The plot of Michael Myers: Absolute Evil can simply be summed as a mockumentary which discusses Michael Myers as though he were a real serial killer. However, unlike most mockumentaries this is not a comedy and is presented in the same kind of tone that you would find with a typical documentary about a real serial killer. This is certainly an interesting, unusual approach so the question becomes, does it pay off?

I do like the idea here but I think the very concept runs into a fundamental problem. The reason documentaries are engaging is because you’re learning details about a real person or event and the experience can be a fascinating journey of discovery. We accept that documentaries are mainly made up of talking heads, still photos and low production value reenactments because the information we are learning is compelling and real. On the other hand, mockumentaries are traditionally presented as dead-pan comedies that revolve around a completely fictional subject, think This is Spinal Tap, where the enjoyment is derived simply from the fact that the film is funny.

Since this film doesn’t meet either criteria I would have to assume that writer/director Rick Gawel created this to be viewed as a realistic documentary that just happens to be about a fictional subject. In this regard there are a few parts that could be tightened up to sell the idea that this is a real documentary. One example is a scene which contains an archival interview that we’re told takes place in 1964 but is clearly shot digitally with an after-effect put on during editing, which is noticeable. If the footage had actually been shot on film for that scene it could have come across as authentic. I had a similar problem with the title cards between interviews which are given a deliberate effect to make them appear old and flicker in and out of focus. The effect looks fine but creates a disconnect between the cards and the crisp, digital interview footage.

There were also some scenes shot specifically for this film that are created to expand upon the mythos but these largely fall flat. The cult leader especially didn’t read as charismatic or menacing enough to be believable and the awkwardly long short film that’s spliced in near the end never elevates itself beyond the typical found-footage films that have long since worn out their welcome.

This is a shame because the actual documentary parts of this film are quite well done and do for the most part feel like an authentic documentary. Gawel’s use of black and white stills is done masterfully as he takes the viewer through the history of Michael Myers as though it was one cohesive story, which is no easy feat considering how disjointed the films themselves could be at times. The interview subjects are for the most part quite believable and effective, although there are some notable exceptions including one man that appeared to be looking down at an off-screen script in-between lines (!).

Ultimately, it’s a very interesting idea that would be great as a short 20-30 minute film but begins to become tedious when stretched out to an hour and a half. It’s cool to see the overarching story presented in this way but there isn’t really much in the way of new insights or information to be gained by watching this that you couldn’t get from simply seeing the films. This is a clever concept with some nice touches, I like the subtle diss of the remake that was slipped in, but one that ends up being more of a novelty for fans rather than essential viewing.

Creating a world that is subtly surreal can be a very difficult task. Balancing elements of a disintegrating reality with a compelling storyline that progresses at the correct pace to guide the viewer along the journey with the protagonist is a challenging undertaking indeed. So how does Tall Men fare with a storyline that embodies this concept? Well, let’s discuss.

The film centers around Terrence (Dan Crisafulli), a man living with mental illness who has fallen on hard times and is filing for bankruptcy. An early scene eludes to a childhood trauma which seems to have played a big part in his current mental state. After his meeting with the bankruptcy attorney he begins to have strange visions and the feeling like he’s being watched. His life takes an even stranger turn after he applies for a mysterious credit card that seems too good to be true.

The first thing I will say about this movie is that it sucks you in. This is no doubt something that was made on a very modest budget but the sleek sound design and attention to detail give this film a professionalism that transcends its financial limitations. Director Jonathan Holbrook wisely chose to focus on a character-driven story in which he craftily builds tension and dread in a compelling and natural way. The world of the characters is well established and when the surreal and paranormal elements creep in you consistently find yourself questioning what is real and what isn’t.

