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Dead, The (Blu-ray / DVD)

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The Dead on Blu-ray and DVDStarring Rob Freeman, Prince David Osei, David Dontoh, a whole lot of African zombies

Directed by Howard J. Ford and Jon Ford

Distributed by Anchor Bay Entertainment


I make no bones about it. One of my all time favorite living dead flicks is Lucio Fulci’s Zombie. From the excessive gore to the beautiful setting, the movie is just rife with flavor, and I’ve always wished a quality sequel would have gotten made. Don’t get me started about the several Zombi sequels that followed it. Though campy and at times ludicrously funny, they were mostly an exercise in misery.

When word of the Ford brothers’ The Dead hit my desk two years ago, I was ecstatic. This flick, for all intents and purposes, looked like what I had been hoping for all of these years. Not a true sequel to Zombie but at least something cut from the same quality of cloth. Was I right? Read on and find out.

In The Dead we meet Lt. Brian Murphy (Freeman), one of the only survivors of a plane crash off the coast of a war-torn Africa. Living through the crash itself has turned out to be the least of his worries as now he’s lost and forced to travel on foot across an incredibly dangerous landscape filled with almost uncrossable terrain and, even worse, hundreds of flesh-hungry zombies. Eventually Murphy meets up with local solider Daniel Dembele (Osei), who’s frantically searching for his son. Figuring that their odds are better should they watch each other’s back, the two embark on a perilous journey to a military camp hoping to find everything that they seek as well as a way out of this godforsaken living hell.

Let me say this… I cannot recall a zombie movie before that has featured this many members of the living dead. Seriously, they’re shambling around in just about every scene, a constant reminder of the doom our protagonists are facing. There is nothing lighthearted or funny about these creatures either. Here they are portrayed in the most serious of tones, which works well and contributes to the overall bleakness of the feel of this movie. In complete juxtaposition to the ghastly horror these living corpses bring with them is the African landscape, which is stunningly captured by filmmakers Howard J. Ford and Jon Ford. This duo faced insurmountable odds to get this flick made, and their hard work shines in every frame of film.

As for the zombies themselves, as stated, they are of the old school shambling variety who can be big trouble in packs. There’s way more rotting than running going on here. Their look (which is probably the single most important feature of any zombie flick) is very dry on the verge of whither. Being that this outbreak is new, there aren’t very many hero zombies on display that are insane looking, but there are a few that will be considered extremely memorable. Much better than the high-speed, pasty blood-spattered “Goths Gone Wild” assembly line zombies we’ve been getting for the most part of the last two decades, that’s for sure.

The film is a slow burn tale with such minimal dialogue that some may have pacing issues with it, but given the nightmarish quality of everything on display, there really isn’t too much to complain about. My only real gripe is that I would have liked to have seen a much rowdier ending than what we got, but hey, that, too, is easily forgiven. As is, The Dead (along with The Horde) is one of the best damned zombie movies I’ve seen in a long time.

The Blu-ray itself is nothing short of stunning in terms of picture and sound quality. At least it looks that way in the daytime when you can see every single detail onscreen with razor sharp clarity. The night scenes (of which there are only a few), however, come off a bit flat despite having some really deep black levels. Again, not much to complain about. The Dolby TrueHD 5.1 track is where this movie really shines with the film’s lush jungles and deserts buzzing to life around you. Stellar stuff.

In terms of special features on the Blu-ray and DVD, well, with the exception of one of the single most interesting commentary tracks you’re likely to listen to, there are slim pickings to be had. Listening to the Ford brothers talk about all their trials and tribulations while making this movie is an adventure unto itself. It’s a miracle the movie actually happened. This makes it all the more disappointing when all we get beyond that is non-narrated b-roll of some of the flick’s behind-the-scenes moments and a single deleted scene. The Fords released three video diaries years ago. Why they’re not here is a mystery, but I’ve included them below for your enjoyment.

The Dead, despite its few shortcomings, lands just short of a knockout punch for fans of the living dead. It reveres the films that came before it and wears its love for them on its sleeve. Hopefully the heroes of the flick will revisit this story and pick up where they left off. I speak not of the flick’s characters, but of Howard J. Ford and Jon Ford themselves. I cannot sing their praises any higher. Hats off, gentlemen, and thank you.

Special Features

  • Audio commentary with the Ford brothers
  • Behind-the-scenes featurette
  • Deleted scene





    Film:

    4 out of 5

    Special Features:

    2 out of 5

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    The Open House Review – Abandon Hope All Ye Who Enter Here

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    Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

    Written by Matt Angel and Suzanne Coote

    Directed by Matt Angel and Suzanne Coote


    Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

    Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

    To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

    This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

    Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

    If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

    Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

    • The Open House
    1.0

    Summary

    Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

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    Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI

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    Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis

    Written by George Edwards and Barry Schneider

    Directed by Curtis Harrington

    Distributed by VCI Entertainment


    Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.

    Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.

    The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.

    What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.

    Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.

    This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.

    An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.

    There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.

    The film’s original trailer is included in HD.

    Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.

