Salvage (2009) - Filmreview

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Neve McIntosh faces a new horror in Brit flick Salvage. "Fear cannot be contained"

It would be easy to believe that Salvage was a final episode of popular British soap opera Brookside, set in Liverpool. Not only do the interior sets look untouched like something out of the Mary Celeste but the exterior location, too, was used in filming this low budget horror movie.

Honestly, Brookside itself became so gritty and far fetched by the end of its 21-year run that you could almost imagine anything was possible plot-wise, including a series of horrifying killings at the hands of a mutant. Big spoiler aside, Salvage does have some things going for it besides the famous setting. Starring Neve McIntosh (The Hound of the Baskervilles, Doctor Who) as Beth and Shaun Dooley as Kieran, we arrive at the cul-de-sac as a newspaper boy overhears an argument between an Indian couple. The man, Mr Sharma, sees the boy peering through their window and chases him. The boy flees into the wood behind the close, where he is murdered by an unknown figure. We are then introduced to teenager Jodie (Linzey Cocker) who is expected to spend Christmas with her estranged mother Beth (McIntosh). Brought to the Close by her father, Jodie takes a Key from a flower pot and lets herself in. Who needs a Grinch when you have a terrible mother? The young girl, disgusted to find Beth having sex with a stranger upstairs, leaves the house to seek comfort with a friend across the way. Beth follows but is refused entry by the friend's own mother (played by Coronation Street actress Debbie Rush).

And then all hell breaks loose...

We are now firmly in Phil Redmond (Brookside creator) territory for those who remember the 20th Anniversary of Brookside and its over-the-top siege storylines featuring Terry 'Psycho' Gibson and his antics.

Except... drug dealers are replaced by an unseen killer who terrorises residents and eliminates special force team members sent in to contain the situation. The majority of the film now focuses on Beth and her one-night stand Kieran as they attempt to make sense of sudden developments. Residents are ordered by soldiers to stay in their homes. Beth, however, is more concerned for her daughter, who remains at the friend's house. If there is one positive about Salvage then it has to be Neve McIntosh's strong performance, whose character refuses to give in and wait it all out - instead she remains at the center of this tense thriller directed by Lawrence Gough.

Kieren is convinced they are victims of an al-Qaeda terrorist threat, a suspicion seemingly confirmed by an injured special ops soldier who they bring into the safety of Beth's home. Beth, though, discovers the truth after overhearing the soldier, Akede (Kevin Harvey), on his radio to a colleague. This is where the movie has the potential to deliver further but ultimately fails. The true "threat" is boasted to be the perfect killer, an "uncontrollable" monster. Could this explain why Akede's unit is failing? So, perhaps we're in Alien or Predator territory? No, not really. As the plot reaches its conclusion, so does the thrill. Beth is reunited with her daughter but is attacked by the mutant; the victim of a military experiment, it turns out. Fleeing in terror, daughter Jodie reaches the front garden of the house when the monster goes in for the kill, having followed...

Salvage marked Lawrence Gough's film début in the director's chair, he has since gone on to work on shows like Cold Blood, Hollyoaks, and Atlantis. The feature was also one of three projects chosen for the Digital Departures filmmaking initiative launched in 2007 to celebrate Liverpool's Capital of Culture status in 2008; the other two being documentary Of Time and the City (writer/director: Terence Davies) and film Kicks (director: Lindy Heymann - written by Leigh Campbell - original title: Starstruck). All three projects each secured a £250,000 budget.

McIntosh won two awards for her performance, at the International Fantasy Film Award and Fantastic Fest. It is easy to see why she accepted the part, "I was attracted to the script because Beth is the main protagonist – I’m covered in bruises from all the chasing and clambering. My last job was a film with Joe Fiennes about a Jewish family hiding from the Holocaust, so it’s very different" - Liverpool Echo.

On a personal note, I do wish there had been more screen time between Beth and Jodie, and that more of their relationship had been established. I'm sure McIntosh and Cocker would have given the piece just that extra bit of emotion in an otherwise emotionally charged drama. Thoroughly enjoyable, for fans of horror or Brookside.

Purchase Salvage via amazon.co.uk.

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Article author: Alwyn Ash

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FilmLight - Mental Illness Vs Hollywood

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Article author: Alwyn Ash
"At the right time, in the right light, everything is extraordinary"

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"I saw a man who had lost any sense of reality, a seriously ill individual whose crimes, though hideous, are also heartbreaking..."

In horror and thriller we are so used to villains being the monstrosities of the piece - some faceless, others grotesque. Just think Freddy Kruger from the Nightmare On Elm Street franchise, or Jason Vorhees's horrific killings on Friday 13th... It is easy to hate these phantoms of fear, as they hunt and massacre their prey. But what is evil, and how is it truly defined in film? How to evaluate a character whose actions are motivated by mental illness? Think of Norman Bates, a man whose mind is clearly burdened, the killings a product of his mental state. Is he considered to be evil? Just when does an audience feel sympathy for a psychopath, or at least touch upon some level of understanding?

Recently I stumbled upon "The Call", a 2013 movie starring Halle Barry as Jordan Turner, a 9-1-1 operator who blames herself for the murder of a distressed caller, witnessed in the first act of the movie. Six months passes and Turner finds herself in a similar situation when the original killer strikes again, kidnapping another young girl called Casey Welson (played by Abigail Breslin). This time the girl is able to phone from the boot of her kidnapper's car, leading to a tense but exciting scenario in which Turner attempts to locate the girl's whereabouts in a bid to help with the police search. Michael Foster (Michael Eklund), the man eventually named as her abductor, is violent, killing whoever stands in his way. But further into the story we learn of his own tale, one of incest and love, loss and devastation. The trigger for his crimes later on in life...

In the concluding act of the movie, and taking matters into her own hands, Turner manages to track the girl down in a cellar, facing Foster in a confrontation that ultimately leads to him being imprisoned in his own hideout, where he will rot, never to be discovered... This is where I found some sympathy for the villain, and the final scenes very distasteful.

It is ironic that, at the end of a terrifying ordeal in which a young girl is kidnapped and facing certain death, I find the final behavior of Turner and Welson to be far more monstrous than the actions of a mentally-disturbed man. Even if you contemplated Welson's to be temporary insanity due to her recent experience, just what is Turner's excuse? Revenge for the death of the previous victim? Accepted, Michael Foster's crimes cannot be overlooked, nor is there any reasonable justification for what he has done, and so life imprisonment in a psychiatric institution should have been the outcome. Realising their decision to let him die alone, Foster pleads with them for mercy, to which Turner says, "It's already done!" - echoing the killer's own words during two previous phone conversations between the two characters.

In scenes that show Foster's prop head and the many scalps taken from young woman, I saw a man who had lost any sense of reality, a seriously ill individual whose crimes, though hideous, are also heartbreaking. His sister died while he was a young boy, and ever since he has yearned for her to be back in his life. His fixation with resurrecting her is similar and yet different in ways to that of Norman Bates, whose split personality called for Norma Louise Bates' return in the "Psycho" films. In "The Call", Foster wishes nothing more than to be reunited with his dead sibling, killing girls until he locates blonde hair that precisely matches that of his sister's.

As someone who suffers with mental illness, I can understand the fine line that can be crossed when not in one's correct frame of mind. Though I am far from Foster's state, there have been times when my own actions have later surprised, horrified and disgusted me, whether it is self-inflicted injuries or other. I have felt just how easily one might go insane when handed circumstances that overwhelm. Just where does true madness lie? Repeating my earlier question, what is evil, and how is it truly defined, whether in film or reality? Foster is no Hollywood 'monster', nor does he fit the same profile as Charles Lee Ray ("Chucky") or 'Pinhead' ("Hellraiser").

