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Rosewood Lane (2011)

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Rosewood Lane (2011)Starring Rose McGowan, Daniel Ross Owens, Ray Wise, Lin Shaye, Lauren Vélez, Lesley-Anne Down, Bill Fagerbakke

Written and directed by Victor Salva


With an opening aerial shot of a tree-lined and manicured cul-de-sac besieged by braying dogs and the strobing lights of emergency vehicles, writer/director Victor Salva’s feature film Rosewood Lane immediately sets the stage that something isn’t right in the suburbs of America. Unfortunately, however, for this writer and a good portion of the Screamfest audience who with anticipation greeted the flick (it had its world premiere there on October 15th), we found during its subsequent running time that there isn’t much right with the film itself either.

Filmmaker Salva, whose previous writer/director credits include several genre films, most notably Clownhouse, Powder and the well received Jeepers Creepers series, here turns in his addition to the sub-genre of ‘evil next door’ flicks and has likened the intended tone of Rosewood Lane to John Carpenter’s classic Halloween. Delivering the story of radio talk show host and psychiatrist Doctor Sonny Blake (portrayed by Rose McGowan), who upon returning to her childhood home following the death of her alcoholic father finds herself beleaguered by local paperboy and sociopath Derek Barber (actor Daniel Ross Owens), Salva’s set-up certainly allows for plenty of creative leeway. Artistically the narrative roads available here are myriad, and given that the filmmaker first wrote the script nearly twenty years ago, one would hope that during the ensuing decades it would have been honed to a razor’s edge, or at the very least would attempt to introduce a villain even fractionally as memorable as the one in the flick Salva pays homage to (i.e., Halloween).

Paperboy Derek is no Michael Myers, however.

Herein lays the problem. Salva’s opus is supposed to be a horror film, yet comes across as if it were tooled as a Lifetime Network drama, and with the exception of McGowan’s rather unnerving face-to-face introduction to the paperboy (his newspaper subscription selling technique isn’t going to earn him any commissions, let’s put it that way), Rosewood Lane simply isn’t scary. As an audience we are to believe (as the residents of the titular community communicate) that the teen with the black eyes is truly a force to be feared, although his terror tactics simply fail to resonate. Case in point: The act of breaking into someone’s home to rearrange their collection of ceramic figurines may be unnerving to the one who endures such a personal invasion (as McGowan’s character suffers in the film), but as a plot point it doesn’t cinematically translate. The actress’ subsequent scripted and emotional reaction of “Don’t you see? The bear always goes on the left, and the ballerina always goes on the right!” thusly comes across as unintentionally funny, which clearly was not what Salva had in mind.

Other scripted methods of ‘terror’ as perpetuated by the paperboy include phone calls to McGowan in which he ominously recites to her… nursery rhymes. Thusly, the ‘thriller’ aspect intended never manifests either, although given such half-hearted methods of harassment, how could it? Masked killers wielding butcher knives tend to lend an audience anxiety; an adolescent glowering from the seat of his Schwinn? Not so much.

These moments and the script overall leave audience members scratching their collective heads as the film is rife with baffling plot turns, characters who consistently make the most illogical of decisions, abandoned sub-plots (and players), plot holes a’plenty and a second act sequence that betrays the third reel’s reveal (a reveal that ultimately makes little sense anyway); and while lead McGowan does her best with the material she’s been given, her acting prowess alone can’t buoy the proceedings. As for the supporting cast, which is comprised of the talented Lauren Vélez, Ray Wise, Lin Shaye and Lesley-Anne Down, they unfortunately aren’t given much to work with either, and subsequently their characters register as rather one-dimensional (actor Rance Howard is the one exception; he somehow fills his character’s boots with significant sand in the brief screen time he’s given as the neighborhood’s fearful historian).

