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Off the Beaten Path (2004)
Four thrill seekers making a short film for the internet . Who will live to tell the story...
If you ever wondered what I look for in independent horror movies, look no further than 'Off The Beaten Path' from the aptly titled Not For The Squeamish Productions. Director Jason Stephenson produced his first feature film, a 'Blair Witch/Evil Dead' mash-up with so much heart and charisma that it's infectious – and that's EXACTLY what I like to see when it comes to low-budget horror. Not simply being content with ripping off these two classic films of the genre, Stephenson goes the extra mile to craft a backstory and build suspense, waiting nearly until the halfway mark before unleashing the grisly goods. Sure, this is obviously an amateur production: the acting is sometimes uneven (but still surprisingly good all things considered), the gore is low budget (but still created with imagination and style), the sound is uneven (almost dropping out entirely in one scene), and the music is just kind of there – but 'Off The Beaten Path' somehow transcends these drawbacks to take on a life of its own; and I think a large part of this is due to director Stephenson's balls-to-the-wall approach behind the camera. While properly covering the slower scenes where the story calls for exposition (like dialogue between characters) is a sticking point, Stephenson makes up for it with some groovy camera angles and wild tracking shots that must have been a bitch to pull off in the woods at night with actors covered in red corn syrup. While the story has a 'been-there-done-that' flavor, I think this could have been helped by actually showing in quick-cut edits and flashes the grisly murders of the past to more dynamically illustrate the story the character of Brenda is relating, and also help set this movie apart from the two it is so obviously emulating. Also, seeing a little less of the weird Blair Witch type 'woman in the woods' would have upped the creepiness and made her character more mysterious (plus I wouldn't have given her dialogue
but that's just me nitpicking!) A true cult film if I ever saw one, this is a B-movie from start to finish – but here's the trick: it knows it's a B-movie and it plays off that fact. Rather than falling into the artsy-fartsy pretentious school of indie horror, we get beat over the head by the simple story and gnarly special effects. Now, there are some reviewers out there who instantly dismiss films like 'Off The Beaten Path' simply for their meager budgets – equating a low budget with low quality. But let me remind you of something that we all thought at one time or another: remember how blown away you were by Sam Raimi's direction of the 'Evil Dead' back in the early '80's? Remember how the simple demonic story set in the woods floored you and inspired you and made you want to scrape up a few bucks to buy a Super 8 camera and a case of beer and make your own low-budget horror flick with your buddies? Well, Jason Stephenson didn't just talk the talk, my friends. He went out and actually MADE that movie. Sure, it's obvious that he's referencing certain thematic elements, but it's out of sheer love for those classic films (not to mention the lack of suitable locations in Minnesota to make a movie!) To some 'Off The Beaten Path' may seem like a blatant rip-off, but to me it honestly played out more like a tribute more than anything. I jived to the kick-ass energy, grooved to the basic story, was slightly turned off by the flat music and choppy editing, but in the end won over by the absurd fun and heart and soul that was obviously put into the production. This is not a perfect movie to be sure – but with no budget, what do you expect? I would recommend seeing this if only to remind you of how amazing films like 'The Evil Dead' are – and that there are still some folks out there willing to give us inspired horror rather than Tinseltown remakes. Let's take a walk off the beaten path, shall we?
Attack of the Moon Zombies (2011)
I fully expected this film to be an outright comedy that parodied the B-movie sci-fi genre of the 1950's.
60 SECOND REVIEW: Shot in glorious black and white, Christopher R. Mihm's 'Attack of the Moon Zombies' was a film that kept on surprising me the further I got into it. Based on its name, I fully expected this film to be an outright comedy that parodied the B-movie sci-fi genre of the 1950's. Instead, what we get is more of a loving homage to those movies where the laughs and entertainment can still be found – just sometimes for all the wrong (or right!) reasons. I will admit that at times I was kind of hoping that the actors would allow themselves to be a bit zany, perhaps breaking the fourth wall or slyly winking at the camera – the plot seemed ripe for a Mel Brooks type treatment (and the blooper reel extra would indicate that this concept was considered but ultimately dropped). Instead, director Mihm restrains his actors and it's all played as straight as they are able considering the silliness of the script. Which brings me to one of the minor problems I had with the film: it's wordy! Holy alien spores
this movie had a lot of words! At times the actors seemed to ramble on and on and scenes tended to run a bit long on more than one occasion. It even seemed to me that Dr. Collins made fun of this point near the end when he breathlessly explains why a door isn't working yet again with about 100 too many words – all while a moon zombie advances upon them. Related to this point are the sets – which are too few, and too much alike. I totally get the haphazard way the sets were constructed, but often it felt like we were seeing the same room, just with the chairs and tables switched out. I suspect his is probably more of a budgetary problem than anything.
