Category Archives: LA Horror Review

LA Horror Review: “An American Ghost Story”

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Curiosity can be a dangerous thing.  It’s the cause of many problems for people in horror films and something that can ultimately become deadly.  How often do we see someone investigate a strange noise, pursue a forbidden curse or, in the case of “An American Ghost Story,” the new film from 2 Man Production, knowingly invite themselves into the home of a malevolent spirit?

Paul Anderson (Stephen Twardokus) is an aspiring writer who’s trying to get it together.  You see, Paul has never finished anything he’s set out to do, and with his new idea he’s more determined than ever.  Unfortunately for him and his girlfriend, Stella (Liesel Kopp), his new idea involves moving into the home of a recently murdered family and trying to communicate with its restless spirits.  Before long, both Paul and Stella realize that they are not alone and certainly not welcome…

The set up for “Revenant” is simple, but the execution is fantastic.  What filmmakers Derek Cole (director, producer), Stephen Twardokus (producer, writer, actor) and Jon Gale (producer, actor) have done is create a bare bones story that still manages to scare the piss out of you with a “less is more” mentality.  Wait, I take that back— “less is more” may not be an accurate way to describe this movie, because it is FULL of legitimate scares.  From your classic jumps to your slow, sinister sequences, “An American Ghost Story” keeps you on edge from the very first scene until the last.  It’s tense as hell and doesn’t let up.

What works about this film is its overall creativity in the things seen on screen.  As a filmmaker myself, I was perplexed as to how these guys pulled off some of these sequences.  There are no CGI ghosts in this movie, and the practical effects are ridiculous and always frightening.  From the spirit rising out of the bed sheets to an entire kitchen erupting in rage, the ingenuity behind the camera is this film’s most impressive feat.

Paul Anderson (Twardokus) has a naïve curiosity with the spirits in his house…

Yet, all of the horror elements in “Revenant” are amplified by Cole’s stellar direction.  His choices to make slow zooms, subtle camera movements and some clever editing always keep you in anticipation.  Every scene has the ability to give you frights and, trust me, most of them do.  Cole is clearly well-versed in the art of suspense, and fans of classic ghost stories such as “The Haunting” or “Poltergeist” would certainly enjoy “An American Ghost Story.”

While this film is exceptional in terms of the talent behind the camera, without good performances all may be for not.  Luckily for “An American Ghost Story,” it’s cast, though small, all pull their weight and add to the overall success of the film.  In particular, our leading man Twardokus plays the over-curious writer believably, and you can clearly see the shift in him when he realizes that he’s in far over his head in this house.  Liesel Kopp as Stella is the most relatable of the characters, given the fact that she is the rational of the two and is far more afraid of these spirits than her boyfriend.  Kopp really shines when things get rough.  Her panic and fear are felt through the screen.

“An American Ghost Story” is damn scary, and that’s no joke.  My advice to you if you get the opportunity to watch it:  give this movie the respect it deserves.  That means phone off, lights off, popcorn and a beer.

For more information about “An American Ghost Story,” please visit the films official website.  You can also check out “An American Ghost Story” on Facebook and Twitter.  Actress Liesel Kopp was LAHorror.com‘s first featured artist.  You can view her story here.

LA Horror Review: “Lesser Miracles”

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Horror comes in all sorts of varieties.  There’s monsters, aliens, slashers, zombies and more – each thing uniquely terrifying in its own way.  However, in Rory Walsh’s film “Lesser Miracles,” horror hits home in a very real way as we slowly see the family structure fall apart with shocking and violent results.

Riley Carpenter (Kathryn Lyn) loves her family.  She has a beautiful baby daughter, a caring husband and frequently visits her mother.  However, after a freak car accident, everything begins to change.  With the presence of an internal demon awakened inside of Riley, she suddenly has a broader view of the world around her and finds out that things may not be as good as they seem.

It’s the descent into madness, the destruction of the family structure that fuels the horror in “Lesser Miracles,” and it’s one of those films where you can’t help but feel bad for every single character at one point or another.  There are no villains in this film; it is more of a series of tragic mistakes that ultimately build up into a terrifying conclusion, and everybody pays the price.

