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Hybrid (DVD)

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Hybrid DVD review (click for larger image)Reviewed by The Foywonder

Starring Corey Monteith, Justine Bateman, Tinsel Korey, William McDonald, Gordon Tootoosis

Directed by Yelena Lanskaya

Distributed by Genius Products


Justine Bateman of “Family Ties” fame – that Justine Bateman of all people is the biggest name actor they could get should give you some hint as to how low the budget was – is the lead scientist at a research firm that has developed a new procedure that allows the flawless transplantation of organs between different species. Now no one will ever have to suffer again because now they can, citing the film’s example, transplant the eyes of a Siberian husky into that of a blind baboon. The next step is to try it out on humans.

Not surprisingly, being that this is a Sci-Fi Channel original movie, the military has first dibs on this procedure and though the talk on Bateman’s part is of healing seriously injured soldiers, you just know that G. Gordon Liddy look-a-like spearheading the military side of things has other intentions for this newfound technology.

The first human transplant recipient happens to be a local young man named Aaron just blinded in a fiery accident. Given the eyes of a wolf, his sight is restored and he can even see in the dark, though his pupils now have a distinctly inhuman quality to them. Now for the unforeseen side effect: lycanthropy. But not the sort of lycanthropy that causes a man to undergo a physical transformation into a werewolf – just a guy with funky contact lenses acting all feral. Having lead actor Corey Monteith spend an amazing amount of time running about shirtless and looking around at everything with great intensity certainly saved money on make-up and other special effects.

Hybrid is more or less The Eye with a lycanthrope twist. Instead of a blind woman seeing ghosts after her cornea transplant donated by a dead psychic girl, Aaron’s wolf-to-human eye transplant causes him to relive memories of that wolf in the wild, develop a taste for raw meat (every time he sees a buffalo he starts getting hungry), go running with dogs and wolves, experience violent urges from time to time, and for whatever reason being possessed by a wolf’s spirit means he has no problems keeping his pants on but wearing a shirt is completely out of the question. A better question I’d have liked explained is why Aaron always sees this wolves’ past visions in a third-person – or third-wolf as the case may be – point of view. We will get a seemingly endless amount of this nature footage.

Now with a movie like this you just know there has got to be some Native Americans involved to wax philosophical about man and nature. You just know there has to be some wise old Native American who can grace us with endless words of wisdom about the delicate balance between man and the earth and the animals. And you would be right. Not one, but two.

Hybrid even comes complete with a pretty Native American girl who can also wax metaphysical like her forefathers. She’ll run into Aaron immediately after his escape from the hospital; she’d gone to the research lab to complain about them using her wolf as a research specimen. One look into Aaron’s lupine eyes and she immediately knows all she needs to know. In a particularly dopey exchange, she’ll explain she’s a half-breed too, as in half-Indian, half-French, and that her having had to come to terms with being biracial somehow makes her think she can understand the man vs. beast inner conflict Aaron is now going through.

Once they make the beast with two backs she’ll take him to a wise old Indian shaman so that he can have Aaron take part in some sort of ritualistic visionquest that’ll supposedly help him reconcile his two halves. This visionquest is merely an excuse to pad out the film with a lengthy montage composed of the nature footage we’ve already seen plenty of and flashbacks recapping the entire film up to that point.

Meanwhile, Dr. Justine Bateman wants to help Aaron who she believes is merely suffering from a psychological delusion in reaction to the transplant and the G. Gordon Liddy look-a-like, like any good military man in a Sci-Fi Channel original movie, puts together a heavily armed commando squad to hunt Aaron down.

Given how Sci-Fi Channel original movies usually play out, Hybrid deserves some credit for going more of a high-minded psychological thriller route (Aaron doesn’t even turn violent until nearly two-thirds of the way), but the road to movie hell can also be paved with good intentions. There really isn’t anything to criticize Hybrid for other than it being dull on pretty much every level: dull acting, dull writing, dull directing, dull etc. Very little of anything worthwhile happens over the course of 90-minutes. There’s just not much of a movie here. If not for what limited violence there is and the lone sex scene, Hybrid could have easily been an Animal Planet original movie suitable for the whole family and even then it wouldn’t have amounted to much.

