Suicide Theory, The (2015) - Dread Central
Connect with us

Reviews

Suicide Theory, The (2015)

Published

on

Suicide Theory

Suicide TheoryStarring Steve Mouzakis, Leon Cain, Joss McWilliam

Directed by Dru Brown

Distributed by Freestyle Releasing


While suicide certainly isn’t something to be taken lightly, imagine someone who wishes for nothing but the end to come to him, only to be denied repeatedly… jeez, talk about NEVER catching a friggin break!

In director Dru Brown’s dramatic/crime-fringed The Suicide Theory, we’re introduced to a man who is at the end of his proverbial rope, and even with the assistance of a qualified “professional,” he simply can’t get over the hump – and what is the “hump,” you ask? Well, a small wrinkle in his plans is that he cannot die…yes, I said that correctly – the man is unfit to kick the bucket.

Steve (Mouzakis) is a cold and remorseless hitman – anytime, anyplace, anyone, as long as someone has the dough to spend, he’ll waste them without batting an eyelash – quite the efficient killer, if I do say so myself. The only problem is, his behavior has only been exacerbated by the tragic passing of his wife and unborn child. When an already austere and inhumane individual adds more fuel to the fire, there really is no turning back, and that, my little lambs, is a very frightening prospect to behold.

Percival (Cain) is a man on the completely other end of the spectrum – since the somber loss of a loved one, he can’t find the urge to carry on, and has attempted self-slaughter on many an occasion, to no avail. His last resort (and professedly best chance) comes in the meeting of Steve the hitman, so he tosses a very large lump of greenbacks at the hired gun, and awaits his fate with open arms… and those arms remain wide open for a long time as Percival’s self-imposed theory misses the mark multiple times. He thinks that if he doesn’t see it coming, or at a moment when he doesn’t want to die, that the kill will be successful – sorry Percival, but your powers of prognostication are as horrible as your choice of ceasing your existence. A connection begins to grow between the killer and the victim (can he really be called that), and a whole new side is displayed for both characters as the movie moves along – dysfunction amidst the two is evident; yet, they reach a type of sustained friendship that ultimately will make each attempt on Percival’s life that much harder to take a shot at (bad choice of words).

Brown’s direction weaves both violence in Mouzakis’ character and hopelessness in Cain’s, ultimately forging a bond between the two, and it really works. You come to see each man as a damaged individual, both by life’s unforgiving hands, and their own frayed psyche as a result of such pain. This is MUCH more than a film about someone who can’t die, as much as it could be looked at as someone (or something) doesn’t want him to die, and that’s pretty powerful stuff. Both men grab their roles and give it everything they’ve got, and combined with the inspired use of camera angles in many shots, there are more than a few memorable moments in this presentation.

On the whole, I can definitely recommend The Suicide Theory to those who are looking for a more-than-powerful film that delivers a strong message, and while some might find it a bit slow, it makes up in interpretation and the conveyance of a statement. Give this one a look when it’s available – you won’t be disappointed.

  • Film
4
Continue Reading
Comments

Reviews

Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View

Published

on

Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

Directed by Marcel Sarmiento


Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

  • Film
2.0

Summary

Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

Sending
User Rating 0 (0 votes)
Continue Reading

Reviews

IAMX’s Alive in New Light Review – A Dark, Hypnotic, and Stunning Musical Endeavor

Published

on

Recording eight albums is an achievement no matter the artist, group, or band. This is especially true for Chris Corner’s IAMX, his solo project after the trip hop group Sneaker Pimps, which has enchanted listeners since 2004’s Kiss + Swallow with its dark electronic aesthetic. There’s something fascinating about the music Corner puts out as IAMX. Perhaps it’s the underlying melancholy that seems to pervade the music, almost certainly a result of the musician’s battle with depression and chronic insomnia [Source]. Perhaps it’s the unexpected melodies that reveal themselves with each new measure. Whatever it is, IAMX’s music is a constant delight.

On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “…breaking free from demons that have long plagued him,” per an official press release. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track.

The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there.

