Monthly Archives: April 2015
The Inherited 2009
Directed by: Patrick C. Clinton
Starring: Khory Pilley, Tyler Cross, Natalie Sieber
Review by Luis Joaquín González
There are a number of stalk and slash sites on the web and the way I try to make a SLASH above stand out is by tracking down those complete obscurities that for whatever reason you may not have yet seen. With a track record that includes Cards of Death, Hard Rock Nightmare, Heavy Metal Massacre, Sawblade and Early Frost, you might well say that I’ve aced the target I set out to achieve. Well here we have one that tops all of them.
Type ‘The Inherited slasher’ in Google and you’ll find absolutely nada. Much like 1987’s Legend of Moated Manor, this one has totally and completely disappeared. It does have a listing on the IMDB, but it’s got zero user reviews and only one critic rating from when it screened at a festival. I have no information as to its production notes and it was sent to me anonymously. The plot thickens….
A young man inherits a fortune from a relative that he never knew he had. Clearly surprised by his luck, he heads off to stay at the house he was given with a group of his closest friends. As soon as he arrives, he begins to feel uneasy on the premises and a hooded killer turns up and begins slicing his way through the guests one by one…
We are back in the Bloodstream realms of having no idea why this entry remains shelved. That’s not to say that it’s an amazing piece of filmmaking, but when you think that something as ‘awkward’ as Carnage Road got a global release, you only have to wonder what went on behind the scenes to stop this one from being picked up. At just under two hours, The Inherited comes dangerously close to being a marathon instead of the usual brisk sprint that works fine for slasher movies. What impressed me most though was that there were very few times when the runtime became tedious or unwelcome with its storytelling. This is mainly due to some well-developed characters that all face personal issues that manage to keep interest levels raised when nothing else is happening. Although a few more killings wouldn’t have gone a miss, the mystery does manage to keep the momentum moving in the right direction and there’s a neat tone of impending doom that remains consistent.
It also helps that director Patrick Clinton pulls out all the stops to inject pizazz into the visuals. He shoots with an abundance of rapid cuts and inventive camera angles that are energetic to watch. Most of the action takes place in tight locations, but Clinton manages to film them with a perception of expansiveness. During the first thirty minutes or so, I was unsure what type of film I was watching, because it opens with a traditional slasher sequence but then throws some haunted house clichés in the mix. These are all superbly staged and include some striking Evil Dead-alike POV shots and a superb use of a creepy phantom clown. We later learn that these additions are only added as unsettling flair and the story soon finds its footing as a typical slasher/whodunit. More importantly, it’s one with a twist that’s unpredictable and actually quite shocking.
A clearly talented filmmaker, Clinton seems to be especially unfortunate with his output. Both this and his debut, Last Getaway (2007), remain unreleased, despite being surrounded by good word of mouth throughout post-production. I guess his style could be described as being similar to that of Tyler Tharpe from Freak fame, which is another title that I thoroughly enjoyed. He certainly invests in the depth of his players, but I felt that the kill scenes were too diluted to really make an impact. This was crying out for some gore to really become a missing gem, but instead it relies on plot delivery and a terrific score to generate the tension. This was a deliberate ploy from Clinton because he wanted to attempt the less is more approach that John Carpenter delivered so purely. I totally agree with the idea of that philosophy, but perhaps because of the film’s budget look, I felt that it really needed an injection of goo to complete the exploitation package.
The Inherited is a sharp blend of horror trademarks that plays like a mix of The Boogeyman and The Ghastly Ones. It’s a good movie that probably would have been well received by fans if given the chance. The fact it has disappeared is totally bemusing and it’s a shame that it remains elusive. After six-years of no news though, it’s unlikely to surface anytime soon. Whilst it may not boast extremely strong performances from the entire cast and the lack of gore is clearly quite disappointing, it does keep you interested and remains rather unique.
I only hope that one day you can check it out for yourself…
Killer Guise: √√√√
The PickAxe Murders Part III: The Final Chapter 2015
Directed by: Jeremy Sumrall
Starring: Nick W. Nicholson, Tiffany Shepis, A. Michael Baldwin
Review by Luis Joaquín González
In the slasher cycle, it’s fair to say that a genre parody has become such a cliche that the next step would be for someone to make a parody of slasher parodies. For a style of film that’s not bustling with unique character traits, we certainly ran out of the need for satire long before filmmakers realised that was the case. Credit is due to director Jeremy Sumrall though, because he has found a novel way of poking his tongue at the genre that he’s obviously a big fan of.