Those looking for a decent werewolf movie need look elsewhere and those that simply love looking at wolves should just find themselves a nice documentary about them and watch that instead.

Special Features

  • Nothing. Thank God.

    Film:

    1 1/2 out of 5

    Special Features:
    “>

    0 out of 5

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    Hell Night Blu-ray Review – Mischief & Mayhem At Mongoloid Manor

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    Starring Linda Blair, Peter Barton, Suki Goodwin, Vincent Van Patten

    Directed by Tom DeSimone

    Distributed by Scream Factory


    1981. Prime time for the slasher film, when studios were more than content to pump out one after another since production cost was often so low. The downside, though, was that many wound up being formulaic and, eventually, forgotten. Time has allowed the cream to rise to the top of that crop and while Hell Night (1981) isn’t among the best it does stand out due to some novel choices made by director Tom DeSimone and executive producer Chuck Russell, the man responsible for some of the most consistently entertaining horror films of the ‘80s. A dilapidated mansion, oozing with gothic atmosphere, stands in place of a college campus or generic forest setting. Characters are dressed in formal costume; a stark departure from typical ‘80s teen garb. The film is half haunted house, half crazed killer and there is a not-entirely-unexpected-but-definitely-welcome twist at the end providing a solid jolt to a beleaguered climax. Fans are rightly excited to see Hell Night makes its debut in HD, though the final product is still compromised despite Scream Factory’s best efforts.

    It’s Hell Night, every fraternity brother’s favorite evening; when new recruits are tormented in hazing rituals from, well, Hell. Peter (Kevin Brophy), president of the vaunted Alpha Sigma Rho house, comes up with the brilliant idea to have four pledges – Marti (Linda Blair), Jeff (Peter Barton), Denise (Suki Goodwin), and Seth (Vincent Van Patten) – spend the night in a decaying mansion. But this isn’t just any old house, as Peter regales a rapt audience – this is where former owner Raymond Garth killed his wife and three malformed children before hanging himself, sparing only the life of his son, Andrew, who was rumored to reside within the place after the murders. The pledges enter Garth Manor and quickly pair off, with Marti and Jeff getting intellectual while Denise and Seth take a more physical path.

    A few hours pass and Peter returns with some of his bros, planning to initiate a few good scare pranks they set up earlier that week. The chuckles don’t last long, though, because Jeff and Seth quickly find the shoddy wiring and poorly placed speakers rigged upstairs. What they don’t know is that there is an actual killer on the loose, and he just decapitated one of the girls. Leaving the labyrinthine home proves difficult, with Marti & Jeff getting lost within the catacombs beneath the estate, evading their mongoloid menace however possible. Seth, meanwhile, has to scale a massive spiked fence if they hope to get any help way out here. Wait, didn’t Peter mention something about Andrew having a sibling?

    The production team on this picture was a beast, and I’m convinced that’s the chief reason why it came out any good at all; specifically, the involvement of Chuck Russell and Irwin Yablans. I give a bit less credit to director Tom DeSimone, who up to that point (and after it) filled his filmography with lots and lots of gay porn; storyline and direction are usually secondary in that market. Hell, they even had Frank Darabont running around set as a P.A. which is just a cool fact because nobody listens to P.A.s on a film set. Music is just as important, too, and composer Dan Wyman is a synth master who worked with John Carpenter on his early films. His score here is reminiscent of those lo-fi masterpieces.

    Solid atmosphere and rounded characters make all the difference. Instead of a roster of stereotypical sophomoric faces the bulk of the film focuses on four individuals with personality and a bit of depth. Blair makes a good turn as the bookish good girl type, while Barton is a charming match for her mentally, showing interest in more than just a drunken hookup. Denise and Seth are both superficial, and their interactions inject the most humor into the film. Denise continually calling Seth “Wes” is one example. A good horror film gets the audience invested in who lives and dies, and while I won’t go so far as to say these are exemplary characters the script does make them three-dimensional and not so paper thin.

