Bus Party to Hell (2017)

BPtHWhen a movie is titled Bus Party to Hell and features a masterclass thespian such as Sharknado alum Tara Reid, you have a pretty good idea what you’re in for. Of course, there’s nothing wrong with an over-the-top film that doesn’t take itself too seriously, provided it’s actually enjoyable to watch. There’s a surprisingly thin line between outrageously fun and irritatingly stupid and today we’ll see if BPtH falls more along the lines of the campy, gory fun of Father’s Day or the interminable slog that is Kudzu Zombie.

The film stars Tara Reid and by stars I mean she is in it for literally ten minutes before it shifts focus to follow a group of cliched caricatures of party-goers on a bus that’s en route to Burning Man. When the bus breaks down and the driver (Sadie Katz, whose raspy voice makes Tara Reid sound like a velvety seductress by comparison) is nowhere to be found, things quickly go bad for the passengers as their bus is descended upon by a group of cannibalistic maniacs.

When a film plays out like a softcore porn rip-off of The Hills Have Eyes, the one thing I would hope is that it’s at least fun. Unfortunately, what we have here is a series of tiresome scenes that serve no purpose other than to get you to the next cheap kill or an excuse to strip down the actresses. The script itself is treated with about as much respect as the female characters as the actors spew out cringe-inducing attempts at humor, regardless of the peril they are in. Given that each character’s entire personality can already be summed up by a single word (nerd, virgin, rich) it makes actually caring about anything that happens utterly impossible.

I’m not really sure who this is for, but my guess would be it’s aimed at 13-year-olds who want to see tits and haven’t realized that PornHub is a thing. Despite its desperate attempts to seem edgy by shoehorning in nudity and blood, the end result actually makes the film feel dated and irrelevant. The experience reminded me of watching cheap pay-per-view T&A flicks like The Bare Wench Project back in the dial-up internet days when porn was actually hard to come by.

The biggest problem here is that if you are going to eschew plot and story in service of showcasing sex and violence, then you need to bring it when it comes to those areas. This is why the American Guinea Pig films and Portraits of Andrea Palmer work so well despite having very little plot, they are willing to lean into the edgy content instead of just paying lip service to it.

Despite all this, the film is not without some positive attributes. The gorgeous establishing shots of the desert remind us that, had the filmmakers cared enough to include interesting and even somewhat grounded characters, they could have easily made a very watchable movie. In addition, even though many of the blood gags look generic or just plain silly, the scene where they cut a woman open and pull a live snake out of her belly actually worked quite well. Still, the end result feels like something that was conceived of and shot at Burning Man over a weekend and was (hopefully) a lot more fun to make than to it was to watch. This is certainly one bus ride that you are better off letting pass you by.

1-star-red

The God Inside My Ear (2017)

TGIMECreating a surreal film that really works is an incredibly difficult feat. In the hands of masters like Lynch and Jodorowsky the final product can be a multilayered work of art with symbolism and subtext that will have people in spirited debate for decades. On the other end of the spectrum are the myriad of films that bombard the viewer with “weird for the sake of weird” imagery, with no inherent meaning or intent, and no subtle clues to decipher what’s going on until we are simply told. Any surreal film is bound to fall somewhere along this line and today we’re going to see how close to the top (or bottom) The God Inside My Ear ends up.

The film opens with a montage of strange, seemingly unconnected images, underscored by sinister music that culminates in two people in hazmat suits working on a dusty control panel in an abandoned looking room. After this, the movie is segmented into chapters and follows the story of Elizia (Linnea Gregg) who’s life begins to become more unhinged and surreal after she is suddenly dumped by her boyfriend.

The opening minutes of a film can reveal a lot about what you’re in for and one thing that stands out immediately about TGIME is how incredibly well shot it is. The image quality is rich and beautiful, the shots are well framed and artistic, and the use of disorienting video effects and colored lighting does an excellent job in creating a surreal, unstable feeling when needed. Writer/director Joe Badon certainly has a keen visual sense and there’s no question that the cinematography of this film is beyond reproach.

