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Living Hell (DVD)

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Starring Hirohito (Battle Royale) Honda, Yoshiko Shiraishi, Rumi (Departure), Kazuo (The Man From The East) Yahsiro

Directed by Shugo Fuiji

Released by Subversive Cinema


When the Girlcreeture and I first saw Living Hell way back at 2001’s Fantasia Fest, it was one of those movies that just grabbed us by surprise. The description of it in the Fest guide made it sound like a depraved, demented flick, but we had no idea it’d be so damn funny on top of all that. Years of searching for the film on DVD turned up nothing, until the guys at Subversive Cinema contacted me to let me know they had acquired the U.S. rights for it, and the DVD would be stacked. And stacked it is, but we’ll get to that.

The film is about a wheelchair-bound young man, Yasu (Honda), who lives with his father, sister, and brother. They learn that some extended family is suddenly homeless and need a place to stay, so they open their doors to an old woman and her granddaughter. Seemingly harmless, the duo proceeds to torture Yasu in all manner of ways while his brother and sister are at work. Their father is a salesman of sorts and is only home on the weekends, so no one is around to witness the humiliation they put poor Yasu through.

When he tries to tell his siblings about their daily cruelties, his concerns are met with disbelief and a bit of worry, since they’re already concerned about Yasu’s sanity. Meanwhile a reporter by the name of Mistu (director Fuiji) is investigating the case of an old woman and her granddaughter who, after killing some innocents they were staying with, were locked away. Now it’s a few years later and they’ve escaped, and Mitsu is determined to stop them before they kill again.

Of course we know the old woman and her granddaughter are the same that are torturing Yasu on a daily basis, so a lot of the tension comes from wondering how much longer it is before they take it to the next level. During the course of his investigations, Mitsu uncovers some very strange things about the duo, and along with his partner Ken (Yashiro) he tries try to track down the full story. Only problem is, Ken is also Yasu’s brother, and he knows a lot more about what’s going on than he leads anyone to believe.

Fuiji, in his feature-length debut, did a great job with the story and characters, given how long he was given to actually make the movie (9 days to shoot, 3 days to edit) and the editing process he had to work with (flatbed, pure analog), it’s quite an accomplishment what he was able to pull off.

The film does have its flaws, of course, seeing as how it’s a first-time effort made for $100,000 in a short time frame. Some of the dialogue scenes go on in a static shot for far too long, making some the information they contain, while important to the overall story, seem unnecessary. The editing is rough, as well; most scenes just go to black, with the next scene picking up a few seconds later. It can be jolting to watch, but sometimes it actually helps in the overall feel of the film. Still, there is a flair and an obvious love for the genre that’s ever-present, and you can’t help but think Fuiji could go on to make some more great horror in the future.

A wicked blend of cringes, laughs, and gross-outs, Living Hell is a movie that I’m sure will be embraced by all lovers of the bizarre in this genre of ours.

As far as the look of the DVD goes well, it was shot with a filter to purposely make it look a bit worn, but it’s still never looked better. The Subversive team painstakingly corrected every frame of the film to make it look as crisp and clean as possible, and the results speak for themselves. If you need a comparison, look no further than the two trailers for the movie on the disc. The first one is the new trailer created specifically for the DVD; the other (which follows right after the first) is the original. The difference is night and day.

So, like I said, the disc is stacked.

First off, we have a commentary with director Fuiji, which can be somewhat sparse. You can tell he’s never done a commentary track before and is a bit unsure of what to say sometimes, but it picks up about halfway through and after that it’s pretty steady. You get the feeling he regrets not having more time to work on the movie in order to get it in tip-top shape, but I’m sure he’s happy with how good it looks and sounds on this DVD release.

Because Subversive did the smart thing and worked with Fuiji so thoroughly on the DVD, they managed to all of his student films (two from New York, one from L.A., and one, shot after Living Hell, from Money Zansu, an omnibus film series from Japan), all of which do a great job showcasing his evolution as a filmmaker. Once you get to “Dead Money”, the latest short, you can see someone with a real eye for lighting and camera work (as well as a wicked sense of humor) that I really hope goes on to do more films, and soon.

There are also some deleted scenes, which are sadly lacking in subtitles, most of which just seem to be extended moments from the existing film. Some crudely drawn storyboards are present, as well as a director’s bio that gives a lot of good info on the Fuiji’s past and influences. Finally there’s a trailer section which features the aforementioned duel Living Hell trailers, as well as one for future Subversive releases; The Witch Who Came From The Sea, the very entertaining Battlefield Baseball (aka Battlefield Stadium), and Gemini.

In closing, after seeing the movie again after all these years, its flaws have become a bit more evident, but the film in and of itself remains as entertaining as I remember. Full of over-the-top acting (done for laughs, trust me), twitch-inducing torture (a tazzer to the nether-regions is one of the worst), and filled out with a demented storyline, Living Hell is just a fun movie above all else. Highly recommended!

