Directed by Brad Douglas
Gainful employment: it certainly isn’t around every corner, and at times people are forced to take a job that they necessarily might not enjoy just to make ends meet…then there are those jobs that make you wish you’d never filled out an application. Today, the focus is on Brad Douglas’ first directorial venture, and it’s called Besetment – settle in and grab a cold one because this could get messy.
Abby Wathen stars in this thriller as Amanda, a young woman whose life is in a bit of a pickle. With a functioning alcoholic of a mother (Lindsae Klein) and a home situation that isn’t very conducive to a productive existence, her job hunt leads her to a small, sleepy backwoods town in Oregon. Her new gig at a small hotel as a housekeeper doesn’t promise to pay much, but at least she’s back on her feet…well, for now anyway. Run by Mildred (Mason) and her son, Billy (Meyer) – two of the sweetest souls you’d ever want to encounter – that is, until after a night of celebratory cocktails, Amanda wakes up with seemingly no recognition of what has taken place…probably better that she didn’t know anyway.
The film doesn’t tiptoe around its intentions and shoves its rather large premise right in our pieholes, regardless of whether or not we’re willing to accept it at the time – no bother, because it’s shocking, violent and completely against the grain of any workers’ agreement clause on occupational safety.
As time passes, the plan for dear, sweet Amanda begins to emerge from the fog, and the details of what has been taking place are a bit… demented. I’ll leave you all waiting at the check-in desk here; I wouldn’t want to spill any more details, as there’s been plenty of other things “spilled” in this film.
Surprisingly enough, the acting in this film is markedly better than I thought it was going to be, and the instances of wrought terror are enough to keep your eyes peeled. While there are a few sluggish moments in pacing, the overall tempo is a fluid one, and it aids in the story’s progression – Douglas is obviously someone who knows how to keep a film moving along and not beating his audience with the boredom stick in order to convey his directive.
Overall, Besetment is one of those rainy-day watches that should serve any horror fan well if they’re looking for a hidden gem among a sea of tarnished rocks – give this one a look, and please take some notes. If you ever find yourself out of a job, just cause it looks good on paper, doesn’t mean you won’t end up somebody’s prisoner wrapped up in clean sheets…well, I hope they’re clean sheets.
Tribeca 2018: The Dark Review – Atmospheric Zombie Horror Done Different
Starring Nadia Alexander, Toby Nichols
Written by Justin P. Lange
Directed by Justin P. Lange
The zombie subgenre often goes through waves where it focuses on one aspect that changes the status quo before overdoing it completely. Romero’s slow shuffling zombies were the norm until we got fast moving zombies with Return of the Living Dead and 28 Days Later. There was even a period where we had smarter zombies, like in Fido and Warm Bodies. Now it seems like we’re about to enter an era where the undead are meant to elicit emotion, making us feel for those who have no feelings themselves. Such is the case with Justin P. Lange’s The Dark.
The film follows Mina (Alexander), a young woman who was murdered and stalks the forest that saw her demise. Anytime some unfortunate soul enters her area, they are quickly dispatched and become her feast. But when she stumbles across a young boy named Alex (Nichols) in the back of a car who shows signs of clear and horrifying abuse, she can’t bring herself to do away with him. Rather, she becomes his protector while trying to protect her own little world. As police and locals search for Alex to help bring him home, their own growing relationship seems to be changing Mina in ways she never thought possible.
Stylishly shot by cinematographer Klemens Hufnagl (The Eremites, Macondo), The Dark lives and breathes along with the forest in which it spends the majority of its time. The film feels very natural, as though no artificial lighting was used and we are brought into the world in which these characters live. Steel blue washes over the screen as dusk turns into night while light and dark contrast during the day. The only visuals that didn’t play well were Mina’s undead look and Alex’s scarred eyes, which were both distracting but possible to be overlooked.
Both Alexander and Nichols performed well enough, although the film spent too much time on the first two acts of their story, their combative phase and then the period where they build trust, leaving them scrambling at the end to show that they not only trust but are reliant upon each other. Alex finds trust in Mina after his horrific ordeal while Mina’s choice to protect and guide him sees her humanity slowly coming back.
Where the film goes awry is that it doesn’t know how to convey its message. We learn that Mina’s death was the result of a sexual assault by her mother’s boyfriend, who can barely look Mina in the eyes, turns violent. Alex’s captor is also a man of violence but that’s mixed with weakness and timidity. This is a theme throughout the movie, where the adults are wicked and/or self-serving and it’s only these teenagers, who certainly have endured a fair share of suffering, can be seen as worthy of empathy and understanding.