What I kept thinking about when watching this movie was its enormous potential. It seemed like a terrific palette for which to create a goofy sci-fi world, but it never really enters into that territory. For example: the opening of the film has some cheese-ball space graphics of a rocket landing on the moon. Now, these shots look like they were designed and rendered on a computer. But how cool would it have been to have the rocket be a model on wires landing on a scale model of the moon, complete with smoke bomb exhaust fumes, etc.? At other times, however, Mihm really gets this point, like with the interior sets of the moon base. Like a set from an Ed Wood film, the tape that holds it all together is joyously evident – which definitely adds to the charm of the film. Likewise, no attempt is made to make the 'moon zombies' really believable; they are simply actors in ultra low budget masks and gloves – but it totally works! Conversely, some more make-up effects on Dr. Edwards as he ventures into the radiation would have helped sell the scene a bit more (maybe some dark circles under his eyes, sweat on his skin, etc). It's a fine line – and sometimes it works in the films favor and sometimes it does not. When the final spore has been planted, I found 'Attack of the Moon Zombies' to be a fun film that goes beyond it's built-in cult status and actually offers up a little bit more to its viewers. It's not a perfect film, but it doesn't try to be - and we are let in on this fact from the start. Full of imagination and dedication from its cast and crew, this is a film that respectfully pays homage to those great B-movies of yesteryear. If you remember that era or are just a fan of sci-fi in general, then this movie is for you! ACTING: My thoughts on acting in low budget Indies has been well established, so I went into this feature with more than a little trepidation. Let's face it, with a name like 'Attack of the Moon Zombies,' how good could the acting be, right? Well – to my surprise and delight, the acting was actually almost universally terrific. Mike Cook as the grandfatherly Dr. Edwards was believable even if his British accent was not, and Douglas Sidney as Dr. Collins had great comedic timing. I also appreciated the humor of Daniel Sjerven as Capt. Frehley (nice name!) He definitely could have stepped into ham fisted, over-acting territory – but he restrains himself. Sid Korpi as Admin. Ripley was likewise convincing, and last but not least we have Shannon McDonough as Dr. Hackett. A pure delight, McDonough looks like Teri Garr and delivers her lines like Judy Garland. She's the anchor that holds the whole film together, plus she's cute as a button. Nice! DIRECTOR'S CHAIR: Mihm is bound by the limitations of his set. It becomes almost impossible for him to pull the camera back for a long shot for fear that the set will reveal itself to the viewer. I think this could have been solved with some more interesting angles, perhaps some more close-ups, or over-head shots or low-angle shots – which brings me to the second variable. Mihm has made an homage to B-movies from the 50's. With that in mind, he intentionally directs the film in the style of that era (which is to say, very straight forward with little visual flair). Since he is methodically adhering to the style of that time, low-angle and over-head shots are uncalled for. To solve this, I might have suggested some more establishing shots: perhaps outside of the lunar base or all the way back to show the whole moon. In this way the visual monotony is broken up and we are given something to look at other than the stark white walls of the moon base.
Experiment 519 (2010)
While it's not a perfect film, Blood Eagle Film's low-budget 'Experiment 519' is done with such energy.....