When the beast is slain, we usually punch the air in satisfaction, praising the heroes for their bravery against the odds. I felt for Welson during her captivity, wished for her to be safe. I even appreciated Turner's frustration and guilt. But, in the end, they were both the monsters in my eyes - Judge & Jury, coldly deciding his fate without any thought as to his own state of mind. After all, why should they? He is the beast... isn't he?

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Follow Alwyn Ash on Twitter: @AlwynAsh. Image source courtesy of Greg Gayne © 2013 SPWAG (via www.imdb.com). Article © Alwyn Ash 2015. Quotes (if applicable) used for publicity purposes only. No infringement of copyright is intended.

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Contracted (2013) - FilmReview

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Samantha (Najarra Townsend) unaware of the dangers to follow.

"Contracted" is one horror movie that explores the zombie story from an altogether different perspective, using sex as the source of the infection. Unsure whether this really was something worth a viewing, I decided one night to take the plunge. By the end, I was both shocked and impressed. We are all used to the generalised ways in which a zombie film progresses, with the undead rising to kill the living, in most instances devouring their victims. But how about the story of Samantha (Najarra Townsend) who, after a rape, becomes infected by something unknown, and gradually decays? This is no routine zombie feature. It is more an observation in slow motion, as a woman "dies" during the course of the movie's run. The sexually-transmitted disease angle does bring chills, as we are all too aware of the threat of HIV and Aids. And the final scene doesn't fail to impress... For some, though, "Contracted" might lose their loyalty after the first half hour. So, to the review...

For a low budget affair this horror thriller (distributed by IFC Films) works well, with leading lady Townsend working hard to capture the essence of the character and disintegration of her world - 10/10 for the special effects makeup and visual decay. Director and writer Eric England gives an "experimental" feature whose script took about 2-3 months to write, with filming also short. There is no doubt that "Contracted" is slow, and takes some dedication to really stay with it, but it does become an intriguing study of both sex and the consequences that derive from such an act. And if you believe this is likely to be purely an Aids or HIV-related portrait, think again. There is nothing regular about what is contracted here...

The movie opens with a mysterious man, only referred to as "BJ", as he engages in necrophilia with a corpse in a morgue. Later he meets Samantha at a party and, while drunk, she is taken advantage of (we discover that he had used Flunitrazepam in her drink). Later, unbeknown to her, some terrible virus has infected the young woman. This is the part where her universe collapses, and we are given an insight into one of the most horrifying and sickening transformations in the history of cinema! I was not prepared for what was to follow...

If there is one criticism regarding "Contracted" then it is simply this: there are some who fail to respond to her predicament realistically. Personally, if I had a daughter or friend whose physical appearance altered so radically in such a short space of time, I would be in hospital with her, demanding she be seen and tests be taken. Surprisingly, with countries on alert for acts of terrorism, including biochemical, would a medical practitioner really just allow Samantha to go home after seeing the state of her health? "Do not come into contact with anyone until we can determine what it is we're dealing with." Perhaps this film would have been bigger for exploring such a possibility, but I can understand the limited finances.

Sammy lives with her mom (portrayed by Caroline Williams, who was cast in Tobe Hooper's 1986 horror "The Texas Chainsaw Massacre 2") in Los Angeles, after splitting up with girlfriend Nikki (Katie Stegeman); she works at a restaurant as a waitress; and one of her male friends, Riley (Matt Mercer), fancies her. A normal life, you would think, but one that changes following the rape. What starts with hearing issues leads very quickly to blood and stomach pains. At this stage there is plenty of realism, with sympathy aplenty for the character. I am sure we would all worry if suffering symptoms that are first shrugged off as a "head cold and a rash". One can only describe it as rotting from within, leading to external complications. I do like how it is believed Samantha's condition to be drug related, which she denies. By the time we reach "Day 3", her "illness" is heartbreaking, as the corrosion gathers pace.

The least sympathetic character in this feature is Nikki, for being the most obnoxious person I have ever spent 84 minutes with. Well, perhaps not "84 minutes" but it sure does feel like it! Stegeman plays her well, and you can only wonder how on earth she and Sammy got together in the first place - talk about chalk and cheese! "I'm not into you any more!" Even her final encounter with her ex-girlfriend does nothing to redeem. Just what does she think is happening to Samantha? Is her physical deterioration not obvious enough? In truth, Nikki does not care, and has obviously never cared about the young woman's feelings.

If you can survive the first half hour then it is best to stay with the movie - the climax is most definitely rewarding! All it needs now is a sequel ("Contracted:Phase II") and director England's vision can expand into other areas... "Contracted" is ultimately Townsend's song, with a powerful performance that not only requires respect but admiration for such a human story. With "The Toy Soldiers" (2014) raising her profile further, there is plenty of reason to watch out for this young lady...

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Image courtesy of imdb.com (Matt Mercer © 2013).

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Article © Alwyn Ash 2015.

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Zombies At Tiffany's - AudioReview

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Article author: Alwyn Ash
"At the right time, in the right light, everything is extraordinary"

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"A steampunked story of diamonds, chutzpah, death and horror from the blood-drenched pen of Sam Stone."

Author Sam Stone came to my attention after reading the first in her "The Vampire Gene" book series, "Killing Kiss", a tale of seventeenth century vampire Gabriele Caccini. I have been a fan of the vampire genre since my first taste of Hammer Films productions such as "Dracula AD 1972", and so this was just right down my street, along the darkest alley, and through the creepiest cemetery. In 2012, this talented lady published a title via the Telos Publishing label featuring my second favourite creature: "Zombies At Tiffany's", a novella set in 1862, gives us jewellery, Steampunk weaponry, balls, and enough narrative to satisfy. Having had the fortune to review an audiobook adaptation, skillfully produced by those hard-working people at Spokenworld Audio, it was time to review...

"Zombies" is the first in the "Kat Lightfoot Mysteries", a Steampunk adventure that will absorb from beginning to end. This is also my first step into Steampunk, so I had absolutely no idea what to expect... Set during the American Civil War, we first encounter Henry (the part read by Texas-born and award-winning voice artist Kaleo Griffith), whose own experiences of a strange sickness affecting fellow soldiers on the battlefield are recorded in a letter to his sister, Kat. Next we are introduced to Kat Lightfoot (this is where American-born Stephanie Cannon takes over as narrator), whose immediate worries are supporting her family. She is offered a job at Tiffany’s Jewellery Store, in New York, where her pleasant and sparky demeanor shines as an asset to the company. Things are going relatively well, for awhile. That is, until an evil reveals itself, engulfing the neighbourhood into a bloody battlefield of its very own! A zombie plague, manifesting in the bodies of the living, threatens to plunge America, and quite probably the world, into darkness.

Stone's attention to detail, and knowledge of historical events, is impressive as she weaves a fascinating drama quite different from what you would first expect. The American Civil War, and Tiffany's as a location, are superb choices; as are the characters, whose fates bring them together in a battle against the undead.

Reminiscent of Dan O'Bannon's 1985 comedy horror "Return of the Living Dead" ("Brains!"), Sam Stone's use of the "I'm hungry!" element really does add that extra shiver, giving her zombies a voice instead of just a shuffling presence. Though "dead", there is clearly something else within them, a presence... the sickness! This defines them as supernatural, and linked by a single consciousness, unlike zombies of other tales, who wander aimlessly. This is proven by their ability to turn on any zombie that truly "dies", thus no longer possessed by this horrifying illness. They are also able to communicate with one another, even when not in the same room, or building.

