AKA Demoni 3 Director: Umberto Lenzi Starring:Keith Van Hoven, Joe Balogh, Sonia Curtis, Philip Murray, Juliana Teixeira, Maria Alves, Clea Simones .Italy/Brazil. 1h 28m
With a host of amazing titles under his belt already, from Giallo, Poliziotteschi, horror and gore, Lenzi struggled to make such an equal impact as Cannibal Ferox, Almost Human and Nightmare City in his 90’s Voodoo romp Black Demons. Originally titled as Demoni 3, with the anticipation of being a third in the Lamberto Bava’s series the movie has very little to do with the cult series.
What starts out not a million miles away from any other Voodoo based zombie story, an accidental uttering of a n ancient curse in a foreign tongue results in the undead coming back to life to prey on the living. But is this the first undead race war? Usually zombies don’t see color, even though this sketch does suggest something to the contrary.
Director: Edward Drake
Starring:Jonathan Lipnicki, Avery Konrad, Timothy V Murphy USA. 1h 30m
Coming of age is a difficult time for any young girl but it’s especially troubling for Chance in Drakes power struggle vampire film with a gritty power struggle a troubled hero and s touch of je ne sai qoir but it doesn’t go that extra mile to really set itself apart from all the other TV vampire movies but it’s still thoroughly enjoyable to watch family fireworks.
Opening with a family trying to control their wayward and violent teen daughter Chance (Konrad) they send her to live with her pious grandfather and extended family on a remote estate. Slowly the easily distracted teen uncovers a family secret and her only chance of survival comes from the dead and an assassin destined to end her family’s reign.
Director: Thomas Grieser
Starring: Thomas Grieser, Ursula Grieser, Wolfgang Grieser, Timo Homburg Germany. 1h 09m
There’s something about Griesers career as a movie director that has hints of Don Dohler, not necessarily, subject and quality but determination and drive, it’s a similar energy. For those who aren’t aware, Dohler had a run of trashy sci fi movies in early 80’s including Fiend, Galaxy Invader, The Alien Factor and Nightbeast which have recently started gaining a small cult following.
Director: Jacob Gentry Starring: Harry Shum Jr, Kelley Mack, Chris Sullivan, Anthony E Cabral .USA. 1h 44m
Jacobs Gentry’s uncanny valley neon lit thriller is a great diversion for horror fans, but unlike other broadcast horrors it fails to give a satisfactory conclusion to its own question but will raise eyebrows though it’s stunning display of solid drama and a deep dive investigation.
While logging tapes of retro TV Broadcasts, a video archivist, James (Shum Jr.) discovers a disturbing clip that he believes is a sign of early hacking, out of his armchair investigation, James is innocently trying to track down the source but it turns into a deadly cat and mouse chair that night lead to solving a slew of murders.
Bare Knuckle (2018) Director: Duncan Napier-Bell Starring:Stu ArmstrongJ oe Brown, Jim Freeman USA. 1h 20m
Bare Knuckle fighting, possibly the oldest form of one on one combat, has always struggled with its seedy history and gruesome reputation, but with the rise of UFC and it’s contaversional and multi talented fighters, Director Duncan Napier-Bell casts an insightful eye to the roots of combat, but without detailing at historical icons, he instead looks at the current bare knuckle fighting scene as it emerges from it’s gloomy backstreet habitat and reveals a bold attempt at adapting for a bigger and brighter future.
Director: Richard Laxton Starring: Helena Bonham Carter, Dominic West .UK. 1h 30m
This glamorized TV movie is the love child of director Richard Laxton, who cleverly used a poignant part of life and relationship between Liz Taylor and Richard Burton to highlight their turbulent relationship and striking personalities.
Set in 1983, the film revolves around Burton and Taylor as they attempt to join forces to star in Noel Coward’s stage play “Private Lives”. After years of marriage, their own addictive personalities and the pressures from the press, they begin to lose their stubborn protective barriers and find some kind of path to recovery together.
Director: Henry Alex Rubin Starring:Jai Courtney, Nat Wolff, Finn Wittrock, Arturo Castro, Beau Knapp .USA. 1h 39m
It’s hard not to feel a little bit conflicted with the ending of Brothers In Arms AKA Semper Fi. The film successfully builds up a golden camaraderie between a pair of brothers Callahan (Courtney) and Oyster (Wolff) who, along with their Marine Corp Reserve Brothers, they manages to pull off the impossible and with the best intentions but in the big scheme of righter and wronger, was it really justified?
Director: Frederico Prosperi (as Fred Goodwin) Starring: J. Eddie Peck, Jill Schoelen, Jamie Farr, Bo Svenson .Italy/USA. 1h 37m
After the success of The Curse (1987), an indie effort to breathe cinematic life into the classic HP Lovecraft story The Color Out of Space. An Italian/American sequel, in name only manages to cobble together a strange blend of body horror and romance and in some respects it stands strong as a very strange orphan.
Director: Nick Love Starring: Danny Dyer, Tamer, Hassan, Geoff bell .UK. 1h 37m
It feels funny going back in time and finally watching this lary movie. After watching the slew of films which were created from it’s fallout, seeing the original template feels weird as I’ve seen all the parts play out in slightly different ways. Nick Love’s signature direction has conjured a tough guy world for many fans of this “English Bad Boy” subculture. But going back to see one of the early greats you can easily see what they were trying to mimic. This came just after Love’s cult favorite The Football Factory (2004) and aimed to tell a rags to riches tale littered with disgusting language and questionable characters.
Director: Takashi Miike Starring: Takuya Kimura, Hana Sugisaki, Sota Fukushi, Hayato Ichihara. Japan. 2h 20m
Miike’s career has turned into a long line of massive remakes of Japanese Classic cinema for some time now. I’ve been racking my brain why, but I’m still unsure what he’s trying to achieve, but it’s working out for him and I wonder what’s next? He’s making some solid and faithful remakes but I do wonder if we really need them all despite their powerful impact? This just seems to be another one, however even while watching the series after the film.. I found it’s expressionary style and character depth on a different planet entirely, and yet each are ridiculously impressive but in their own way.