Directed by Uwe Boll
It has taken three movies for Uwe Boll’s BloodRayne franchise to finally catch up to where the BloodRayne video games started out in the first place: Nazi Germany. After a needless origin film in the old country and a sojourn to the old west, finally Rayne sinks her fangs and her blades into history’s greatest villains.
I’m of two minds when it comes to BloodRayne: The Third Reich. One mind screams, “Holy crap! That movie was complete gibberish!” The other mind screams, “Holy crap! That movie was complete gibberish – but I was still kind of entertained in a Cannon Films sort of way.” BloodRayne: The Third Reich truly is just a Dudikoff shy of being the BloodRayne flick Golan-Globus would given us back in the day. I hope Uwe Boll considers setting the next BloodRayne movie in the Middle East and has her teaming up with the Delta Force to fight Arab vampire terrorists during the Reagan era.
Natassia Malthe returns for her second go as blade-swinging, daywalking, half-vampire Rayne; and this time she couldn’t even be bothered to dye her hair red for the role. Instead we have a head of dark hair with the tips dyed red, a hairstyle I am fairly certain would look highly out of place in 1940’s Germany. Her whole self looks out of place with the time period. A pale, Eurasian looking woman with red-tipped hair and black fingernail polish, wearing a rather modern looking by Nazi Germany standards trench coat adorned with unusual designs and a very low cut top that displays her heaving bosoms like they’re trying to stage their own Great Escape. Is it any wonder she’s forced to hide out in a brothel?
While Boll may not have been able to get Malthe to fully dye her hair for this threequel, he did somehow convince her to get fully naked. Malthe bares it all in two sex scenes, one of which is girl-on-girl with a prostitute thanking her for saving a fellow harlot from an abusive john as only one can in a whorehouse. I mean, seriously; it goes down (pun intended) so suddenly the dialogue leading into this scene might as well have had the hooker saying to Rayne, “Thanks for the help. How ‘bout I eat your pussy?” No beating around the bush, so to speak.
Both of the sex scenes in this installment manage to be even more out of nowhere than the cell door bang session from the first flick. The finale – I am not making this up – begins with Rayne captured and unconscious in the back of an armored Nazi truck transporting her and local resistance leader Brendan Fletcher, with whom there has been not a smidgen of romantic chemistry with prior; she awakens, they exchange a look, and without saying a word, both proceed to drop trou and play hide the strudel. No thought of escaping; just nookie. I was so disappointed that the other resistance fighters didn’t stage their rescue a few moments sooner so that Rayne and Fletcher would have ended up buck naked in the snow battling Nazis.
Rayne unintentionally turns a Nazi Commandant into a dhampir like herself during the heat of battle. A Nazi doctor gets all giddy at the thought of using her blood to make Hitler immortal. Why exactly they can’t use the Commandant’s blood to make Hitler immortal was kind of lost on me. Not that any of it truly matters in the end since very little between the hacking and slashing and humping and carpet munching matters. A short running time, a breezy pace, and some enjoyable loopiness make it easier to digest.
You know what does matter? Casting Michael Pare as a Nazi! Correction: Michael Pare as a Nazi vampire! Double Correction: Michael Pare as a Nazi vampire that spends much of the movie appearing a tad unsure as to what do with himself post-transformation until the finale when he juices up on Rayne’s blood and starts screaming to the heavens about absolute power as if he were Skeletor on a coke jag.
The Commandant will be so quickly and anti-climactically dispatched in the end I’d dare say Count Duckula would have made a more worthy adversary for Rayne. If this movie is in any way accurate as to the tenacity and intelligence of the Third Reich, I cannot fathom why it took so many years to win that war.
Pare’s German accent vanishes faster than Kevin Costner’s British accent in Robin Hood: Prince of Thieves. He clearly speaks with a German accent in his first scene or two and from there either doesn’t bother at all or merely speaks with a slightly stilted inflection meant to make him sound less obviously American.
Boll will see your Michael Pare as a Nazi Commandant turned vampire and raise us Clint Howard as a Nazi mad scientist. Howard, too, forsakes a German accent in favor of doing what I can only describe as a full-fledged Igor voice. Considering this is Clint Howard we’re talking about, I just prefer to imagine this doctor used to be Dr. Frankenstein’s assistant Igor until he got corrective hump surgery and put himself through med school.
While I’m on the subject of voices, I’m sorry to say Natassia Malthe’s chirpy delivery just doesn’t carry the weight of a kickass action heroine. Original BloodRayne Kristanna Loken looked the part and possessed a husky voice that added some needed gravitas to her otherwise flat line readings. The silly aviator hat Malthe wears during many action scenes also detracts from her perceived badassery.