So just what is Kat's portrayal in the novella? Well, firstly she is a simple girl, but one with steel determination and guts. When the world falls apart she takes to defending Tiffany's with weaponry engineered by the store's jewellery designer, Martin, whose talents produce some remarkably sophisticated additions, to say the least. Though the majority of the characters are likable, it is Kat who shines, as well she should. This is her story, and one that illuminates throughout. The dialogue, sharp and widely descriptive, sets the scenes perfectly. Cut off from her mother and sister - and brother - the options are limiting. But this heroine refuses to give up the fight. Think Ellen Ripley's kick-ass attitude in the "Alien" films combined with the sophistication of Louisa May Alcott's "Little Women", and you get the idea...

I was intrigued by an email received from the author, following initial contact. Her research revealed that Tiffany and Co. had produced "surgical instruments and weapons for the American Civil War" - I looked a little closer into this and read on several websites that the store specialised in decorative guns and swords in the 1850s, with work on these rising during the 1861 to 1865 conflict. This knowledge adds extra dimension to "Zombies At Tiffany's", an audiobook that I just had to relisten to a second time.

Though it plays homage to Truman Capote's 1958 novella "Breakfast At Tiffany's", Stone's approach to "Zombies" allows for a world of its very own, with room for follow-ups such as "Kat on a Hot Tin Airship" (published by www.telos.co.uk). To make it clear, Kat Lightfoot's adventure is not a parody of Capote's story - as writer Seth Grahame-Smith's 2009 book "Pride and Prejudice and Zombies" did for Jane Austen's masterpiece - but an original tale with three-dimensional characters and a fine premise! You can be forgiven for thinking the former. However, it is recommended that any horror fan take a look at both this and the author's other collection of work, which includes "Zombies in New York and Other Bloody Jottings". Poor America, it is getting a terrible zombie battering of late...

(Just out of interest, the wonderful covers for both "Zombies At Tiffany's" and "Kat on a Hot Tin Airship" are designed by Martin Baines - both utterly delicious! Baines's work includes designing the cover for "White Witch of Devil's End", illustrating covers for Sam Stone's "A Vampire Gene" novels, and art for advertising)

And so to the audiobook itself: Spokenworld Audio always chooses wisely with narrators, and Stephanie Cannon is most definitely a treasure trove of genius! If you have ever listened to the audio samples on this lady's official website then you will know just how versatile and talented she can be. Cannon also narrated the audiobook of "Zombies in New York", produced by Ladbroke Audio and originally available via the now defunct AudioGO Ltd. Award-winning writer and producer Neil Gardner gives us a four-hour audiobook of the finest caliber, with Kaleo Griffith equally delivering as Kat's brother. And as you would expect for zombies, there are some scenes adult in nature, with strong language to match!

Conclusion? Sam Stone's gothic tale of steampunk offers gore delight and pleasant company with Kat Lightfoot. You may need a cat...

You can obtain the audiobook of "Zombies At Tiffany's" for download at Spokenworld Audio (£7.99 ex. VAT for UK/EU), or purchase Zombies At Tiffany's from the Starfoyer Enterprise Store: Book - Paperback

Picture courtesy of Spokenworld Audio

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In The Flesh: Series 2, Episode 1 - TVReview

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Article author: Alwyn Ash

"The living can be just as dangerous, son. You mark my words."

Dominic Mitchell's zombie drama "In The Flesh" returns for a second season and, just like its first outing, delivers right on the money, with a shocking opening involving terrorism and the murder of former Roarton resident Ken Burton (Ricky Tomlinson) and his young nephew. Most of the cast return, including Luke Newberry, Harriet Cains, and Emily Bevan. There is also a new face as actress Wunmi Mosaku ("Moses Jones") joins the production.

In Series 1, PDS (Partially Deceased Syndrome) sufferers were reintegrated back into their old communities following treatment, with much suspicion and tension firmly present. Family, friends and neighbours watched for signs of danger, some unable to accept that anyone who had died and been resurrected during The Rising, in 2009, were capable of reintegration. There was much hostility, and killings, as two worlds collided. In the end, old friendships were reignited. It was to be a difficult struggle, but one with hope.

Series 2: it has been eighteen months since "Rotters" were resettled into their homes, but all is not well. A radical group calling itself the Undead Liberation Army (ULA) is striking fear into the living community, this is brought into tragic focus within the first four minutes with an attack on a tramcar involving members of one cell who have access to an underground drug called Blue Oblivion ("...Still on the streets even after supposed crack down..."). Within moments of taking the drug, the group of four revert back to their primal zombie state, indiscriminately killing other passengers. This scene really touched upon a raw nerve, as the zombie thriller embraces a political and extremist edge.

Meanwhile, back in the English village of Roarton, Lancashire, Kieren Walker (Newberry) is adjusting to life, working at the local Legion pub. His relationship with Jem (Cains), his nineteen-year-old sister, could not be better. Amy Dyer (portrayed by Bevan) returns as lively as ever, last seen leaving for a commune. However, she is not alone, accompanied by the mysterious Simon (Emmett J. Scanlan). Apparently Amy has been "chosen", and we are yet to learn just what consequences will lead from this further into the new series.

Kieren is restless, and wants to travel; his sister suggests Paris, to follow his passion as an artist. Both are holding back emotions, scars that will take longer to heal emotionally than physically. Jem is the best example of this - no longer a member of the "Human Volunteer Force" (HVF) vigilante group, her attempts at readjusting to every day life is taking its toll, best demonstrated during a visit to the local supermarket with her mother, where haunting memories remain. And, of course, there are parents Sue and Steve (Marie Critchley and Steve Cooper), who are clearly delusional about their son's activities as a Rotter following The Rising. However, this is a family determined to bring itself together, and leave the past behind. Other residents are clearly not so keen to let go...

A potential new threat to the peace of Roarton comes in the form of devious MP Maxine Martin, a member of Victus, a political party whose hatred towards PDS sufferers continues to ignite retaliation by the radical ULA. Martin's personal feelings towards the undead are very clear, leaving a distinct foul taste - we can only imagine what horrors will be unleashed upon her victims, just ask Vicar Oddie (Kenneth Cranham).

With the length of Series 2 doubled from three to six episodes, there will be plenty of time to explore new ground and widen the world in which writer and director work so passionately to create. Dominic Mitchell once more crafts an ingenious tale, skillfully maneuvering both tension and drama from one scene to the next. As with the first season, we take a look at stigma, suspicion and hatred, all manifesting within the hearts and minds of ordinary people. Though Rotters and the Undead Liberation Army are terrifying, it is the actions and prejudices of Human beings that are to be feared most. And, believe me, there are still Rotters at liberty, attacking unsuspecting folk!

As I have said in previous reviews, what makes "In The Flesh" different to other zombie fiction is its appealing look at the reanimated as beings that can be rehabilitated, medicated and released back into society to resume their lives. Agreed, they cannot grow old, and without makeup and contact lenses their appearance is startling; but deep within them lies a soul, capable of feeling. They yearn to be accepted. This style of writing has heart in a way unexplored previously. Mitchell won the Drama Writer category in the 2014 BAFTA TV Craft awards for "In The Flesh" and, with talent like this, you can see why...

Purchase In The Flesh from the Store:
DVD / Blu-ray - Series 1-2

Picture: BBC

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Byzantium (2012) - FilmReview

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Article author: Alwyn Ash

"My story can never be told. I write it over and over, wherever we find shelter. I write of what I cannot speak: the truth. I write all I know of it, then I throw that pages to the wind. Maybe the birds can read it."

I have been a fan of Saoirse Ronan's work for about two years, after seeing the Irish actress in 2009 fantasy "The Lovely Bones". Since then I have enjoyed further performances from her in "Hanna" (2011) and "The Host" (2013), and so "Byzantium" is one of those movies that excites. Directed by Neil Jordan and written by Moira Buffini, the tale also stars Gemma Arterton and Jonny Lee Miller. It is a British-Irish affair focusing on mother and daughter Clara (Arterton) and Eleanor (Ronan), both vampires who have accompanied time through the ages. Based on the stage play "A Vampire Story" (Buffini's creation), this feature explores vampires for the modern age, no longer grotesque fanged parasites but people with a burdened past, and feelings. Eleanor has a story to tell, one too impossible to share, and so she writes it, never likely to free herself of the hardship.