Franchises were as large a part of the early slasher phase as were masked killers and after the consistent success of the Friday the 13th continuations, every new movie was produced with the intention of starting a series. In most cases, the quality of films deteriorated on a chapter by chapter basis and that’s the genius behind the gimmick of The Pickaxe Murders III: The Final Chapter. Sumrall has introduced us to his boogeyman immediately from the third instalment and as we all know so well in horror legacies, part tres is generally the cheesiest. It’s one of those ideas that’s so good that I wished I’d thought of it myself and so I was indeed hopeful that the film would live up to its creative concept.
It opens with a text introduction that describes two previous massacres that were the work of a maniac that may well be the son of Satan and goes by the name of Alex Black. He was presumed dead, but two hikers discover an amulet that possesses a mystic power to bring him back from beyond. Before long, he’s up to his old tricks again and the residents of a small rural town have to fight to survive his Satanic wraith.
Jeremy Sumrall’s début film, Posum Walk remains unreleased and I’m the first to hope that his feature-length follow up doesn’t suffer the same unfortunate fate. The Pickaxe Murders is a bloody ride of no nonsense thrills that packs one hell of an exploitation punch. We don’t wait around long for our first slaughter and the victims carry on dropping at an impressive rate throughout. Alex Black looks tremendous in a guise that brings to mind the greatest backwoods burlap-sack sporting villains and he stalks and slashes with a similar imposing threat to Jason Voorhees’ finest moments. Whilst we can see that the production team were operating on a meagre budget, they hide the lack of funding well enough, and there are some impressive gore effects amongst the murders. A pickaxe is a superb tool for gooey mayhem, but Black also utilises his strength to crush throats, squeeze heads and rip off limbs.
The story takes place in 1988 and there’s a lot of effort put into visually bringing that era to life for us. Our main characters of the story are heading to a hair-metal concert and the director actually takes us inside the venue to witness the band in action. We don’t only get two rock groups that dress and act in a style that’s perfectly retro, but there’s also an audacious massacre sequence that is both hilarious and gruesome in equal measure. We’ve been transported to the eighties many times before of course, but Pickaxe actually ‘feels’ authentic. Sumrall is a director that pays the closest attention to detail and because of that, he has a huge career ahead of him. There are many occasions when we head into a deep dark forest setting and everything is so finely lighted and so purely shot that I had to remind myself that this was only his second full film… and the first to be released (hope hope)
There’s an old saying where I come from in Andalucía that translates to something like, ‘an excellent artist can never overcome the canvass he paints upon’. Pickaxe Murders reminded me of that proverb, because I often felt that director Sumrall was by far the most talented person in this crew and the rest of them somewhat let him down. Watching the dialogue scenes and the actions of his characters made me visualise his standing there and showing them how they should perform. What he couldn’t do though is improve the levels of their dramatic ability and the net result is like Fernando Alonso giving his all in a Robin Reliant instead of the Mcclaren F1 that he deserves. I could mention the lack of an alluring central character or that the plot sometimes seems as if it loses track of where it’s supposed to go next, but all those minor moments where I was feeling critical are made up for by that amazing rock sequence and an overall tone of fun. Sorry to utilise a platitude, but this is most definitely a film made by a fan for fans. It’s a bit rough around the edges, but overall it works and that’s what matters most. Also, whilst I can’t be sure if it was intentional, I am thirty-four-year’s old and the fact that I look younger than these, ahem, ‘Hi-School kids’ was a real ego-booster. Well, one of them was clearly getting silver fox sideburns, so was that part of the humour? During the eighties, the ‘teens’ in these movies were notorious for being closer to the big four-zero than their supposed age…?
