RABIES

Rabies (15) 

Director: Aharon Keshales, Navot Papushado / 

Screenplay: Aharon Keshales, Navot Papushado

​Starring: Lior Ashkenazi, Ania Bukstein

It’s been a good time for impressive low-budget horror films being released to UK DVD. We’ve had “Before Dawn”, “Thale”, and “I Didn’t Come Here To Die” all within weeks of each other. Now you can add “Rabies” to that list. Also known as “Kalevet” (the Hebrew translation of the title), it is the first Israeli horror/slasher film to be released to the film community. It’s made something of a splash at various film festivals (including Frightfest 2012).  It was shot solely during the daylight hours over just 19 days by the talented directors Aharon Keshales and Navot Papushado, who also wrote the script. Set in the Israeli countryside, the film contains no CGI (yay!) and was made on a very small budget. YGROY has a tetanus shot and has a look at the movie…

Set almost entirely in the picturesque setting of woodland, contained in an Israeli nature reserve, the film takes place almost in real-time over a couple of hours. A group of people find their paths (and fates) intersecting as they enter the reserve. There’s a National Trust (or whatever the equivalent is) worker and his dog, checking on tourist facilities. There’s a brother and his sister running away from home. There are four teenage friends driving through the forest, complete with simmering sexual tension. There are two useless cops on the outskirts of the forest, one of whom is a misogynistic scum-bag and the other is obsessed with his wife after a petty argument. Worst of all, is the mysterious psychopath, who is lurking in the trees and has laid some deadly traps. The thing is the psycho is not necessarily the most dangerous thing in the woods. As the various characters meet up, things don’t go entirely the way you expect…

In a way it’s a shame that this has been released so close to “I Didn’t Come Here To Die”, as many of the themes are quite similar. But having said that, this is still a refreshing and original take on the sub-genre. To explain some of the incidents, and plot details would be to spoil a good experience. With touches of poignancy, and outright farcical humour, the plot zigzags around the cast as various sequences play out. Needless to say, the bad things that happen mainly come down to human stupidity and incorrect assessments of characters. Luck doesn’t really come into it (apart from that pesky minefield!); the hellish situations are all of the character’s doing.

And that’s really where I have a minor problem. It’s hard to feel sympathy for people, when they make the most horrendously stupid decisions or behave like such ass-holes (which most of the characters do here). IDHTD pulled this trick off, but “Rabies” struggles a little to achieve the same. One particular member of the cast has a case of “irritable bladder syndrome” (she doesn’t really, she just needs to pee most of the time) which strikes at the worst possible times. Another is hideously un-PC, and calls a character with Sappho tendencies “Navratilova”. 

Endearingly, the directors admitted that there were not only influenced by Wes Craven’s early works, but the henchmen’s deaths in “Austin Powers”! You can see what they’re aiming for, but the lack of background knowledge works against it. Why are the Brother & Sister “running away” (They seem to be in their 20’s after all)! What is the psycho up to? Why is the copper such a douche-bag?

Despite that, as a whole it is a satisfying experience. The cinematography is lush (who knew there were nature reserves like that in Israel?). The bloody effects are realistic as opposed to graphic and very effective (Lovely jaw injury!). And it is still heartening to see film-makers trying fresh angles and techniques for horror films, especially in a country where virtually no genre cinema exists.

Incidentally, the title is never explained (there is no disease). I am assuming that it refers to the “madness” that can infect groups of humanity, when they are separated from “civilisation”. Deep…
Anyway, despite my minor reservations, this is a film that’s definitely worth seeing. Be sure you catch “Rabies” while you can. Hah!

I’m STILL here all week folks!!  

DVD Extras: A nice selection for a change;
Several trailers.
Director’s commentary.
A good 15 minute interview with the directors at Frightfest 2012.
A 15 minute behind-the-scenes feature, with copious amounts of input from the cast and crew.

 

A nice and original twist on the slasher-in-the-woods movie. However, some of the characters and their reactions are a tad too unrealistic to be wholly affective, and there isn’t enough substance to feel empathy or sympathy for most of them. Still, this is a good enough film, with great effects and nice performances. More Israeli genre movies please!