There has been a surge in vampire offerings of late, in both film and print; there are likely to be some people who are tired of this phenomenon. However, I always welcome fresh takes on the vampire legend, and "Byzantium" does just that. Forget fangs, these vampires pierce their victims with a sharp fingernail, which can extend and retract in the same way as their toothed-cousins. It is clear that Eleanor is just a young girl (well, perhaps in body but not in mind) who longs for some kind of normality. Her companion, Clara, is the more dangerous of the two, a predator who's morals leaked away the day she was first inducted into prostitution, during the Napoleonic Wars - we get to see both their backstories. It is clear that Clara is determined to keep their whereabouts a secret at all times, from who we discover further into the story. And she has reason to be vigilant. Arterton's character is a survivor: selfish, cold-hearted... though her protectiveness over Eleanor redeems any negative qualities she possesses.

Irish filmmaker Jordan revisits the world of vampirism after his successful adaptation of Anne Rice's "Interview with the Vampire", released in 1994 and starring Tom Cruise as the vampire Lestat de Lioncourt. His collaberation with English-born Producer Stephen Woolley is legendary, both having worked on "Byzantium" and "Interview with the Vampire", along with other works including "Mona Lisa" (1986), "High Spirits" (1988), "The Crying Game" (1992) and "Michael Collins" (1996). It is a union that works well.

The introduction of an island that gives birth to vampires, and the guardians who protect its secrets, is intriguing, a step away from the more familiar making of a vampire process. Eleanor's own transformation is, of course, Clara's doing, but in a bid to save the young girl's life from venereal disease following rape at the hands of a vengeful Captain Ruthven (Jonny Lee Miller). This is what ultimately leads the two of them to go on the run: breaking the code of the vampire brethren for a second time - the first being Clara's own unsanctioned transformation! The island is sacred, and their disregard for ancient protocol a disgrace to all who uphold the legacy. Such a crime is punishable by death.

Actor Daniel Mays ("Made in Dagenham", "Saddam's Tribe", "Mrs Biggs") plays the role of Noel, owner of the once thriving but now forgotten Byzantium Hotel. Of course, being a loner, he is the perfect candidate for Clara's plans, who seduces him before moving in and converting the hotel into a brothel. Eleanor, in the meantime, befriends Frank (portrayed by American Caleb Landry Jones), a young waiter who she encounters at a restaurant where she plays a piano; they establish an instant bond. As the story progresses we learn of Frank's own personal destiny and feel for the two love birds as fate steps in to keep them apart, including Clara's inability to trust any outsider for fear of discovery. This paranoia also includes Noel, dare he become a threat in any way to the continued survival of these two timeless creatures. You do feel Clara's darkness, and know only too well that, unlike her daughter, she is a natural cold-blooded killer - the thought that she will only take out "pimps" and "johns" (clients of prostitutes) doesn't totally convince...

Having read a little about "Byzantium", I am surprised that gaining financial support can be difficult for a film whose leads are female, as gender inequality still plays a major role in decision-making. When asked, even Arterton agrees, "Yes, it's true. Very much so, unless you get someone properly famous in the lead role. We are talking very, very famous." Renowned actress or not, the film industry needs to do more to let some great cinematic experiences through: it is by no means a mistake that Sigourney Weaver, then relatively unknown, had been cast in "Alien" (1979) to influence an otherwise male-dominated genre - and Ronan's own performance in "Hanna" is nothing short of brilliant - proof that it is a script, and not female actors, that should be judged for finance backing.

If there are any negatives about "Byzantium" then it is the male characters of the piece - neither are established properly, or their relationships with either Clara or Eleanor explored efficiently. Perhaps, if Jordan had produced a love story, and examined the true destructiveness of a Human's relationship with a vampire... In the end, this is a tale of mother and daughter, lone travelers through time, restless for a place to remain without constant vigilance. For the latter their existence is a burden, secrets that must be shared but can never be, yearning for some kind of connection with anyone other than her mother, whose dominance makes any "normality" seem impossible.

What this feature shares with its predecessor "Interview With A Vampire" are the beautifully-shot flashback sequences for the two protagonists, as "Byzantium" steps back 200 years. If I am to be honest, this is where the movie works best. Though not a regular tale of vampirism, this fresh approach does take a look at what it is to be immortal Humans on the run, constantly unable to put down roots. Without the "vampire" tag, they are serial killers. And even with it, they are still more Human than any vampire in cinematic history...

Purchase Byzantium from the Store:
DVD - Blu-ray - Running time: 118 minutes

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Twin Points - AudioReview

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Article author: Alwyn Ash

"With a shudder of despair he stepped forward into the lane, its illumination coming from battered old street lamps..."

If previous story Inside The Machine had an air of mystery about it, "Twin Points" takes that and enhances it with a vision of darkness. Written by Neil Gardner, and based on an original idea by Tanja Glittenberg, this is one tale every horror and thriller enthusiast will love to hear! And so welcome to a Twilight Zone-esque slice of unworldly fiction so intense and dramatic that, by the end, you will feel its cut! There is also a morality so in touch with real world events that the very words "poetic justice" immediately spring to mind; I applaud the ingenuity in its approach to this particular subject matter!

Enjoying it so much, I emailed Tanja, who kindly had this to say about her tale, "The Inspiration for this one was an idea I had for ages something to do with flickering lights and the uncomfortable feeling it always caused in me. So I told Neil about it and what I think should be part of the story (fear, terror, torture...) and he really liked the idea and a few moments later he started to type and came up with the finished story. I absolutely loved it and soon we had the luck to have the wonderful Michael Fenton Stevens to read it for us. He too liked it and gave the whole story an even bigger impact."

Though a short story, there is so much I would like to talk about in this review. However, I must adhere to caution for spoilers. And so... Without doubt, those at Spokenworld understand not only how to put an audiobook together but clearly enjoy working with all its many layers, perfecting sound and delivery, employing all their talents in producing masterpiece after masterpiece. If I am to place Spokenworld with company then who better than Big Finish, Bafflegab, and Textbook Stuff! This is the brilliance in which Spokenworld work, and if "Twin Points" is an example of their range then it is with pride that I write these words.

"It lay ahead of him, the long dark alleyway, a route without pity, a remorseless seemingly unending passageway of nightmares and fear..." As is clearly forewarned on the website, "Twin points" contains some rather disturbing imagery; indeed it is extremely graphic in those areas of the tale where pain and torture are explored precisely, an intense experience for the listener. Personally I enjoy these excursions into the downright creepy and mysterious. If you think that the darkness breeds horror, perhaps you have not yet embraced the light...?

Michael Fenton Stevens, an actor and comedian whose other audio work includes "Hitchhiker's Guide to the Galaxy" and Big Finish's "The Kingmaker", is absolutely the right choice as narrator for this piece, both timing and pitch perfect, his delivery so engaging that you feel the threat and tension build, all the while focusing on the source of two glowing dots at the far end of the alleyway. It is a walk through the unknown, a steadily paced nightmare that will have you mystified and suspicious, surmising and yearning for truth. No matter the intensity or agony, the obsession in discovering answers is too great for the unnamed protagonist of the tale. From the start, "Twin Points" has a focus of its own, and you instantly feel for the man as he is seemingly tortured by something intangible.