Review by Drive-In of the Dead
While it's not a perfect film, Blood Eagle Film's low-budget 'Experiment 519' is done with such energy and enthusiasm that you can't help but root for the filmmakers behind all the mayhem. The one thing I liked about 'Experiment 519' is that they weren't afraid to build a story; to invest in their characters and take the time to at least attempt to properly introduce each one. While this tends to slow down the pace, it helps the viewer connect with them when the sh*t hits the fan. However, I do feel like maybe a few too many characters were introduced, which spread the carnage a little too thin – it was hard to keep track of who was who – and new characters were being introduced even toward the end of the picture. By the half-way point I still wasn't sure who the star of the show was, which isn't a good thing when the plot is pretty basic (government experiment turns town into raving cannibals). And by the way – what's with all of the crotch-grabbing going on in this movie? It seemed like all of the trailer-trash dudes gave a yank to their junk at least once (some multiple times). Did I miss something? Is this a gang sign? But I digress: as simple as the storyline was, I definitely appreciated some of the more subtle story arcs that were thrown in. For example: the history behind Constable Dixon and Chief McMahon was a nice touch. The way they butted heads but ended up working together was a groovy way to flesh out their back stories; and the good husband Larry turning out to be a deadbeat druggie was also a curve-ball that had me grinning.
'Experiment 519' does suffer from the 'one-step-forward, two-steps-back' syndrome though. Even thought I couldn't really identify with many of the drug-using crack-heads and redneck heathens found in the picture, I still recognized that many of these lowlifes do actually exist, unfortunately, in small towns across the Midwest. Yet for every time I felt like the drug-fueled story was really clicking, there would be technical issues that distracted me and took me out of the picture. My biggest beef was with the sound quality, which needed some serious dubbing on the dialog. Relying on a camera's built-in Mic to cover dialog is never recommended; so many of the conversations are lost in the mix by either being too low or being drowned out by hiss. Another technical aspect that didn't work for me was the lighting, which seemed glaring and relied too heavily on the everyday lights found in many of the locations. Turning on every light in a house to shoot a suspenseful scene just doesn't work to sell the fear, but acquiring proper studio-quality lighting rigs are probably a luxury that can't be afforded when it comes to the constraints of a meager budget – so I can forgive that one. Also, while the story was somewhat involving, I found the editing to be a bit choppy in places – with a couple abrupt cuts that could have benefited from some subtle scene transitions.
When the final experiment has been tested, I found 'Experiment 519' to have a whole lot of heart and plenty of charisma, but maybe one too many technical snafus that keep it from being more than a cult film. Still, director James Brandon Humphreys did an admirable job with what he had to work with and managed to craft a well-acted and creatively directed film that definitely entertains. I look forward to seeing what Blood Eagle Productions cooks up next. Let's fire up some 519!
NAUGHTY BITS: The producers of 'Experiment 519' wisely relied more upon their story than the gore. While we do get some CGI splatter effects and some messy flesh gnawing here and there, there isn't so much that it becomes a distraction. There are also some profanities and lewd dialog thrown into the mix, but sadly no bare necessities to back it up.
ACTING: The strongest aspect of 'Experiment 519' was its cast. Kudos to the producers for rounding up some credible talent – it went a long way toward making this film a serious production. Justin Stewart as the town constable was simply terrific – this guy has what it takes and was easily the anchor of the film. Jason T. Davis as Larry Calhoun was pretty solid as well. While it seemed like he was reaching for his lines every now and again, I thought for the most part he did an admirable job. Roger Eubanks as Bobby was another scene stealer – I would have liked to have seen more of his character (his manic melt-down at his house was great), and Gina Pentz as Sally and Jacob Rohrich as the chief of police rounded out a surprisingly talented cast. There were some minor characters thrown into the experiment that were a little on the amateur side, but even their performances weren't so horrible that they derailed the production. Put it this way: I've seen worse! Nice job, folks.
DIRECTOR'S CHAIR: Hats off to director James Brandon Humphreys for his energetic approach behind the camera. While this wasn't the most stylized indie film I've ever seen, Humphreys definitely didn't just phone in the direction with a point-and-shoot approach that is so prevalent in many low-budget flicks today. Instead, we get some groovy shot compositions, some nice slow motion, some color filters that work, and interesting angles that help keep you invested in the picture. My only gripes were with the editing, which seemed rather crude at times, and the lighting, which seemed a bit too harsh (relying too much on overhead, fluorescent lights rather than being properly lit) – but overall I thought Humphreys impressed. Well done – let's do a round of shots!
Wake the Witch (2010)
A century before the events depicted in this film, some Nebraska locals became outraged when several children ended up murdered.