Also present and enough to stay in the back of my mind while watching The Dark were the strange and inconsistent ways it handled time. We learn that Mina’s death was several years, possibly more than a decade, prior to where we see her now. But when presented with an iPhone, she first doesn’t know that it has a history of previously made calls and then, without anyone explaining it, she knows exactly how to use it. Meanwhile, Alex’s scars on his eyes, which the movie hints were done by his kidnapper, suggest that he’s been held captive for months if not longer but the the opening of the movie suggests that it’s been a few weeks, at most. While not overly distracting, these are certainly issues that pop out.
These faults aside, The Dark is still effective and emotionally charged. With enough kills to satisfy the bloodthirsty, it will certainly have an audience who love films about the undead but are craving something with a different taste.
Poignant and original, The Dark is not without its flaws. But it sure does know that horror doesn’t have to be solely of the flesh. It can just as easily be horror of the heart.
Sinfonia Erotica Blu-ray Review – Jess Franco Meets The Marquis De Sade In This Romanticized Roughie
Starring Lina Romay, Armando Borges, Aida Gouveia, Mel Rodrigo
Directed by Jesus Franco
Distributed by Severin Films
After going my whole life without ever seeing a Jess Franco film, Severin Films is slowly forcing me to appreciate the man’s work. Previously, I had only ever seen Franco’s gargantuan output as an exercise in quantity over quality, which it arguably still is, but viewing the two recent “lost” pictures Severin just released has brought about a new appraisal. Franco’s films may have been done on the cheap, but the man clearly had vision, ambition, and brought as much production value to his films as budgetarily possible. He also brought controversy and damnation, since many of his works seem heavily focused on nudity and all manner of depravity. Even by today’s standard, when you can see virtually anything sexual on the internet, Franco’s level of lasciviousness is mildly shocking, if only because certain acts are typically verboten on the silver screen.
Sinfonia Erotica (1980) plays like it was trying to keep up with Tinto Brass’ Caligula (1979), only swap out Roman decadence for the posh trappings of a chateau in the French countryside. Franco remakes his own 1973 film Pleasure for Three here, though without having seen that picture I can’t say what he’s done differently. The storyline comes from the writings of the Marquis de Sade, whose writings were infamously erotic and dripping with all manner of sin. Franco brings as much of the page to screen as possible, leaving little to suggestion. Homosexuality, a “Devil’s threeway”, oral sex between all parties, rape, manual stimulation… all graphically presented in a way that is between Skinemax and actual pornography. But is there anything more to this threadbare feature than a storyline skeleton on which everyone can hang their clothes before getting down?
Kinda. The general plot here is the return of Miss Martine (Lina Romay) to the palatial estate she shared with her husband, Marques Armando de Bressac (Armando Borges), a notorious hedonist. Upon arrival, Martine is not greeted by her husband because he’s off gallivanting with Flor (Mel Rodrigo), his younger male lover. During one of their trysts in the fields they come across Wanda (Aida Gouveia), an unconscious nun who is about to be rudely introduced to some bad habits. After Marques and Flor molest the barely coherent woman, she develops a craving for their brand of unorthodox lust. Martine, meanwhile, is struggling not only with the fact her husband is essentially ignoring her after returning from a lengthy absence but that he now plans to enlist Flor and Wanda to help kill her. Of course, none of these machinations or revelations will stop any of these pleasure seekers from continuing to drown in the Devil’s work and writhe in passion.
While I can’t say this is a good movie, I do give Franco credit in a few areas. For one, I find it commendable that he’s chosen to redo an earlier film of his in the hope of making something grander. It shows maturity as an artist as well as a refusal to allow a perceived past failure to remain stagnant. Secondly, his location scouting ability is really something because one constant I have noticed across the three Franco films I’ve seen thus far is the man loves to shoot at places that seem like they’d be out of his budget range. The mansion and its impressive grounds are the ideal setting for this posh perversion picture, allowing Sinfonia Erotica to feel less like the Eurosleaze it is. Likewise, costuming and production design are a notch above what viewers might expect from such a ribald title.
In terms of horror, aside from watching two men rape an incoherent nun the only murder comes during the climax. The deaths are quick and simple, with no lingering shots or impressive effects work. Violence is wholly secondary to sex here.
The real coup here is that Severin Films is able to present this film in HD at all, sourcing their release from a newly unearthed 35mm exhibition print found in a crawlspace in Spain. Although scanned in a 4K the disc opens with a disclaimer discussing the provenance of available materials and suggesting viewers cut a little slack when watching something that might not have otherwise seen the light of day. That said the 1.66:1 1080p image isn’t awful by any means. Soft shots are frequent, film grain is often heavy and sometimes clumpy, and colors are lacking punch. Still, given what Severin was working with the picture does look reasonably cleaned up, though white flecks and damage are still visible, and the overall image is acceptably presented. Plus, like I’ve said many times before some films just look better when they stay rough around the edges and this is definitely one such example.