I could never determine from the sound of his voice if Brendan Fletcher’s resistance leader was supposed to be German, British, or American. A little annoying considering there are enough scenes involving his anti-Nazi brigade that the movie could have been cheekily retitled Inglourious Dhampirs.
There is one all-too-brief sequence that almost makes me want to give this sequel a five-star rating. Rayne experiences a daffy nightmare in which she gets the crap beat out of her by a vampire Hitler. She wakes up from this dream screaming in terror. I would have woken up laughing hysterically.
2 1/2 out of 5
Discuss BloodRayne: The Third Reich in the comments section below!
LIQUID SKY Blu-ray Review – You Don’t Need Acid For This Mind Melting Trip
Starring Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr
Directed by Slava Tsukerman
Distributed by Vinegar Syndrome
Succinctly summing up a slice-of-life avant-garde feature film can be difficult when the picture relies heavily on the audio-visual experience and not necessarily the story. Liquid Sky (1982) is an acid-fueled trip through the emerging New Wave movement, viewed through the vapid lens of the fashion world, where drugs and sex are a commodity to be frequently bartered. The film juxtaposes the grimy and gritty streets of New York City with liberal use of bright, flashy neon, creating an aesthetic that both revels in the post-punk subculture and looks forward to the eye-popping pastels that would come to define the ‘80s. Within this kaleidoscope is a story about androgyny, rampant drug use, pleasures of the flesh, sexual abuse, and tiny invisible aliens that subsist on the endorphins released when people either get high or get down. As director Slava Tsukerman states in the extras, the idea was to craft a unique visual palette, the likes of which cinemagoers maybe hadn’t seen before; in that respect, Tsukerman capably succeeded. This is true subversive cinema, not for the mainstream.
Margaret (Anne Carlisle) is an androgynous NYC fashion model, looking to get her big break into certifiable stardom. Her nightclub fashion shows bring out all the fringe of the city – drug users, sexual deviants, flamboyant personalities, and her rival, Jimmy (also Carlisle), who is a fiend for cocaine. Margaret’s girlfriend, Adrian (Paula E. Sheppard), is a coke dealer whom Jimmy constantly harasses for a quick high, despite the fact he never has any money. Sex is his usual currency, consensual and otherwise. For reasons unknown, though easy to glean, a tiny UFO has landed on top of the apartment building in which Margaret lives, the visitors here to feast on endorphins released by the brain during drug use… or explosive, orgasmic sex.
Jimmy has lunch with his mother, Sylvia (Susan Doukas), a television producer who he sees as little more than a blank check. Sylvia also happens to live across the street from Margaret’s building, making it the perfect vantage point for scientist Johann Hoffman (Otto von Wernherr) to observe the till-now undiscovered, minute aliens and their spacecraft. Margaret, meanwhile, finds herself in one compromising sexual position after the next, often against her will, though these (let’s be honest here and call them) rapes tend to end with her perpetrators dead, a thin crystalline sliver embedded within their skulls; brain removed. Margaret doesn’t quite understand why, but the frequent cause and effect makes her imagine she has unbridled power, able to kill anyone that has sex with her. Eventually, Margaret comes to use this “power” to destroy anyone who crosses or uses her, which as the film will show is a significant number of people. Little does she know, all this time her saviors have been invisible to the naked eye and living atop her building.
The above plot synopsis barely scratches the surface of the weird and insane places this film travels. The biggest takeaway here should be the ground Tsukerman was breaking, which feels very much in the vein of something Andy Warhol might have been behind. The cast is comprised of societal outcasts; populated by homosexuals, ambiguous individuals, gender-fluidity, heroin users, club cronies, kink, vulgarity… all things that in no way conform to societal standards of normality. Carlisle pulls double duty playing two characters – one reprehensible, the other vaguely sympathetic – yet both fall under the rubric of blurred lines; they embody qualities of both masculinity and femininity. Tsukerman embraces the abstract and absurd, delivering a film that is fiercely independent and wholly incapable of direct categorization.
Driving this tour de force is a cutting edge synth score that is constantly active and consistently weird. A trio made up of Tsukerman, Clive Smith, and Brenda I. Hutchinson composed the soundtrack, and it sounds alien and otherworldly while also capturing the essence of the New Wave. The electronic cues and deep bass beats are energetic and repetitive, often making use of bizarre time signatures. Large portions of it reminded me of John Massari’s stellar synth score to Killer Klowns from Outer Space (1988), as the synthesizer sounds are nearly identical in some passages. The grooves are infectious and wonderfully lo-fi, adding an audible assault to complement the visual feast.
