Jen talks horror and more with a handful of spoilers, a fair amount of mockery, some bad jokes, bipolar rants, a little bit of awe, and a whole lot of love.
(Written by Jason Manriquez, Assistant Editor/Paddy Jack Press)
McClain Lindquist's short-film adaptation of Edgar Allen Poe's classic, The Tell-Tale Heart, is a moody, well-photographed ode to that particular strain of gothic theatricality that marries old-world airs to a distinctively American strain of macabre depravity and violence. There is no skimping of blood in any ill-conceived attempt to make this more acceptable to the tea and crumpet circles. Nope. This is a horror short with a vision, and it stays true to that vision throughout its modest 22-minute runtime. The Narrator, played by Sonny Grimsley, remains the one fixed constant throughout a series of vignettes meant to tease and discombobulate the audience. Time and space itself are continually made questionable, with clocks running backward, and the various scenes shifting locales, never quite sure if what’s happening is taking place at the home of the Old Man (James C Morris), or at some police station, or who-knows-where. Officer Sharpe, played by the wonderfully assertive Mikah Olsen, and Detective Tucker, portrayed by Teren Turner, appear as archetypal law enforcement from divergent eras, further heightening the spatio-temporal confusion. Officer Sharpe looks as though she was culled from an 80’s police drama, while the Detective looks like someone pulled from a pulpy Mickey Spillane novel. The auteur's commitment to Poe’s literary vernacular is clearly meant to create tension within the viewer habituated to a uniform vernacular. All the characters speak from a distinct place, almost as if they all existed in separate worlds. Regardless, the film does a great job drawing the viewer in for a closer look at the simmering surface of an unhinged mind.
Written by Jennifer Manriquez, Editor-In-Chief, Paddy Jack Press
I watched this film on a whim, only because I love Martin Freeman and I'll watch almost anything with zombies in it. I didn't expect much. I hadn't heard of it. With a shrug and sigh I started it up and, by the end of the thing, I was crying my eyes out, completely emotionally devastated, and yet somehow weirdly comforted - totally drained of energy, but in a strangely good mood. I don't know how to explain it. Very few films can do this to me. This one is a rare gem in a valley of celluloid boulders.
Cargo is still new, so I'm not going to talk about the story at all. I want you to unpack and experience it for yourself. I'm only going to tell you that the acting is phenomenal, the scenery both breathtaking and frightening, the story simple yet superb, and the practical effects impressive.
I referred to Cargo on Twitter as a "zombie-ish" movie, because while there are zombies and the plague that has swept Australia is what drives the plot forward, the zombies are really just backdrops to a much more personal story. I don't think it's correct to refer to this simply as a zombie film. It's much more emotionally driven, with characters you get to know fairly intimately as human beings, and that you can't help but to care about. Because they could be you. They are real, not superhuman, not bad ass zombie killers, not heroes. Just ordinary people. And that's what makes Cargo stand out. Nobody in it is particularly special. Everyone is either trying to survive, or they're tired and they're giving up. And that's it.
Cargo is based on a short film by the same title and from the same writers. The short film is equally impressive. I do not, however, recommend that you watch the short before you see the feature-length film. I know it came first, but trust me on this. If you watch the short first, it might spoil the feature for you. Watch it after. You'll be glad you went into the feature film knowing nothing.
So, when you're ready, here's the short...
In conclusion, I was so moved by this film that I'm still thinking about it days after watching it. It's a testament to human bravery, steadfastness, survival, hope, and love. I highly recommend it to everyone. Don't forget the hankies! You're definitely going to need them.
Before I get started, please allow me to issue an apology for my extended absence. Until yesterday my life was completely commandeered by the video game Skyrim. Yes, I'm a 44-year-old woman who plays Skyrim. Heard of it? If not, count yourself among the lucky. I devoted far too many hours of my daily life to it, and a monstrosity we referred to around here simply as "laundry mountain" was the result. Laundry mountain has been whittled down, though isn't completely gone, and I have actually started cooking for my family again. Did I finish the game? No. For, you see, the game is never finished. Therein lies the problem. I just had no other choice but to step away and reclaim my sanity. So here I am. It's good to see you again!