No dub is available, leaving the only audio option as a Spanish DTS-HD MA 2.0 mono track. This is a simple track with minimal sound design. Dialogue is understandable enough, though for most viewers this won’t matter since the subs are doing all the work. There is some hissing but it remains a minor issue. The score, composed by Franco, has a classical romantic feel, heavy on the piano and adding an air of regality to the proceedings. Subtitles are available in English.
“Jess Franco on First Wife Nicole Guettard” is an interview with the director in his later years (the year isn’t stated) discussing his working and personal relationship with the woman he divorced in the late ‘70s.
“Stephen Thrower on Sinfonia Erotica” is a typically informative featurette wherein Thrower discusses the period in Franco’s career during which he made this film, as well as covering various edits and title changes.
- Jess Franco On First Wife Nicole Guettard – Interview With Director Jess Franco
- Stephen Thrower On Sinfonia Erotica – Interview With The Author Of ‘Murderous Passions – The Delirious Cinema Of Jesus Franco’
This is probably the sort of film that appeals to only the most fervent of Francophiles out there but the work Severin Films has done to bring it home is commendable and the results, while far from earthshaking, are impressive given the difficulty level. As for the film, it’s an interesting exercise in debauchery and not much more.
Warhammer: Vermintide 2 Review – Rat Exterminator Simulator 2018
Available on PC through Steam (Coming to Xbox One and PS4)
Rated M for Mature
On the scale of cathartic guilt-free wanton slaughter, rat-men belong up there with zombies, Nazis, and cops in a Rockstar game. No matter how many limbs fly off, skulls get crushed in, and whispered wishes to see their families one last time before the cold embrace of death whisks them away, you’re pretty much free to do whatever without any of the self-conscious pangs that usually come along with murder. If Warhammer: End Times – Vermintide taught us anything, it’s that this unrestrained dealing of death is made all the more enjoyable when the victims are slightly adorable, in a gross ratty way. Now Warhammer: Vermintide 2 is here to deliver on more of the same, but with Chaos. Nurgle Chaos in fact, who are kind of like zombies and Nazis. So now that the gang’s all here, time to feel good about some ultraviolence.
For those of you unfamiliar with the series, Vermintide tells the story of the heroic Ubersreik Five (…or Four, whatever). An ensemble of fantasy tropes, you’ve got the racist snarky elf, the cheerful and outgoing dwarf, the shrill and sneering Witch Hunter, the maniacal and bloodthirsty Bright Wizard, and Markus Kruber. The team is brought together by plot for the purpose of rat slaying, and together with three of your friends you’ll murder your way to saving the world (but not really, because canonically speaking the whole world is fucked anyways). The series is an FPS in the vein of Left 4 Dead, but with a much heavier focus on melee combat. You’ll also have to unlock new gear like in Call of Duty, but unlike Call of Duty the class you play and loadout you pick actually matters.
Once you pick your favorite fantasy trope and prefered loadout, Vermintide 2 drops you into your selected level to complete a series of challenges and hopefully score some fat loot. In terms of simple playability, the maps are all as diverse as they are entertaining. The objectives are varied (sometimes you’ll be hunting for keys, sometimes surviving waves of foes, etc.), but always the same in that particular level. The level design is certainly geared more towards being a “game” than a living breathing world, and that’s fine. Games should be games, and if putting a random fence or broken bridge here or there to direct me towards my objective helps me slaughter rats I’m all for it. The overall effect is that the more you learn the level, the easier time you’ll have overcoming the endless hordes.
Now if this all sounds a lot like Left 4 Dead… well it is very similar. The major difference is the aforementioned focus on melee combat. While Left 4 Dead 2 used melee as an optional replacement for your sidearm, melee is the bread and butter for most characters in Vermintide 2. In service of that, the melee combat system is far more robust. You’ll have to learn to alternate between heavy and light attacks, block, dodge, and even what body parts to hit. On top of that, weapons have certain properties like armor piercing and high stagger. Even more on top of that, certain attacks have different applications of those properties. If you have a halberd, you’ll have to learn the difference between your sweeping attacks and your piercing jab attacks. The elf and Bright Wizard are more ranged focused, but the basic principles of knowing what your attacks do and which moves pierce armor still apply.