THE LORDS OF SALEM

The Lords of Salem (18) 

Director: Rob Zombie / Screenplay: Rob Zombie

​Starring: Sherri Moon-Zombie, Bruce Davison

The Lords are coming

Whilst I recognise Rob Zombie as a talent, I kind of have a love/hate relationship with his work. I think that “The Devil’s Rejects” is a fantastic piece of work, and that the first “Halloween” remake he filmed is not too bad (despite the critical reaction across the board). However, “Halloween II” and “House of 1,000 corpses” leave me totally cold. Initial reviews from film festivals showing “Lords of Salem” also indicated that this would be his ultimate divisive piece of work. Some fans marked it as a masterpiece of paranoia and unease, but just as many others said it lacked a cohesive plot and was disappointing. Zombie himself said he took the project on, as he was promised creative freedom and wanted to do something original. As well as directing the film, he also wrote the story and was a co-producer. With the film getting a limited theatrical run, and a DVD release this week, YGROY takes a look …

After a brief pre-credits sequence, where a coven of witches are seen doing … witchy stuff in the Olde days, just outside the Olde town of Salem, we arrive in modern day Salem, Massachusetts. The film charts the events over seven days in the town, Monday through to Sunday. Heidi (Sheri Moon Zombie) is a dread-locked rock-chick, who works at the local radio station, and has an apartment in the aforementioned town. She’s part of “The Big H Team” with Herman (Ken Foree) and … err … Herman (Jeff Daniel Phillips). They’re basically shock-jocks who do local interviews and slag off record releases (complete with the incessant “humorous” sound-effects, that DJ’s think we need to hear). A vinyl record is dropped off at the station’s reception, specifically for Heidi and signed off by “The Lords”. Once Heidi listens to it, she is immediately affected by it and hallucinates about the witches from the pre-credits sequence. Not only that, but it also seems to affect other females in Salem when it’s played on the station during the next evening. As time goes on, Heidi becomes more frazzled and erratic, and the hallucinations become more vivid and disturbing. It soon becomes apparent that all is not well in the town. Could it have something to do with Heidi’s Landlady, Lacy Doyle? What is in Room 5 which is just down the corridor from her apartment? What’s it all leading to? And why the hell is there an emaciated woman standing in Heidi’s sink in the kitchen!?

The first 30 minutes of “Lords of Salem” is actually a well-structured set-up, which evokes memories of horror films from the late 60’s and 70’s. There is a slight feeling of unease, and plaintive guitar pieces play over the top of wordless scenes filled with soft-focus sequences of the lead actors. You could almost imagine Mia Farrow or Linda Blair walking into frame, and making themselves at home. Random scare-shots of a female spectral entity heightens the tension. Once Heidi enters Room 5, the next 30 minutes goes all Ken-Russell on us. There are random scenes of neon crosses, hairy demons, and stone-faced men walking goats in the cemetery (not making it up). The last 30 minutes just goes frickin’ mental, with some of the most abstract scenes you’ve seen in a film, since “2001-A Space Odyssey” made the next step in human evolution look like a night at the Travelodge! Zombie was actually quoted as saying he wanted the film to look like “Ken Russell directing The Shining”. Well, he’s sort of achieved that, but from where I sitting, it’s not necessarily a good thing. When “Beezlebub” or Satan himself turns up, and tries to impregnate a cast member with his tentacles, it looked like a pot-bellied skinned penguin, and I sort of lost patience with the imagery and atmosphere.

