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666: The Demon Child (2004)

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NOTE: Sci-Fi Channel original movies were not considered eligible for this countdown out of fairness to the competition)

Starring Jennifer Jackson, Jennie E. Epstein, Jose Rosete

Directed by Cary Howe


Do you enjoy monster movies where people stand around or sit around or walk around or drive around and talk about what is supposed to be going on for lengthy periods of time?

If you answer yes, then you will enjoy this movie.

Do you enjoy monster movies where the monster’s P.O.V. is constantly shown as it scurries about stalking its victims, not because the filmmakers are trying to build any sort of suspense, but because the monster itself is actually an inanimate prop?

If you answer yes, then you will enjoy this movie.

Do you enjoy movies in general where the audio was recorded so low that even after cranking the volume almost all the way up it is still hard to understand what is being said in many scenes?

If you answer yes, then you will enjoy this movie.

Do you enjoy movies in general that feature overly long establishing shots that seem to be have been done so in such a manner only to help pad out the run time of a movie already overloaded with filler material?

If you answer yes, then you will enjoy this movie.

That movie for you is 666: The Demon Child, which is pretty much nothing more than a bunch of seemingly bored people spewing forth really banal dialogue while being stalked by seemingly endless monster P.O.V. shots. Maybe there’s some noteworthy dialogue in this movie and I missed it. I can’t be sure if I missed anything relevant because half the time I couldn’t make out most of what was being said because the audio kept fluctuating from scene to scene. I thought it might be a problem with the DVD, but considering the sheer amount of ineptness displayed throughout this film I can’t help but to get the sneaking suspicion that this problem was caused by someone doing an extremely shoddy sound job when filming the movie. It probably didn’t make that much of a difference anyway when you consider how awful the scripting and acting was to begin with. The occasional audio problems probably spared me the full brunt of this film’s awfulness.

666: The Demon Child appears to have been inspired by the early Seventies made-for-television creature feature Gargoyles. Much like that film, the plot here centers on the discovery of evidence proving the existence of some sort of ancient race that once lived in the American Southwest. Once again, the local Native Americans know the truth. Once again, there are secret caves up in the mountains. Once again, there’s an anthropologist looking for the truth. Once again, there’s a local with physical evidence of the existence of these creatures on display in a dilapidated shack. Once again, everyone’s life is in danger and the possibility of the ultimate destruction of mankind proves to be at stake. But unlike that classic television creature feature, this movie really, really, really, sucks.

The movie opens with the Native American doppleganger of Greg “The Hammer” Valentine wandering through the desert to an ancient ceremonial ground where he chants some stuff while being spooked by a demonic skeletal buffalo. After some more chanting, it goes away and he crawls through an opening into a cave where he appears to unlock some sort of supernatural padlock. This whole prologue where very little happens takes 8 friggin’ minutes!

We’re then introduced to our main characters traveling down the darkened roads of the desert inside their RV. About 90% of the movie will be set either inside of or just outside of this RV. We meet an old anthropologist that looks like Ralph Nader if he were a cooky mad scientist. He has a crazy theory about an ancient race of 12-foot giants that once roamed the American Southwest. His only real evidence supporting this nutty theory is a sword he discovered in this area. He theorizes that only 12-foot giants could have wielded it because of the way it was constructed. The only problem with that theory is that later on in the movie that sword will be wielded without any noticeable trouble by a skinny, under 6’ woman. Joining him on his quest to unearth more evidence of this race of mystery giants are the Mighty Boring Archaeology Rangers, a small group of young and late 20-somethings, each with less personality than the next.

Faster than you can say, “let’s do another bad horror movie cliché,” that old blonde indian from the beginning of the movie, carrying two large eggs that look suspiciously like disguised volleyballs, walks out in front of the RV and gets killed. And of course, one of the students decides to take one of the eggs with them, not telling the others and not knowing it’s about to hatch unleashing a killer demonic baby monster that looks like the It’s Alive baby only with satanic ram horns.

From there, boredom ensues. Actually, that’s not true. Boredom had already kicked in, but from here all we get are the typical array of cliched horror movie scenes. You get the scene where they try to drive away to escape from the creature and after only driving a few short miles they decide to stop and take a break only to get attacked by the monster again. You get the scene where they discover the monster has used it’s vast knowledge of automotive mechanics to disable the RV and so now they’re stuck out in the middle of nowhere and they have no way to notify anyone they need rescuing. You get the scene where someone tries to go hiking through the desert back to civilization to get help only to get killed by the monster. And then there’s my personal favorite, the scene where everyone decides to go stand outside the RV in the dark so that the really traumatized girl can be left all alone inside to take a relaxing shower. Gee, I wonder what’s going to happen to her?

