Madness of Many (2013)

Madness CoverIf you like your torture porn with a hefty helping of pseudo-philosophy, then Madness of Many might just be the film for you. At least, that’s what Danish filmmaker Kasper Juhl is hoping you’re into because his 2013 feature packs a surprising amount of both into its scant 73 minute run-time. Is this an effective combination? Should voice over be used in more than 90% of a film? Who the fuck are all these people being tortured and what exactly is going on here? Read on, for the answers to some of these questions in the review below!

The plot (such as it is) centers around Victoria (Ellen Abrahamson) who we first see walking in the woods in the beginning of the film. We are told through VO that she is 23 and has grown up in the most horrifically abusive home possible. After years of rape and starvation she has recently escaped and now we see her make friends with someone off-screen who brings her back to their home. Things seem to be going well until she is bludgeoned unconscious and spends the next year being held captive and tortured. The bulk of the rest of the film depicts seemingly random other women being tortured who (I think) are meant to represent her inner anguish through depictions of physical torment…..and puking up blood every five minutes.

I’m only pretty sure that’s what’s going on because despite the fact that nearly the entire film contains VO, it seems less concerned with illuminating the details of the plot and more concerned with incessantly repeating its theory that suffering is a transcendent experience that leads to enlightenment. This concept worked in Martyrs several years earlier but that was because it was bolstered up by an excellent plot and a sparing but intense use of violence. The brutality here is certainly the best part but the overuse of it without a solid foundation to stand on makes for diminishing returns. I mean, once you’ve watched someone puke up blood for the fifth time in an hour it’s kind of lost it’s effect.

The fundamental problem here is a real lack of prioritization of the story elements. Sometimes the information is maddeningly sparse, such as how did she get from spending her whole life in tortured squalor to just kind of strolling around in a nice outfit, looking normal and put together? Other times it feels like it’s compulsively berating you with the same information, prattling on about enlightenment and suffering like stoned freshman around a bonfire. This all results in a lack of emotional investment with the events of the film and an attempt at a profound ending that falls flat because it’s not even remotely earned. Madness blind.jpg

This is unfortunate because despite its flaws there are definitely some things that the film does very well. First and foremost, I have to commend the numerous actresses who fully commit to their roles as torture victims and all deliver genuinely great performances. This, coupled with the well crafted gore, makes for some glorious and authentic depictions of violence that are well worth the watch. Additionally, Juhl brings a visual artistry to many of the shots that elevate them from mere set pieces to visually arresting works of macabre beauty.

If only he had spent as much time crafting the story then the end result may have felt more like a provocative art film and less like something made by a film student who took took SFX and intro to philosophy in the same semester.

 

2-5-stars-red

Short Film Review: Aftermath (1994) Duration 30 min

AftermathAhhh corpse fucking, a taboo subject that even the most hardcore of Extreme Cinema films rarely delve into. Sure, directors are willing to mutilate teenagers with chainsaws and machetes all day but once you add in a touch of deviant sexuality it goes to a whole different level for most people. Obviously you’ve got your underground classics like the Nekromantik films or even a bizarre romantic drama like Kissed, but all in all it’s a pretty short list of films that make necrophilia the central focus. Of course, an essential entry to that list is Nacho Cerdá’s ultra twisted mini-masterpiece, Aftermath.

There really isn’t that much to say about the story beyond the fact that it centers around a deviant forensic surgeon (Pep Tosar) who has his way with the corpse of a young woman in one of the more shocking and disturbing sequences ever put on film. The fact that it’s light on story really doesn’t matter much in this case since it’s the incredible visual style that does the heavy lifting in this dialogue-free film. Much like A Serbian Film, the thing that makes this so effectively shocking isn’t just its subject matter, but also that it’s just so goddamn well made.aftermath cameraEvery detail inside the surgeon’s lab is so meticulously created that it gives an incredible level of authenticity to the overall film. This is helped greatly by the fact that it was filmed within a real forensic institute in Barcelona and that Cerdá had the chance to witness an actual autopsy prior to filming.  While the little details are great, the real showstoppers are the corpses themselves, masterfully crafted by special effects studio DDT. Each cadaver has such brilliant attention to detail that they come across as genuine characters right down to the tracks in one man’s arm that were probably the cause of his death.