Writer/director/editor Rory Walsh certainly assembled a stellar team to pull this off.  The talent both on screen and off is abundant with unbelievable performances all around.  In particular, the trio of leads are dynamic.  Kathryn Lyn plays the disturbed Riley with a subtle edge that gets sharper as the film goes on.   She is a terrific leading lady, and with a performance like this we certainly hope to see more insanity from her in the horror world. Opposite her, Cameron Bender plays husband Morgan with genuine heart and sincerity.   The chemistry of these two is wonderful.  The wild card is Haley Mancini who plays the other woman, Denise Baker.  Mancini is brilliant as the seductive yet insecure Denise and really steals the show.  There are several moments in her performance where I really felt a sinking in my heart.

On the other side of the camera, Walsh gives us a simple yet excellent story that is masterfully crafted.  Along with beautiful cinematography from Terrance Stewart, an absolutely haunting soundtrack and some pretty impressive use of scenery, this film sets the bar for indie filmmakers pretty high.

“Lesser Miracles” is one of those films that is disturbing and heavy, a powerful piece of work that sticks with you long after you’re done watching.  This film is more moving than it is scary and the ending packs a certain punch that most films wouldn’t dare swing.  It’s unique in the sense that while it does have some brutality, the real horror is in the downfall of these poor souls.  You can’t help but watch and pray that everyone will be all right, that everything will work out in the end and that these people can continue with their lives in peace.  But sadly, that simply isn’t the case.  This is horror, and if there’s any lesson that “Lesser Miracles” can teach us about horror, it’s that nobody is safe and that not all miracles are the good ones.

For more information on “Lesser Miracles,” please visit Rory Walsh’s official website.  Also, check out the film on Facebook.  “Lesser Miracles” is currently playing at film festivals.

LA Horror Review: “Desolation Wilderness”

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“Desolation Wilderness” follows two friends as they seek inspiration outside the academic institutions they find so restrictive. Their experiences, rewarding at first, become increasingly battered by influences beyond their escape. The film praises art and the creative, lecturing that one must shun popular art and contemporary means in favor of engaging the naturally inspired sanctuaries of the world around you. It is a philosophy applied to and promoted within the film. Robby Massey and Derek Mungor comprise the creative team on both sides of the camera in this effective art house horror.

The film opens on the road, with our main characters Noah (Massey) and Russell (Mungor) engaging in small talk, pit stops and farewells to the big city. Their destination and intentions are not immediately clear, but it is these questions, along with their natural dynamic, that make for an enjoyable, albeit wandering, beginning. We are granted a mild sense of unease generated by the mystery of their actions and the peculiarity of their interactions. At a grocery store, they encounter a cashier seemingly automated in his responses. It is the introduction of atypical and it’s a big part of this film.

Desolation Wilderness – Final Trailer from Desolation Wilderness on Vimeo.

The remainder of “Desolation Wilderness” pays full respects to its title. Far removed from the distractions of city life, the characters eat, sleep, work and play while their perceptions of reality begin to fail. Increasingly odd behavior between the two builds to a wholly maddening climax. And therein lies the horror. While much of the film is seemingly mundane, slice of life type cinema, it is peppered with just enough weirdness to nurture a curious anticipation of things to come.

The film is beautifully shot and rendered predominantly in black and white. Sound design could be called minimalist, sometimes intriguingly selective. It bows out several times throughout the film in favor of mimed actions and dialogue. By the end, it has evolved into a series of drones that carry the viewer through a Lynchian sequence of images that are as gripping as they are perplexing. The camera, direction and pacing contribute to the roving feel of the entire film, along with the oft-employed montage. What initially strikes you as a presentation of happenstance in the most carefree of ways slowly descends into a surrealist nightmare punctuated with folk music videos. It is a unique film and it’s definitely not for everyone.

Massey and Mungor turn in authentic performances with natural and spontaneous dialogue that can be credited to finely executed improvisation. In the film’s more bizarre moments, all communication is prolonged with heavy use of dramatic pause. It is out of the ordinary, but not out of place, and helps achieve that which too few films strive for: to be disturbing without being grotesque.