It’s an hour into the movie before anyone finally picks up a weapon and decides to actually try and fight back. More importantly, it’s an hour into the movie before anyone in the group thinks that maybe that old wooden sword of the ancient giants might come in handy.

There isn’t an ounce of suspense in this film and that is a fatal flaw because it plays itself as a straightforward horror movie. Even as unintentionally funny schlock, it fails to entertain and for this film to fail to deliver on the cheese factor is almost hard to believe. The freaking demon baby is just a stationary prop that the actors are forced to hold up to whatever part of the body it’s supposedly biting or clawing at and then scream, squirm and, shake as much as possible to make it seem this inanimate object is mauling them. That’s amusing for about the first five seconds, but once you’ve seen five seconds of someone screaming their head off while clutching a bobble-headed demon baby doll close to themselves, the novelty wears off.

Just to put the exclamation mark on how utterly terrible this entire production is, let me describe the (allegedly) surprise ending to the movie, which they also managed to completely bungle.

The last remaining survivor of the group forces the last surviving Native American to take her to the super secret temple ruins of the ancient giants complete with two giant skeletons, all of which are sitting out in plain sight, yet have never been discovered by anyone prior. They crawl inside that mountain cave from the movie’s open and immediately the girl freaks out. Why? Because the cave is actually a giant egg chamber filled with countless demon baby eggs. As she screams hysterically, the Native tells her that all the nearby mountains are filled with these egg-filled chambers and they are just about ready to hatch meaning there will an infinite number of demon babies that will grow to be unstoppable 12-foot demon giants that will destroy mankind. This causes her to start having a mental breakdown as the film fades to black.

Unfortunately, there’s just one little problem with this twist ending. When it cuts to the matte painting of the egg-filled cave that is causing her to completely lose it, the matte painting they show us appears to be nothing more than a small, ordinary-looking cave without a single egg in it, at least none that I could see. We’re supposed to be horrified right alongside this poor woman as she’s just glimpsed that which will bring about the end of the world but there’s nothing there. Nothing! Nothing! Nothing! There’s absolutely nothing to see here and that goes doubly for the film as a whole!

The best tagline the distributors could come up with for the box art was “It’s not human.” They should have added, “It’s not much of a movie either.” In fact, 666: The Demon Child is the epitome of everything that is wrong with low budget monster movie making today, a complete waste of perfectly fine digital film.

Avoid at all costs.


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Beyond the Seventh Door DVD Review – No-Budget S.O.V. Canuxploitation At Its Finest!

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Beyond the 7th DoorStarring Lazar Rockwood, Bonnie Beck, Gary Freedman

Directed by B.D. Benedikt

Distributed by Severin Films/Intervision


Two people trapped within a labyrinthine complex. Booby traps. Rigged doors. Death lurking around every corner. And a mysterious voice communicating clues every step of the way via recorded tapes. No, this isn’t the latest Saw film but a Canuxploitation entry from the shot-on-video market, 1987’s Beyond the Seventh Door. Oozing ambition and bolstered by a truly bravado performance from newcomer Lazar Rockwood – a man who looks like the love child of Tommy Wiseau and Billy Drago – this no-budget Canadian shocker delivers just as many twists and turns as Lionsgate’s dead-horse franchise. The main difference being that instead of having to mutilate yours or someone else’s body, the protagonists here are forced to solve obtuse riddles in order to move on to the next room; failure means death. Intervision has been crushing it throughout 2017 – and this release may be the best yet.

Boris (Lazar Rockwood) is a career thief and recent ex-con who is trying to turn his life around when Wendy (Bonnie Beck), a former flame, comes back into his life. She now works for a rich paraplegic, Lord Breston (Gary Freedman), who lives in an actual castle just outside of town. Desperate for “one more job” and a big payday, Boris begs for a gig and Wendy delivers; the plan is for the two of them to break into the basement of Breston’s castle and steal whatever treasures he has socked away, all while her boss is busy entertaining guests at his costume party. The next night, the plan is enacted and the duo clandestinely slip into the castle’s lower level, when suddenly the door locks behind them and a tape recorder begins to play. Breston’s voice is heard, welcoming the thieves into his home and offering up a challenge: use scant clues (or sometimes, none at all) and uncover a way out of each of the six rooms linked together down here. Succeed and a briefcase of money awaits; fail and you die. Truly motivating.