Like "Inside The Machine", there is a greater mind at work, an entity whose purpose is unclear until the last moment, in this case the eighth minute - and the revelation is a true eye-opener, I can assure you! The twist is so compelling that a second listening was required, if only to view the piece in a different... light, shall we say? It is most definitely an intriguing experience, comparing the two sets of emotions that you will no doubt touch upon. For the most part I was reminded of "Fire in the Sky" (1993), a sci-fi horror drama directed by Robert Lieberman, and that feeling of being subjected to a nightmarish scenario that specifically targets both psychological and physical, helpless, solely at the mercy of some unknown and emotionally detached force or greater power.

As already mentioned in my "Inside The Machine" review, this is both a taster of Spokenworld's wares and a sample of what is to come in 2014, specifically a collection of short sci-fi stories written by Neil Gardner. Other short tales available on the Spokenworld website include "The Sound Within" and "Saya's Last Gasp", read by John Banks and Louise Jameson respectively, so now is a good time to sample their delights, and get on board for what can only be a beautiful journey. Even comparing "Inside The Machine" and "Twin Points" there is much diversity, a sign that variety and surprise will always be employed in these fine productions. I am, therefore, excited at what is still to come...

You can obtain the audiobook of "Twin Points" for download at
Spokenworld Audio (FREE audiobook)

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Last Passenger (2013) - FilmReview

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Article author: Alwyn Ash

Train wreck or The Orient Express?

Alfred Hitchcock fans will likely find a delicious slice of drama in this suspenseful independent British thriller directed by Omid Nooshin - starring Dougray Scott ("The Day of the Triffids", "Doctor Who"), Kara Tointon ("Eastenders"), Iddo Goldberg ("Christopher and His Kind"), David Schofield ("Gladiator", "Pirates of the Caribbean"), Lindsay Duncan ("Rome", "Doctor Who") and Joshua Kaynama. And having discovered this thanks to an interest in Tointon after seeing her in an episode of "Bedlam" (2011), I just have to say that this is one train journey I will not forget in a hurry...

So what is it about? Well, put simply, six passengers are left onboard a London commuter train that has been hijacked by a sociopath, whose own motives are far from clear though his intention is to crash and kill himself and everyone on board. The use of a faceless enemy works well, as it has done in past movies such as "The Car" (1977) and "Joy Ride" (2001). The runaway train theme is not an original concept (I am reminded of Andrei Konchalovsky's 1985 action-thriller and aptly-named, yes, "Runaway Train") but the way in which this movie is executed gives it a rather intriguing and fresh approach whilst maintaining something familiar - the film's focus on characterisation benefits the plot, permitting us to care about the people whose very lives are placed in jeopardy.

And this certainly shows best in the on-screen relationship between eight-year-old Kaynama and Scott, who play young Max and his father Doctor Lewis Shaler. Add to this Tointon's beautiful performance as fellow passenger Sarah Barwell and you have the perfect family unit whose uncertain fate draws ever nearer...

Every actor works well to bring this drama firmly into the realms of enjoyable entertainment. If proof be needed that a small cast can make a satisying movie, then look no further than "Last Passenger", whose direction steers every moment with purpose - no scene is wasted as it becomes clear just who is in charge of the train. Director Nooshin described it as "being trapped in the Belly of the Whale", and there is no doubt that such a claustrophobic experience both brings dramatic actions and tests the humanity and bravery of others. Though there is much tension between Jan Klimowski (Goldberg) and Peter Carmichael (Schofield) at first, their mutual realisation that difference must be overcome if they are to survive does manage to win through! However, just how do you escape an out-of-control transport?

It is very satisfying to see that writers Nooshin and Andrew Love resisted any temptation to rely on blood and gore, instead giving us a much more intelligent and emotional tale: the casting strengthens what is already on paper. This is no slasher film, staying clear of any similarities to horror outings "Terror Train" (1980) or "Train" (2008). To be too critical of the movie or its plot is unwarranted, though some reviewers have criticised the lack of information regarding the "madman". I, however, applaud this direction, for a faceless enemy is a far more terrifying one, whose motives are, at the time of incident, unknown. And so, it is to the last passengers that we, the audience, turn and support, as they attempt to avoid almost certain death.

Nooshin had commented, "LAST PASSENGER began life as a daydream which absorbed me whilst sitting on a London 'slam door' train. The daydream revolved around the simplest premise: what happens if this train doesn't stop?" And with a budget of only £500, a trailer was produced, gaining interest from film studios. In the end, a "shoestring" budget of £1.5m was invested into the project. As the director added in an interview, "...the last movie set on a train was 'Unstoppable' which was $100m (£61m)."

No surprise then that Nooshin had been nominated for the Douglas Hickox Award (Directorial Debut) in The Moët British Independent Film Awards, though he finally lost out to Paul Wright, whose own drama "For Those in Peril" focused on Aaron, the sole survivor of a mysterious fishing accident. In all honesty, "Last Passenger" is the perfect directorial debut, tense with enough explosive charm to satisfy 97 minutes. Mention must also be given to Irish composer Liam Bates, whose score is truly powerful and gripping, evoking the feel of a golden era while echoing the growing tension in the feature - the perfect choice when you consider his other work on such films as "Ghostwood" (2006).

I am going to admit something now: though it was to be a predictable occurrence, the scene at the level crossing shocked me, I had not expected it to be as so well-realised and was glad that the victims remained faceless. But it did have my heart beating like a runaway train, I can tell you - a true cinematic moment! The last time I felt this way about a single scene was during a viewing of the passenger aircraft disaster in "Die hard 2" (1990), and the department store bombing in "Nighthawks" (1981).

I am not one for being too concerned over the use of clichés in film, for the overall voice is of far more importance in my opinion, what a plot has to say in terms of who the characters are and where they are in their lives at that point in time, and how they react to a given situation. For one hour and forty minutes we share the screen with six interesting characters, three of whom I have taken to my heart: Sarah (Tointon), Lewis (Scott) and Max (Kaynama).

Purchase Last Passenger from the Store:
DVD - Blu-ray - Running time: 100 minutes

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Carmilla (Unabridged) - AudioReview

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Article author: Alwyn Ash

"You will think me cruel, very selfish, but love is always selfish; the more ardent the more selfish. How jealous I am you cannot know. You must come with me, loving me, to death; or else hate me, and still come with me, and hating me through death and after. There is no such word as indifference in my apathetic nature."

I have always enjoyed a walk through tales of vampires, those ghastly apparitions that must feed on the blood of their prey to survive. My journey has mostly explored cinematic portrayals, though in recent times I have discovered the works of authors such as Charlaine Harris and Rachel Caine. Until recently my only taste of Joseph Sheridan Le Fanu's classic novella, "Carmilla", had been via a screen adaptation by masters of horror Hammer Films. Titled "The Vampire Lovers", the 1970 feature starred actress Ingrid Pitt in the lead role, with Madeline Smith as her lover and victim. However, I am yet to read the tale in print, first published in 1872. Ironically, even though "Carmilla" predates "Dracula" by twenty-five years, it is Irish author Bram Stoker's 1897 novel that is most fondly remembered.

And so it is a heavenly treat to discover Textbook Stuff's unabridged audio adaptation of "Carmilla", narrated by British actress and voice artist Miriam Margolyes ("Blackadder", "Harry Potter"). Clearly much love has been invested into this retelling of Le Fanu's story, with crisp sound design and music by composer Howard Carter (known also for his Big Finish work including titles such as "Treasure Island", "Doctor Who" and "Jago & Litefoot"), which allow the listener to be immersed in the world that is being related. This, and Margolyes' perfectly-delivered narration, achieves something quite remarkable - you can feel yourself in every scene, witnessing every moment, as if you are actually there sharing someone else's life. The richness makes for a captivating audiobook...