I was most intrigued to watch 'Wake The Witch' because out of all the films we've reviewed here at the Drive-In, nary a one has been directed by a woman; so believe me when I say I was keen to see a female's take on the horror genre and if the director, Dorothy Booraem, could successfully break the mold of a male dominated profession. Did she succeed? I'm happy to report an affirmative on that count. Booraem delivers a film that is intelligent and intriguing - terrifically utilizing the limited locations of central Nebraska and using them to her advantage – yet crafting a tale that is offbeat just as much as it is suspenseful (I was reminded of stories by Joyce Carol Oates, which is a good thing!) While a comparison to Oates is high praise, this is not to say that it was a perfect film. While I was sufficiently impressed by most of the cast – with Stefanie Tapio, Karis Yanike, and Martin Kenna standing out – there were a few supporting cast members who were hit and miss with their deliveries. I also thought the same about the music in the film. Whenever something evil was afoot the low bass notes of the synthesizer were adequately chilling, but throughout the rest of the film the score seemed much too bland – sounding more like a Disney Channel movie-of-the-week than anything. I think a darker, fuller score would have helped sell the sinister happenings more effectively for this reviewer. Likewise, the sound quality was suspect – with some muddy dialog and soft conversations often lost in the mix. I'm also not a fan of the 'leather-jacketed-detective' character (see my review for 'The Hagstone Demon' for more on this guy). While the events of the story may have dictated such a character's presence, his cliché dialog took me out of the film more than once – although I must admit I did dig on the weird way he was portrayed (was he privy to the curse?) What I appreciated about Dorothy Booream's film is this: she invested in her characters, taking the time to fully flesh most of them out, which in turn made their fates much more compelling. Now, with that being said - the main drawback about investing in your characters is that the film tends to run a little long. Taking into account the few flaws I mentioned above, what this film really needed was a more discerning eye in the editing booth. I honestly think this film could have been trimmed down by a good twenty minutes or so, cutting away the fat from scenes that draw out with unnecessary exposition and trivial plot points (such as the one involving the cheating boyfriend) that do nothing to further the narrative. It's a credit to star Stefanie Tapio that she is able to carry a nearly two-hour movie while being in every scene. I think 'Wake the Witch' was an above average indie horror flick that had some really effective atmosphere – and more than a few genuinely spooky moments. You'll love the hoodie creatures in the woods (their crawling, herky-jerky movements were stellar!), and the creepy basement scenes were on the money. The urban legend story, even though it's as old as the hills (think: what would happen if the Blair Witch followed you home?) is effective and the midwest locale keeps the picture grounded in reality – although I have to confess that the ending seemed over-the-top. Unfortunately, the sub-par special effects and fake cobwebs didn't completely sell what was supposed to be a mind-bending Lovecraft-ian scene for me, making the pay-off for the hour-and-a-half build-up seem rather disappointing (although, in keeping with genre comparisons, the classic John Carpenter 'downer ending' was a gutsy call by Booraen that was definitely the correct way to end the film – if only the 'crack in the wall' netherworld was done more convincingly. I would have downplayed that scene using a 'less-is-more' approach, and used a real wall with a real hole in it – with nothing to be seen on the other side but blackness; leaving the fate of a certain sibling to the viewer's imagination (but hey - you know what opinions are like
) When the final chain is yanked, I found 'Wake the Witch' to be a unique independent horror film that was crafted with enthusiasm and dedication from its cast and crew – and that passion by those involved definitely comes through on the screen. Yes, it has its flaws, but the film possesses just enough heart and strange macguffins to keep you watching until the macabre finale. Now let's wake up this son of a witch!
The Hagstone Demon (2011)
Hard-drinking ex-reporter Douglas Elmore has taken a thankless job as the caretaker for a building that is scheduled to be demolished.