    The 1.85:1 1080p image is sourced from a 4K restoration of an archival 35mm print with standard definition inserts. This is a step up from Anchor Bay’s old DVD but not by leaps and bounds. Colors attain greater saturation and definition is tightened but the picture looks awfully soft too often and the jump between HD and SD footage is plain as day. The print displays vertical scratches and white flecks. Black levels are decent but there is clear room for improvement across the board. To their credit this is the best image Scream Factory was able to produce but fans should temper expectations going in because this is not a pristine picture by any means.

    There is nothing wrong to be found with the English DTS-HD Master Audio 2.0 mono track, which does a fine job of carrying the dialogue alongside Dan Wyman’s sinister synth soundtrack. Direction is limited and the presentation is routine, but no problems were detected and the track capably supports the feature. Subtitles are available in English.

    Here is where Scream Factory does their best to make up for the shortcomings of the a/v presentation: a ton of extra features.

    An audio commentary track features actress Linda Blair, director Tom DeSimone, and producers Irwin Yablans & Bruce Cohn Curtis.

    “Linda Blair: The Beauty of Horror” – This is a recent discussion with the actress, who covers her run in the genre in addition to diving deep into this film’s difficult production.

    “Hell Nights with Tom DeSimone” – Shot on location at the Garth Manor (actually Kimberly Crest Estate in Redlands, CA), DeSimone reflects back on shooting the film there over 35 years ago.

    “Peter Barton: Facing Fear” – The actor offers up expected discussion, covering his career in horror and navigating the Hollywood scene.

    “Producing Hell with Bruce Cohn Curtis” – This covers more of the behind-the-scenes work that went into making the movie.

    “Writing Hell” – Screenwriter Randy Feldman offers up some insight into his process for creating the story and writing the script.

    “Vincent Van Patten & Suki Goodwin in Conversation” – The two actors, who have not seen each other in quite some time, sit down together for a back-and-forth discussion.

    “Kevin Brophy & Jenny Neumann in Conversation” – This is another chat conducted the same way as Van Patten & Goodwin.

    “Gothic Design in Hell Night” – Art director Steven Legler talks about his process for turning Garth Manor into how it is seen on film; evoking the right chilling atmosphere.

    “Anatomy of the Death Scenes” – Pam Peitzman, make-up artist, and John Eggett, special effects, scrutinize each of the film’s kill scenes and discuss what went into achieving them.

    “On Location at Kimberly Crest” – DeSimone guides viewers on a tour of the “Garth Manor” as it can be seen today.

    A theatrical trailer, two TV spots, a radio spot, and a photo gallery are the remaining features.

    Special Features:

    • NEW 4K Scan of the film taken from the best surviving archival print
    • NEW interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann
    • Audio Commentary with Linda Blair, Tom DeSimone, Irwin Yablans and Bruce Cohn Curtis
    • Original Theatrical Trailer & TV spots
    • Blu-ray Disc Exclusives:
      • NEW interview with Director Tom DeSimone
      • NEW interview with Producer Bruce Cohn Curtis
      • NEW interview with Writer Randolph Feldman
      • NEW – Anatomy of the Death Scenes with Tom DeSimone, Randolph Feldman, Make-up artist Pam Peitzman, Art Director Steven G. Legler and Special Effects artist John Eggett
      • NEW – On Location at the Kimberly Crest House with Tom DeSimone
      • NEW – Gothic Design in Hell Night with Steven G. Legler
      • Original Radio spot
      • Photo Gallery featuring rare, never-before-seen stills
    • Hell Night
    • Special Features
    4.0

    Summary

    “Hell Night” overcomes being lumped in with standard slasher fare thanks to dripping atmosphere, unique production design, and characters that elicit some empathy. The a/v presentation leaves much to be desired but a plethora of bonus features softens that blow.

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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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