Directed by Richard Stanley
Distributed by Subversive Cinema
Dust Devil is one of those films that has been talked about for years, a film that was put out years back by a studio who didn’t really care what they had on their hands and released a wildly truncated version of it. Director Richard Stanley had been saying for a long time that a real cut existed, his cut, and that all it would take is someone who really understood his work and the film in specific to get it out to the public.
As they’ve proven time and time again, the folks behind Subversive Cinema are the caring types, and their treatment of Dust Devil on DVD is yet more evidence of that. The inclusion of three of Stanley’s rarely seen documentaries adds further value to this massive five-disc edition.
On a quiet desert road in Africa, a man walks alone, donning a trenchcoat and a bag. He is picked up by a solitary woman without a word. The next thing we know the two of them are doing what comes naturally to humans, when the first of many surprising moments in the film happens: He snaps her neck right at the moment of orgasm. He then proceeds to decorate her home with her blood, drawing archaic designs on the walls and leaving a cryptic message behind for those who will find it, and then sets the place ablaze. Such is the life of the creature known as the Dust Devil.
As the film progresses, we’re introduced to Wendy (Field), a woman who has taken enough physical and verbal abuse from her husband and finally gets in her car and drives away. The Dust Devil (Burke) senses her coming, knowing that she will be his next victim; but as is a common theme in the film, he lets the cycle run its course. They will meet when it’s time for them to meet.
Meanwhile a detective, tired of his job and suffering a “cancer of guilt” as the voiceover aptly states, is attempting to find out who was behind the fire and the vicious, ritualistic murder. He keeps getting closer to the truth, but for the most part the truth is something his rational mind cannot accept. Though signs point to this being the work of a man, certain experts he consults indicate that there is a definite black magic element involved. Is it a very sick man or a demon in human form traveling the roads and killing those who are already suffering?
I’d never seen Dust Devil in any form, so suffice it to say I got lucky seeing this cut of it first as this was the way the film was meant to be viewed. It’s really a beautiful and haunting movie, not at all what I expected it to be in all honesty. For whatever reason I had thought it would be very artsy with an unclear plot, but instead it’s very straightforward with some fantastic performances (the only one who’s not all that great is Burke, though he’s got the look down), amazing landscapes, and an incredibly effective soundtrack. There’s also no shortage of true horror either, though Stanley does prefer to keep much of it subtle and psychological, and gorehounds will find a lot to like as well.
But the real question is, as good as the film is, does it really deserve a five-disc release? The short answer is … maybe. The long answer follows.
To be fair, not all five discs are Dust Devil-related. The first is the final cut of the movie while there’s also a separate soundtrack CD and a “work print” cut of the film on yet another disc. The final two are made up of three of Stanley’s documentaries, the feature-length The Secret Glory and the shorter The White Darkness and Voice of the Moon. So you see, it’s not as if Subversive tried to cram in five discs worth of Dust Devil stuff; instead this set could serve as a tribute to the works of Richard Stanley more than anything else.
For features on Disc One we have a commentary track with Stanley and narrator/Subversive head Norm Hill serving moderator duties, something you’re going to be thankful for when you hear just how fast and breathlessly Stanley can talk. It is, however, well worth listening to as Stanley has all sorts of interesting stories to tell about both the film’s origins and the hell that went into making it. I don’t think I’ve ever heard as many on-set horror stories as Stanley relates throughout; it’s amazing the film was ever made at all.
There are also “home movies” from the set, which is not just the standard guy walking around with a camera but rather some on-camera interviews that were done at the time with the people involved. This will further serve to illustrate what a pain in the ass this movie was to make as well as how dedicated a director Stanley really is. To go through all that only to see your film cut to hell when it’s released has got to be a terrible thing to have to suffer through.
Dust Devil had its origins as a 16mm film which is now lost so sadly, the only thing we’re able to see from it on this disc are a set of still photographs and the confusing trailer that was originally cut. The first part of the final movie is essentially what went on in the 16mm version re-cast and re-filmed, so I guess we’re not missing all that much. Burke has a much better look for the role than his 16mm counterpart, that much is for sure.
The meatiest featurette here, though, is a long interview with Richard Stanley and composer Simon Bosworth (whom you’re going to want to hear talk when you get a listen of how good this soundtrack is). It’s very informative and doesn’t actually repeat a lot of information as the commentary like you usually get in a set like this, and Stanley has one of those voices that just makes you want to continue to listen to him — intelligent to the extreme with a very dry sense of humor.
After watching The Final Cut, you might want to check out the disc that houses the “work print” version of the film right away. Stanley went back in and essentially re-inserted footage that never finished getting shot, and it can be a bit distracting at times, taking the viewer out of the film altogether. But if you feel you need to know everything about Dust Devil and its numerous incarnations, you’ll want to give it a look. Subversive does a good service by making the chapter skip button automatically take you to footage that’s been put back in as well.
The Secret Glory is a feature-length documentary about one of the principal figure in Hitler’s SS and Third Reich, Otto Rah, a man who spent most of his life searching for clues as to the location of the Holy Grail and upon whose life elements from Raiders of the Lost Ark were actually culled from. Stanley spent a lot of time and effort tracking down people who remembered Rahn both before and after his days in Hitler’s army, but the results are somewhat uneven. It doesn’t really pick up until the latter part of Rahn’s short life, and too much time is spent listening to long, sometimes dull monologues by those being interviewed. About halfway through I turned on the commentary track (Hill and Stanley again) and found it much more interesting to hear the stories behind the documentary for the most part. It’s also a bit disappointing when it’s revealed towards the end that Stanley believes most of what was told to them was spin propagated by the Third Reich, which still have untold truths beneath them. Another 15-minute interview with Stanley about the doc is the only notable feature on this disc.
The next disc features two of Stanley’s shorter documentaries, Voice of the Moon and The White Darkness. The first is about the Russian evacuation from Afghanistan, though in reality there’s not a lot of cohesive plot going in it. It’s more a series of images with some voiceover work here and there, and most viewers will likely enjoy it more with the commentary on, as I did. The same is true for the second short doc, though it is a bit more interesting and linear as it focuses on real voodoo that still goes on in Haiti.
Also included is a CD of the soundtrack for Dust Devil by Simon Boswell, which I’m sure viewers will appreciate once they’ve seen the movie, and production diaries from all three documentaries and Dust Devil as inserts in the disc. Finally there is a short Dust Devil comic that puts the titular shapshifter in all sorts of historical situations, hinting that he was the cause of many famous deaths including the Jack the Ripper murders. It’s a little too comedic for my tastes, as the Dust Devil is portrayed to be more of sneering villain than a cold, calculating killer, but it’s still a fun read nonetheless.
I can say without any hesitation that this is the definitive collection for any Dust Devil/Richard Stanley enthusiast. Subversive has shown once again that it knows how to give fans everything they want and more, and this should firmly cement it as a DVD company to be reckoned with. Highly recommended.
Two versions of Dust Devil: the final director’s cut and a longer work print version
Three of Richard Stanley’s most controversial documentaries: The Secret Glory, Voice Of The Moon, and The White Darkness
Bonus soundtrack CD
Audio commentary tracks with cast and crew
Featurettes with cast and crew
Exclusive Dust Devil comic book
Production diary and essay booklets
4 1/2 out of 5
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The Open House Review – Abandon Hope All Ye Who Enter Here
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.
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.
Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI
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”.
- 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
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.
The Midnight Man Review – Don’t Hate The Game, Hate The Players
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 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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