For those folks who became instant Mark Borchardt devotees with The Bespectacled One's legendary cult hit 'Coven,' this film will feel like a bigger budget, higher quality take on Borchardt's short film. While it's not an instant classic, it does have plenty going for it that pushes it well above nearly all of your standard indie fare. The obvious quality that 'The Hagstone Demon' showcases is Borchardt in its lead role. While he doesn't have much range, the guy is so compelling and watchable that he easily carries the film with his lovable loser presence. We've all known guys like Douglas/Borchardt and we can relate to his struggles as he tries to turn his life around. This film would have succeeded with Borchardt's stand-out performance alone, but imagine my delight when I was knocked out by the film's stunning direction. Director John Springer makes it clear that a low budget can serve as a springboard for ingenuity just as much as it can a roadblock for those without the talent and creativity to make something out of nothing. Springer directs his film like a pro, framing shots like Kubrick (I thought 'The Shining, jr.' more than once
) and lighting them like Fritz Lang. Every angle is meticulously thought out and presented in an imaginative way – making a somewhat tired story-line infinitely more interesting. The sleek direction of Springer is enhanced by a superior sound mix that features Hollywood-quality sound effects, and a fabulous score by Chris Cunningham and Michelle Kinney who channel Bernard Herrmann to offer up a richly compelling soundtrack that fits the movie's varied tones. Yet, as much as I thoroughly enjoyed 'The Hagstone Demon,' it's the varied tones that bring me to the few slight problems I had with the film.
For one, Borchardt just doesn't have the voice or cadence to convincingly narrate a movie – he fares better on the commentary track than on the actual film itself. It sounds like a Wisconsinite reading lines from a script – which, to Borchardt's credit, has just as much to do with the cliché, film noir-type dialog as it does his folksy delivery. Also, while I thought Cyndi Kurtz as Barbara was terrific, I wasn't entirely sold on Nadine Gross as Karna. Mrs. Gross certainly has talent, but she played the part a little too over-the-top for me. Maybe this was due more to Springer's direction than her interpretation of the character, but I think a performance that was a little subtler would have helped add to the mystery of her character. The above flaws are really minor though – the biggest gripe I had with 'The Hagstone Demon' was the way it switched gears in the middle third of the film, changing from a seriously creepy 'Rosemary's Baby' type suspense picture to a 'Maltese Falcon' film noir vibe – complete with sappy saxophone music and a tough-guy detective whose sole purpose was to meet a gruesome demise. However, when the film switched back to 'Rosemary's Baby' mode for the final act, the film really hit its stride and gave me a serious case of the heebie-jeebies. Cleverly alternating between Douglas' real life in black and white and his nightmares/memories in living color, director Springer dazzles us with a bizarre finale that would make David Lynch proud. When the final spell is cast, 'The Hagstone Demon' isn't a perfect film – but it comes pretty darn close. A great cast, killer direction, amazing special effects by Mike Etoll that pushes the film to the next level (I was all about the exorcism scene!), one ugly-ass cat, and a spooky locale – not to mention 'That Guy From "American Movie"' make this film one worth paying a deposit and checking into! I was more than impressed with the acting in 'The Hagstone Demon.' March Borchardt has that strange screen presence that is a mix of leading-man charm and my mechanic down at the garage. He doesn't always hit all the right notes, but he can make you believe that he's a hard-luck, hard-drinking superintendent in over his head. Nice! Nadine Gross as Karna/Mary is very talented, and her wide-eyed, robotic take on her character was memorable – but I would have preferred her part to be downplayed a bit more. Cindy Kurtz as Barbara was on the money and pulled off some of the movie's more emotional scenes. Check out her take with Borchardt in the kitchen as they drink coffee for one of the film's more genuine moments. Sasha Andreev also turned in a commendable performance as the level-headed Father Carl. Sincere and believable, Andreev's turn as the patient brother-in-law made for a solid supporting role that gave the film another layer of credibility. Gizelle Erickson only had to look sufficiently creepy, which she nailed, but I didn't buy Michael Glen as Detective Willis – his part just seemed a bit too cliché and forced for me. One last note: watch for Jay Smiley as Mr. Thompson for one of the film's greatest/weirdest performances. I thought he was funny at first, but Smiley had the last laugh! Jon Springer's inspired and artistic direction is one of the reasons I love independent film so much - you seldom see mainstream pictures that demonstrate such care and dedication for the medium. While the script is the film's weakest point, Springer does his best to make up for it. Long takes that help augment the creepy atmosphere, Gothic establishing shots and locations, interesting transitions, concise editing, and amazing shadow-play and juxtapositions between light and dark (you'll love the creepy-as-hell scene in the crawlspace!), plus a groovy use of color all add up to an excellent directorial effort and goes a long way toward smoothing over the inadequacies of the script, elevating 'The Hagstone Demon' into something special.