Going into this film blind is my best recommendation, and so for that reason no other plot points will be revealed here. Besides, the real motivation for watching this movie is to witness the raw acting prowess of Lazar Rockwood. Glad in a denim jacket and rocking the ubiquitous ‘80s bandana headband, Rockwood has the delivery of a porno actor stammering lines between sex scenes. His accent is impenetrably thick and the range of his acting could fit within a matchbox, but dammit the man is weirdly magnetic on screen. He’s clearly throwing everything in his arsenal onto the screen with tremendous bravado. Modesty must be a scarce commodity when you have a name that would go perfectly alongside Dirk Diggler on an adult theater marquee in the ‘70s. My favorite line in the entire film is when Wendy is trying to solve the first clue, which has something to do with rings. When she’s rifling through possibilities and says, “Lord of the Rings?” Boris replies with, “Lord of the ring… who the hell is that guy?” said with equal parts confusion and annoyance. The kicker is viewers will believe that query could have come from either Boris or Lazar.

The rooms aren’t likely to impress viewers with their intricacy or set design, but each has a clever solution that is often a stretch to imagine our leads managing to solve within the allotted time. The clues provided by Lord Breston are esoteric and Boris isn’t exactly the erudite type, but working together with Wendy they are able to move ahead, often with mere seconds to spare. Evidence of past would-be thieves’ unlucky attempts are glimpsed, including one room where a body remains. NON-SPOILER: I completely expected the body to in actuality be Lord Breston, “checking up” on his unwanted guests much like John Kramer in Saw (2004), especially since you can clearly see the actor breathing, but this is not the case. Instead, the he’s-clearly-not-dead guy is played by a local eccentric, whose life is briefly chronicled in the bonus features.

Viewers will already be hooked on Beyond the Seventh Door by the time the climax arrives, but the final twists are what drive this S.O.V. thriller over the edge and into the cult territory it so richly deserves. It’s crazy to think this film went virtually unseen for years, being impossible to acquire on VHS and never receiving the proper home video release until now. Director B.D. Benedikt offers up further proof that strong ideas can be realized on any budget, and fans of films like Saw or Cube (1997) will enjoy this “store brand” version of those bigger budgeted hits.

The video quality review for every Intervision title could probably be a copy/paste job since each one is shot on video, always with a 1.33:1 aspect ratio. The quality here is comparable to a remastered VHS tape. There is a slight jerkiness to the opening but that passes quickly. Colors appear accurate and contrast is about as strong as can be. The picture is often soft which, again, is just something inherent to shooting on video. Film grain is minimized as much as possible; don’t expect a noisy mess just because this isn’t shot on film.

The English Dolby Digital 2.0 track plays with no obvious issues. Dialogue is clean and free from hissing and pops. The score is another awesomely cheesy ‘80s keyboard love-fest, with the three (!) composers – Michael Clive, Brock Fricker, and Philip Strong – getting plenty of mileage out of the main theme, which sounds like it would be the in-store demo default keyboard setting. No subtitles are included.

There is an audio commentary with writer/director B.D. Benedikt & actor Lazar Rockwood, moderated by Paul Corupe of Canuxploitation.com.

“Beyond Beyond the 7th Door features new interviews with Benedikt, Rockwood, and Corupe.

“The King of Cayenne” – Focusing on “legendary Toronto eccentric Ben Kerr”, a street performer who played the role of “dead guy in that one room”.

Special Features:

  • Audio Commentary with Writer/Director BD Benedikt and Actor Lazar Rockwood, moderated by Paul Corupe (Canuxploitation.com)
  • Beyond Beyond the 7th Door: Interviews with Writer/Director BD Benedikt, Actor Lazar Rockwood, and Canuxploitation.com’s Paul Corupe
  • The King of Cayenne: An Appreciation of Legendary Toronto Eccentric Ben Kerr
  • Beyond the Seventh Door
  • Special Features
3.5

Summary

Virtually lost for nearly three decades, Beyond the Seventh Door deserves a wider audience and Intervision’s DVD should bring it. The then-novel plot and sheer ambition should be enough to get most viewers hooked, but if not the Yugoslavian wonder Lazar Rockwood will handily have them glued to the screen.