At its heart, the plot of “Lords” is actually a fairly simple narrative. It resembles “Rosemary’s Baby” in many ways, with controlling elder characters manipulating hapless younger-folk into dire straits. (NB: It’s probably my problem, but I always have issues when characters in movies are so passive and walk blithely into deadly situations). I personally can’t help thinking that if Zombie had kept the initial impetus and had done a straight-forward 70’s-feel demon-based horror, without the skinned penguins and w***ing bishops (they’re in there too!), it would have been an absolute cracker. Along the lines of Ti West’s “House of the Devil”, but even better! But that’s just my preference, and I can understand where Zombie is coming from. I suppose… It just doesn’t work for me. An ending would’ve been nice as well…

Where it does score highly is with the terrific cast. Along with blink-and-you’ll-miss-them cameos (literally!) from people such as Udo Kier, Michael Berryman, and Sid Haig, there is also Bruce Davison (“The Terminator”) and Ken Foree (“Dawn of the Dead”). Mostly it’s all about the ladies though. Zombie is often accused of nepotism, but Sheri Moon gives a fine performance here. Alongside her is Maria Conchita Alonso (“The Running Man”), Dee Wallace (“The Howling”) and Patricia Quinn (“Rocky Horror Show”). Best of all are; Judy Geeson (“Inseminoid”), the quintessential 60’s/70’s British actress giving a subtly menacing performance as Heidi’s landlady, and a jaw-droppingly raw (in ALL senses of the word) star-turn by Meg Foster (“They Live”) as the leader of the coven. But it doesn’t matter how good your cast is, when you have the mum from “E.T.”, the maid from “Rocky Horror”, and the lead actress of “Carry On England” drop down onto their knees and shout the line “You are the Dragon Lord, Satan! Come to us!” it just doesn’t seem right…

DVD Extras: Trailer. That’s your lot! Again. Remember ye olde days, when even the cheapest film would bung a “making of” documentary and gag reel onto a DVD release?  No? Just me then…

A pleasingly retro first half hour gives way to a series of abstract and faintly ludicrous images and set-pieces. Praise deserves to go to Zombie for gathering such an impressive genre heavy cast, and for concentrating on the female roles. However, it’s unlikely to make him any new fans and will test the patience of some existing ones. And as for Beezlebub…

EVIL DEAD

Evil Dead (18) 

Director: Fede Alvarez / Screenplay: Fede Alvarez, Rodo Sayagues 

​Starring: Jane Levy, Shiloh Fernandez

The most terrifying film you will ever experience.

“Listen to me my people”, boomed the Great Raimi. “I will appoint a follower and he will remake Evil Dead for you”. And the people cried; “NO! For horror remakes do suck and bite the big one”. And there was much wailing and gnashing of teeth. But it came to pass anyway. And the people dared to hope for the best; for the Mighty Campbell had stated that the film “Doth kick Ass!” and...
Any-hoo, enough of that malarkey! “Evil Dead”. The much-anticipated (and slightly feared) remake is here at last. Released in the UK cinemas on 18th April. So, what’s the YGROY verdict?

If you have any awareness of the original “The Evil Dead” (and if not, why not?!), then you don’t really need a synopsis of the new version. It has been updated and some nifty elements added, but the base elements are the same. After a brief pre-credits sequence, which explains what happened to the previous occupants of the cabin in the woods, five twenty-somethings head to the ubiquitous dilapidated building. Two of these are brother and sister, David (Shiloh Fernandez) and Mia (Jane Levy). Mia is a recovering drug addict and has been brought to the isolated spot, so her friends can help her “play the game of cold-turkey” (as she says at one point). It’s suggested through the film, that the reason she “crack-ed up” (Hah! I’m here all week folks!), was due to David bailing on her and leaving her with their dying mother, so there’s some emotional baggage there. After noticing a deathly stench, they find the cellar is full of sacrificed animals and a strange book wrapped in barbed wire. Of course one member of the group becomes curious, and starts to read the incantations within (despite the book being scrawled with other text saying “DON’T READ THIS!”. I shit you not!). And it’s about this time, that the defecation impacts upon the rotary air-cooling device. By various means the group start to succumb to demonic possession, and Linda-Blair-isms start to fill the air. At first, it is kind of suggested that the supernatural glimpses that Mia experiences are possibly due to the withdrawal, but this intriguing notion is dropped pretty early. In fact one character shouts out another and calls them a coward when they put this explanation forward, especially as things get stranger. However, any more detail would spoil the fun…

This is a film that literally drips with reverence for its source. Fans of the original (and “Evil Dead II”) will have an absolute field-day spotting the homages and references to the origin. There’s the “lucky” pendant necklace, the broken wooden step in the cellar, the possessed hand, the chained-up cellar door, and so on. Even the soundtrack is a direct (excellent) riff and update of the original’s OST, complete with the iconic “demonic growl”. It’s very clear that Fede Alvarez has studied (and presumably been advised by Raimi) the cinematography of the first film, and he does a first class job with it. There are identical tracking shots, and the misty woods and blood-red colours are remarkably vivid.

