Reviewed by MattFini
Starring Duane Jones, Judith O’Dea, Karl Hardman, Kyra Schon
Directed by Mike Schneider
Distributed by Wild Eye Releasing
Night of the Living Dead has been bent over the proverbial barrel many times. Whether or not we’re talking about John Russo’s unspeakably infamous 30th Anniversary Edition or, more recently, that low-rent 3D pile of garbage, George Romero’s seminal horror film has been bastardized repeatedly by shameless opportunists. This latest ‘remake’,Reanimated, stands apart from its ostracized peers because it’s a narrative experience only in the most basic terms. Instead, imagine a wicked acid trip inspired by the 1968 zombie opus, and you’ve got a pretty good idea of what to expect.
Reanimated isn’t so concerned with re-telling the story of Ben, Barbara, Mr. Cooper and cast. Instead, creator Mike Schneider has assembled a kaleidoscopic range of imagery synced against Romero’s original audio. This montage of claymation, rotoscoping, puppetry, CGI and other, more abstract means of presentation (Legos!) are threaded together into the familiar tale of strangers holed up in a rural farmhouse besieged by the undead.
Even if NOTLD – Reanimated doesn’t reek of desperation in the way every other rehash has, it never quite works as well as it wants to. The most iconic moments are the best, thanks in part to some truly inspired material – most delightful being the expository newscast recreated with sock puppets and, best of all, a shambling swarm of Furbies (yes, Furbies) descending upon the ill-fated farmhouse.
But these vignettes are over far too quickly – presumably because every contributing artist needed to be showcased throughout. Styles shift at any given time (often mid-scene), which is every bit as jarring as it sounds. Slower scenes are padded with some visually unappealing moments (still paintings and drawings, for example) and prove detrimental to the project’s overall success. But these guys weren’t trying to cash in on a well-established property, and the earnestness of the project is prevalent in every frame, even when entertainment is not.
As expected, Night of the Living Dead – Reanimated is a novelty, one that overstays its welcome at the bloated length of 101 minutes. Slogging through the duration in one sitting can be a bit of a chore, but it does make for an interesting conversation piece. Loop it in the background of your Halloween party for example. It seems pretty clear that this was always the intent of Reanimated’s creators. It’s an art show, not a film. And in that regard it works.
Wild Eye Releasing brings this curiosity to DVD with adequate audio and video. It’s difficult to appraise the transfer thanks to rapidly shifting film/video elements, but it’s a fine presentation of what’s offered. The original mono audio is decent. NOTLD isn’t demo material for your speakers, but there’s nothing wrong with Wild Eye’s offered track, even if it sounds a bit soft at times.
They’ve also loaded this disc with some nifty supplements. An audio commentary with creator Mike Schneider finds him sitting alongside writer Jonathan Maberry for an academic discussion/dissection of Romero’s Night of the Living Dead and this artistic tribute to it. It makes for a very good listen, and I enjoyed their serious approach to the track. Schneider returns on a second commentary track to explore the technical side of creating this curiosity. Make no mistake; this was a huge undertaking for him, and this is a relatively interesting listen if you want to know how he pulled it off. Finally, a scene-specific commentary gives the artists a chance to sound off on their work. A bit schizophrenic but worth listening to.
The bundle of extras includes extended scenes, an artist’s gallery, some making-of featurettes, short films from the artists and an introduction by horror host Count Gore De Vol. All of it is worth a look for those interested in what went into producing this one, and I’m real happy that Wild Eye put together such a nice lot of supplements for fans.
Night of the Living Dead: Reanimated isn’t going to work for everyone, but curious parties should go ahead and give it a spin. This was never intended as another remake, and it shouldn’t be dismissed as such. Its flow is often clumsy but worth a glance nonetheless.
2 1/2 out of 5
4 out of 5
American Psycho Meets Creep – Strawberry Flavored Plastic Review
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.
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.
Who Goes There Podcast: Ep 148 – Inside (2017 Remake)
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!
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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
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.
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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