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Big Bad Wolves (Blu-ray / DVD)

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Big Bad Wolves (Blu-ray / DVD)Starring Lior Ashkenazi, Tzachi Grad, Rotem Keinan, Dov Glickman

Directed by Aharon Keshales and Navot Papushado

Distributed by Magnolia


When considering the pantheon of world cinema, Israel isn’t usually one of the countries that first come to mind. Cinema has only been produced there since 1948, not nearly as old as movies themselves. The country has produced acclaimed films from time to time, though not much has gained traction in the Western world. But any country with filmmakers and ambition is bound to make a mark that resonates at some time. That time has come with Big Bad Wolves (2013), a suspenseful tale of revenge and morality that, according to Quentin Tarantino is the “best film of the year.” Tarantino’s name has become a handy marketing tool for little-seen films that need a boost in awareness. His tastes do sometimes run counter to what his fans might expect, though, so keep that in mind any time you see that “stamp of approval”. As a fan of world cinema, it’s almost embarrassing to note that this is the first Israeli production I’ve seen. Though, to be fair in 2013 the country only produced SEVEN total films. We sometimes get that in a single weekend here in the States. Big Bad Wolves is produced with many of the darkly humorous qualities American pictures employ, which should hopefully bode well not only for its own future but that of the Israeli motion picture industry, too. The trailblazers who made it – the writing/directing team of Aharon Keshales and Navot Papushado – were responsible for making the first Israeli horror film ever, Rabies, which was produced in 2010. Crazy to think the country’s first ever horror film is only four years old. It isn’t hard to imagine this dup getting poached by a Hollywood studio sometime soon because Big Bad Wolves is the kind of film that shows strong promise.

When a little girl goes missing during a game of hide-and-seek with some friends, the police are called in to investigate Dror (Rotem Keinan), a local religious schoolteacher who was supposedly seen with the missing girl. The police team, led by Micki (Lior Ashkenazi), tortures the man and beats him quite severely, unaware that a kid hiding around the corner is recording everything. The video is uploaded to YouTube and Dror is set free, while Micki loses his job and is forced off the force. Convinced Dror is his man, Micki decides to do his own investigation as a civilian. Meanwhile, Gidi (Tzahi Grad), the father of a young girl who was recently found beheaded, decides to kidnap Dror and make him confess where her missing head is located. Jewish custom dictates that a body must be buried whole. Only thing is, Micki happens to be there when Gidi goes for Dror, so he just takes both of them out to his new, remotely-located home with a deep, soundproof basement. Gidi is former military himself, and he really doesn’t want to kill a cop, so he offers Micki the option of joining him in torturing Dror for information. He reluctantly agrees. Gidi wants to torture Dror just as the young girls he murdered were – knocked out with a sedative-laced cake, sexually abused (which he & Micki both agree they’ll just leave out), fingers broken, toenails ripped from feet and, finally, head sawed off with a rusty blade. Dror looks scared, rightly so. During the few times Gidi leaves the room, however, Dror plants in Micki’s head the idea he may not be guilty. Micki floats this idea past Gidi, who not only doesn’t buy it but he knocks Micki out again and cuffs him to a pipe.

Gidi’s father comes to visit later on and discovers what’s been going on. Yet, rather than turn his son in or convince him to give it up, he agrees to join in and try extracting information himself. He, too, is a former military officer who misses the thrill of combat shenanigans. They just want Dror to tell where the head is hidden, and then he can die quickly. But what if everyone has been wrong all along? Dror has a daughter himself and he continually professes his innocence, even under extreme duress. Is Gidi prepared to go all the way even with the possibility of knowing Dror isn’t his man?

