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100 Feet (DVD)

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100 Feet on DVDReviewed by Uncle Creepy

Starring Famke Janssen, Bobby Cannavale, Michael Pare, Ed Westwick

Directed by Eric Red

Distributed by The Asylum


We see a ton of movies here at Dread Central, and every now and again for whatever reason, sometimes one or two fall through the cracks. Still, if we did miss something worthwhile upon its release, we always try to take the time to make sure that you know about it as soon as possible. Such is the case with Eric Red’s 100 Feet, a ghost story that packs one hell of a punch.

Marnie Watson (Janssen) is a very troubled woman. After she kills her husband, an abusive cop (Pare), in self-defense, she finds herself eventually sentenced to their home — confined to the scene of the crime and unable to go outside of a one-hundred-foot radius of it. To make things even worse for her, her husband’s partner, Shanks (Cannavale), isn’t buying the whole “she was only protecting herself” angle and is now living for her to screw up so that she’s sent to prison to fully pay for her crime. All that sucks, right? Still … that isn’t even the worst part.

As if the painful memories and rabid cop aren’t enough to drive her mad, she slowly starts to realize that even though she has killed her wife-beating husband, this guy isn’t ready to throw in the towel just yet. In fact, he’d like to strangle her with it. Through a series of really fucked up and twisted events, things turn pretty violent, and this pissed off spirit is looking to do a lot more damage than just make things go bump in the night.

100 Feet on DVDSimply put, 100 Feet is an intense and at times scary little movie. Director Eric Red preys upon the common fear of being alone in the dark and builds his tension at a steady pace while taking full advantage of the claustrophobic feeling of being trapped in the inescapable home. It all works together to create one of the best supernatural rides we’ve been on in a long while. Unfortunately though, all this good makes the sort of on the weak side ending feel all the more frustrating once it comes to pass. It’s not that the film’s conclusion is bad per se, it’s just that it is easily the worst part of not only the movie but of the experience itself.

Don’t be put off by the fact that it’s the schlockbuster mavens The Asylum who put this baby out on to DVD either. Most of you out there avoid their “movies” like the plague, and considering how bad they usually are, you should, but every dog has its day, and they somehow got lucky enough to acquire this gem for distribution.

In true Asylum fashion, though, if they can’t make a bad movie, they at the very least have to make the DVD package itself suck, and suck it does. All we get in terms of special features is a trailer. Talk about a missed opportunity. Come on, guys, at least give us a friggin’ commentary! Anything! Why the bare bones route was taken is damned near bewildering.

Like I stated in the beginning, 100 Feet has been out for a while now, and it’s unfortunate that we got to it this late in the game. That’s totally our bad. Still, hopefully with this review we can right that wrong, and you’ll take our advice and dig on this surprisingly spooky little flick. In the interim we will be watching Mr. Red with a keen eye. Here’s to whatever insanity is next!

Special Features

  • Trailer

    Film

    3 1/2 out of 5

    Special Features

    1/2 out of 5

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    American Psycho Meets Creep – Strawberry Flavored Plastic Review

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    Starring Aidan Bristow, Nicholas Urda, Andres Montejo

    Directed by Colin Bemis


    Recently I wrote up an article here on Dread Central which was basically an open letter to anyone who was listening called “I Miss Found Footage.” Well, it seems like someone WAS listening, as I was then sent the link to an all-new found footage film called Strawberry Flavored Plastic from first-time writer-director Colin Bemis.

    The film follows the “still-at-large crimes of Noel, a repentant, classy and charming serial killer loose in the suburbs of New York.” Basically, you could think of the flick as American Psycho meets Mark Duplass and Partick Brice’s Creep. That, or you could think of it as “Man Bites Dog in color!” However you choose to label Colin Bemis’ psychological thriller, just make sure you check out the film once it hits in the future.

    As I alluded to above, the film is basically a found footage version of American Psycho. But that said, the film sports a twist on the charming serial killer subgenre that I have yet to see play out in any of the above-mentioned classics. I’m not going to go into spoiler territory here, but I will say that the film introduces an element to the tale that spins it into much more of a character drama than a straight horror film. Not that there is anything wrong with that!

    Truth be told, the film’s turn from serial killer flick into a layered character study might have been its kiss of death, but this slight genre switch is rendered a minor issue as the film’s central narcissistic antagonist is played by Aidan Bristow. Bristow is an actor you may not have heard of before this review, but you will hear his name more and more over the years to come, I promise. The guy gives (no pun intended) a killer performance as the film’s resident serial killer Noel Rose, and time after time surprised me with how chilling, charming, or downright vulnerable he chose to play any given scene.

    Bristow’s performance is, in the end, the major element the film has going for it. But that said, as a fan of found footage, I was smiling ear to ear at first-time director Colin Bemis’ understanding of what makes a found footage suspense sequence work.

    In Strawberry Flavored Plastic director Colin Bemis is confident and content to allow full emotional scenes to play out with the camera directed at nothing more than a character’s knees. Why is this so important? Because it keeps the reality of the film going. Too many found footage directors would focus on the actors’ faces during such emotional scenes – no matter how contrived the camera angle was. In this film, however, Bemis favors the reality that says, “If you were really in this emotional state and holding a camera, you would let it drop to your side.” I agree, and it is small touches like that which make the film feel authentic and thus – once the shite hits the fan – all the scarier.

    On the dull side of the kitchen knife, the film does feel a bit long even given it’s short running time, and there doesn’t seem too much in the way of visceral horror to be found within. Again, graphic blood and gore aren’t a must in a fright flick, but a tad more of the old ultra-violence would have gone a long way in selling our main psychopath’s insanity and unpredictability. But all the same, the film does feature a rather shocking sequence where our main baddie performs a brutal home invasion/murder that puts this film firmly in the realm of horror. In fact, the particular POV home invasion scene I’m talking about holds about as much horror as you’ll ever wish to witness.

    In the end, Colin Bemis’ Strawberry Flavored Plastic is a must-see for fans of found footage and serial killer studies such as American Pyscho, Creep, and Man Bites Dog. I recommend giving it a watch once it premieres. If only to be able to point to Aidan Bristow in the near future and tell all your friends that you watched (one of) his first movies.

    Until then, check out the film’s trailer HERE, and follow the movie on Facebook.

    • Strawberry Flavored Plastic
    3.5

    Summary

    Lead actor Aidan Bristow turns in a star-making performance in Colin Bemis’ Strawberry Flavored Plastic, a found footage film that plays out like Man Bites Dog in Color before introducing a new element to the charming-serial-killer subgenre and becoming more character study than a straight horror. Think American Psycho meets Creep.

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    Who Goes There Podcast: Ep 148 – Inside (2017 Remake)

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    We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

    In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

    Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

    If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

    The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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

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    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.

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    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?

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