While production values are good — cinematographer Don E. FauntLeRoy effectively sets the suburban tone, and film editor Ed Marx keeps things moving along briskly — Rosewood Lane struggles with its identity. Themes of child abuse permeate but are never adequately explored, and Salva seems to inject the film with a perplexing sensibility which does little to serve the narrative. A scene in which the impaled, subversive and unrepentant paperboy mockingly laughs at the Rockwell’ian residents of Rosewood Lane is perhaps telling, as is actor Sonny Marinelli’s espousing of “There’s no good or evil. There’s simply what can hurt you and what won’t. The rest is only opinion.” None of these moments do much to inform the characters’ depth or back-story, although as art reflects life, they may be intended to communicate something else. A scene of backyard cat-and-mouse which culminates in an ocular and rather bizarre ‘glory hole’ moment and the rumination on the judicial system’s outlook regarding minors’ legal culpability, too, do little to foment a compelling narrative, nor do they elicit audience empathy for the film’s principals, all whom exist in shades of grey and self-absorption.

Perhaps it is in these underpinnings that Rosewood Lane ultimately succeeds in being frightening.

1 out of 5

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Desolation Review – The Joy of Being Rescued and All the Surprises That Come With It

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Starring Raymond J. Barry, Brock Kelly, Dominik Garcia-Lorido

Directed by David Moscow


It’s those random, once-in-a-lifetime encounters that only a select few get the chance to experience: when we as regular participants in this wonderful thing known as The Rat Race, stumble across a soul that we’ve only witnessed on the big screen. I’m talking about a celebrity encounter, and while some of the masses will chalk the experience up as nothing more than a passing moment, others hold it to a much larger interior scale…then you REALLY get to know the person, and that’s when things get interesting.

Director David Moscow’s thriller, Desolation follows shy hotel employee Katie (Lorido) and her “fortuitous” brush with Hollywood pretty-boy Jay (Kelly) during one of his stops – the two hit it off, and together they begin a sort of whirlwind-romance that takes her away from her job and drops her in the heart of Los Angeles at the apartment building he resides in. You can clearly see that she has been a woman who’s suffered some emotional trauma in her past, and this golden boy just happens to gallop in on his steed and sweep her off of her feet, essentially rescuing her from a life of mundane activity. She gets the full-blown treatment: a revamped wardrobe, plenty of lovin’, and generally the life she’s wanted for some time.

Things return to a bit of normalcy when Jay has to return to work, leaving Katie to spread out at his place, but something clearly isn’t kosher with this joint. With its odd inhabitants (a very creepy priest played by Raymond J. Barry), even more bizarre occurrences, and when one scared young woman cannot even rely on the protection from the local police, it all adds up to a series of red flags that would have even the strongest of psyches crying for their mothers. What Moscow does with this movie is give it just enough swerves so that it keeps your skull churning, but doesn’t overdo its potential to conclusively surprise you, and that’s what makes the film an entertaining watch.

While Lorido more than holds her ground with her portrayal of a woman who has been hurt in the past, and is attempting to place her faith in a new relationship, it’s Barry that comes out on top here. His performance as Father Bill is the kind of stuff that wouldn’t exactly chill you to the bone, but he’s definitely not a man of the cloth that you’d want to be stuck behind closed doors with – generally unsettling. As I mentioned earlier, the plot twists are well-placed, and keep things fresh just when you think you’ve got your junior private investigator badge all shined up. Desolation is well-worth a look, and really has kicked off 2018 in a promising fashion – let’s see what the other 11 months will feed us beasts.

  • Film
3.0

Summary

Got your eye on that shining movie star or starlet? Better make sure it’s what you really want in life – you know what they say about curiosity.