The film has a lot of clever touches as well. For instance, the scene where Terrence is on a date with the weird, pretty girl he works with and the movie they go to see ends up unexpectedly being a horror film. As he comments “I don’t think this is a romance” there is a noticeable tonal shift in the overall movie itself and what had started to feel a bit like a quirky relationship movie the last few scenes takes on a darker feeling of dread and menace. It’s a meta moment that is far more effectively executed than in many films where I have seen similar things attempted.

Now, I would be remiss if I didn’t mention a few things that I feel could have been a bit more polished. While I feel like most of the actors were quite effective some of the supporting cast could have benefited from reining in their performances a bit. Some of this may have been a deliberate choice by the director to inject some humor into the film but I feel it would have been stronger with a consistently serious tone throughout. This would have sold the characters as real people a little more and helped the viewer feel more immersed in the film. There were also a few scenes in which fake teeth were used where the actors exposed too much and betrayed the items as props which took me out of the moment a little. Okay, so these may seem like quibbling points but the devil is in the details and it is the attention to the subtle details that often separates good films from great ones.

Bottom line here, this is a very watchable film with some genuinely frightening moments and an interesting, surreal story. I thoroughly enjoyed watching it and would definitely see it again, which is certainly not something I would say about some of the other films I have reviewed. Without a doubt, recommended viewing.

When viewing micro-budget films, you have to go into it with the understanding that you are not going to be seeing the same kind of slick production values that you get with Hollywood films that have budgets in the tens or hundreds of millions. Because of this, I try to be fair and cut a certain amount of slack in terms of production aspects that could not be helped due to the budget, like footage quality, set design, amateur actors, etc. I do however still hold filmmakers responsible for choices within their control such as the script, actors they chose, and production choices made.

Flesh of my Flesh starts with a zombie outbreak in a hospital and then moves forward in time eighteen months for the main storyline which takes place in an abandoned city overrun by zombies. A three person rescue team, lead by Major Erick Vaas (Matthew Martin), is tasked with finding survivors and becomes stranded in the city when their helicopter is shot down by a zombie with a rocket launcher (!). They are then taken in by a small group of survivors in a bunker and have to work together to figure out a way to escape the city before the whole thing is leveled by the military in an effort to control the outbreak.

If this sounds overly ambitious for a film with a small indie budget, it’s because it is. When your resources are very limited it’s wise to play to your strengths and focus on a character-driven story with limited locations and an innovative concept that will hold your audience’s attention so much that they are willing to overlook the rougher edges of the production. It’s less wise to have an elaborate high-concept story that involves blowing up multiple helicopters and buildings. These effects unfortunately draw a lot of attention to the budget of the film, or lack thereof, and the final result ends up being more like Birdemic than Black Hawk Down. This was definitely a case where the director would have been better off finding another way to get the protagonists trapped in the city rather than attempting effects he could not pull off.

Also, I understand and appreciate that it is hard to find actors willing to act in a low-budget film and I’m not trying to be mean or pick on one actor but I just could not get past Matthew Martin’s performance. Honestly, no one was knocking it out of the park here but I really feel that the leading man of the film especially needs to have the chops to really pull you into the story and there truly wasn’t a moment that I didn’t feel like I was watching someone who was, painfully, trying to act.

Now, in case you think I’m simply being excessively negative here, I do want to mention a few of the things I did enjoy about the movie: I liked the idea of the kid zombies playing a game where they stand in a circle shooting each other over and over again because they cannot die. I enjoyed seeing one zombie rip another one’s arm off and eat it in front of him. To that end, I also liked it when one zombie ripped the head off another one and smashed it on the ground like a watermelon. Probably the most interesting part though was the zombie head that one of the survivors was keeping alive by feeding parts of it’s own body. Since in this film the zombies actually regenerate lost body parts it kept trying to re-grow the rest of it’s body starting with a spine which would have to be clipped from the base of the neck every few days to stop the regrowth. Gross, and cool.