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The Crucifixion Review – Should’ve Left This One Nailed to the Cross

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Starring Sophie Cookson, Corneliu Ulici, Ada Lupu

Directed by Xavier Gens


Claiming to be inspired by actual events, director Xavier Gens’ The Crucifixion forgoes the affecting shocks and awes, and instead beats its audience into the ground with a laundry-list of ho-hum dialogue and lesser-than-stellar instances…forget the priest, I need a friggin’ Red Bull.

A 2005 case is spotlighted, and it revolves around a psychotically damaged woman of the cloth (nun for all you laymen) who priests believed was inhabited by ol’ Satan himself. With one rogue priest in command who firmly believed that this was the work of something satanic, the nun was subject to a horrific exorcism in which she was chained to a cross and basically left to die, which ultimately resulted in the priest being stripped of his collar and rosary…how tragic. Enter an overzealous New York reporter (Cookson) who is intently focused upon traveling to Romania to get the scoop on the botched undertaking. After her arrival, the only point of view that seems to keep sticking with interviewees is that the man who sat close to the lord killed a helpless, innocent and stricken woman, that is until she meets up with another nun and a village priest – and their claims are of something much more sinister.

From there, the battle between good and evil rages…well, let me rephrase that: it doesn’t exactly “rage” – instead, it simmers but never boils. Unfortunately for those who came looking for some serious Father Karras action will more than likely be disappointed. The performances border on labored with cursory characters, and outside of some beautiful cinematography, this one failed to chew out of its five-point restraints.

I’d normally prattle on and on about this and that, just to keep my word limit at a bit of a stretch, but with this particular presentation, there just isn’t much to bore you all with (see what I just did there). Gens certainly had the right idea when constructing this film according to blueprints…but it’s like one of those pieces of Wal-Mart furniture that when you open the box, all you can find are the instructions that aren’t in your language – wing and a prayer…but we all know what prayers get you, don’t we, Father?

My advice to all who come seeking some hellacious activity – stick to The Exorcist and you’ll never be let down.

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2

Summary

The Crucifixion is one of those films that needs the help of the man above in order to raise its faith, but I think he might have been out to lunch when this one came around.

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Black Christmas Blu-ray Review – Making Its U.K. Debut From 101 Films

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Starring Keir Dullea, Olivia Hussey, John Saxon, Art Hindle

Directed by Bob Clark

Distributed by 101 Films


There is only one Bob Clark Christmas movie I watch each year and it doesn’t feature Ralphie and his Red Ryder fantasies.

The endurance of Clark’s 1974 legendary slasher, Black Christmas, can be chalked up to a number of factors but the greatest is this: it is a disturbing film. I frequently come across horror message board topics asking for genuinely scary titles devoid of jump scares and excessive gore, but oddly enough Black Christmas doesn’t get many mentions. Maybe because it has been relegated to the “seasonal viewing only” heap? Regardless, fans will agree that the unsettling events portrayed don’t diminish with repeat viewings; if anything, subsequent watching serves to reinforce that it is a standout among a sea of imitators. The film is also a noted influence on John Carpenter’s Halloween (1978) – arguably the granddaddy of slasher films – adding a bit of prestige to its legacy.

The girls of Pi Kappa Sig are throwing a holiday party before the Christmas break when, toward the end of the night, they receive a phone call from a man they’ve been calling “The Moaner”, who has a habit of calling and making unusual noises. Jess (Olivia Hussey) initially accepts the call but also allows her other sisters to listen in, prompting outspoken Barb (Margot Kidder) to jump on the line and goad this mystery man. She and Phyllis (Andrea Martin) argue over the possibility this guy may be more threatening than anyone realizes. Unbeknownst to the ladies partying downstairs, however, moments before the phone call came through an unidentified person (very likely this same caller) snuck up the side of the house and into the attic. And once the party wraps up that same person is found hiding in Claire’s (Lynne Griffin) closet, whereupon she is strangled and placed in a rocking chair in the attic.