The pre-screener I watched to write this review was only 80% finished and Sumrall told me that there’s still a bit that needs to be done before release. Still, I think The Pickaxe Murders III is a slick genre entry with lashings of potential and it will satisfy slasher hounds immensely. From a personal perspective, I thought there was a tad too much nudity (regular readers will know I’m surprisingly prude… unless it comes to undeniably HOT Chicas, which these aren’t)) but that’s part of the exploitation package and I accept that. We can only hope that Pickaxe gets the release and success it deserves, because I’m eagerly awaiting the prequels 🙂
Killer Guise: √√√√
Splatter Farm 1987
Directed by: P.Alan
Starring: Todd Michael Smith, John Polonia, Mark Polonia
Review by Luis Joaquín González
One of the strangest rules of film collecting is that extremely rare and impossible to locate movies immediately become cult classics. People seem to forget that the reason that most of these flicks have vanished is because they were so rubbish that they didn’t shift first time around. It would take a pretty stupid distributor to recall and stop producing any feature that was flying off the shelves, wouldn’t it? Titles like Savage Water, Night Ripper and Don’t go in the woods (especially Don’t go in the Woods) are without a doubt ‘challenging’ pictures to sit through. Original copies still sell on ebay for prices that range from $50 – to as much as a staggering $120 a pop. Judging by the posts and wanted lists that I’ve noticed scattered around on websites, Splatter Farm in its original format is among that number of missing obscurities that has inexplicably gained a similar undeserved following. I already own a copy of this on VHS and even if it can be picked up fairly cheaply nowadays on budget DVD, I wanted to post an honest opinion in case it ever disappears again.
The story concerns two nameless and identically goofy-looking brothers who head out to the sticks for a vacation at their Auntie’s secluded farm. Mrs. Lacy is an old coot who keeps telling herself that’s she’s incredibly lonely since her old man was the victim of an unfortunate ‘accident’ (an axe to the head!). Her only company on the green grass of home is Jeremy, the handyman who lives in a barn. Unbeknownst to pinkie and perky (the two numbskull siblings), Jeremy is a raving cannibalistic maniac with a taste for necrophilia too. In the first scene alone he’s shown dismembering a patently unrealistic corpse, which looks to be made from paper mache. Before long the two nerds are stranded on the farm and have to fight off their auntie’s sexual advances and Jeremy’s murderous habits…
Wow. The fact that this one can even be considered a ‘cult classic’ is a mystery that rivals the identity of the assassin on the Grassy Knoll. Ollie Kendall’s Houseboat Horror achieved a similar feat when that too took a one-way vacation into obscurity, but on the subject of the Grassy Knoll, Kendall’s flick looks comparable to Oliver Stone’s JFK in comparison with this. I know it’s nothing to boast about, but as you can see from my A-Z review list I know more than most about cruddy slasher movies. I’ve seen them all, from the obscure (Cards of Death/Early Frost) to the ridiculous (New York Centre Fold Massacre/Fever Lake). Well P.Alan’s addition ticks both of those boxes, – but in honesty, it’s ugly to boot.
The first thing that potential viewers should understand is that it was not even shot on a reasonable format. It’s an average camcorder recording, which makes the poorest SOV flick look like an IMAX print. There’s no boom mike available, so the tinny microphone picks up everything other than what you want it to properly and Ray Charles must have edited the whole thing whilst counting sheep. Yes there is a fair bit of el cheapo gore and ‘sexual’ scenes that could get the movie banned even in Amsterdam, but it’s so damn fake and poorly handled that it makes Violent Shit look like Tom Savini’s finest hour in comparison. I won’t mention the performances, because there are none; and I’m running out of witty ways to describe rancid dramatics on a SLASH above.