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Wolf Guy Blu-ray Review – Sonny Chiba As A Werewolf Cop In ’70s Japan

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Wolf Guy UK SleeveStarring Sonny Chiba, Etsuko Nami, Kyosuke Machida

Directed by Kazuhiko Yamaguchi

Distributed by Arrow Video


As virtually every American adaptation has proven, translating manga to the big screen is a job best left to Japanese filmmakers. There is an inherent weirdness – for lack of a better term – to their cultural media that should be kept “in house” if there is to be any hope for success. Ironically, the stories are often so fantastical and wildly creative that a big American studio budget would be necessary to fully realize such a live-action vision. But I digress. Back in 1975, Toei Studios (home of Gamera) adapted the 1970 manga series Wolf Guy into a feature of the same name. Starring the legendary Shin’ichi Chiba (a.k.a. Sonny Chiba), who at that time was in his prime, the film combines elements of crime and psychedelic cinema, delivering less of a werewolf film (despite the title suggesting otherwise) and more of a boilerplate crime caper with a cop who has a few tricks up his hairy sleeve. I should stress it is the story that plays fairly straightforward, while the film itself is a wild kaleidoscope of strange characters and confounding situations… mostly.

An unseen killer, known only as “The Tiger”, prowls the streets at night slashing victims to death and leaving behind no trace. Beat cop Akira Inugami (Sonny Chiba) is on the case, and he has an advantage over his fellow brothers in blue: being a werewolf. As the opening credits flashback shows, Akira is the sole survivor of the Inugami clan of werewolves after a slaughter wiped out the rest of his kind. Now, as the last of his brethren, he uses his acute lycanthropic skills, under the auspices of the moon, to track down underworld thugs and solve cases uniquely tailored to his abilities. As the lunar cycle of the moon sees it growing fuller Akira’s powers, too, increase to superhuman levels.

Searching for this mysterious “Tiger”, Akira is led into a subterranean world of clandestine government organizations, nightclub antics, and corrupt politicians. One night, Akira is attacked and taken prisoner by a government research lab that wants to use his blood to create werewolves they can control. Only problem is – which they don’t realize – Akira’s blood cannot be mixed with that of a human; the only end result is death. Miki (Etsuko Nami), a drug user with syphilis, comes to Akira’s aid and proves to be quite useful. She holds a secret that has the potential to vastly change Akira’s world but, first, a showdown with the criminal underbelly looms on the horizon… as does the fifteenth day of the Lunar Cycle, when Akira will be made nearly invincible.

First, some bad news: Sonny Chiba never attains full werewolf status. This is not that movie. Sure, he growls and snarls and sneers and possesses many of the traits of a werewolf but in terms of physical characteristics he more or less remains “human” the entire time. Yes, even during “Lunar Cycle Day 15”, a.k.a. the moment every viewer is waiting for, to see him turn into a wolf. Instead, he just winds up kicking a lot of ass and taking very little damage. To be fair, a grizzled Sonny Chiba is still enough of a formidable presence, but, man, to see him decked out as a full-on kung-fu fighting werewolf would’ve been badass. The film could have done better at tempering expectations because it builds up “Day 15” like viewers are going to see an explosion of fur and flesh, instead it’s just plenty of the latter. Aw, well.

Lack of werewolf-ing aside, the film plays out a bit uneven. The opening offers up a strong start, with The Tiger attack, wily underworld characters being introduced, and a tripped-out acid garage rock soundtrack (which I’d kill for a copy of). But Second Act Lag is a real thing here and many of the elements that may have piqued viewer curiosity in the first act are scuttled, and although the third act and climax bring forth fresh action and a solution to the mystery it also feels a bit restrained. Then again, this is Toei, often seen as a cheaper Toho. Wolf Guy serves as a good introduction to Akira Inugami and his way of life, which makes it a greater shame no sequels were produced.

Presented with a 2.35:1 1080p image, Wolf Guy hits Blu-ray with a master supplied by Toei, meaning Arrow did no restorative work of their own on the picture – and it shows. Japanese film elements, especially those of older films, are often notorious for being poorly housed and feebly restored. This transfer is emblematic of those issues, with hazy black levels, average-to-poor definition, minimal shadow detail, and film grain that gets awfully noisy at times. The best compliment I can give is daylight close-up scenes exhibit a pleasing level of fine detail, though nothing too eye-popping. This is a decidedly mediocre transfer across the board.