Speaking of genuine characters, Tosar does more with his incredible eyebrows and menacing stare than many actors are able to accomplish with two hours of dialogue. Added to this is the fact that every shot is expertly crafted and the whole thing is scored to Mozart’s hauntingly beautiful Requiem in D Minor. It’s these small but significant touches that really elevate Aftermath beyond just a shocking video into the visually arresting and provocative art that it is.

5-stars-red

The Cannibal Club (2019)

CannibalClub_Key ArtCannibalism in film is generally depicted in one of two ways; either it’s being perpetrated by savage maniacs who messily devour human flesh or savored by members of high society as an indulgent and sophisticated ritual. As is immediately evident by the cover art, The Cannibal Club clearly falls into the latter category. These sorts of depictions tend to have an undercurrent of social commentary, as the rich literally devour the lower classes for their own pleasure and this film is no different in that regard. However, that is far from all that TCC has to offer as this delectable treat gives viewers a lot more to chew on.

Wealthy social elites Otavio (Tavinho Teixeira) and Gilda (Ana Luiza Rios) are a Brazilian power couple who enjoy indulging in the flesh of their workers, in every sense of the word. Their life of leisure and twisted pleasures soon becomes threatened when Gilda accidentally uncovers the truth about a prominent member of the secret society that Otavio is part of.Cannibal Club - Still 2

There is a lot to like about this film, from the flawless acting, to the beautiful camerawork and of course the graphic gore effects, which are utterly sublime. What’s most interesting though is the unconventional and unpredictable script that subverts the expectations of what a film like this can be. I imagine that had this been made in Hollywood (or when the inevitable, ill conceived remake is greenlit) the plot would have the couple portrayed as the antagonists or softened their characters with a significant amount of remorse. Instead TCC leans into the twisted nature of its protagonists while still portraying them as fully fleshed out people in an imperfect and realistic relationship.

The only thing that I found lacking here (and frankly a bit surprising) was that a film with such graphic sexuality and violence would occasionally shy away from the good stuff and have it take place off screen. Perhaps writer/director Guto Parente was going for a “less is more” approach with these scenes and while they are still effective, I couldn’t help but feel a little cheated out of some great gore that I thought was coming.

cc2Fear not though gore hounds because there is still plenty of violence on display, especially as the film works up to its climactic ending. I also want to give credit to the fact that the social commentary is woven subtly and expertly into the story which gives the message a lot more resonance, especially in this day and age. So, if you are looking for an exotic and satisfying treat to satiate your darker appetites, you’ll definitely want to put this one on the menu.

 

4-stars-red

Short Film Review: Lion (2017) Duration 11 min 49 sec

LionWhen working within the medium of short film it’s essential to communicate a lot of information in a small amount of time. Making the audience feel for the characters and telling a worthwhile story from beginning to end in just a few minutes is a very challenging task but Davide Melini’s Lion does all that and more within its concise runtime. Located entirely within the confines of an isolated family home somewhere in the snowy wilderness, Lion tells the story of an abused little boy who wishes his favorite animal could come and protect him from his own family.

Lion has a very professional feel to it, especially for a short, and has the rare distinction of actually using CGI properly. Not only is the CGI that is on display of excellent quality, but Melini also shows great restraint with a less-is-more approach that makes the scenes that contain it incredibly effective. The film is well edited, delightfully bloody, and centers around the very real and very horrible problem of violence against children. I do think that the character of the father could have been dialed back just a little to be even more effective but that’s a small note within this nearly perfect film that is well deserving of the numerous accolades it has already received.

4-5-stars-red

The 6th Friend (2016)

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The concept of feminism as it pertains to horror is a conversation unto itself but suffice it to say some subgenres lend themselves to it more naturally than others. For instance rape/revenge films (when done properly) can convey a powerful message about reclaiming power and seeking justice against the assailants. The slasher subgenre is a little more ambiguous on this subject because yes, the typical Final Girl getting the best of the villain can be seen as empowering but much of the runtime of your standard slasher features a male character gruesomely murdering a mostly female cast. All this to say that when a slasher comes out that is unequivocally feminist it is an occasion to take notice and that’s exactly what we get in The 6th Friend.