While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. “Mile Deep Hollow” builds layer after layer while Corner passionately cries out, “So thank you/you need to know/that you dragged me out/of a mile deep hollow/and I love you/you brought me home/because you dragged me out/of a mile deep hollow.” The way the song’s melodies back these wonderfully uplifting lyrics feels grand and epic, as though a journey is coming to an end, which is where “The Power and the Glory” comes in. Far more subdued, it’s a beautiful song that feels almost like a religious experience, a hymn of a soul that is desperate to claw its way to salvation and escape a life of pain and darkness.

What makes Alive in New Light so wonderful is how much there is to experience. I got the album and listened to it no less than five times in a row without pause. I simply couldn’t turn it off because each return revealed something new in the music. Corner also makes fantastic use of Von D’s vocals, carefully placing them so as to make them a treat and not a commonplace certainty.

While some may be disappointed that there are only nine tracks, each of the songs is carefully and meticulously crafted to be as powerful and meaningful as possible. It really is a stunning accomplishment and I’m nothing short of blown away by how masterfully Alive in New Light plays out.

  • Alive in New Light
5.0

Summary

IAMX’s Alive in New Light is a triumph of music. Full of beauty and confidence, it doesn’t forget the foundation that fans have come to know and love for over a decade but instead embraces that comfortable darkness with open arms. Corner states that this album was a way to break free from his demons. It certainly feels like he’s made peace with them.

Sending
User Rating 5 (2 votes)
Continue Reading

Reviews

The Hatred Review – A History Lesson Dug Up From The Depths Of Hell

Published

on

Starring Zelda Adams, Lulu Adams, John Law

Directed by John Law


I don’t know about the scholastic interests the masses had (or have) that read all of the killer nuggets that get cranked out on this site, but when I was an academic turd, one of my true passions was history, and it was one of the only subjects that managed to hold my interest, and when the opportunity arose to check out John Law’s ultra-nightmarish feature, The Hatred – I was ready to crack the books once again.

The setting is the Blackfoot Territory in the late 1800s, and the pains of a lengthy conflict have taken their toll on the remaining soldiers as food has become scarce, and the film picks up with soldiers on the march in the brutal cold and snow covered mountainside. In tow is a P.O.W. (Law), and the decision is made by the soldiers to execute him in earnest instead of having to shorten their rations by feeding him, so he is then hung (pretty harshly done), and left to rot as the uniformed men trudge along. A short time later the group encounters a small family on the fringes of the territory, and when the demands for food are rebuked, the slaughter is on and the only survivor is a young girl (Adams) who prays to an oblivious god that she can one day reap the seeds of revenge upon those who’ve murdered her family. We all know that there are usually two sides to any story, and when the good ear isn’t listening, the evil one turns its direction towards those who need it most, and that’s when the Devil obliges.

The answer to the young girl’s prayers comes in the resurrection of the prisoner that was hung a short time ago, and he has been dubbed “Vengeance” – together their goal will be achieved by harshly dishing out some retribution, and the way it’s presented is drawn-out, almost like you’re strapped into the front-row pew of a hellfire-cathedral and force-fed the sermon of an evil voice from the South side of the tracks. It’s vicious and beautiful all at once, Law’s direction gives this visually-striking presentation all the bells and whistles to please even the harshest of critics (hell, you’re reading the words of one right now). The performances, while a bit stoic in nature, still convey that overall perception of a wrong that demands to be righted, no matter how morally mishandled it might be. Overall, I can absolutely recommend The Hatred for not only those wanting a period-piece with ferocious-artistry, but for others who continue to pray with no response, and are curious to see what the other side can offer.

  • Film
3.5

Summary

The Hatred is a visually-appealing look into the eyes of animus, and all of the beauty of returning the harm to those who have awarded it to others.

Sending
User Rating 0 (0 votes)
Continue Reading

Recent Comments

Advertisement

Join the Box of Dread Mailing List

* indicates required

Go Ad Free!

Support Dread Central on Patreon!

Trending

Copyright © 2017 Dread Central Media LLC