And that’s really the basis of this film, a few cool, interesting ideas scattered throughout a movie that unfortunately is mostly a cliched, standard zombie film with a very low-budget feel. Without anything really creative or innovative to set it apart, I can’t see the reason to invest time into watching a film like this when you could simply watch one of the many zombie flicks it’s trying to emulate and be far more entertained by higher production values. I also feel like if a film like Wyrmwood could be made for $160,000 and look amazing then no one really has an excuse for blaming poor production values on lack of resources.

The real tragedy of this film is the ending though. Now, I won’t give anything away but suddenly, in the last scene of the movie, it becomes cool, really fucking cool! I remember thinking “Fuck! Why couldn’t the whole movie have been like this!?” Let me tell you, if it had been, I would have given the film very high marks indeed and I assure you it would also find a cult following in no time. The final shot itself is also so amazing, not just from a conceptual point of view but even from a technical one that I can’t believe it’s part of the same movie. It does give me hope though that writer/director Edward Martin III could be capable of some really great, interesting work. He simply needs to branch out into a far more bizarre, abstract and creative direction and then I think he could be capable of contributing something raw, gruesome and significant to the horror genre.

Quantum theory, sentient liquid, 80’s synth scores and Alice Cooper. Today I discuss Prince of Darkness which is quite possibly John Carpenter’s strangest film, and that’s saying a lot. By the way, some minor spoilers ahead.

When an old priest belonging to a secret sect tasked with protecting the world from an ancient evil dies, another priest (Donald Pleasence) has to unravel the mystery of what he had been guarding humanity from. He enlists the help of Quantum Physics professor Howard Birack (Victor Wong) and his group of PhD students to try and discover the true nature of the swirling green liquid that the old priest had been guarding before it destroys the world.

Now, the script that Martin Quatermass (aka John Carpenter) created is certainly unique, especially where the antagonist is concerned. The evil, self-aware liquid (that’s right, you heard me) soon forces itself from it’s container and into the mouth of one of the students where it is then transmitted via direct mouth-to-mouth-vomit (!) into the bodies of other students, possessing each of them along the way.

So, credit where credit is due, that is certainly an interesting concept and the film does do a good job in the first act of creating a sense of dread and the feeling of a powerful, otherworldly menace threatening our very existence. In addition to this there were some discussions about quantum theory and the nature of reality itself that I found really interesting. However, that sense of dread and intrigue dissipated as I began to have far too many questions that should have been addressed.

For instance “why doesn’t anyone call the cops when people are blatantly murdered outside in the open or turn into giant piles of living bugs?” I mean, other than the groups of possessed hobos wandering around with Alice Cooper, the “evil” doesn’t appear to affect anyone else outside the abandoned church where the students are conducting the research. Also “why would a group of scientists be so quick to wholeheartedly believe in a bat-shit crazy story about the liquid in the basement being a manifestation of pure evil and Jesus being an alien based on the translated text from one source?” Now, to be fair one of the students does remain highly skeptical but that’s not nearly enough to counter-balance the ridiculous behavior of the others.

I feel like Quatermass (as he sometimes like to be called) is operating under a very vague understanding of how scientific research works. That’s why the so-called scientists of this film can declare an object that could only have been made by modern era humans is seven million years old without having to clarify it with a statement like “but of course that’s impossible!” Or extrapolate a profoundly crazy theory that the liquid is conscious and able to move objects psychically based on nothing more than a fucking seismograph reading!

The situation is not helped by the mediocre performances from the cast complete with some terrible attempts at comic relief that only succeed in exacerbating the inherent lack of realism. I will say that Donald Pleasence certainly does the best job in portraying a convincing character but others (I’m looking at you Dennis Dun) are distractingly bad.

All in all, an interesting and original idea that was poorly executed and not really worth tracking down to watch. A few scenes offer some interesting scares (the man into bugs one was actually incredibly creepy) but there just isn’t enough here to make up for the frustration of the shoddy plot. Maybe that’s why John Carpenter chose to hide behind a pseudonym with an esoteric sci-fi reference in it rather than use his own, highly recognizable, name.