“Desolation Wilderness” is an oddity. As a film, as a horror film and as art, it has few defining features, endless interpretations and a seldom seen composition of patterns, images and feelings uniting for a whole that is not easily defined by genre or category. It is engaging, disorienting and scary. Although not a horror film in the traditional sense, it is very much so in the emotional sense. It elicits uncomfortable feelings from its alarming use of imagery, close quarters, the unexplained and a generally off kilter presentation of the world. It is intentionally ambiguous and encouragingly subjective. Want though we may, we are not provided a Rod Serling epilogue to ease our minds. If you’re in the mood for a dark, psychological film that, without any sense of urgency, somehow manages to feel oppressive, this is a unique outing. “Desolation Wilderness” invites as much consideration as you can spare long after the credits roll.

“Desolation Wilderness” will be available via a self-released DVD soon.  Please follow this film on Twitter @enterdesolation.  You can also check out the film’s official website.  This review was written by Levi Caleb Smith.

LA Horror Review: “Hate Crime”

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Ahhh, the home invasion film. It’s a popular idea that requires little setup and exploits a primal fear–the violation of our home and shelter. An ugly intruder amidst all things familiar. Our castle turned cage with a single breach.

Horrifying stuff, really. No doubt filmmakers such as James Cullen Bressack seek to expose their audience to these dreadful scenarios. It hits home. Literally. In this case, Bressack takes it one step further in his quest for full, unadulterated immersion and employs the found footage style. Now, home invasion films aren’t for everyone, but found footage films have an even more polarizing effect. For those horror fans who can appreciate both, “Hate Crime” is worth a look. If you’re seeking specifics of the plot, further reading won’t reveal much. A family is taken hostage by masked gunmen. That’s all I’m telling, and that’s all you need to know.

The elements of this story are decidedly simple, and the film wastes no time getting to the good stuff. It moves along at a brisk pace, hardly allowing the viewer to catch his breath, much less let down his guard. And while that may not make for optimal jump scares, this film isn’t interested in petty antics. It wants to exhaust you.

The brutality is less related to physical torture–the most graphic of which takes place off screen–and more a product of sheer intensity. Save a brief introduction to the family, complete with sibling banter, ill tempers and domestic feuding, the film quickly escalates with a healthy offering of heinous laughter, disturbing acts and distorted enthusiasm that is simply unsettling. When the pace finally lets up and allows for some intimate conversation, the dialogue is effectively sinister and not without devastating implications. It is a gripping contrast of wills and emotions: those of the victims pleading for salvation and those of the jolly invaders. And while the monotony of the struggle may be off-putting, I consider it a test of endurance designed with discomfort in mind.  It is a horror film.

One interesting facet of this film is the development of the immediately indiscernible antagonists. It takes time, but they ultimately evolve from the raving mad men of first impression. They are passionate in their endeavors, unrelenting yet giddy and actually far more interesting than the family they victimize. Their brand of off-the-cuff terrorism comprises the bulk of the film, and there really is little else to it.

The performances are often satisfactory, improving as the film progresses, and the direction overall impressive. There are few cuts in this film and the host of long takes is a feat for all involved. However, simply put, the selling point of this film is the content… but that is if, and only if, you’re in the market. “Hate Crime” is a constant barrage of brutality projected through the grit and grime of unpolished cinema. It is “Funny Games” without the civility. And, in the end, it is a hard-hitting feature-length Public Service Announcement for a thoroughly unprepared public. They have no idea what lies in store. Enjoy.

“Hate Crime” will be hitting festivals soon.  Review by Levi Caleb Smith

LA Horror Review: “Of Silence”

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“What if Silence was a Living Thing?”  An intriguing tagline from an equally intriguing film, Jeremiah Sayys’ “Of Silence” is a dark and brooding tale of a deeply disturbed man haunted by the silence that surrounds him.  It is a horror-thriller and a slow burn, a film that presents a number of questions and leaves many of the answers up to its audience.

Colby (Jeremiah Sayys) has just lost his wife, and he’s not doing well.  He has debt collectors hounding him, his family can’t cheer him up and to make matters even worse, he’s tormented by a presence in his seemingly empty house.   Now he must delve deep into the shadows and try to find out if he’s losing his grip on reality, or if there is truly an insidious being in his house that is after him.