The film opens with a small group of friends enjoying a typical night of partying that soon turns into a traumatic event that they endure together. Some time later Melissa (Chantelle Albers) tries to stitch the group back together with a retreat to a remote cabin in the woods. Joey (Jamie Bernadette, who also co-wrote) has been the most affected by the experience and comes along very reluctantly, not wanting anything that will remind her of that traumatic night. But of course the past has a way of finding you and soon the women are in a fight for their lives against the very thing they were trying to forget.

In an age when every other slasher seems to take place in the woods, it’s nice to see a film6th-friend-knife-e1547402796837.jpeg that makes an effort to establish the characters as real people and not just derivative stereotypes, thereby elevating the story above its basic setting. The feminist theme and social commentary also helps to set it apart and factors heavily into some major plot points (which I won’t spoil here) as well as dialogue that feels especially prescient today. It’s also nice that the characters (mostly) make logical decisions in service of their own survival although it does make it more noticeable the few times that they don’t. The twist nicely ties into the story thematically but it does make some of the earlier scenes feel like a bit of a reach as a result.

Originally released to home media in 2016, the film is finally getting a long overdue theatrical release as of January 11th 2019. It’s great to see this film getting the big screen treatment because in an industry crammed full of remakes and cheap cash-ins, a fresh perspective is always a welcome change. Definitely a trip into the woods that’s well worth taking.

3-5-stars-red

Trauma (2018)

__poster-TRAUMA-V3 (002)Incest! Necrophilia! Rape! Graphic murder! Have I got your attention yet? Because as a fan of Extreme Cinema the Chilean film Trauma certainly got mine. Some movies barely cross the line into Extreme Cinema territory, then there are others that grab the line by the fucking throat as they run past it. Trauma is certainly the latter, with certain scenes even echoing some of the most disturbing content from the legendary shocker A Serbian Film. Yet, at least at this point, this film isn’t talked about with anywhere near the same frequency. Hopefully that will change, because love it or hate it, Trauma is certainly a film that deserves to be watched and discussed.

Beginning in 1978 the film opens with text on the screen letting us know that the following is inspired by true events. It then immediately follows that up by gut-punching the audience with one of the most gruesome and disturbing opening scenes ever committed to film, letting the viewer know right off the bat exactly the kind of ride they are in for. The rest of the film takes place in 2011 and follows four young Chilean women who take a trip to a vacation house in a remote part of the country. From there it doesn’t take long before the events from the opening collide with their lives in an unbelievably brutal way.

When viewing Trauma, it is important to have an understanding of where it’s inspirationTRAUMA_Still_2018-001 comes from to truly appreciate what the film is trying to say. While the exact details of the story and the specific characters may not have actually occurred, the film is steeped in Chile’s modern history and very representative of a significant cultural issue that still impacts life today. In the real world, Chile’s democratically elected government was overthrown in 1973 in a brutal coup that resulted in Augusto Pinochet seizing power as the country’s iron-fisted dictator. During this period the country experienced an unfathomable amount of death and real world horror that left it irrevocably changed. This is important to know because at its core, this film is really about the country’s brutal and traumatic past still rearing it’s head in the modern world, and not simply another violent home invasion thriller.

While viewing Trauma, I found a lot of parallels between it and other examples of Extreme Cinema such as the aforementioned A Serbian Film and the gruesome Mexican horror film Atroz. All three are examples of films that draw inspiration from actual violence and trauma from their country’s past (as well as present) and use very graphic and explicit imagery to convey that collective pain. This is essential because it really gets at the heart of expressing genuine emotion through art. I thoroughly applaud these films (and many others) which are willing to make the audience profoundly uncomfortable in order to give them just a glimpse of the actual suffering brought on by real life atrocities.

TRAUMA_Still_2018-004Another similarity between these films is the fact that they are all very well made, which is also what allows them to be so effectively disturbing. Writer/director Lucio A. Rojas has done an incredible job creating a living, breathing world thanks to gorgeous cinematography, top-notch gore effects, and realistic, believable characters. Speaking of characters, while I do want to make special note of the villainous perfection that Daniel Antivilo brings to his psychopathic character Juan, everyone across the board does an absolutely incredible job.

There’s certainly a lot to appreciate here but my one significant complaint has to do with structure of the film itself. There were quite a few times (especially as the film progressed) when the continuation of the story relied too heavily on coincidence, chance, and poor decision making on the part of the characters. While this did help keep the plot exciting, some minor tweaks to the script could have ironed out these wrinkles and helped events unfold in a more organic, realistic manner. Still, these issues are what keep this from being a perfect film rather than the exceptionally great film that it is and shouldn’t dissuade anyone from seeing this modern classic of Extreme Cinema.

