the impaled head, the victim appears to be truly real, with bloodying eyes twitching, and skin on the head pulling and stretching, as the knife is removed.  To be honest, I’m not even sure how they did it.  Yes, one can quickly tell that director Robert Hall loves the genre with a passion, since he goes all out to satisfy his fellow fans.  Such exceptional gratuitous detail is dished out more than once in Laid to Rest, as each victim is eliminated by Chrome Skull—the stylishly-masked psycho slasher.  In other scenes a victim’s head is filled with air, through his ear, via a tire flat-fixer, a woman’s head is sawed off, and a man’s face is literally chopped off of his head.  Don’t worry.  I won’t spoil everything.  I’ll leave the excessive details for you to witness yourself.  

Speaking of Chrome Skull, here is a killer that is as original, vicious, brutal, and scary as he is lacking in personality and/or background.  This villain literally comes from nowhere and kills everyone he kills for no particular reason that is ever explained.  Chrome Skull has no context.  There is not even a hint of who he is and why he does what he does.  From the film’s very beginning, a woman wakes up in a casket, escapes, and quickly finds that she is being pursued by someone trying to kill her.  From that point, everyone with which the woman comes in contact is either killed or meant to be killed by the villain.  The viewer never knows why anything is happening, and never has as much as a single clue to make an inference.

Yes, this lack of context is one of the main criticisms I've read about in many other reviews.  However, in all truth, exactly how much of a difference does context ever make in such movies anyway?  So what!  If anything, we get the clichéd, dicey background about some vengeful social misfit who vents his rage on those who arguably deserve it and/or society in general.  Yes, is it ever that much different, and how much of a difference does it ever really make?  Is that really why we watch such movies anyway?  Of course not!  In reality, we mostly watch slasher films for the very things that Laid to Rest concisely and copiously delivers—blood, guts, gratuitous gore, and killings galore!  No pedigreed gorehound can walk away from this one without at least being satisfied on that level.  If you want more, maybe you’re looking for something different anyway.  Maybe wanting more and watching Laid to Rest is like watching a movie you know you won’t like, just wanting to gripe about something.  Well, from this point forward, let it be known that you have been warned about what exactly this movie is.  From this point on, if you watch it anyway, spending your time and money on it anyway, then maybe it’s really you who should be criticized.

Laid to Rest is much like a bad dream, if that’s not exactly what it is meant to be.  The setting is almost surreal at times, the inhabitants don’t always act as they should, and reality is not always what it should be.  No, the movie doesn’t make total sense, it doesn’t answer enough of our questions, the logic is not always what we want, and even clues are nonexistent.  However again, like a bad dream, it is sufficient to accomplish the goal it pursues.  It delivers, very concisely and thoroughly, one very effective nightmare of a movie.