As stated before, this movie is a slow burn and doesn’t pander to its audience.  Sayys (the writer, director, producer and star) obviously had a vision for this film and, to his credit, makes this a haunting experience through his one-man-show type performance and some tricky directing.  While the film doesn’t necessarily have the quickest or fullest plot, it’s much more of a character study and peek into the mind of a man gone mad.  Frequently, Sayys uses canted angles and slow moving shots to creep us closer to the film’s shocking conclusion.

Jeremiah Sayys plays the disturbed Colby in “Of Silence”

Sayys also manages this low-budget masterfully, and while the film does utilize special effects and some creative creature design, most of the scares come through the silence, or lack there of, in Colby’s life.  Frequently, we are forced to listen to the howls and cries of the house, the demonic noises that haunt Colby’s daily routine that truly send a chill up your spine.  You’re never quite sure who—or what—is causing them, and the clues that pop up in the film itself only lead you to realize that nothing in Colby’s world is as it seems.

The supporting cast is sparsely seen and is mostly comprised of Colby’s family and a few friends.  They do seem unsupportive of Colby’s pain at times, often cracking jokes and hooting and hollering when Colby is clearly uninterested in company.  The bright spot is the sweet and well-intentioned younger sister, Haley (Ashlee Gillespie), who seems like the only one who truly wants to help Colby deal with the grief he is constantly feeling.  Masiela Lusha also adds a creepy element to the film as Colby’s wife, who often appears on screen alive…and dead…

What I found interesting about this movie is that while it’s a horror film, the true villain remains unknown for quite some time.  It teeters on the border of ghost, monster and psychological thriller and has plenty of legitimate scares (one bloody hand scene in particular made me jump pretty high).

Sayys has no doubt succeeded in what he set out to do, and after watching this film, I certainly hope that he has the opportunity to do another horror film with a larger budget and a bit more gore (what can I say, I’m a gore hound).  Sayys proves himself as an actor and director with this ambitious project, and don’t be surprised if this movie puts him on the map, so to speak.  After all, “Of Silence” is a real scream!

“Of Silence” is currently making the festival rounds around the country and internationally.  You can view more work from WorldsLastHero Productions at their official website. Also be sure to check out “Of Silence” on Facebook.  Review by Hunter Johnson.

LA Horror Review: “Rigamortis: A Zombie Love Story”

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The opening frame of “Rigamortis:  A Zombie Love Story” sets a dark and disturbing tone.  An organ blasts an off-key note as you hear a woman scream.  Suddenly, far in the distance, you see her running for her dear life.  And creeping ever so slowly behind her?  A brain eating zombie.  Then a pop.  The zombie’s head explodes from a shotgun blast.  And that’s when everyone starts singing.

Though the first 45 seconds of “Rigamortis:  A Zombie Love Story” feels like a wickedly nasty zombie flick, it is anything but.  It’s a musical that’s charming, funny and full of some seriously witty songs.  It is essentially exactly what the title promises:  a zombie love story.

Our love story begins in a not so distant world where the zombie apocalypse is nearing its end, thanks to the shotgun toting Brock (Boston Stergis).  He has killed all but two of the flesh-eaters and is the hero of his town.  The ladies swoon at his chiseled good looks, the men want to be him and he’s a role model for all of the children.  He single handedly saved everyone – and he’s the villain of this film.  I say villain in the loosest of terms, because our heroes are the last two flesh eaters left: Brock’s recently deceased love Zoey (Lisa Musser) and the cute store clerk Parker (Maxwell Glick), two misunderstood zombies who find each other in the chaos and fall madly in love.  Yes, it’s a zombie-human-zombie love triangle that can only end one of two ways:  the zombies living happily ever after in peace and harmony or with more carnage and death.

Because nearly the entire film is sung, it’s appropriate to begin this review with the music.  It’s excellent to say the least, composed of a blend of hard rock mixed with the classic zombie sounding organs and, naturally, several love ballads, including a beautiful duet between our undead lovers.  It’s fast, fun and always has that horror vibe to it that reminds you that you’re still watching a zombie movie.  The lyrics are operatic in the sense that they are essentially telling the entire story.  They are dense and it probably would take a couple of viewings to pick up on all of the clever puns.  Composer Greg Szydlowski has certainly beefed up his resume with this massive undertaking.