The multi-talented Barnaby Edwards produces and directs this stunning telling of a gothic love story focusing on eighteen-year-old Laura, whose life is changed by the arrival of Carmilla to her home in Styria, Austria. The newcomer is equally young and beautiful, and a friendship is formed. However, there is much mystery concerning Carmilla, and before long Laura falls under her spell. Of course, this all follows the mysterious death of another young lady, Bertha Rheinfeldt, whose uncle General Spielsdorf states in a letter to Laura's father, "I thank God my child died without a suspicion of the cause of her sufferings. She is gone without so much as conjecturing the nature of her illness, and the accursed passion of the agent of all this misery. I devote my remaining days to tracking and extinguishing a monster. I am told I may hope to accomplish my righteous and merciful purpose. At present there is scarcely a gleam of light to guide me".

A theme that Le Fanu's text delivers is that of lesbian vampirism, Carmilla's interest in Laura quite clearly more than just an act of friendship. Though the tale is careful in its exploration of this, understandable given Carmilla's publication date, the unsettling attraction and affection that Carmilla displays for her new friend is unmistakable. What emotions play a part in this bond, however? Can a vampire truly love? That is surely the appeal of vampirism, the erotic taste of beauty and yet... the desire for blood is stronger still, an uncontrollable urge to survive, to exist. And then there are the vivid nightmares of a cat-like beast that stalks Laura's room, biting her before taking Human form and vanishing. Following this the young woman's health deteriorates...

You can quite clearly see the comparisons between "Carmilla" and Dracula", for they both share similar patterns: the presence of Professor Abraham Van Helsing in the latter is likely inspired by Le Fanu's character creation of Baron Vordenburg, both vampire hunters. And, just as Bertha in "Carmilla" succumbs to vampirism before Laura, so does Lucy before Mina in "Dracula". Though Stoker's masterpiece had created a universe of its own and helped to establish vampires further within the conscious mind, it is interesting to consider the possibility that, without Joseph Sheridan Le Fanu, there would have been no Count Dracula; "Carmilla" has almost certainly influenced other literature and media. Indeed, the same can be said of "Varney the Vampire", published in book form in 1847 - these early explorations of "vampyre" have set the foundations by which modern writers follow.

How the text from the original novella came to be transferred to audiobook is fascinating in itself. Barnaby Edwards' passion for resurrecting "Carmilla" began in May 2011, when he invited fellow horror fans and Textbook Stuff customers to support the project by pledging via wefund.com. An accompanying video featuring Barnaby and music by Carter explained what would be required to make the audiobook a reality. You will be astonished to learn, for example, that such an ambitious project costs approximately £10,000 to finance - one reason why independent companies such as Spokenworld Audio, Textbook Stuff and Big Finish should be applauded for their hard work and commitment.

Thankfully funding exceeded the £5,000 target (with Textbook Stuff meeting the remaining £5,000) and Laura's encounter with the terrifying and yet alluring Carmilla was recorded at Moat Studios, London, in July of that year. For this reviewer, rediscovering "Carmilla" in audio format is an eye-opener, and I passionately feel that a creature such as this is, in every way, just as enticing and seductive as her male counterpart. She is the perfect predator, a femme fatale whose empowering sexuality and charm is used to entrance and snare her prey. Vampires are the most fascinating of supernatural beings, their immortality and strength incomparable. Whether demon or tortured soul, these "creatures of the night" (and in some cases, "day" too) will continue to defy time, entertain and terrify, and find new ways of reaching out from beyond the grave.

You can purchase the audiobook of "Carmilla" for download at
Spokenworld Audio (MP3 sound files) - £14.99 ex. VAT

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The Witches (1966) - FilmReview

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Article author: Alwyn Ash

"Throw in a satanic ritual and you almost have just the right ingredients to keep this Hammer film from falling foul of its own black magic."

There is much to thank Hammer Films for. Not only has the studio enriched British cinema but its influence continues to cast a spell to this present day. Growing up in England, I first discovered Hammer while watching one of the Dracula films starring Christopher Lee and Peter Cushing. I was mesmerized by powerful performances, vivid texture and haunting colour. Close to where I lived there had been a history of death, leprosy, plague, civil war and witchcraft, so I was in good company with local ghosts of the past, inspiring a fascination with the supernatural. Movies satisfied my hunger.

Though three decades old (at that time), the production of "Dracula" felt fresh and alive with purpose. I have been a fan ever since. Over the years I have enjoyed various titles, though I must admit I am far from seeing them all. It is hard to believe that this production company was founded in 1934 by William Hinds. Then known as Hammer Productions Ltd., Hammer's first production was "The Public Life Of Henry The Ninth", that very same year. And though many associate Hammer with horror, it is interesting to know that the studio has produced movies for various genres, including comedy. For some years after its final steps into mystery and suspense, there was a hiatus. However, a return with vampire horror "Let Me In" (2010), a remake of 2008 Swedish feature "Let the Right One In", spoke volumes: Hammer Films was back with a vengeance...

In 1966 director Cyril Frankel gave us "The Witches", a horror featuring what was to be actress Joan Fontaine's last big screen role. Restored and beautifully presented, StudioCanal has chosen wisely with its blu-ray and DVD combos, and this is no exception! Telling the story of Miss Gwen Mayfield's arrival in the quiet English village of Walwyk as new head teacher at the local school, "The Witches" for the most part works well as a British thriller, featuring an excellent cast. The sense of paranoia that permeates through the plot feels as stalking as the black cat (owned by the mysterious Granny Rigg) that creepily happens to keep a rather close eye on Gwen.

Fontaine as Gwen Mayfield could not have been better cast, her performance is grounded as a woman encountering a mystery who steadily unearths a devilish plot involving witchcraft. Those familiar with British sitcoms might just recognise the faces of Rudolph Walker ("Love Thy Neighbour", "Eastenders"), Leonard Rossiter ("Rising Damp"), and a young Michele Dotrice ("Some Mothers Do 'Ave 'Em"). No stranger to Hammer Films, actor Duncan Lamont also plays the role of butcher Bob Curd; I remember Lamont mostly for his performance in the 1974 Doctor Who serial "Death to the Daleks". Kay Walsh, too, is cast as Stephanie Bax, a very rich and influential lady; Walsh can be seen as Nancy in David Lean's 1948 masterpiece telling of "Oliver Twist", adapted from author Charles Dickens' classic tale.

"The Witches" is a feature that feels Hitchcock-esque in style and yet, fails to deliver an ending that compliments the film as a whole. There is less horror than you would expect, although as a thriller it is less needed. The mystery surrounding schoolgirl Linda Rigg (portrayed by Ingrid Brett, also known as Ingrid Boulting) remains the focus of the plot, as locals are determined to keep her away from a young village boy, who unexpectedly falls into a coma. Later, a missing doll is found - headless - and there is a death. Throw in a satanic ritual and you almost have just the right ingredients to keep this Hammer film from falling foul of its own black magic. Sadly, the ritual itself does not work so well, those actors involved in the ceremony looking more like locals from a dancing school with a choreography that is simply far too long and strange to be of any value.

Adapted from a 1960 novel "The Devil's Own" by Norah Lofts (published under the pseudonym Peter Curtis), the climax could have been better handled by Frankel and writer Nigel Kneale, though it has been purported that the latter (known for other hits including "Quatermass and the Pit") was unhappy with the final result, having included more humour in his script than was finally shown. Personally I am glad that "The Witches" remained serious, even if it delivered a far from satisfactory conclusion. On the balance, this is one film that was enjoyable, beautifully shot and, looking back, a reflection of quintessential England in a bygone era. Just one question, why is there a doll of singer/songwriter Paul McCartney in the movie poster pierced by pins? Perhaps the witch's power reaches beyond Walwyk?

