He has crossed oceans of time to watch schlocky movies
“He has been spotted armed with a meat cleaver in one hand and his genitals in the other. We return you to your usual programming.” Blood Diner
The Break-out: The Evil Within
Writer-director Andrew Getty — of the oil billionaire family — began work on
The Evil Within in 2002, shot most of it circa 2006 and was still tinkering with his self-financed masterpiece when he died in 2015. completed by collaborators, it now emerges as a very strange beast.
With its generic title, key horror star Michael Berryman (The Hills Have Eyes) and a developmentally challenged serial killer protagonist, The Evil Within could have cluttered VHS shelves along with many
Puppet Master, Wishmaster or Mirror Mirror sequels. But, even without its vanity project status, it’d be remarkable, unusual and fascinating.
dennis (Frederick Koehler), a child savant who has become a brain-damaged adult, is cared for by guilt-ridden brother John (Sean Patrick Flanery), whose long-suffering girlfriend Lydia (dina Meyer) complains, “When i said i wanted a baby, i meant the cute kind not the 30-year-old masturbating kind.” the stuttering, shy dennis’ articulate, demonic doppelgänger appears in an antique mirror and persuades him to become a serial killer — first of pets, then of children, finally of adults. Berryman is also an incarnation of a dark force in dennis’ mind — in a bizarre hallucination, the demonic presence puts a zip in dennis’ back, then takes off his skin whole and pulls it over his own body. A giant spider-thing also pops out of the protagonist’s imagination. Getty crafts astonishing special effects and has a knack for striking non sequitur talk — even the glaring plot lapses and awkward transitions are justifiable in a film which follows the logic of a nightmare. not for everyone, but not to be dismissed as self-indulgent camp either.
The Round-up: Do The Twists
despite the Warnings, cabins in the woods remain popular holiday destinations among doomed characters in horror films. in Mauro Borrelli’s Final Recall, a familiar quintet of bland young folks are severely inconvenienced by a global alien attack (big saucers looming out of clouds). Wesley Snipes twitches and rasps as a crazed ex-astronaut/alien abductee eager for payback when the invaders return to his neck of the woods. derivative and incoherent, it has decent aliens and the finale springs some interesting ideas.
Sheldon Wilson’s The Unspoken (aka The Haunting Of Briar House) also saves its best plot twists for the end and is littered with familiar ideas, but has better performances, fresher characters and an unusual collision of genres. Misfit teen Jodelle Ferland (Case 39,
Tideland) takes a job looking after a new creepy kid (Sunny Suljic) in the local haunted house. Apart from poltergeist activity, her job is made difficult by drug gangsters who concealed their stash in the basement. The Unspoken offers gruesome phenomena, jump scares and creepy telekinetic effects, and its last-reel revelation is memorably and ingeniously outrageous.