But music can only be as good as the people who are singing it, and luckily for “Rigamortis” they cast actors who could not only give solid performances, but also hold a solid pitch just as well.  The trio of leads are dynamic, and as their story intertwines, the performances grow.  There is a certain amount of comedic and dramatic weight that each brings to the table – the overly confident and cocky Brock, the beautiful and moral Zoey and the cute, but sometimes blood thirsty Parker all play off of each other wonderfully and have no problem keeping things entertaining for the 35-minute duration of the film.  And with a terrific singing and dancing chorus behind them, the film feels much larger than it probably was.

Our anti-hero Brock in the once zombie infested streets…

Directors Ted Campbell and Dave Dewes and the team at Collateral Damage Productions were brave to take on such a large project, given the low budget they had to work with.  Credit goes to the details of this movie, the little things that really make this film memorable.  The little boy that laughs as his face is splattered with his zombie mother’s blood, the zombie kill count hanging in the bar, the hairy chest baby picture of Brock and about 150 other moments that you can continually spot on repeat viewings.

But make no mistake, though this movie is very silly at times, it ultimately takes itself very seriously – and rightfully so.  It’s a complete and thorough piece that has something for everyone to enjoy.  What it lacks in violence and gore, it makes up for in music and song.  What it lacks in genuine scares, it makes up in genuine laughs.  It’s probably the most family friendly zombie movie that I’ve ever had the pleasure of watching, and it feels like at any moment this movie could really blow up.  We don’t endorse romance, comedies or musicals often on LAHorror.com, but “Rigamortis:  A Zombie Love Story” is absolutely worth a view.  So join the zombie parade and get on board with this flick so you can say you saw it first.

“Rigamortis:  A Zombie Love Story” is available for rent and purchase on itunes.  Also be sure to follow @RigamortisMovie.  Review by Hunter Johnson.

LA Horror Review: “Homeless Joe”

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Maybe you walk past one on your way to work.  Maybe you see one standing next to an on-ramp by the highway.  You probably never really pay them any attention at all.  Most of us choose to ignore the homeless and pretend they simply aren’t there.  They are society’s forgotten victims of an all too cruel world and can hardly fend for themselves.  Well, all except for one: Homeless Joe, the deranged and very pissed off homeless killer in Bruce Fordyce’s unbelievably entertaining low budget slasher extravaganza.

“Homeless Joe’s” Sean Goodman (Eric Stayberg) has a confidence problem.  He can never get the girl; he’s overshadowed by his horny and obnoxious friends; and he’s simply looking for a reason to keep on going.  After being coaxed into a night of drunken debauchery, Sean’s journey begins as his friends harass the wrong homeless guy and end up in the clutches of Homeless Joe, the genetically engineered, metal toothed, axe-wielding psychopath who gets his rocks off by killing helpless teenagers.  It’s now up to Sean to face his fears and save the day or fall fate to brutal murder himself…

http://www.youtube.com/watch?v=ORC_6wHARdA

To be honest, this movie is way better than it probably should be.  While it does have some cheesy moments and some less than Shakespearean performances at times, this was a seriously fun trip.  The shining star is our hero Stayberg, who gives, hands down, the best performance and plays the loser redemption card masterfully.  He is believable and likeable; his character truly goes through a journey and the worse things get for him, the stronger he becomes.  His supporting cast does their job well and the cheese ultimately makes the movie stronger.  There are a couple of unbelievably funny moments and one-liners, as well as plenty of horror stereotypes nailed to a tee: the far-out stoner, the horny guy, the pissed off jock and, naturally, plenty of beautiful (and busty) babes.  It’s the perfect cast for a movie like “Homeless Joe.”

“Homeless Joe” truly does have MAXIMUM BODY COUNT!

The real credit to the picture however should go to writer, Mike Merickel, and writer/director/editor, Bruce Fordyce.  In terms of a story about a psychopathic homeless killer, I don’t think there could be a better script.  There are plenty of legitimate twists and surprises and the story really grows into something larger than life.  And while this is obviously a low budget film, Fordyce’s direction was intelligent and entertaining.  There were many camera tricks and shocking reveals that really helped drive the story and keep it interesting.  In particular, there is a rather impressive scene in a parking structure that consisted of two, maybe three long, well-choreographed and suspenseful shots.  I found myself sitting on the edge of my seat when I wasn’t leaning back due to giddy laughter.