I’ve probably tip-toed around THE question for long enough now. Is it any good? Well … Yes. It is. It is very good. Paradoxically, what will probably work against it is the brilliant advertising campaign. Whilst this is a good solid horror film, it is in no way the gruelling and “most terrifying” film EVER that has been promised. Whilst regular horror fans might well roll their eyes at that claim, will it bring “mainstream” punters into the cinemas that want to test their nerves? That remains to be seen… Yes it is very gory and uncompromising, and it delivers on all of the necessities of a good scare flick, but not to such a vastly different extent as some recent-ish entries like “Saw” or “Maniac”. However, it is an excellent example on how to update a franchise and present a good remake/reboot (“Friday the 13th” and “Nightmare on Elm Street” hang your heads in shame!), and for that we should be truly grateful. But I don’t think it’s going to be the saviour of genre and start a new horror-wave as people are hoping. There are a couple of questions that bother me as well. If the “Book of the Dead” is so dangerous, why the hell do people leave it lying around? Bury the damn thing or put it in a safety deposit box or something people! Who the hell are the Rednecks at the beginning? Just what is “The Abomination”? And why is the dog called “Grandpa”?!

Having said those minor negative points, let’s revel in all the good stuff! The small cast are all great, particularly Jane Levy as Mia, in what is surely a break-out role. Having to deliver pretty much ALL human emotions across the spectrum, she is eminently watchable, and gives an excellent scare-face as well! The plot has an admirable obsession with limb removal, with or without the aid of power tools! The effects (bar some minor post-production touch-ups) are CGI free and very impressive. This is one blood-soaked film. You’re extremely unlikely to see a gorier foray on the cinema screen for some time. (NB: The BBFC site says that the UK version is uncut, but at this moment in time, I’m not sure if this print is same as the US R-Rated version. If anyone knows, please enlighten me). We’re also treated to an updated version of the “No-Mr.Tree-I’m-not-that-sort-of-girl-buy-me-a-drink-first!” scene that caused so much controversy in the original “Evil Dead”.

I did sort of have issues with some of the decisions that a leading character made towards the end of the film, which seemed absolutely ludicrous …, that was until I realised what significance a MacGyver-type electric device had, which leads into an interesting narrative twist. And that’s what’s particularly cool about the movie. It does follow the original’s plot quite closely, but it’s not afraid to take risks and throw you a “curve-ball” occasionally.

Incidentally, true fans of the franchise MUST stay for the end credits. The tape recording of the professor from the 1981 version is played over them. Then there is a (very) brief post-credits scene which either has mind-boggling implications for a sequel, or is just Raimi and Alvarez messing with us! Could go either way judging by recent interviews (but I’m guessing on the latter...)
It might not eclipse the original, or be the ground-breaking experience that we hoped for, but it certainly does not disappoint. Tough and unapologetic, it wears its (dripping) heart on its sleeve, and provides 92 minutes of sheer bliss for horror fans. Enjoy.

It is not the “most terrifying film you will ever experience” or a huge game-changer for the genre. What it IS though, is a damned good horror film and a perfectly respectable remake of a classic. Good performances, great (low-on-CGI) effects, uncompromising attitude and an understanding of what die-hard fans of the macabre want in a movie. We say “Grooo-oovy”!