Of course, the look of a film is only one piece of the puzzle, as we also have to take into account the quality of acting and the backbone of the movie itself, the script. The results for the former are a bit varied as some actors deliver solid performances and others belie the professionalism of the footage quality with stilted, unnatural delivery. Although, to be fair, at timesit can be hard to tell how much responsibility can be attributed to the actors when so much of the dialogue is awkwardly constructed and full of attempts at comedy that fall completely flat.

TGIME starts to become a bit more interesting as it progresses, shifting tone from awkward “comedy” into surreal, light-horror. The main problem here is that the first act, which was supposed to create a baseline for the characters and their reality, is instead spent doing tired shtick that ultimately made me less invested in the outcome. Even so, TGIME does become more watchable as Elizia’s reality becomes more warped and viewers can expect to be treated to some well-constructed and delightfully bizarre imagery.

It should also be noted that this film does in fact have underlying meaning to the images and the reveal at the end sheds light on the story that preceded it, as well as make you think about the clues that were given along the way. However, while the reveal does serve to better explain what was happening, it also raises some very important practical questions that it leaves unanswered, which I can’t go into further detail about without spoiling the twist. What this all adds up to is a visually stunning film with an interesting (although not wholly original) concept and a script that could have been compelling with another rewrite, or three.

 

2-5-stars-red

Portraits of Andrea Palmer (2017)

PoAPSome Extreme Cinema films creep up on you slowly, holding back their edgiest material to sucker punch you with later on. Other films announce themselves right from the fucking beginning and, with a sexually explicit scene in the first two minutes, Portraits of Andrea Palmer wastes no time earning its Extreme Cinema cred. That’s not to say that one approach is better than the other however, as a “less is more” approach adds more punch to the shocking scenes you do have.

The film follows the life of the titular Andrea Palmer (Katrina Zova) who eeks out an existence as a cam girl to support her drug habit. After experiencing a particularly enraging online encounter, she begins to branch out as she looks for more ways to make money with her body. This sets her off on a harrowing journey, far darker than she could have ever imagined.

Upon viewing, one thing becomes instantly apparent:PoAP is a film that goes all the way. Every one of the numerous sex scenes is completely unsimulated, some of which venture into territory only seen in deviant porn. I can honestly say that even I have never seen a narrative film that featured both genital clamping and a milk enema. While I’m sure there are many out there who would argue that these scenes are merely gratuitous titillation, they actually serve a much greater artistic purpose. This is a raw, gritty film and the real sex on display further punctuates the grimy realism that the filmmakers were going for.

Zova truly gives her all to this project with a performance that is physically demanding and requires a level of uninhibited commitment that most actors wouldn’t dare to undertake. In a world where the MPAA makes a full time job of neutering art for the sake of the public’s delicate sensibilities, it’s always incredibly refreshing to see a film that is an unfiltered, raw expression of ideas. It’s also worth mentioning that, in addition to all the sexuality on display, the film also features some well done violence with one scene in particular showcasing some excellent practical gore effects.

Now, shocking content is all well and good, but the quality of the story is ultimately what matters. To that end, the narrative itself in PoAP is a little on the sparse side and there was certainly some opportunity for character development and conflict that would have given more weight to the edgy visuals. Speaking of the visuals, although I do enjoy the dark, gritty look of the film, there were a few scenes that pushed that aesthetic a bit too far past moody and into “barely visible” territory.

In the end though, none of these issues prevented me from enjoying the film and I was thoroughly invested in Andrea’s grim, downward spiral. A great example of edgy, indie filmmaking, PoAP captures the rough, dangerous feel of Cinȇma vȇritȇ classics like Kids and Gummo. This one’s definitely worth a watch, provided you can find it.