Still, Liquid Sky is something of a challenging watch, especially a first-time viewing when expectations are impossible to calibrate. Because Tsukerman purposely made his film so esoteric and obtuse, it can be tough to settle into a comfortable viewing mindset because so much of the film is uncomfortable and unconventional. The acting quality is passable enough that viewers may find themselves watching the film less as a veritable feature and more a staged, lengthy piece of performance art, which it is in certain respects. Liquid Sky doesn’t lampoon the period or people associated with it, though it does offer an exaggeration of current trends. One thing is for sure, this is bespoke filmmaking at its core and a shining example of the marriage between emerging trends and psychedelic euphoria. Mind blowing stuff.
Vinegar Syndrome is consistently lauded for their A/V work and, boy, did they ever knock this one out of the atmosphere. The 1.85:1 1080p picture is pristine, making it almost impossible to believe this is a low-budget indie from ’82. The original 35mm negative has been given new life via a 4K scan, with the resulting image looking nearly flawless. Aside from literally two or three white flecks the picture is immaculate. Film grain has been smoothed out and minimized without the use of waxy DNR. Fine detail is exquisite, adding a sense of true life to these shiny and squalid environments. Colors are richly saturated and pop off the screen, just as eye-catching neon might do in real life. Color filters are used frequently, bathing the image in hues of blue or green or whatever color fits the intended mood. Skin tones are spot-on and accurate. There is nothing worth complaining about making this one of the finest images Blu-ray is capable of producing.
Although the audio is a single-channel English DTS-HD MA 1.0 mono track you’d never know it from the sonic quality. The synthesized score is catchy and constant, causing the film’s soundfield to be brimming with life at every moment. The aggressive mix and high levels cause a mild sensation of discomfort and unease for viewers, ensuring the picture is never viewed too comfortably. Dialogue is understandable and totally clean, with no indication of hissing or pops at any point. Subtitles are available in English.
An introduction is available before the feature begins, with director Slava Tsukerman giving viewers a brief greeting along with praise for Vinegar Syndrome’s new home video edition.
An audio commentary is available, featuring director Slava Tsukerman.
The disc also contains an isolated soundtrack, highlighting that groundbreaking score.
Interview with Slava Tsukerman is a recent chat with the Russian director, who touches upon his career, influences, and the legacy of his most endearing creation.
Interview with Anne Carlisle is a similarly themed chat, with the leading lady discussing topics ranging from her early beginnings to where her career has taken her now.
Liquid Sky Revisited is a nearly-hour long documentary covering all aspects of the film’s production, with Tsukerman delving into every bit of minutia behind the production, genesis, inspirations, etc.
Q&A from 2017 Alamo Drafthouse Yonkers Screening, featuring Tsukerman, Carlisle, and co-composer Clive Smith.
A lengthy reel of outtakes, alternate opening sequence, rehearsal footage, multiple trailers, and a still gallery complete the wealth of bonus features found here.
Additionally, the cover artwork is reversible allowing for display of the original key art or newly commissioned artwork.
- BRAND NEW 4K RESTORATION OF THE FILM from the 35mm original negative
- Brand new commentary track with: Slava Tsukerman (director)
- Video interview with Slava Tsukerman
- Video interview with Anne Carlisle (actress)
- Director’s introduction
- “Liquid Sky Revisited” (2017) – 50 minute making-of documentary
- Q&A from a 2017 Alamo Drafthouse Yonkers screening with: Slava Tsukerman, Anne Carlisle and Clive Smith (music)
- Isolated soundtrack
- Never before seen outtakes
- Alternate opening sequence
- Behind the scenes rehearsal footage
- Multiple theatrical trailers
- Still gallery
- Artwork designed by Derek Gabryszak
- Reversible cover artwork
- English SDH subtitles
Supremely psychedelic and infinitely eccentric, Liquid Sky was 1983’s most successful independent film and for good reason: it is impossible to categorize and there are few films that color outside the lines so vividly and uniquely. You can’t explain it or understand it; you just have to see it. Vinegar Syndrome have raised the bar with their impeccable a/v quality and wonderful selection of extras.
Zena’s Period Blood: Dying for a DEAD END
It can be difficult finding horror films of quality, so allow me to welcome you to your salvation from frustration. “Zena’s Period Blood” is here to guide you to the horror films that will make you say, “This is a good horror. Point blank. PERIOD.”