The Dead Matter (2010)
A practicing witch named Gretchen discovers an ancient amulet with strange powers when she brings her friends to the woods in order hold a séance.
As a fan of the musical duo Midnight Syndicate, I was thrilled to learn that Edward Douglas was working on a feature film entitled 'The Dead Matter.' I have followed the musical exploits of this group for over a decade and I looked forward to how their audio work would translate to the medium of film - with the chilling music they created it just seemed like a natural progression for them. Was it worth the wait? Most definitely – but there is a catch. First off it helps to have a healthy dose of Hammer Studios and Universal Monsters blood in your veins. If you grew up watching b-movies starring the likes of Peter Cushing, Christopher Lee, Bela Lugosi, and Boris Karloff in late-night creature features, then you'll totally 'get' this movie's vibe. If, however, you aren't cursed with a wickedly warped sense of humor (and fun), then 'The Dead Matter' might come across as just another off-beat vamp flick. For me, I totally jived to the old school approach to horror that screenwriters Ed Douglas and Tony Demci offered up. You can see how they were influenced by their horror forefathers, but they also give the film a groovy twist by injecting a bit of George A. Romero into the picture's undead veins. I've tried to think of another movie that incorporated vampires AND zombies into the same film and came up empty. Nice! Throw in the fact that the film is capably directed by Douglas, has a healthy sense of humor (you'll dig the classroom dream!), sports a likable ensemble cast including genre legend Tom Savini, not to mention some killer make-up effects, Midnight Syndicate's Gothic, Hammer-esquire score, some genuine scares (I was all about the creepy cemetery 'death is the answer!' scene) and you'll understand why this movie satisfies an old-school fan-boy like me.
There were, however, a few minor points that I felt kept 'The Dead Matter' from becoming a classic film. For one, there were a lot of characters to keep track of – none of whom are fleshed out to their fullest potential. A little more backstory on the main characters of McCallister and his vampire adversaries would have been nice, as well as more history on Gretchen and her group of friends (not to mention the amulet). Likewise, some of the acting was hit or miss. I can't help but feel that some scenes might have been a bit rushed, resulting in fewer takes, so the actors weren't able to achieve the best performances they were capable of (Also – here's my idea: Douglas should have worked Vellich's horrible wig into the story somehow. Since he seems like such a vain vampire, seeing him put the wig on over nasty, patchy hair would have been a hoot. There was no way to hide the fact that he was wearing a wig, so they should have played it up rather than try to sell it as his real hair). One last point is the effects. While the make-up designs were amazing, some of the CGI was not entirely convincing. I also thought some more locations were needed and the ending was a bit too vague for my taste – but these gripes have more to do with budget constraints than anything and are minor issues that don't dramatically decrease the quality of the film as a whole.
When the final bloodsucker is staked, I thought Edward Douglas's 'The Dead Matter' was a fun-filled horror-fest that mostly satisfied and definitely entertained – which is what Douglas set out to do – so in that regard, the film is a smashing success. The clever plot, the gnarly make-up, the perfect score (that had many nods to Midnight Syndicate's past), and a healthy mix of b-movie charisma make this film a refreshing change from the usual horror schlock that Hollywood churns out. It's always a thrill to see when a group of filmmakers 'get it.' For me, the dead definitely matter!
As I mentioned above, the acting is a hit or miss affair in 'The Dead Matter.' Some of the actors came across as rather over-the-top (Divoff as Vellich needed to be de-fanged), many were somewhat wooden in their delivery (Sean Serino as Gretchen was pretty and definitely talented, but I just couldn't connect with her performance), and some, like Jason Carter as McCallister and Brian Van Camp as Mark were as solid as you can hope for. I can't come down too harshly on the cast as I feel like they were doing the best they could within the constraints of the script. Crafting more subtle, nuanced, and natural performances is something director Douglas will perfect as he grows as a director.
For his first full-length feature film, I thought Edward Douglas did an admirable job. With the amount of money invested in this picture it would have been easy to buckle under the pressure, but Douglas definitely holds his own. The direction tends to get a little static in places, particularly when there's a conversation taking place, but thankfully Douglas makes up for it with an energetic style when the pace of the film picks up – and I know he will only improve as a director with each film he gets under his belt. Well done!