3-5-stars-red

Darkness Comes (2018)

Darkness ComesThe incredible advances in digital technology over the last few decades have made it more possible than ever for aspiring and indie filmmakers to make their vision a reality, or at least attempt to. Freed from the burdens and excessive cost that goes along with shooting on film stock, many indie directors will attempt to replicate the lavish production values of multi-million dollar films with elaborate DIY sets and numerous on-screen characters. This almost always results in a disastrous final product but is still a far more common practice than the more sensible approach of using a small cast and a primary central location.

There are, of course, plenty of indies that do understand the importance of a more contained, focused approach and with only three characters and one main location, Darkness Comes is certainly one of them. However, a more intimate approach also amplifies the importance of the acting and storyline, so let’s see if this method ended up proving successful in this case.

The film starts with a young, attractive couple Eddie (Owen Whitelaw) and Suze (Kelly Wenham) well on their way to hooking up in a strange, abandoned looking room. However, things quickly take a turn and it becomes apparent that Eddie is in for a very different night than he had been hoping for.

When I first noticed that this film only had a runtime of 67 minutes (!) it did make me skeptical about what exactly was in store for me with a story that was going to fall awkwardly between the lengths of what can be considered a short and a feature. In this age of digital streaming though, films no longer need to adhere to the same kind of strict parameters that they once did and upon completion I realized that this was the perfect length for the story that was being told.

In fact, if it had been padded with another 20 or 30 minutes to simply achieve feature length, it would have spoiled the tight pacing and engaging plot of what turned out to be a very interesting movie. But it’s not just the pacing that makes this successful, the excellent acting, beautiful camerawork and simple yet brilliant special effects makes this a film that really fires on all cylinders. Director David Newbigging also makes excellent use of the single location and keeps the story feeling fresh and engaging within the confined space.

That’s not to say there aren’t still a few blemishes to be found. Between the thick accents of the cast and a background audio mix that threatens to drown out the dialogue at times, it may be a good idea to turn the subtitles on for this one. There were also some minor instances of inconsistent character motivation but neither of these issues loomed large enough to really take away from the overall experience.

It’s always refreshing to see a film that really knows how to play to its strengths and understands its limitations. Newbigging also uses the concept of an ominous, unseen horror to great effect and the FX that are used are simple and well executed. The film itself may be a bit more on the abstract side for those seeking a mainstream horror experience but for viewers want to indulge in an unusual and exceptionally well crafted film, this is an indie movie that gets it right.

4-stars-red

Audition (1999)

audition-cover-11If you’ve only seen one film by the brilliant Japanese auteur Takashi Miike, then it was probably Audition. Not only is it Miike’s most well known film outside of Japan but it is also his most accessible. That’s not to say of course that it’s something that’s easily digested by the mindless masses, it is still a Miike film after all, and if it didn’t have some incredibly violent, disturbing scenes I wouldn’t be reviewing it here. Although, it’s not the violence alone that makes this film interesting, what really sets it apart is the brutal sucker-punch it gives the audience.

After his wife dies of an illness, Shigeharu Aoyama (Ryo Ishibashi) must raise his son Shigehiko (Tetsu Sawaki) on his own. When Shigehiko becomes a teenager he begins to encourage his father to find a new wife and Shigeharu takes his advice to heart, in a rather unconventional way. By staging sham auditions for a movie that won’t be made, he is able to screen potential mates and quickly falls for one of the beautiful applicants, Asami (Eihi Shiina). But despite her sweet, meek demeanor, Asami is holding a very dark secret that threatens to unravel Shigeharu’s entire life.

Typically, when a film has a significant tonal shift, the end result is a story that feels unbalanced and poorly crafted. However, in this case, Miike uses that very concept to deliberately lull the viewer into a false sense of security before violently pulling the rug out from under them. The entire first half plays out as a well-acted relationship drama with no indication of the horrors that are in store. I can only hope that there are people out there who actually watched this expecting a drama and were scarred for life by what they witnessed in the final thirty minutes.