In addition to the film, on the Blu-ray you will find a new documentary "Hammer Glamour", which takes a look at the Hammer girls through the years. Mixed in with classic footage, there are interviews with glamour girls Caroline Munro, Madeline Smith, Jenny Hanley, Valerie Leon, and Martine Beswick. It is a delight to hear their opinions of the show, and memories of working with other cast. One complaint, especially from Hanley, was the need for nudity in the Hammer movies - revealing too much flesh is something that actress Smith certainly seems to now regret (she starred in 1970's "The Vampire Lovers", opposite Ingrid Pitt), stating that she was young and naive in those early days of her career. In all, a rather intriguing forty-two minutes spent. And Munro looks as good as ever...

Purchase The Witches from the Store:
Blu-ray + DVD combo - Feature running time: 90 minutes

Or perhaps purchase the paperback - Publisher: Hammer

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Apocalypse Z (2013) - FilmReview

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Article author: Alwyn Ash

Not to be confused with the vastly superior - and bigger budget - "World War Z".

Often, when I come across a low budget indie film, I keep a distance. The bad acting, dire special effects (if any), and the direction usually leave a very nasty taste in my mouth. That said, I am a fan of some Web Series that just seem to hit the right buttons in style and direction, acting and vision. Please don't misunderstand, I have great respect for the indie market, but even with a low budget there must always be a focus to make the best possible feature - if you have talent, it will show!

"Apocalypse Z" is one of those features that has some good, and plenty of bad. Its downfalls are quite clear to anyone who actually sits through a viewing. Directed by Luca Boni and Marco Ristori, there is so much inconsistency and weakly-executed scenes that the whole affair feels laughable. Even the characters and dialogue are cliches without an attempt at some originality. As for the "plot", the US government sends a group of mercenaries into a Romanian town after the local population is infected by a toxic chemical, turning them all into zombies. We discover that the deadly chemical is actually a US experiment gone wrong, or at least, it is from a scientist's point of view. However, the military has other ideas. The town wasn't meant to be overcome by the chemical's affects, but an explosion at the research facility leads to a rapid spread and infection.

Originally titled "Zombie Massacre", the creators of this feature had clearly been inspired by financial possibilities and renamed it "Apocalypse Z" to cash in on the success of Brad Pitt's far superior "World War Z". Sadly, the "Z" is really all they have in common, as there is no comparing the two. Of course, the latter has a far superior budget too, so perhaps a comparison is unfair.

So, to the positives. Well, many of the zombie makeup effects are actually quite good. And the female cast outshine their male colleagues in every way. The opening scenes of a Romanian woman returning from work to feed her father (or husband) actually sets the atmosphere well, with her stepping out onto her apartment balcony to investigate the source of a distant explosion, only to see smoke rising and feel droplets of dark liquid on her hand. Inside, the droplets contaminate her and she mutates.

What follows the opening title sequence is far too much tedious dialogue without any zombies at all. Instead, for example, there is a long scene featuring mercenaries John 'Mad Dog' McKellen (Mike Mitchell) and Dragan Ilic (Daniel Vivian) as they discuss absolutely nothing at all. There are too many moments such as this, where there is a lot of talk but nothing that matters or adds to the plot. Thankfully, fellow mercenary Eden Shizuka (played by Tara Cardinal, above) says little until it is needed.

One of the things that really stands out with this feature is, no matter their nationality, the actors just do not try to match an accent to their character - this unforgivably leads to the President of the United States ("portrayed" by controversial director and "actor" Ewe Boll) having a German accent! And then there are the supposed skills that the mercenaries possess: highly-trained soldiers who seem as inept at skillfully firing guns as an over-excited badger, a female whose sword-fighting skills seem to be deeply lacking in... skill (sorry, Tara, but more training was needed), and decisions that just didn't make any military sense. Speaking of military sense, why would the US government send in to a small Romanian town this ragged group with an atomic bomb and not, let's say, fire a missile instead?

I can see that there is much fun to be had (which I am sure includes Boll delivering a German-accented US President), but this is neither a zombie comedy nor a serious attempt at a decent movie, it lies somewhere in between, and that remains the problem - it is "The Expendables" meets "The Walking Dead" without the talent! When being advertised with its original title, "Zombie Massacre" had the tagline: "There is no hope". At times that is precisely how the making of this movie feels...

It is true that the zombie genre is being over-saturated by the movie market, but there is always room for more well written and crafted films. Even at his worst, master of horror George A. Romero still manages to deliver a decent feature film.

It is a shame, as "Apocalypse Z" could have been so much more. Its use of make-up effects and design is passionately approving. However, what we are given is a low-budget feature with no great expectations of its own success - why rename your project to mirror a major successful Hollywood film unless you are desperate for an audience? It is clear that writers/directors Boni and Ristori thought "Zombie Massacre" unable to succeed on its own merits. Their own lack of faith is telling in itself. Also, if Boll's inclusion wasn't bad enough, there is even the "Resident Evil" Nemesis-like creature to bring this adventure to a "sharp" climax. Honestly, I would rather watch "Resident Evil: Apocalypse" (2004) and enjoy the real thing.

For die-hard zombie fans only. Not to be confused with "Infection Z" (2013) or any other project that carries the same letter.

Purchase Apocalypse Z from the Store:
DVD - Running time: 90 minutes

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Abraham Lincoln: Vampire Hunter (2012) - FilmReview

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Article author: Alwyn Ash

Is director Timur Bekmambetov's blockbuster a fangtastic adventure or just a stake through the heart?

There have been mixed reviews for "Abraham Lincoln: Vampire Hunter" since its theatre release, with critics calling it "uptight and dreary" (Christy Lemire, Associated Press) and unfulfilling. To some extent I can understand these criticisms. However, having sat through a viewing, my opinions are firmly in the positive...

First off, the title says it all, no suspense or sleight of hand, just a fun film exploring what if one of the most famous men in American history had a secret life that focused on the supernatural. So often we are used to the scandal and affairs of politicians, those indiscreet moments that a politician would rather forget. So how intriguing, then, that Abraham Lincoln, the 16th President of the United States, is explored as a vampire hunter, stalking the streets at night assassinating the undead. Based on a novel of the same name by author Seth Grahame-Smith, with a sreenplay by Grahame-Smith and Simon Kinberg, we first encounter a young Abraham living with his parents. Even in these early years he is a strong and determined boy, prepared to stand up for what he believes in. Sadly though, this resolute personality later indirectly leads to the tragic death of his mother - to a vampire. This, ultimately, takes Abraham on a journey that will eventually lead to campaign, war, and the extinction of slavery.

This "mishmash" works well for the most part, its atmospheric scenes and plot perfectly balanced by the direction and acting. Previous attempts at this kind of fantasy horror have always been let down by attempt at humour, so it is a welcome change that Bekmambetov's movie leans more toward the serious, even if the subject matter and title suggest otherwise. Indeed, this could have been a camp, lighthearted affair, with enough one-liners to fill Queen Akasha's tomb ("The Vampire Chronicles" reference). However, when I think of what a mess Stephen Sommers made of the 2004 vampire feature "Van Helsing", I am thankful for small mercies!

Casting is excellent, with Benjamin Walker wonderfully versatile as the Older Abraham Lincoln - actor Lux Haney-Jardine, too, is a treasure as Young Abraham. Also cast is Dominic Cooper as Henry Sturges, Abraham's mentor. Mary Elizabeth Winstead, as the beautiful Mary Ann Todd (and later Lincoln's wife) never fails to light up the screen, whether she is dancing, visiting Abraham in jail, or simply confronting vampires.