The next day Claire’s father comes to the campus to meet her and is understandably stood up. He heads to the sorority house and reports her missing, at which point the girls and their housemother, Mrs. Mac (Marian Waldman), agree to help him locate her. The file a report with the police, led by Lt. Fuller (John Saxon), and Jess also wrangles in Claire’s semi-boyfriend, Chris (Art Hindle), who helps bolster the search by raising hell at the station. Jess, meanwhile, is having problems of her own after confessing to her boyfriend, Peter (Keir Dullea), she is pregnant. She wants an abortion; he is vehemently against it. Claire’s absence grows more concerning when another missing girl is found dead in a nearby park, prompting the cops to ramp up their efforts. The girls are being picked off one by one as the unseen assailant remains hidden in the attic, continuing his phone calls that come after each murder. The cops suspect Peter may be a person of interest, as his interactions with Jess have become increasingly aggressive, but everyone is in for a shock when a tap on the line reveals the true source of the calls – they are coming from within the house.

With the film having been around for over forty years, and fans having been sold one “upgraded” home video version after the next, I suspect most readers are more interested in how Scream Factory’s Blu-ray stacks up against similar editions – which is basically my way of saying this review is a bit glib. For the uninitiated, however, let me say that I cannot overstate how exceptional Clark’s film is – never giving the killer an identity, an entire subplot concerning abortion, a palpable sense of grief for Claire’s father, a cast of interesting, unique people who don’t ever feel like archetypes, and a potentially downer of an ending. Some of his moviemaking tricks are brilliant, like the decision to create Billy’s voice from a combination of three different people (one a woman) and using interchangeable actors to portray the killer so you’re never quite sure who is in the attic. Carl Zittrer’s score is disorienting and minimal, making use of odd instrumentation to add extra unease; it also appears infrequently, giving the movie more of a real life quality. Black Christmas was a reasonable success upon release, more so commercially than critically, but time has been kind to this old gem and many now view it as an outright horror classic.

Hell, it was Elvis’ favorite Christmas movie.

Cult label 101 Films is giving the film its U.K. debut, presenting a transfer that is nearly identical to the remastered version Scream Factory released last year in North America. That 1.85:1 1080p picture is very likely the best this film can and will ever look. Black Christmas has a long home video history of looking very grainy, murky, dulled, and soft. I can’t say the new disc’s results are far off that mark but there are clear improvements. For one, grain has been resolved in a tighter field that looks less “noisy” and more “grindhouse-y”; do not expect an image clear as a crystal unicorn by any means. There is still softness to many faces and objects though detail looks far better here than it ever has before. Colors are more vibrant, too. Black levels run on the hazy side but they’re more stable than ever. The only noticeable difference between the Scream Factory and 101 Films versions are the latter is a touch brighter, allowing for a little more detail to filter through.

Audio is available via an English LPCM 5.1 surround sound track or a 2.0 stereo option. The multi-channel effort grants the unsettling soundtrack and Billy’s insane vocalizations more room to breathe, ratcheting up the creepiness thanks to the sense of immersion. Unlike the Scream Factory edition, the original mono track is not included.

Only a handful of extra features have been included, all of which can be found on the Scream Factory edition, too.

“Film and Furs: Remembering Black Christmas with Art Hindle” – Hindle, who still owns that jacket, talks about being a working actor in Canada when there wasn’t much work, as well as how he wound up auditioning for Clark for a different role.

“Victims and Virgins: Remembering Black Christmas with Lynne Griffin” – The actress who is most famous for having a plastic bag over her head tells a few tales from the set.

“Black Christmas Legacy” – This is a lot of interviews from the film’s actors and notable fans. I found it to be a bit tedious.

A handful of original TV and radio spots have been included, along with the “40th Anniversary Reunion Panel: Fan Expo Canada 2014”.

The package also includes a fold-out poster, reversible cover art, and a DVD copy.

Special Features:

  • Film and Furs: Remembering Black Christmas with Art Hindle
  • Victims and Virgins: Remembering Black Christmas with Lynne Griffin
  • Black Christmas Legacy
  • Original TV and Radio spots
  • 40th Anniversary Reunion Panel: Fan Expo Canada 2014
  • Black Christmas
  • Special Features
4.0

Summary

This is an easy recommendation for purchase if you live in the U.K., since this is the film’s Blu-ray debut. Stateside readers may find this region-free version attractive due to the price, but know that it does contain significantly fewer extras than the in-print Scream Factory release. Either way, fans on both sides of the Atlantic have a version worth buying.

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