Audition sittingWhat really makes Audition work is that even with the tonal shift, the two halves of the film never feel like disparate ideas awkwardly stitched together but instead function as one cohesive story that is purposefully and methodically laid out. The dramatic, character-focused beginning fleshes out who these people are and makes the viewer truly invested in their fate. The fact that the violence is intense but used sparingly also gives it a far greater impact when it’s shown.

For the most part, the narrative of this film is quite straightforward and only really veers into surreal territory during a particular montage where a character seems to be aware of details he couldn’t have known without some kind of supernatural ability. It’s possible this may have been a slight oversight in terms of the perspective of the scene but it’s also possible that it was intended to be ambiguous and represent the character’s fears of what the potential truth might be. Either way, the scene plays out incredibly well with some gloriously grotesque imagery that will stick with you long after the credits roll.

As far as Miike films go, this one represents an essential entry into his canon and makes a great stepping stone for viewers into his more unhinged masterpieces such as Ichi the Killer and Visitor Q. It also serves as a cautionary tale that when relationships seem too good to be true, they usually are.

4-stars-red

Murder-Set-Pieces (2004)

msp coverTo anyone who has taken so much as a cursory glance at my reviews it should be abundantly clear that I am an incredibly strong supporter of free speech. I’ve made it my mission to track down and review the darkest and most fucked up films ever made and I revel in witnessing cinema’s most disturbing creations. This is all to say that it’s extremely rare that I come across a film with parts that even I find problematic, but it does happen. A classic example would be the unsimulated animal killing in Cannibal Holocaust whose artistic value is superseded by the real world suffering caused by their creation. It had been a long time since I’d seen Murder Set Pieces, so I was surprised to find a similar moral predicament as I wondered to myself “Wait, is this a fucking pro-Nazi film?” More on that in a minute.

The film itself is very light on actual plot and essentially just follows around an unnamed professional photographer (Sven Garrett) as he brutally murders women in Las Vegas. Despite the fact that he’s racking up a substantial body count, the only person who is even remotely suspicious of this obvious sociopath is his girlfriend’s little sister, who is determined to find out what is really going on. MSP 3

Now, if you are going to have a villainous, evil character, a Nazi or Nazi sympathizer is certainly a good choice and as such have been used effectively in many other films. In the case of MSP though it feels very…..different and not just because the protagonist is openly supportive of Nazis and screams in German while he kills people. By themselves these traits could be passed off as simply being used to enhance the evil nature of the character, but when you also start your film with a strange quote about “the Jews” and use a production company named Third Reich Ventures (!) shit starts to add up.

To be fair, this film was made in a different time, years before a peaceful frog was co-opted into an official symbol of hate speech by armies of trolls seeking to make racism “great” again. If I was to play devil’s advocate I could say that it is possible that writer/director Nick Palumbo was perhaps using the imagery more in service of shock value than promoting an ideology. MSP 5However, this more generous read of the subject matter is a tough sell considering how the entire film feels like little more than a vicarious indulgence of Palumbo’s darkest fantasies.

In scene after scene the strong, good looking protagonist is able to effortlessly pick up beautiful women and viciously fuck and murder them in a seemingly consequence-free environment. In addition to this, this unnamed photographer uses nearly all his non-German dialogue on misogynistic rants or fawning praise for Nazis. This is of course when he isn’t busy working out while Triumph of the Will plays in the background. It’s really unfortunate that these things had to be so pervasive within the film because despite the numerous problematic elements there is actually a lot that MSP does very well.

MSP 6

From a visual standpoint this film is absolutely stunning and Palumbo makes excellent use of his two million dollar budget to create mesmerizing visuals on 35mm film stock. Side note, this film also has the bizarre distinction of allegedly containing the only known 35mm footage of the WTC towers going down on 9/11, for whatever that’s worth. Anyway, horror fans don’t just come for the pretty pictures though, we come for the gore and on that front MSP delivers incredibly well. So well in fact that the film was thrown out of three labs before finally being processed.