And that’s the last thing.  This movie is funny—very funny actually.  A couple of accidental gunshots (“You shot her you slut!”), heaping amounts of over the top gore, several well-timed uses of the “Howie scream” and even a severed penis (that was very realistic, by the way), this movie had me rolling throughout.  It’s funny, gory as hell and full of nasty little surprises.  What else can you ask for in a horror movie?!

“Homeless Joe” is not yet available on DVD, but when it is, it will no doubt become a favorite for fans of obscure and over-the-top horror.  It certainly has replay value and a heart that most other low budget horror flicks can only dream of having.  Keep your eyes peeled.  “Homeless Joe” is a serious killer!

“Homeless Joe” was produced by Patty Sharkey and Mike Merickel, the team behind another one of LAHorror.com’s favorites, “Bloody Wedding.”

LA Horror Review: “Broken Bones”

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A couple of months ago, LA Horror sat down with writer Paul Hart-Wilden and talked horror.  Hart-Wilden has written multiple horror films (most recently “Wolf Town”) as well as a collection of short stories that he has assembled in his self-published horror anthology, “Broken Bones.”  Hart-Wilden was kind enough to give me a copy of his “Broken Bones,” which I had the pleasure of reading last week.  Just do yourself a favor and pick up your copy right now because this book is legit.

Horror anthologies are tricky, and while I have read several, there are usually only one or two stories that really stand out and are memorable.  That’s not the case with “Broken Bones,” not by a long shot.  In fact, this past week I honestly haven’t been able to get some of these out of my head, not only because they were well written and interesting, but because they were disgusting and gory in the best ways imaginable.  Necrophilia, rape, brutal murder, hatred, demons, child murder, disease, self mutilation, love lost and even a couple of vampires—this book has just enough of everything to satisfy the sickest of horror fans.

The first story of the book, “The Way of All Flesh,” has some of the most graphic descriptions of human decomposition that I’ve ever had the joy of reading.  You can almost smell the rotting corpse through the pages, and hear the eerie sound of a thousand tiny insects devouring a human body.  Not only that, the story has one of the creepiest and most haunting endings that really opens up the floodgate for the rest of the book.  It is the perfect hook for “Broken Bones” and instantly grabbed my attention, smashed me in the face and gave me a nervous anticipation for the other stories.

“Dark Heart” was another one that really stuck with me.  It is a tale about two morticians who have an unspoken understanding about sexual desires, and how to use their surroundings to satisfy them.  However, things get hairy when one of their relatives, a beautiful young girl, ends up in a coffin.  It is incredibly creepy, has two very developed and interesting characters and a disgustingly ironic ending that really made me shake my head laughing.  Paul Hart-Wilden…you bastard…

“Black and White” was probably my personal favorite for a couple of reasons.  The story follows a young white supremacist named Jimmy and his gang of hooligans as they terrorize and ultimately murder a young black man on a night out.  After committing this crime however, Jimmy starts to notice something changing about him that he can’t control – his skin slowly starts to darken – and now the tables have turned and his gang is after him.  It is an excellent blend of social commentary, horror and heart that has a certain weight as you read it.  Not only that, the ending left a giant boulder in my guts that I can still feel now as I type.

I could go on and on about each story. There really wasn’t a bad one in the bunch.  The thing that made this book as a whole so enjoyable was that each story was horrific in completely different ways and often put my imagination in some very dark places.  Hart-Wilden has no problems creating interesting and developed characters in the span of just a couple short pages, only to thrust them into the worst and most gruesome situations imaginable – spoiler alert – a lot of people die in this book!  And not only was this a horrifying read, it was also interesting.  Many of the stories pointed out the true horrors in our own society in an intelligent way.

And lastly (and most importantly), I just need to emphasize once again, this book is sick.  Seriously sick in all the best ways.  And if you’re sick like me, then I highly recommend getting some “Broken Bones.”