4-5-stars-red

Bloody Ballet (2018)

unnamedBloody Ballet (aka Fantasma) certainly starts off promisingly enough. Snow falls heavily in the night sky as approaching police cars begin to illuminate the solitary figure of a young girl standing still, unmoved by the cold and completely unresponsive. The haunting score swells as the slow motion scene unfolds to reveal the bodies of her brutally murdered parents and I am officially hooked. Of course, it’s one thing to get the audience’s attention and quite another to actually hold it.

After the opening scene the movie flashes forward to follow a professional ballerina named Adriana (Kendra Carelli) who we soon learn is the girl from the beginning. Adriana’s initial excitement at being cast as the lead in the Nutcracker is quickly tempered by the fact that her fellow ballerinas startgetting murdered all around her and worst of all, the killer has the same eye-gouging m.o as whoever killed her parents.

Bloody Ballet was initially released in 2017 under the title Fantasma and the cynical part of me can’t help but notice that the new VOD re-release (under a more audience-friendly title) happens to coincide pretty closely with the theatrical release of the Suspiria remake. Of course, if there was ever a film to try and ride the coattails of into the spotlight that would be it because Bloody Ballet is more than just a little Giallo inspired.

As the masked, black-gloved killer slashes his way through synth-scored scenes drenched in red and blue light it’s clear that this film is wearing its Argento influence firmly on its sleeve. That’s actually not a bad thing in this case though because while it’s clearly not a high budget film, the production design (particularly in the more stylized scenes) is a highlight of the movie. The real star of the show however are the kills which are stylish, surprisingly brutal, and feature a significant amount of ocular trauma.

It’s always nice to see solid kills in a horror movie but in this case they are interspersed between a series of scenes featuring unconvincing acting and a plot that starts out wobbly and nose-dives into terrible toward the end of the film. The general concept is good but it doesn’t help that the character of the journalist feels completely superfluous and the supernatural elements of the story are awkwardly and clumsily shoehorned in. I’d be more willing to forgive these issues were they not coupled with the most egregious of filmmaking sins, the blatant and utterly gratuitous use of voice-over exposition.

Having the characters waste dialogue on multiple occasions explaining motivation and plot points that are already glaringly obvious is bad enough, but when the V.O kicks on at the end just to make sure it’s really, really clear I felt an overwhelming urge to throw my remote at the TV. Apparently, writer/director Brett Mullen hasn’t had the concept of “show, don’t tell” explained to him and I was somewhat surprised that he didn’t simply cut to a scene of himself reading the script out loud to the audience before climbing out of the TV to literally beat us over the head with it.

It’s really a shame that the quality visuals of this film have to be tainted by these ill-conceived and avoidable missteps, but this is definitely a case where an aggressive re-cut could greatly improve the end result. If Mullen simply removed all traces of V.O and trimmed off the scenes that didn’t move the central plot forwarded there would be a very decent film here, assuming there was enough footage left to still qualify as a feature.

2-5-stars-red

Luciferina (2018)

LuciferinaThe demonic possession sub-genre of horror is one that ebbs and flows in popular consciousness but never truly disappears. Perhaps this is because the idea of losing control to a powerful unseen force is something that can have the ability to instill a profound sense of dread within us, at least when it’s executed properly. Whether or not it factors in a heavy dose of religious anxiety, as they usually do, the general concept of demonic possession is a well that’s been dipped into many times and with the success of recent films like Hereditary, you can expect that trend to be on an upward swing. This means that for films on this topic to stand out, there needs to be more to their plot than a by-the-numbers rehashing of The Exorcist and today we’ll see if Luciferina has what it takes to stand out from the crowd.

The film centers around a young nun named Natalia (Sofía Del Tuffo) who must return home after a sudden “accident” leaves her mother dead and her father catatonic. Once home she is reunited with her troubled sister Angela (Malena Sánchez) who insists she join her and her friends on a trip to an isolated island where a shaman is going to perform an Ayahuasca based cleansing rite on them. Concerned about Angela’s safety in the presence of her abusive boyfriend, Natalia agrees to join them on the trip and, this being a horror film, it’s no surprise that things quickly take a turn for the worse.