Big Bad Wolves succeeds in riding that fine line of “is he or isn’t he?” in terms of Dror’s guilt. Keinan does a fantastic job playing a quiet, bookish schoolteacher who seems like the kind of mild-mannered guy that people are either totally wrong about or he’s been slyly fooling them all this time. Maybe a monster does lurk beneath his wiry glasses and physique. It’s hard to watch Dror’s alone time with Micki and not be reminded of Harvey Keitel and Tim Roth’s exchanges in Reservoir Dogs (1992). As human beings, it’s hard not to sympathize with a man professing his innocence and talking about his daughter at home. After all, the only eyewitness to his presence was another little girl, and eyewitnesses can be unreliable. Once the film does show its hand, the moment is so casually handled you’ll probably miss it the first time around. There’s a sharp intelligence to the script that allows for such a simple concept to be elegantly executed.

Although this isn’t a traditional horror film, there are some very horrific moments. Dror’s torture encompasses just about all of them. The torture scenes involve fingers and toes, appendages that can very easily make a moviegoer cringe when they’re abused on screen. The filmmakers break up this unbearably palpable tension by throwing in a bit of levity. Giri, despite being a 49-year-old military man, still has to take his mother’s cell phone calls or she gets upset. He has to stop from breaking a man’s fingers to tell his mother he’s sick so she doesn’t come over. And what happens later? His dad stops by with soup his mother made because he said he was sick. It’s all this latent humor that is purely situational; nothing is sold as straight comedy. Big Bad Wolves succeeds in presenting sharp moments of dark comedy alongside really horrific attempts at retribution. Keshales & Papushado have stepped up as names to watch for in the near future.

This Blu-ray’s 2.40:1 1080p image is much sharper than a rusty saw. The source is digital-to-digital, so this is a mirror image of what the Arri Alexa cameras captured on set. The picture is pristine, though with the absence of any grain it does lack a filmic appearance. Still, detail is fantastic in nearly every shot. Colors look strong, contrast levels are solid. There’s a moderate level of depth to the image. A few shots here and there appear slightly soft, mostly in medium shots. Much of this film takes place in a deep, dank basement with the expected “bad” lighting, but cinematographer Giora Bejach lights this image perfectly, allowing detail to come through despite the shadowy conditions. With so many newer films being shot with digital cameras it’s not too often you come across a truly bad transfer. Magnet consistently produces exemplary transfers that match a director’s original intentions. Big Bad Wolves is a slick, well-shot picture that looks just great in hi-def. You can choose between a Hebrew or English DTS-HD MA 5.1 surround sound track to deliver the lossless audio here, though I’d highly recommend the original Hebrew track because dubs are inferior and cannot capture the true emotion of a performance as the acting was giving it. Don’t be afraid of subtitles. There’s a great undercurrent of sinister playfulness thanks to composer Haim Frank Ilfman’s score. Panning is seamless, with a solid separation of sound effects, dialogue and music. Dialogue comes through clear and discernible. There are no audio defects. Rears come into play every so often to buttress the action or punch up the sound, doing so subtly to provide immersion.

Big Bad Wolves just gets one big bad bonus feature, along with a couple throwaways. There a meaty featurette, a less meaty featurette, and a trailer. “Making of Big Bad Wolves” is presented in Hebrew with English subtitles. The filmmakers talk about how their intent was to make an adult fairytale, working with the actors, the designs for the characters, and so on. It’s a fairly interesting piece. “AXS TV: A Look at Big Bad Wolves” is… well, if you’ve ever seen an AXS TV EPK, you know it’s just a quick piece that gives an overview of the film. It’s just fluff and mostly pointless. The film’s theatrical trailer is also included.

I love twisted films, and I love that this particular twisted film came to us from Israel. International cinema has so many incredible films out there, just waiting to be discovered by a larger audience. Big Bad Wolves has a sharp script with some great, developed characters and a superb stinger for an ending. It may not be the “best film of the year” as Tarantino put it, but it’s a damn good effort.