“Zena’s Period Blood” focuses on under-appreciated and hidden horror films.
How do you turn $900,000 into $77,000,000? Offer directors Jean-Baptiste Andrea and Fabrice Canepa the initial amount and give them the freedom to let their minds wander. In 2003, both directors accomplished this unimaginable feat with Dead End. Under the clouds of a small budget, typical poster and insubstantial trailer, most viewers forecasted one long stretch of boredom. However, 15 minutes in and I was as hooked as a pervert in a strip club with his tax refund money. In 83 minutes, the movie unravels and exposes intelligent craftsmanship with story, acting and location, introducing us to the Harrington family and their demise.
After 20 years following the same route, Frank Harrington (Ray Wise) decides to take his family down a shortcut to his in-laws home during Christmas Eve. Wife Laura (Lin Shaye) sings in the passenger seat, serving as the optimistic family unifier who is often ignored by her husband and children. Behind Frank is their oldest child Marion (Alexandra Holden), unnervingly sheltered under the arm of her soon-to-be fiancé, Brad. And forever mom’s favorite boy is Richard (Mick Cain), who rocks out to Marilyn Manson blaring in his headphones. After this brief introduction to the characters and their distinct personalities, we witness everyone fall asleep, including Frank, who refuses to let anyone else drive.
Several seconds pass before the Jeep Wagoneer veers into the opposite lane. Gradually, a honk pleads from an approaching car, startling the Harrington family and forcing Frank to fight with the wheel until he brings the Jeep to a stop. Wide-awake, the family begins to move forward, now entrapped on a new, never-ending road.
I could elaborate on so many scary details in the movie, but the never-ending road stands out the most. What makes it worse is that there are signs for a town called Marcott, with an arrow indicating the town is straight ahead. But the Harringtons never reach the town. This scares me because I believe that every human being has a mental list of things they are scared of or things they should keep an eye out for in certain situations. Unfortunately, this movie exists to expand that list. What sucks for me is that my husband likes taking back roads. Because I strive to have a happy marriage and a peaceful death, I usually fall asleep to avoid an argument and the grim reaper, both of which usually exist on these particular roads. However, I never imagined that a back road could become a never-ending road. Man that would suck!
Speaking of never-ending, the directors became devils of discomfort by never really showing the deceased’s mutilated body, leaving your brain struggling to piece together the unseen image long after the movie ends. Throughout the movie, the family and Brad are picked off one by one. We mainly suffer these devatations through the reactions of the family members that are still alive, sometimes witnessing them lift a severed ear or caress a charred hand. This movie taught me that I can still taste bile at the back of my throat when a mutilation is suggested rather than shown.
Directors Andrea and Canepa accomplished greatness in Dead End with little time and little money. It is a testament that imagination coupled with skill is the true combination to capturing a big budget feel. I hope that all the individuals behind this movie have a long, never-ending road ahead of them because they have delivered brilliance to the world. This is a good horror. Point blank. Period.
In addition to contributing to Dread Central, Zena Dixon has been writing about all things creepy and horrific for over six years at RealQueenofHorror.com. She has always loved horror films and will soon be known directing her own feature-length horror. Feel free to follow her on Twitter @LovelyZena.
Who Goes There Podcast: Ep 164 – THE CLEANSE
Wait no longer, boils and ghouls! Today is the day you’ve been waiting for; today is the day we sink our teeth into 2018’s The Cleanse! What’s that? You’ve never heard of The Cleanse?! Well, neither had we, but horror releases are slim pickings right now, so we take what we can get. At least we can all agree that we’ve been dying to see Johnny Galecki in something other than Big Bang Theory, right? No? Well, fuck. Here’s an episode about his new movie anyway. What are we even doing?
It was crazy of me to think I could help the police, but I’m going to keep researching, keep writing, there are stories that need to be told, so… here’s the Who Goes There Podcast episode 164!
If you enjoy the show, 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 Facebook, Twitter, Instagram, Twitch, and YouTube.
- Michael M Rob Zombie should not be allowed to make any movie ever again. The guy is not a filmmaker.
- Michael M I know it's just a teaser but damn. It does not look promising.
- King 4_$$hole Rob Zombie should be no where near the Creature from the Black Lagoon, (although Universal is getting desperate for a Cinematic Universe), but I have always thought he should take the reigns on the...
- Franmon "It fucked me when I read it in high school,” Damn. Must've hurt with all those paper cuts.
- Josh Gastronomicon Myers I dig this dude, but every time I see his name my brain flips it into “Iris Elbow” Which is kind of cool I guess
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