The score fares a bit better, not because the Japanese LPCM 1.0 mono mix is a beast but because the soundtrack is so wildly kinetic, exploding with wild garage rock and fuzzy riffs right from the get-go. Dialogue has a slight hiss on the letter “s” but is otherwise nicely balanced within the mix. Subtitles are available in English.

“Kazuhiko Yamaguchi: Movies with Guts” is a September 2016 sit-down with the film’s director, who reflects on his career and working with an icon like Sonny Chiba.

“Toru Yoshida: B-Movie Master” is an interview with Yoshida, a former producer at Toei who oversaw this film and many others.

“Sonny Chiba: A Life in Action, Vol. 1” covers the man’s career up to a point, with the remainder finished on Arrow’s other 2017 Chiba release, Doberman Cop.

A theatrical trailer is also included, as is a DVD copy of the feature.

Special Features:

  • Kazuhiko Yamaguchi: Movies with Guts
  • Toru Yoshida: B-Movie Master
  • Sonny Chiba: A Life in Action, Vol. 1
  • Theatrical trailer
  • Wolf Guy
  • Special Features
2.8

Summary

While the film might be a bit of a letdown given what is suggested, fans of bizarre Japanese ’70s cinema – and certainly fans of Chiba’s work – should, at the least, have fun with this title.

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Inside (Remake) Review – Is It as Brutal as the Original?

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Starring Rachel Nichols Laura Harring

Directed by Miguel Ángel Vivas


While the directing duo of the cringe-inducing and original 2007 French grand guignol thriller Inside have gone on to refurbishments of their own—Julien Maury and Alexandre Bustillo recently helmed a retread of Leatherface’s origin story—their flick now has an American stamp on it with the release of the remake, also titled Inside.

A cheerless Christmas eve sets the stage for heavily-pregnant widow Sarah’s (Rachel Nichols) oncoming ordeal. It’s a frigid and snowy night. She’s got a huge house to herself, following the accidental and violent death of her husband. She wants to sell the home that was meant to hold a family, to forget the nascent memories it once held. But she’s got to ride it out until the baby is born. While Sarah is lonesome, she won’t be alone. She’s got her genial gay neighbor nearby, and her mum is going to come and stay with her for a few days. Oh, and there will be an unexpected visitor too.

When a shadowy, seemingly stranded stranger (Laura Harring) knocks on the door pleading to be let inside, Sarah instinctively balks. She even calls the cops. But the woman leaves and all seems well. Crisis averted. Sarah puts the housekeys in the mailbox outside for Mom, and goes to bed. Big mistake.

Mystery Lady shows up at Sarah’s bedside armed with chloroform, an IV bag, and a case full of sharp-and-pointies (sorry, ’07 fans… those implements do not include a pair of scissors). The horror unfolds and the expected yet lively game of gory cat-and-mouse ensues. Then the tete-a-tete becomes a body-count chiller featuring one shocking moment after another.

Nichols is fantastic in the role, giving it her all. When the original Inside came out eleven years ago, she was starring in another French-helmed horror, P2—also set on Christmas eve—and she stole the show. She does the same here but with a less-intense adversary. Harring’s killer character, unlike her European counterpart, has a lot to say—which takes away from her initially mysterious manner as the minutes tick off. Still, the girl-on-girl action is a welcome change from the usual gender dynamic one sees in these things. Both deserve kudos for their performances.

While Inside isn’t a died-in-the-wool “Hollywood” remake (Miguel Ángel Vivas directs, while [REC] co-creator Jaume Balagueró wrote it) it feels like one. For those who’ve seen the original, there will be mild disappointment (which turns to major letdown at the very end). However, Inside is still a serviceable thriller that’s well-acted, beautifully shot, and effectively scored. Folks coming in fresh, and casual horror fans, will more than likely enjoy it.

  • Inside (Remake)
3.0

Summary

Inside is a serviceable thriller that’s well-acted, beautifully shot, and effectively scored. Folks coming in fresh, and casual horror fans, will more than likely enjoy it. For those who’ve seen the original, there will be mild disappointment (which turns to major letdown at the very end).

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