Special Features

  • Making of BIG BAD WOLVES featurette
  • AXS TV: A Look at BIG BAD WOLVES
  • Theatrical trailer

    The Film:

    4 out of 5

    Special Features:

    2 out of 5

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    American Psycho Meets Creep – Strawberry Flavored Plastic Review

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    Starring Aidan Bristow, Nicholas Urda, Andres Montejo

    Directed by Colin Bemis


    Recently I wrote up an article here on Dread Central which was basically an open letter to anyone who was listening called “I Miss Found Footage.” Well, it seems like someone WAS listening, as I was then sent the link to an all-new found footage film called Strawberry Flavored Plastic from first-time writer-director Colin Bemis.

    The film follows the “still-at-large crimes of Noel, a repentant, classy and charming serial killer loose in the suburbs of New York.” Basically, you could think of the flick as American Psycho meets Mark Duplass and Partick Brice’s Creep. That, or you could think of it as “Man Bites Dog in color!” However you choose to label Colin Bemis’ psychological thriller, just make sure you check out the film once it hits in the future.

    As I alluded to above, the film is basically a found footage version of American Psycho. But that said, the film sports a twist on the charming serial killer subgenre that I have yet to see play out in any of the above-mentioned classics. I’m not going to go into spoiler territory here, but I will say that the film introduces an element to the tale that spins it into much more of a character drama than a straight horror film. Not that there is anything wrong with that!

    Truth be told, the film’s turn from serial killer flick into a layered character study might have been its kiss of death, but this slight genre switch is rendered a minor issue as the film’s central narcissistic antagonist is played by Aidan Bristow. Bristow is an actor you may not have heard of before this review, but you will hear his name more and more over the years to come, I promise. The guy gives (no pun intended) a killer performance as the film’s resident serial killer Noel Rose, and time after time surprised me with how chilling, charming, or downright vulnerable he chose to play any given scene.

    Bristow’s performance is, in the end, the major element the film has going for it. But that said, as a fan of found footage, I was smiling ear to ear at first-time director Colin Bemis’ understanding of what makes a found footage suspense sequence work.

    In Strawberry Flavored Plastic director Colin Bemis is confident and content to allow full emotional scenes to play out with the camera directed at nothing more than a character’s knees. Why is this so important? Because it keeps the reality of the film going. Too many found footage directors would focus on the actors’ faces during such emotional scenes – no matter how contrived the camera angle was. In this film, however, Bemis favors the reality that says, “If you were really in this emotional state and holding a camera, you would let it drop to your side.” I agree, and it is small touches like that which make the film feel authentic and thus – once the shite hits the fan – all the scarier.

    On the dull side of the kitchen knife, the film does feel a bit long even given it’s short running time, and there doesn’t seem too much in the way of visceral horror to be found within. Again, graphic blood and gore aren’t a must in a fright flick, but a tad more of the old ultra-violence would have gone a long way in selling our main psychopath’s insanity and unpredictability. But all the same, the film does feature a rather shocking sequence where our main baddie performs a brutal home invasion/murder that puts this film firmly in the realm of horror. In fact, the particular POV home invasion scene I’m talking about holds about as much horror as you’ll ever wish to witness.

    In the end, Colin Bemis’ Strawberry Flavored Plastic is a must-see for fans of found footage and serial killer studies such as American Pyscho, Creep, and Man Bites Dog. I recommend giving it a watch once it premieres. If only to be able to point to Aidan Bristow in the near future and tell all your friends that you watched (one of) his first movies.

    Until then, check out the film’s trailer HERE, and follow the movie on Facebook.

    • Strawberry Flavored Plastic
    3.5

    Summary

    Lead actor Aidan Bristow turns in a star-making performance in Colin Bemis’ Strawberry Flavored Plastic, a found footage film that plays out like Man Bites Dog in Color before introducing a new element to the charming-serial-killer subgenre and becoming more character study than a straight horror. Think American Psycho meets Creep.

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    Who Goes There Podcast: Ep 148 – Inside (2017 Remake)

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    We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

    In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

    Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

    If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

    The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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    Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View

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    Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

    Directed by Marcel Sarmiento


    Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

    17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

    What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

    • Film
    2.0

    Summary

    Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

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