I'm starting my comeback with a spunky little short film called After Hours, written by Adam Weber, directed by Michael Aguiar, and starring Bill Oberst Jr. whom you may remember from the last short film I reviewed, Heir. The film clocks in at just a hint over 12 minutes. The story is simple, but well-defined. There isn't time to get mired down in backstory, though quite a bit can be implied in the characters' respective demeanors. Actor Bill Oberst Jr. is a strong talent, and carries the film well. In fact, all of the actors did a good job with their parts, but Oberst Jr. was the standout for me. I don't really want to get into the meat of the story since it's a short film and anything I tell you could be a potential spoiler. It's a quick who-dunnit with a surpise twist ending, an easygoing combination of slasher film and mystery-drama. My only criticism is that it dragged just a touch in the middle, but it was definitely enjoyable. After Hours is currently touring the film festival circuit and will soon be available to a wider audience. In the meantime, check out the trailer (embedded below) and keep an eye on their Facebook page for news!
Heir, a Canadian-born short film from Fatal Pictures, funded via a Kickstarter campaign, was written and directed by Richard Powell, and produced by Zach Green. It's less than 14 minutes long, so I'm not going to go into great detail about the plot or post any spoilers. You'll just have to go check it out for yourself. It's still in post-production right now, but it will be available soon. In the meantime, you can go to the Fatal Pictures website and check out some of their other short films.
What I will say is that Heir does a good job of creating tension and curiosity for the viewer. The mix of ominous music and lighting, combined with some stellar practical effects, made for a gross-but-enjoyable little watch. It leaves you thinking about the film's metaphorical statement because there clearly is one. It isn't obvious at first glance, though. I had to read the director's statement to get the skinny on the subversive story's meaning. Go ahead and read it. It won't spoil the movie for you - in fact, I think it will make your viewing experience even more rife with tension, which is a good thing when you're watching spooky stuff.
Director's Statement: FATAL PICTURES' HEIR (2015), Richard Powell
"HEIR is a monster movie unlike any other, it is a bleak and fantastical examination of one of societies darkest taboos that aims to stimulate the mind and wrench the gut with equal power. HEIR suggests that victimization through sexual abuse leads to mutation of the psyche, soul and in our film, flesh itself. As our film aims to examine the cycle of victimization it only makes sense to depict the various stages of victimization through a trio of characters; Father, Son and the Monster. Just as the Son represents the potential beginning of the cycle the monster reflects the dark and twisted ending and stuck between these two extremes is the father who is faced with a choice which may either break or continue the legacy he was unwillingly included in years ago in his own youth. HEIR is ultimately about the confrontation with that monster, literally and figuratively, which dwells in Gordon's mind and compels him to continue the chain of victimization. This film operates between the worlds of Drama and Horror and takes equally from both in terms of aesthetics, structure and style. As much as I'd like the audience to think about what they are seeing I want them to react viscerally to it as well and with that in mind we set out to create striking, often grotesque and extreme imagery which serves it's own purpose in addition to reinforcing the overall thesis of HEIR. I had originally intended to tell this story as a straight Drama with none of the fantastical Horror trappings. I thought a realistic version of this story would be more disturbing, truthful and effective but as I began to think about what this story really means I realized the metaphor I would end up employing tells a deeper truth despite the monster makeup and Argento-esque lighting. I realized the truest way to tackle the horrors of child abuse and victimization was to pull away the exterior of the human monsters who walk among us and expose the malignancy within. Any time I've been asked to describe HEIR I reply with a simple elevator pitch "They say that anyone who abuses a child is a monster, well what if they really were monsters?".
I also want to yawp a hearty "thank you" to Fatal Pictures for using practical effects (I've said it many times before and I'll say it again - CGI monsters are not scary!) and for hiring actors that are not only very good at what they do but also normal-looking people. I have a difficult time relating to way-too-beautiful-to-be-real actors and actresses in films, battling CGI monsters no less. I prefer characters that look like anyone I could know or meet on the street. It makes the whole thing feel more real and relatable. Are you listening, Hollyweird?!
This short film takes itself seriously and is well-done, yet also somehow manages to be fun. Keep your eyes out for a release date and give it a watch! Until then, here's a teaser trailer to keep you "hungry"...