Thankfully, it was eventually processed because the director’s cut of this film has some of the most gorgeous and gruesome gore effects ever put to celluloid. Each murder scene is exquisitely crafted to showcase the raw, visceral bloodshed in all it’s glory. MSP 1The chainsaw to the head scene stands out as a particular highlight but whether it’s a brutal throat slitting, bathtub drowning or vicious beating each violent scene is filled with a raw, vicious energy that makes the kills much more realistic and disturbing. Throw in some corpse eating, severed head fucking and a brutal on-screen child murder (!) and what you get is a truly unfiltered example of Extreme Cinema that goes well beyond where conventional horror films dare to venture.

The glorious gore effects were courtesy of Fred Vogel’s Toetag Pictures production studio and Vogel himself even cameos in the film. He is also joined by horror legends Gunnar Hansen and Tony Todd, who’s disgruntled porn store clerk character is a highlight of the film. MSP 2So, in the end there is a lot to like about MSP and if it hadn’t been infested with Nazi propaganda it would be an easy film to recommend to fans of hardcore cinema. Overall I’m left feeling conflicted because as much of a fan as I am of the gorgeous, unhinged violence I just can’t fully endorse a film that seems like it would be a top pick for a neo-Nazi movie night.

2-stars-red

Parallel (2016)

Parallel alternativeThe idea that alternate realities could simultaneously exist in the universe is certainly an interesting one and a concept that has become ever more pervasive in the popular consciousness of late.

However, much like the concept of time travel, it can also become somewhat of a quagmire for writers seeking to apply logical explanations to a concept that defies conventional logic. Regardless of it’s setting though, good storytelling is always king and the films that maintain a compelling, character-driven core while exploring unusual concepts are the ones that are really worth your time. Conversely, films that don’t, will simply collapse under the weight of their facile ideas and today we’ll see where Parallel falls on that spectrum.

After formally meeting at a party, co-workers Heather (Faye Sewell) and Neil (David Magowan, also the screenwriter) begin their seemingly perfect relationship. After a chance meeting with a self-proclaimed psychic named Machlis (Brian Carter) the couple soon finds themselves voyeuristically peering into a parallel version of their lives, to see what much darker versions of themselves are up to.

The very concept of this film is based upon the idea of there being “light and dark” versions of each of our lives playing out in simultaneous timelines, which is exactly the kind of intellectual quagmire I was referring to earlier. The very idea that there could be a “good” reality and a “bad” one is the kind of thing that sounds cool at first and then completely unravels as soon as you start to think about it. Sure, you can show a few isolated characters with alternate versions of themselves engaging in more morally questionable behavior, but what about the world at large? The implication seems to be that the protagonists exist within our normal reality, not some kind Utopian version, so are we supposed to swallow the idea that we live in the good version!? At this point I would like to introduce Magowan to a little thing called the news….

Despite all the real world horrors that plague our planet, it makes just as little sense to say we are collectively an amalgamation of all the worst versions of all the people who have ever lived. The concept of infinitely branching parallel universes is interesting but the idea that they could be distilled down to two oversimplified versions is just ridiculous. Frankly, it takes a very privileged perspective to look around at the world we have and think “wow, what if there was a bad version of this….”

Now, concept is a big factor but so is execution and in the case of this film the results are varied. Overall, the most positive aspect of the production is the acting. Carter especially shines as the somewhat put-upon psychic who may have more up his sleeve than he initially reveals. Sewell also does a very solid job with the material she is given and handles her character’s emotional range skillfully. From a technical standpoint, the film is decently shot but does run into some the classic pitfalls that plague inexperienced filmmakers such as occasionally clumsy edits and some noticeably bad instances of sound design.

Those issues aside, the film as a whole does a decent job of holding your attention, especially as the more debaucherous elements start to come into play. It’s a creative concept with a decent execution that simply suffered from a series of rough edges through all aspects of production. A few tweaks to the central concept, some more natural dialogue, and a smoother edit and this could have been a very interesting film indeed. Too bad we don’t have that cut of the movie, maybe it exists on a separate timeline.