At the heart of any film are the characters themselves and the fact that Luciferina really takes its time to effectively develop them into real people rather than stereotypes pays off, as it makes the story significantly more engaging. I wasn’t even thinking about the fact that the plot could essentially be described as a group of young, attractive people being terrorized in an isolated location the woods because it feels worlds away from schlock like Dark Forest and the myriad of others more typically associated with that general plotline.

Of course developed characters are only one piece of the puzzle but thankfully Luciferina is also able to deliver superb, realistic performances and some great, bloody, practical effects. The story is also unconventional and interesting and boasts some genuinely chilling moments and unpredictable turns. Still, there are some points where the story line itself can feel a little muddled and a few scenes that would have benefited from a bit more clarity, but not enough to significantly detract from the overall experience. As long as films of this kind are bringing this level of quality to the sub-genre, then demonic possession will remain a horror staple for years to come.

3-5-stars-red

 

Short Film Review: Not in My Mouth (2018) Duration: 4 min 54 sec

poison 5 jpgWhen you have a total runtime of under five minutes you have to pack a lot of content in to create a memorable experience. Fortunately Not in My Mouth does just that and is able to do a lot with it’s micro story in just a few short minutes. Set against a delightfully discordant and aggressive score by White Gardenia and Geimhreadh, the film is directed by (and stars) Poison Rouge, director of the newest American Guinea Pig film, Sacrifice.

It’s hard to talk much about the short plot without giving it all away but let’s just say it involves a bath, some torture, and even packs in a nice reveal at the end. The rest you’ll have to see for yourself and see it you should because NiMM is brutal, sexy, and just a great way to spend a few minutes. The gore is well done and the reverse shots from inside the mouth of the torture victim are especially innovative and fun. Really delivers everything you could want in a what’s essentially a music video and a bloody good one at that.

4-stars-red

Beloved Beast (2018)

Beloved BeastWriter/director Jonathan Holbrook’s new film Beloved Beast is his latest example of what has come to be known as ‘Holbrookian Horror’ following his excellent 2016 feature Tall Men. The term is apt because much like that film, Beloved Beast is imbued with the director’s signature style, one that successfully channels the surreal Americana of David Lynch, while maintaining it’s own unique flavor. In both cases, the viewer gets the feeling of slipping into a cozy nightmare, one that you want to envelop you as you willingly slide into the depths of its subtly surreal world.

After young Nina (Sanae Loutsis) is involved in a car accident that claims the lives of her parents, she is put into the care of her estranged ne’er-do-well aunt, Erma (Joy Yaholkovsky). At the same time a dangerous escaped mental patient named Milton (played by Holbrook) is carving a bloody swath through Slough Town, where Nina lives. Through a series of unusual circumstances, Nina befriends Milton who (after donning his signature rabbit mask and wooden mallet) becomes known by his new identity, Harvey, Nina’s violent and unstable protector.

Beloved Beast is presented in the style of a dark, gruesome fairy tale and absolutely captures that aesthetic. The characters themselves are grounded in enough realism to make the viewer invested, while at the same time the world itself is awash in a subtle dreamlike quality. The story is very engaging and I was thoroughly invested in seeing what would happen next as it dove deeper into the dark world hidden beneath the veneer of small town civility. While the actual style is a bit more of a horror-drama hybrid that defies easy categorization, it certainly has enough blood and menace to keep horror fans satiated as it twists and turns through it’s unpredictable plot.

In this case it is very fortunate that the story is so interesting because with a runtime that’s just shy of three hours (!) it really puts the goodwill of the audience to the test. In fact, my only real criticism of the film is that there is just a bit too much of it, and it would greatly benefit from an aggressive recut. While I did enjoy every scene I watched, I would have preferred if several of them had been relegated to a ‘deleted scenes’ section on the Blu-ray because the cumulative effect drags down the pacing a bit. With about forty-five or so minutes trimmed off, this could become a sleeker and more horror focused film with a greater amount of tension and suspense.

Still, even in it’s current form, it is an incredibly interesting and delightfully twisted film that’s well worth your time. The myriad of strange and off-kilter characters make the journey a unique experience you won’t soon forget. Hell, I would love to see a spin-off that focuses entirely on The Belgian and the dark underworld that he inhabits. So, do yourself a favor and block off an evening for this grim fairy tale with a style all it’s own.

3-5-stars-red