4 out of 5

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Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility

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Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita

Directed by Kobun Shizuno and Hiroyuki Seshita


The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.

The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.

The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.

From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.

The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.

Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.

The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.

  • Godzilla: Planet of the Monsters
2.0

Summary

Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.

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Satan’s Cheerleaders Blu-ray Review – Sacrifice This Snoozer At The Altar!

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Starring Jack Kruschen, John Ireland, Yvonne De Carlo, Jacqueline Cole

Directed by Greydon Clark

Distributed by VCI


The ‘70s. Satanism. Sultry cheerleaders. Sex appeal. With these tools nearly any low-budget filmmaker should be able to turn out something that is, at the very least, entertaining. The last thing a viewer expects when tuning in to a film called Satan’s Cheerleaders (1977) is to be bored to tears. But that is exactly the reaction I had while watching director Greydon Clark’s wannabe cult comedy. Even on a visual level this film can’t be saved, and it was shot by Dean Cundey! No, unfortunately there isn’t a cinematic element in the world that can overcome a roster of bad actors and a storyline so poorly constructed it plays like it was written on the day. The only saving grace, minor as it may be, is the casting of John Ireland as Sheriff B.L. Bubb (cute), a hard-nosed shitkicker who adds all the gravitas he can muster. But a watchable feature cannot be built upon the back of a single co-star, as every grueling minute of Satan’s Cheerleaders proves.

The cheerleaders and jocks of Benedict High School rule the campus, doing what they want, when they want, with little else on their minds except for The Big Game. Their belittling attitudes rub school janitor (and stuttering dimwit) Billy (Jack Kruschen) the wrong way. What they don’t know is Billy is (somehow) the head of a local Satanic cult, and he plans to place a curse on the clothes (really) of the cheerleaders so they… suck at cheerleading? Maybe they’ll somehow cause the jocks to lose the big game? When Billy isn’t busy plotting his cursed plans, he spies on the girls in the locker room via a hidden grate in the wall. I guess he doesn’t think being a sexual “prevert” is fair trade enough; might as well damn them all, too. Billy has his own plans to kidnap the girls, for his Lord and Master Satan, and he succeeds with ease when the girls’ van breaks down on the highway; he simply offers them a ride and they all pile in. But when Ms. Johnson (Jacqueline Cole) gets hip to his plan the two tussle in the front seat and Billy winds up having a heart attack.

The squad runs off in search of help, coming across the office of Sheriff B.L. Bubb (John Ireland), who, as the name implies, may be a legit Satanist. Bubb invites the girls inside, where they meet his wife, Emmy (Yvonne De Carlo), High Priestess of their quaint little satanic chapter. While the girls get acquainted with Emmy, Bubb runs off to find Billy, who isn’t actually dead. Wait, scratch that, Bubb just killed him for… some reason. The girls figure out things aren’t so rosy here at the Bubb estate, so they hatch an escape plan and most make it to the forest. The few that are left behind just kinda hang out for the rest of the film. Very little of substance happens, and the pacing moves from “glacial” to “permafrost”, before a semi-psychedelic ending arrives way too late.

“Haphazard” is one of many damning terms I can think of when trying to make sense of this film. The poster says the film is “Funnier Than The Omen… Scarier Than Silent Movie” which, objectively, is a true statement, though this film couldn’t hope to be in the same league as any of the sequels to The Omen (1976) let alone the original. It is a terminal bore. Every attempt at humor is aimed at the lowest common denominator – and even those jokes miss by a wide berth. True horror doesn’t even exist in this universe. The best I can say is some of the sequences where Satan is supposedly present utilize a trippy color-filled psychedelic shooting style, but it isn’t anything novel enough to warrant a recommendation. Hell, it only happens, like, twice anyway. The rest of the film is spent listening to these simple-minded sideline sirens chirp away, dulling the enthusiasm of viewers with every word.

A twist ending that isn’t much of a twist at all is the final groan for this lukewarm love letter to Lucifer. None of the actors seem like they know what the hell to be doing, and who can blame them with material like this? I had hoped for some sort of fun romp with pompoms and pentagram, like Jack Hill’s Swinging Cheerleaders (1974) for the Satanic set, but Clark provides little more than workmanlike direction; even Cundey’s cinematography is nothing to want on a resume.

Viewers have the option of watching either a “Restored” or “Original Transfer” version of the 1.78:1 1080p picture. Honestly, I didn’t find a ton of difference between the two, though the edge likely goes to the restored version since the title implies work has been done to make it look better. Colors are accurate but a little bland, and definition just never rises above slightly average. Film grain starts off heavy but manages to smooth out later on. Very little about the picture is emblematic of HD but given the roots this is probably the best it could ever hope to look.