2-5-stars-red

Dreaming Purple Neon (2016)

Dreaming Purple NeonWhen determining how well a film works it’s important to first understand the type of film the director is trying to make and judge accordingly. Dreaming Purple Neon wasn’t released by Troma but given the copious amounts of low budget gore, nudity and general cheesiness, it’s something that could’ve fit right into their catalog. That is to say this is not a film that seeks to astound you with mesmerizing acting or a profound storyline but instead hopes to entertain with over-the-top visuals. This is a perfectly valid position for a film to take and one that is harder to successfully achieve than you’d think. So the real question becomes, does it pull it off?

When Dallas (Jeremy Edwards) threw on his duster and decided to roll back into town to settle some unfinished business, the last thing he expected was to become wrapped up in a crazy scheme involving demons, human sacrifice, an experimental new drug, and a dentist’s office. Now he and his unlikely group of allies may be the only thing standing between a demonic cult and the destruction of the human race.

As I said before, there’s nothing wrong with a film that’s simply over-the-top entertainment, but it’s important that it recognize what it is and commit to it. It’s this self awareness that makes films like Hectic Knife and Father’s Day so successful as they strap the viewer in for their brand of gleeful insanity. DPN does get there, but the first third of the film drags along slowly and painfully until it does. Character development scenes are important, when they work, but in this case neither the writing or acting is up to the challenge of fleshing the characters into empathetic and believable people worth giving a damn about. Writer/director Todd Sheets would have been better served by skipping the melodrama and embracing the drug-fueled demonic mayhem sooner.

Once said mayhem does kick in, the film becomes a lot more fun and really starts to earn it’s Extreme Cinema stripes. The special effects may be low budget but what they lack in quality they make up for in quantity as they assault the viewer with the kind of glorious, explicit carnage you can only see in a non-Hollywood production. Gruesome disembowelments, brutal decapitations and even a graphic crotch-drilling (!) make for a lot of fucked-up fun once it hits it’s stride. In the end this is the kind of over-the-top B-movie that’s best enjoyed with a few friends, and more than a few drinks, by gore hounds who have the patience to make it over the initial hump.

2-5-stars-red

The Forces of Horror Anthology: Volume I (2017)

Forces of HorrorIt wasn’t that long ago that horror anthology films were far less common than they are today. They never went away entirely of course but once the 90s rolled around they were pretty much relegated to cheap, straight-to-video cash grabs, most of which have been deservedly forgotten. That all changed with the success of modern anthology horror like Trick ‘r Treat and The ABCs of Death which revitalized a subsection of films that seemed destined for irrelevancy. As someone who is a big fan of anthology films, I couldn’t be happier with the unprecedented quality and abundance of these films today. Of course not all films are created equal and today we’ll see if The Forces of Horror Anthology feels more like a product of the modern anthology renaissance or a throwback to the dark days of the ’90s.

As so many anthology films do, TFoHA uses a wrap-around story as a framing devices for the shorts contained within. In this case, it centers around a 7th grade girl named Libby (Gracie Whitton) meeting with her therapist Dr. Svengali (Lance Eakright). The short films themselves consist of the four disturbing dreams that she discusses with him throughout the session.

Putting aside, for the moment, any discussion of the actual quality of the writing or acting, the first issue I need to address here is the film’s length. Clocking in at the incredibly awkward fifty-six minutes, this can neither be considered a short nor a feature, which tends to add an unnecessary level of additional difficulty when trying to distribute a film. Honestly, at this point writer/director Roger Sampson would be better off shooting additional footage to expand it to feature length or even chopping it down to short film levels of under thirty minutes. As it is, it doesn’t feel like there’s enough there to be satisfying as a feature but is still too long to pick up and watch as a short.

I wish I could say that the length of this film was the only significant issue here but unfortunately that’s just not the case. I wouldn’t say the acting is bad but as so often happens with indie films this one is yet another example of “everybody’s trying but nobody’s killing it”. TFoHA isn’t exactly killing it in terms of cinematography either, as the flat lighting and static camera give the film a look that’s more ’90s than modern day. Given that the core of the story is focused on dreams themselves, it would have been nice to see Sampson apply a bit more experimentation and creativity to the visual style, especially during the dream segments. This would have also helped to juxtapose them with the visually stark office of the therapist.