                                                                                                                      By Dave Stephens

I DIDN'T COME HERE TO DIE

I Didn't Come Here to Die (18) 

Director: Bradley Scott Sullivan / Screenplay: Bradley Scott Sullivan 

​Starring: Indiana Adams, Kurt Cole

Volunteer work can be killer

If you look at the cover art for the UK (and USA) DVD boxes for “I Didn’t Come Here to Die” (IDCHD from hereon in), you would be expecting a generic low-budget slasher. It probably consists of a gang of drunken teenagers being hunted and killed in the woods. Yadda-yadda, seen it all before. However (on the UK release at least), the DVD also contains a number of quotes from Bloody.Disgusting.Com, Billy Chainsaw, and even AintitCool.com. Surprisingly, these are all 4-star ratings and proclaim it to be a triumph. So, to put it bluntly, what gives? And is it worth your hard-earned cash?

The movie itself opens in the fashion of found-footage film or a bloody episode of “Cops”, complete with the obligatory scratches and burns on the celluloid. It depicts a nervous Police Officer creeping along a road and the edge of a forest, with his gun drawn. Coming across the aftermath of several atrocities, he loses his nerve and runs for it, before being confronted by a disfigured person.

Following this Grindhouse-ey opening sequence, we flash-back to the start of the story. A group of humanitarian volunteers are heading into the remote woodland to start construction and clearing of an area, for a forthcoming holiday camp for kids. Led by Sophia (Emmy Robbin, who looks distractingly like Jessica Biel for much of the movie!), they are the expected mixed-bunch of clashing characters. There’s the annoying would-be politician Miranda (Madi Goff), the smart-ass Chris (Niko Red Star … no, really, that’s his name.), and so on. They all have their reasons for being there, and start to bond (or at least try to) over a couple of days as they work on the site.

Then it starts to go a bit awry. There are an unfortunate series of events, but this ain’t no Lemony Snicket! Following an accident, more bad luck follows, some submerged characteristics come to light, as well as some secrets. And then there’s more bad luck, and some violence … and more bad luck.  Alright, I’m being as vague as a Banker’s conscience here, but half the fun of this picture, hangs off on how exactly we get to the opening sequence and just what causes this chain of events.

Suffice to say, this is in no way a slasher-flick or a maniac-on-the-loose picture. It’s way more original than that. What it does do, is make use of its strengths and concept admirably. There’s a real sense of raw-ness to the picture and it certainly has a take-no-prisoners mentality. Some of the impact relies upon a number of really effective gore scenes, which have excellent make-up effects. There’s an eye injury to rival “Zombie Flesh Eaters” infamous scene. Best of all, there’s an excruciating scene with a chainsaw, which will have even seasoned gore-hounds wincing! Incidentally, if there’s a group of people in real-life that deserves to be around power-tools less than this lot, then I never want to meet them!

It’s not perfect by any means. The low budget shows in some areas. The vocal performances are sometimes muffled, and the cinematography is very muted, although to be fair some of this is intentional and adds to the Grindhouse feel. The night time scenes are also very “fuzzy”, however it makes a change to see a “realistic” night-in-the-woods scene that isn’t lit up like a Broadway stage! It has to be said that what Bradley Scott Sullivan has achieved here on a (reported) budget of $100,000 is extraordinary. Especially as he directed, edited, and wrote the whole thing. No wonder that people have compared this feature length debut to the impact that Raimi had with “The Evil Dead”. I for one will be watching what he does next with great expectations.

IDCHD has a short running time of 76 minutes, but absolutely none of that time is wasted. The ending is perhaps a tad too smart-assery for its own good, with major contrivances all over the shop, but it’s done with such a huge wink to viewer and culminates in a touch of splat-stick, that it’s instantly forgivable.

Well worth buying, and another example of don’t-judge-a-DVD-by-its-box-art. I would recommend this to any genre fan, and I think that non-genre fans (that don’t mind gratuitous violence and blood) would also be surprised and get a kick out of it. Perhaps the best summary is this exchange by two characters; “Do you think there’s a reason for all this happening?”... “Nah. Shit Happens, and then you die”

DVD Extras: Getting tired of typing this, but … Absolutely nothing. Again.



Mean-Spirited and playful at the same time, IDCHD defies expectations and provides a real treat for genre fans. Overcoming a miniscule budget, the small cast give entertaining performances and the make-up effects are excellent. Bradley Scott Sullivan is a horror name to watch.