Audio comes in the form of an English LPCM 2.0 track. The soundtrack sounds like it was lifted from a porno, while other tracks are clearly library music. Dialogue never has any obvious issues and sounds clear throughout. Subtitles are available in English SDH.

There are two audio commentary tracks; one, with director Greydon Clark; two, with David De Cocteau and David Del Valle.

A photo gallery, with images in HD, is also included.

Special Features:

  • Audio commentary with director Greydon Clark
  • Audio commentary with filmmakers David De Cocteau & David Del Valle
  • Photo gallery
  • Satan's Cheerleaders
  • Special Features
1.3

Summary

Although the title is enough to reel in curious viewers, the reality is “Satan’s Cheerleaders” are a defunct bunch with little spirit and no excitement. The ’70s produced plenty of classic satanic cinema and this definitely ain’t it.

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A Demon Within Review – Familiar Possession Beats To A Dreary Tune

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Starring Charlene Amoia, Clint Hummel, Patricia Ashley, Michael Ehlers

Directed by Ayush Banker and Justin LaReau


Possession flicks don’t often hold a long shelf life in the horror community, with Ayush Banker and Justin LaReau’s A Demon Within suggesting why. Hands emerging from the darkness, exorcisms, anxious priests – you’ll see it all again as you’ve seen it before. Early scenes glimmer a polish unlike equal indie products, but that’s just the devil playing tricks on you. Once the film’s main satanic takeover begins, cursing teens and stony glares become the been-here-before norm. Low-budget filmmaking isn’t an immediate detractor like some high-society snobs may believe, yet it’s surely no excuse either. Today’s review being an example of both mindsets.

Charlene Amoia stars as Julia Larsen, a divorcee who moves into Crestwick, Illinois looking for a clean start with daughter Charlotte (Patricia Ashley). Their dusty toucher-upper is a quaint, aged farmhouse in the middle of nowhere, complete with electrical issues and weird noises at night. Nothing to worry about, right? Julia’s focus is better directed towards town doctor Jeremy Miller (Clint Hummel), who she immediately hits it off with (after almost hitting *him* with a car). She’s eating stir-fry at his place one night, all things going well, and that’s when it happens – Charlotte is possessed by an evil force who enacts its sinister plan. Charlotte may physically be present, but only as a vessel for “Nefas.”

Without hesitation, A Demon Within lays predictable groundwork as small-town haunters have for decades. Charlotte’s new home is already infested with a spiritual squatter, Jeremy bottles (and drinks down) a blemished past that’s exposed too late, there’s plenty of characters sneakin’ up on one another – never with much “oomph.” Charlotte’s teeny-bopper voice drops to truck-driver deep at the height of possession, but it’s a distracting sound design that alone strikes little fear. Serious scares are attempted, be it a pitch-black basement slashing or Charlotte’s hide-and-seek pounce, just never delivered. An inconsequential failure to unite tone and atmosphere.

Performances are…well…rigid, to say the least. Amoia and Ashley strike a surprisingly likable chemistry as living humans, but once Ashley goes demonic, chemistry bottoms out. The way A Demon Within positions Charlotte when possessed is utterly dull and undefined; Ashley playing an unenthusiastic harbinger of death. It’s bad enough that Hummel’s tortured doctor masters the emotional range of Mona Lisa and the town’s pastor is hardly a scene stealer – but to have a demon be so vanilla (without a side of nuts, no less)? Getting past the limited lighting and Charlotte’s manly demon voice is hard enough, let alone her mostly relenting threats.

Making matters worse, the film’s third act is hardly a religious salvation that flows with ease. I had more fun watching Julia stammer over pizza and beers with Jeremy than their final fight against ghastly hellspawns. The truths of Jeremy’s past leak out in flashback form, only to reveal his stubborn inability to comprehend one’s own possession encounter in the very house Julia bought (useful information, eh?). The local priest shows up in the nick of time, a few cutaway jolts attempt cheap thrills, and some holy water mucks up an old painting – but again, minimal notability. Er…not even minimal? Shaky last-minute framing makes it hard to even notice the touch-ups to Charlotte’s face that signify her unholy imprisonment, even worse than blackened CGI mists.

A Demon Within tries, fumbles, and tries some more, but it’s best treated as a reminder of better exorcism stories that exist elsewhere. Even something like The Vatican Tapes is an improvement over this possessive redundancy, hokier than the honky-tonk love song that plays atop a pizza-chain flirt scene. There’s something to be said about getting out and creating original horror, but herein lies the problem – this ain’t *that* original. With harsher scares and tension, such a fate could be ignored. As-is? It’s hard to see past anything more than a January release placeholder.

  • A Demon Within
2.0

Summary

A Demon Within is a seen-it-before possession thriller that brings nothing new to the conversation. Not the worst, but also not a “hidden secret.”

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