On a positive note, this film does get some important things right. I was initially skeptical about the seemingly low-stakes concept of having all the central action being confined to a series of dreams but the wrap-around story actually ties them in in a way that justifies the concept. The effects here are clearly DIY but solid overall and result in some nice use of blood and severed body parts.

In any anthology there is bound to be a range of quality and this one is certainly no exception. The first dream may start out a bit slow but builds to the best and most horrific ending of the four. The second dream, involving zombie parents, is the weakest of the group while the fourth, featuring a man and young girl whose car breaks down, is merely adequate. However, the third segment does utilize the concept of a little girl being terrorized by a monster in her room to create the most effectively ominous and creepy moments of the entire film. So, while it may not exactly be The Theatre Bizarre or V/H/S it’s not Snoop Dogg’s Hood of Horror either, and there’s something to be said for that.

2-5-stars-red

Three Tears on Bloodstained Flesh (2014)

Three TearsIt takes an unbelievable amount of work to make a feature length film and of course the longer your film, the more work it requires. This is why it’s unusual to see films venture past the standard ninety to a hundred five minute window, and downright rare for scrappy indie productions to attempt it. But this is exactly what writer/director (Jakob Bilinski) did with his ambitious and, uh, interestingly titled Three Tears on Bloodstained Flesh. Now, ambition is good, but it’s only half the battle so the real question here is, “how well does he pull it off?”

When a young woman named Lexie (Sidney Shripka) is murdered near her small town home, her last act is to get a letter out to her uncle Dominic (Bill Gobin) asking him for help. Now Dominic, with his unwilling teen daughter in tow, must return to the place he thought he’d left for good and figure out the truth about what happened to Lexie.

The title seems intended to evoke the idea of this as a kind of American giallo. However, this doesn’t so much read authentic giallo to me as just “revenge thriller with a dusting of horror.” Still one thing that’s apparent right from the beginning is that this film has a real visual flair. Some scenes feature quick cuts and use handheld to great effect to give a stylish and authentic sense of movement. Other times the scenes are appropriately stoic and carefully framed but throughout, the film maintains a rich quality image with excellent and inventive use of color.

I also appreciate that this film doesn’t shy away from violence and a couple of scenes in particular that feature graphic disembowelment and fingernail torture stand out as delightfully grotesque. However, for a film so willing to go all in on the blood, it remains perplexingly chaste about the nudity. Despite featuring multiple sex scenes and spending a significant amount of time in a strip club, TToBF never quite manages to get up the courage to bare any flesh, bloodstained or otherwise.

Of course, the amount of nudity in a film is a minor factor, but length and pacing on the other hand are major ones. While there are certainly a lot of positive aspects to this film, the most significant issue it bumps up against is the runtime. Clocking in at a staggering two hours and twenty minutes (!) this is one film that is absolutely begging for an aggressive re-cut. The story itself is interesting and enjoyable to watch unfold, which is why it’s frustrating to see it weighed down by an excessive amount of scenes that are redundant and/or don’t advance the plot in a meaningful way.

Gobin puts in a solid effort as the lead but just isn’t quite able to get to the point of coming across as a genuine character rather than an actor going through the motions. This makes the multiple scenes of emotional torment that Dominic goes through feel more like a chore than a journey and I wish that Bilinski had taken a leaner, subtler approach and trusted the audience more to connect to the story without being led by the hand. In general though, a lot of solid casting choices and Jim Dougherty’s portrayal of the abrasive small town sheriff stands out as a highlight.

Overall, certainly a film worth watching and viewers who do take the journey will be treated to a great visual experience with some satisfying, brutal kills. This is a solid movie with an even better movie buried inside, just waiting to shed it’s fat and come out.

3-stars-red