I want to say that I’m not trying to slander P. Alan for the effort he took to make his first movie. I think it’s great that anyone with a camcorder can grab a few mates and try to do something creative with their spare time. In fact, the film is quite funny in an ‘oh deary me’ type way. Perhaps Splatter Farm caught me in an unfortunate mood, but all I’m trying to do is stop the numerous fans paying rip-off prices for a film that just won’t deliver what you expect it to. It’s certainly a twisted beast with hilarious necrophilia sex scenes that you won’t see anywhere else. But like I said, chances are you could pick up an iPhone and make a movie of similar quality with just a couple of your mates and a gallon of corn syrup. I decided to post this review after seeing the video for sale on eBay for $200 and the seller stating it was a, ‘gross-out classic that every true horror fan must see’. You can feed a family for a whole week on that budget…
As I said, there are some laughs to be had here and it despite being amongst the most poorly put-together films that I have ever seen, it does have moments of a disturbing atmosphere. Still though, I reckon that the most fun to be had is hunting down a copy. In a way, Splatter Farm could have been one of a number of similar entries that you will get milked for on auction websites. The moral of the story is, times are tough; – be wise with what you spend your money on 🙂
Directed by: Andrea Bianchi
Starring: Gino Concari, Patrizia Falcone, Silvia Conti
Review by Luis Joaquín González
It’s somewhat ironic that Lucio Fulci supervised this belated entry to the giallo catalogue. Despite being two years his elder, Andrea Bianchi’s work has always made him look like something of a protégé of the notorious craftsman. There are many Fulci trademarks to be found in the works of Bianchi. Most notably the extreme use of gratuitous gore and a taste for barely logical plot points. Over the years many have labeled Fulci as an inept filmmaker that hid his directorial shortcomings behind the talent of his special effects team. But titles like Don’t Torture a Duckling and Zombi 2 have pretty much taken the gust out of that argument. If these critics truly believe that Fulci was an incompetent director, then gawd only knows what they’d make of Bianchi. His most famous movie – the notorious Burial Ground – is great fun if you love blood and guts. But if you judge it on it’s merits as a motion picture, then it fails in just about every department. The acting was diabolical, the direction non-existent and I don’t even think that it was filmed from a script. I hoped that Massacre would keep the gratuitous exploitation edge, but I was also looking for a little more credibility from Bianchi this time around.
Massacre kicks off with a gruesome murder that was re-used by Fulci along with other gore scenes in the bemusing Nightmare Concert. A guy wearing red gloves, shades and a beanie hat is seen cruising along a lengthy stretch of road. He pulls up beside a young woman in a skimpy dress who greets him with the classic line, “Hey cutie wanna make love mmmm!” Unfortunately, ‘making love’ isn’t exactly what this guy had in mind, and he proceeds to chop off the woman’s hand and then decapitate her with an axe. Next up we meet a film crew that are shooting a zombie flick in the area called Dirty Blood. There’s a whole heap of tension on the set because it doesn’t look like any of the employees seem to get along with one another. The lead actress Jennifer (Patrizia Falcone) is dating a Local Police Captain called Walter (Gino Concarni). We soon learn from him that this maniacal killer has already murdered four other victims, and the authorities don’t have a clue to his identity. Things really get nasty after the producer calls in a medium to hold a séance and teach his cast and crew the ways of the supernatural. The circle is broken when an evil spirit invades the sitting and forces the Medium to end the seance. Only hours later an unseen maniac begins slaughtering his way through the cast list one by one. Will any of them survive…?
Surprisingly, Massacre is not as bad as I had initially expected. Silvano Tessicini did a credible job with the photography and the director even managed to build suspense in places. No really. As this is a Bianchi joint, the exploitation is spread thick and fast, and there’s more female nudity than an Electric Blue omnibus. Look out for the scene where a victim flees the marauding killer with only a short skirt covering her modesty! The gory murders reveal a great flair for the macabre from the filmmaker and there’s a body count to rival an Arnold Schwarzenegger machine gun frenzy. You probably won’t solve the twist and turn mystery with ease, plus the boathouse massacre is a tremendous piece of mayhem, which deserves a second look. Massacre also boasts some wacky pre-politically correct dialogue, which will make even the most sinister viewer smile. It’s also worth noting the amount of American stalk and slash clichés that have been incorporated with the more typical native giallo platitudes. At one point a fornicating couple are slaughtered whilst parked in the woods – an indisputable trademark of the USA teen slasher.
But still this is far too bizarrely structured to be anything other than good in a bad way. As was the case with Burial Ground, there’s just too much inadvertent humor to allow this to join the giallo elite. The murders certainly could have benefited with a little more directorial flourish and the musical accompaniment was continuously monotomous to the point of frustration. Bianchi certainly has an eye for a beautiful actress, and he always tries to include everything from lesbian proposals to soft-core pornography. Only problem is that he seems to prioritize acting ability way below bra size. It’s a flaw that’s only too evident from the start.
The net result is a film that will satisfy forgiving fans that aren’t expecting anything along the lines of Tenebrae or even Eyeball. To put it another way, if you could sit through Burial Ground without cringing at the screen then you’ll probably enjoy this.
Final Girl: √