This is all just the basic overview of what Vermintide 2 is, but that’s basically all you need to know to have a good time. The game gets far more complex, but there’s a very primal satisfaction to be had in chopping your way through hordes of rats. In terms of just jumping in and having fun, the game is incredibly accessible. Anyone can understand the concept of pushing the attack button to remove heads from shoulders. Delving into the game’s complexity beyond that is really up to you.
If you do delve into it, you’ll find a hidden layer of challenge and reward that sets Vermintide 2 far above the competition. First off are the hidden tomes and grimoires. In every level there are three tomes and two grimoires hidden somewhere. These spots can be incredibly difficult to suss out, requiring excessive collectible hunting motivation to find them on your own. This can be a bit of a challenge when there’s an endless horde of rats nipping at your heels. In reality, you’ll probably just Google the locations and memorize them before the start of each map. Just knowing where they are isn’t all there is to it. Some are quite difficult to reach even if you know where they are, hidden behind jumping puzzles that are a bitch and a half. If you do pick them up, they will make your journey even harder. Tomes replace your potion slot—meaning that you cannot take a potion with you, not that you cannot ever heal again—and grimoires reduce your entire team’s max HP by 33% each. Collecting these prizes means more loot, but make sure your team knows their shit before you try one of these difficult challenge runs.
Now this is all stuff that was also in Vermintide. More of the same can be good when it’s well done, and Vermintide 2 is certainly well done. What makes Vermintide 2 a cut above the original is the new leveling system. Each character now levels individually, unlocking new traits and classes. There are 30 levels of traits to unlock, and two extra “careers” for each of the five characters. Each character levels individually, but loot boxes can be carried over between characters to make the grind a little easier. Still, it’s a hell of a lot of grind.
As a veteran of vanilla WoW, grind isn’t a dirty word to me. What matters is that the grind is leading towards something worth the time and effort. For Vermintide 2, that largely comes in the form of the different careers. More than just a visual change, careers can radically alter how your character plays. I’ve put the most time into Markus “Vanilla Ice Cream on a Waffle Cone” Kruber, as I like melee bruisers and I’ll be damned if I play a dwarf. Upon reaching level 7, I unlocked the Huntsman class and the character switched into a ranged damage role with strong melee backup. Reach level 14, and you’ll become a Man at Arms, an even tankier melee dude with a dash attack. Each career has its own skill tree, and certain weapons that only it can use.
So while I won’t see many people grinding all five of the crew to level 30, there is a lot of value to your repeated runs. The permanent progression that the leveling offers is a great way to add reward on top of the gear drops. The downside to this is that it’s far more difficult to hop between classes. While gear was certainly a factor in your success in Vermintide, you could still pretty easily jump into a character you only had a few pieces of gear for and do reasonably well. As your strength is now determined by your level, it’s not so simple in Vermintide 2.
This is a good segway into my biggest overall criticism with the game: playing with random scrubs is unbearable. If I had the choice between sleeping in an Arizona bar dumpster during the summer and trudging through all of the levels with random people, then I’d be using garbage bags as a pillow. Between having to know the locations of the tomes/grimoires and knowing how to actually be good at the game, finding a proficient four man team comprised of random people is like watching the last white rhino get hit by a shooting star. Even in my three man team, we’d quickly write off the fourth random player as more of a liability. The AI is decent enough at shooting stuff, but won’t pick up any of the collectible goodies without some inconsistent trickery. So you can either waste your time in subpar games, or get a solid group without other life commitments. And given the amount of grind that’s in this game, finding that consistently is the four-leaf clover wreath left on the rhino’s grave.
It’s a pretty major gripe in terms of my own personal enjoyment, but even in my most frothing moments of scrub-induced rage I couldn’t exactly fault the game for just being what it is. And what it is is excellent. A huge cut above other cooperate shooters, the edition of new chaos units and the leveling system makes Vermintide 2 replace Left 4 Dead as the industry standard. Cleaving hordes of skittering rats has never been so fun, and definitely shouldn’t be missed.
Here is where the review should end, but wait, there’s more! You can’t talk about Vermintide without mentioning the exceptional developer support. The original game was still cranking out patches, updates, and DLC years after its release. With Vermintide 2, Fatshark has already been on top of releasing a slew of balance changes, updates, fixes, and more. It’s only been a month since release (yes I know, this review is late), and they are on their third major quality of life improvement patch. As a game it was already excellent, but that kind of community interaction and developer support truly makes the game exceptional. It’s a game you should definitely buy, and a company you should be happy to support.
Ridiculously fun combat and near infinite replayability combine to form the perfect rat-smashing package. The best co-op shooter on the market. The only downside is that there isn’t a really good way to play without a solid team. Get your friends together and waste away the weeks.
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