    Special Features:

    • NEW 2K RESTORATION from the original camera negative
    • Original theatrical trailer
    • Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
    • New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
    • Two Interviews with Curtis Harrington by Film Critic David Del Valle
    • Photo Gallery
    • Optional English SDH subtitles
    • Ruby
    • Special Features
    2.3

    Summary

    A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.

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    The Midnight Man Review – Don’t Hate The Game, Hate The Players

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    Starring Lin Shaye, Robert Englund, Grayson Gabriel, Emily Haine, Gabrielle Haugh, Summer H. Howell, Louise Linton

    Written by Travis Zariwny

    Directed by Travis Zariwny


    Travis Zariwny’s The Midnight Man is largely a robotic hide-and-seek slog, yet if dissected in butchered chunks, smaller bites range from delicious destruction to utterly incompetent character work. Judging by the bloodthirsty opening sequence alone, you’d think Zariwny is about to blow our morality-siding minds. A sad misconception, I’m afraid. After our hopes skyrocket, mechanical plot devices are pinned to a storyboard with the utmost lack of exploration. The Midnight Man’s game is afoot, but these players would barely compete against an opponent crafted from brick and mortar. Can someone calculate a handicap for them, please?

    Gabrielle Haugh stars as Alex Luster, a caring granddaughter to Nana Anna (Lin Shaye). One night, upon the request of her not-always-there relative, Alex rummages through attic trunks for a silver-backed hand mirror. Instead she finds a nondescript wrapped box with what appears to be a game inside. Her crush Miles (Grayson Gabriel) has arrived by now, and after an incident where Anna requires medical attention from house-call doctor Harding (Robert Englund), the two friends begin playing whatever it was that caused Anna to screech in disapproval. You know, the only rational decision.

    At the risk of sounding like a smug CinemaSins video, The Midnight Man would surely bomb any horror IQ test. Zariwny’s *first* piece of introduced information after discovering Midnight Man’s altar is quite simple – DANGER. DO NOT PLAY. IT JUST CAUSED A WOMAN TO FAINT. Nevertheless, our braindead sheeple follow careful rules to summon Mr. Midnight Man into their house – because, as horror movies have proven, tempting occult fates is buckets of fun! At least the characters don’t confess romantic feelings and makeout while another friend who joins the game late – “Creepy Pasta” obsessed Kelly (Emily Haine) – could already be in the Midnight Man’s clutches, that’d be – oh, right. That happens.

    Senile Anna is another story altogether – Zariwny’s grey-haired red herring in the worst way. Lin Shaye injects so much destabilized madness into this energetic, midnight-perfect role, elevating herself into a stratosphere well above The Midnight Man itself. Whether she’s screaming about Alex’s disgusting blood, or ominously whispering dreadful remarks through a housewide intercom, or beating Robert Englund to a pulp with wide-eyed psychosis – well, if you’ve seen Dead End, you *know* the kind of batshitery Shaye is capable of. Her genre vet status on display like a damn clinic here.

    Shaye – and even Englund – aside, scripting is too procedural to salvage any other performances. Kelly doesn’t even deserve mention given her “bring on death!” attitude and enthusiastic late entry INTO AN URBAN LEGEND’S DEATHTRAP – a poorly conceived “twist” with less structure. This leaves Grayson Gabriel and Haugh herself, two thinly-scripted cutouts who couldn’t find a more repetitive genre path to follow. There’s little mystery to the gonigs on, and neither actor manages to wrangle tension (even when staring our Midnight friend in the face…thing).

    Scares are hard to come by because Zariwny opts for a more “charismatic” villain who talks like Scarecrow and appears as a dyed-black, cloaked Jack Skellington. He can form out of clouds and is a stickler for rules (candles lit at all times, 10 seconds to re-ignite, if you fail he exploits your deepest fear). Credit is noted given this villain’s backstory and strict instructions – which does make for a rather killer game of tag – but the need to converse and expose Midnight from shadows subtracts necessary mysticism. He’s a cocky demon with masks for each emotion (think woodland death imp emojis), but never the spine-tingling beast we find ourselves hiding from.

    This is all a bummer because gore goes bonkers in the very first scene – with underage victims no less. One young player gets decapitated, another explodes into a red splattery mess (against fresh snowfall), but then a vacuous lull in process takes hold. It’s not until Alex’s fear of blood and Miles’ fear of pain that we get more eye-bulging squeamishness, then again when Kelly’s bunnyman appears. A no-bullshit, bunny-headed creature wearing a suit, which plays directly into Kelly’s deepest fear. When Zariwny gets sick and surreal, he scores – but it’s a disappointing “when.”

    I take no pleasure in confirming that any small victory The Midnight Man claims is negated by kids who should’ve been offed for even thinking about a quick playthrough of Anna’s old-school entertainment. Invite him in, pour your salt circles and try to survive until 3:33AM – sounds easy, right? If the demon plays fair, you bet! But why would ANYONE trust a demon’s word? Makes sense given Alex and Miles’ ignorance of more red flags than a Minesweeper game, and a thrilling chase these bad decisions do not make.

    • The Midnight Man
    2.5

    Summary

    The Midnight Man begins by striking a meteoric horror high, only to plummet back down towards repetitive genre bumbling once the game’s true – and less enticing – plot begins.

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