Much of the film focuses on Abraham's training, his acquiring of newly-found skills to aid him in his fight against vampires (whose identity Henry advises him off via secret mail), and the Civil War which later erupts, tearing the United States apart and forcing families to fight one another, as the Union (federal government of the United States) and Confederate forces engage in bloodshed. It is interesting how, finding a path along the political circle, this future president puts away his silver tools and instead embraces the power of words, learning to be a strategist and diplomat first.

An idealist perhaps, but in this reality vampires still lurk in the shadows, preparing for a day when the world will be theirs to master over. Not only does Abraham and wife Mary suffer tragic loss after the horrifying cruelty of female vampire Vadoma (portrayed by model and actress Erin Wasson), but the undead are also persuaded to assist the Confederate in fighting the North on the battlefield - leading to the quite obvious Union losses on a large scale. This is the moment when you know Abraham must fight using his knowledge of the supernatural once more - words are no longer sufficient to protect the lives of his men. It also means that the president must, once more, take to battle in person...

This is where the action explodes, with a spectacularly-directed sequence of events on board a transport train delivering silver weapons to Union soldiers facing incredible slaughter at the hands of vampires. It is clear that the success of Abraham's campaign rests on the safe arrival of these new weapons. I applaud the movie's focus on slavery and exploitation, highlighting the Underground Railroad, and even its attempts at not shying away from showing the horror that war brings upon its victims. I did, however, feel a little uncomfortable at moments during the graphic scenes of conflict - though this film is a mix of fact and fiction, I couldn't help but feel sadness for those whose lives had truly been lost in this terrible civil war. It was just a momentary discomfort, but one I found difficult to observe...

"Abraham Lincoln: Vampire Hunter" might not be a classic, but it does have classic moments. I would have to say that, after one hour and forty-five minutes of axe-wielding, love, and warfare, there was plenty to satisfy this vampire fan. Negative reviews should certainly be taken with a pinch of salt. Decide for yourself.

Purchase Abraham Lincoln: Vampire Hunter from the Store:
DVD Blu-ray - Running time: 105 minutes

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Hammer Chillers: Don't Go There - AudioReview

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Article author: Alwyn Ash

Something to chill the very air...

For the sixth and final tale from the first anthology of spooky treats, writer Stephen Volk explores Greek legend. In one of the most adult of all, we visit a Greek island for partying and wild sex. Sadly for Andrew, however, his encounter with a mysterious woman leads to tragic consequences, causing a father to investigate the reason for his son's coma. While mother Laura Daulby (played by Lizzie Roper) is more concerned about Andrew's wellbeing, John Daulby (Tony Gardner) develops an obsession with the young Greek woman herself, Stheno (Daphne Alexander). But what at first appears to be a yearning for understanding quickly develops into a dangerous obsession.

Though Andrew's condition is simply believed to have been caused by a misuse of drugs, John isn't so sure, and his journey into the murky side of Greece brings with it its own nightmare. Who would have thought that a sexually-insatiable appetite would be so frightening to witness? Personally, I am not sure what to make of "Don't Go There", it doesn't feel eerie enough to be placed next to other titles in this series and yet... there is something altogether fascinating about this erotic audio affair, perhaps just as mesmerising as Stheno's alluring nature and mystery. I am not very well educated with Greek history and legend, and so reading up on the immortal Gorgon sisters Medusa, Stheno, and Euryale was interesting.

Hammer Films had visited a similar story once before, with the 1964 feature "The Gorgon", starring Christopher Lee as Professor Karl Meister and Peter Cushing as Dr. Namaroff. Set in the German village of Vandorf, in 1910, a father investigates mysterious deaths only to discover that the very last of the Gorgon sisters stalks a local castle. So it is nice, then, that a tale of the Gorgons has been updated with "Don't Go There".

As for casting, the choices are excellent: Gardner delivers a fine performance as a father consumed by intense dangerous obsession, disgusted by what he sees around him and a man whose single-minded goal is to locate the woman known as Stheno and get the answers he seeks; in contrast, Roper's character is far more interested in their son's immediate well-being, and it is she alone who must face organising Andrew's journey home to England - you can sympathise with Laura completely, wishing her husband would just stop his futile crusade and remain by her side. And then there is Stheno herself, Alexander's sensuous performance successfully brings a chill of its own - knowing this to be horror, you are never quite sure exactly who or what this woman is supposed to be: just a mentally-ill out-patient, or something far more sinister?

"Don't Go There" feels somewhat light in depth at times, perhaps there should have been more focus on the legend of the Gorgons? But then, with all honesty, time restraints call for direct storytelling, and it is certainly achieved here. It is chilling to hear how John's state of mind deteriorates rapidly, even to the point where he embraces insanity itself in his quest. This tale, for me, does share something in common with fellow audio outings "Spanish Ladies" and "Sticks and Stones, as much as in the gore factor is raised high when least expected. Something clearly stated in the closing scene is that the Daulby marriage was far from blissful. Perhaps that, in itself, is the message here: no need for a heart to be turned to stone when it had already been such in the first place...

The only negative for me is the overuse of swearing by character Fergus (portrayed by Angus King) - I'm sure I'll get sworn at for saying this - but it was deeply unnecessary and distracting. And, honestly, the atmosphere didn't require it.

Hammer Chillers has come a long way since its debut with Stephen Gallagher's "The Box", released on 7th June 2013. Much praise must be given to writers Gallagher, Mark Morris ("The Fixation"), Paul Magrs ("Spanish Ladies"), Robin Ince ("Sticks and Stones"), Christopher Fowler ("The Devil in Darkness") and Volk. In addition, the superb production of the entire series has lived up to expectations, with audio company Bafflegab delivering the shocks perfectly when required. And then, there is the wonderful cast assembled, such as Lauren Kellegher, Miles Jupp, Jacqueline King, Camille Coduri, and Daphne Alexander - every actor has shone in their role, giving "Hammer Chillers" that extra edge needed to make this kind of audio rewarding and spine-tingling.

It has been an intriguing trip through the layers of mind, myth, and terror. Whatever future lies ahead for Hammer Films, we shall always have the Box, a Spanish doll, or a haunted elevator shaft... Thanks must go to everyone involved, including Simon Barnard, Martin Johnson, and Edwin Sykes (for the brilliant music scores).

Recorded at Moat Studios, London, the Hammer Chillers tales can be downloaded direct from the official website, or purchased as a CD digipack.

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I Know Who Killed Me (2007) - FilmReview

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Article author: Alwyn Ash

Child actor turns adult entertainer in a psycho-thriller written by Jeff Hammond.

For those who say Lindsey Lohan cannot act, I would almost be prepared to agree. However, there have been a small number of movies that have shown Lohan in a better light, and those are the moments when this actress shines best, given the right script and opportunity to put her skills into action. And, of course, when her colourful private life doesn't get in the way to distract from what really matters...

Known for her Disney connection (The Parent Trap, Herbie: Fully Loaded etc.), "I Know Who Killed Me" isn't the best film going, not when compared to far more maturer and meatier psychological hits like "Silence of the Lambs" (1991), "Orphan" (2009), and "Saw" (2004), but that is not to say that Chris Sivertson's second directorial doesn't hit the mark in some places. For a movie that received eight Golden Raspberry Awards, there is much going on in a feature that handles its plot like a wet fish - slippery logic.

The plot focuses on a serial killer, who kidnaps and tortures his young female victims. Lohan plays pretty Aubrey Fleming, a pianist and aspiring writer, who disappears during a night out. She undergoes the same torture. Later, however, she is discovered, unconscious and missing limbs. This is where everything changes, for now Aubrey claims to be Dakota Moss, a stripper. She certainly doesn't seem to recognise her "parents", the boyfriend or anything remotely relating to Aubrey's life.

Shock perhaps, resulting from the severe torture received at the hands of a maniac? No. As the film progresses we soon discover that Dakota believes she is a twin - to that of Aubrey. This alone does not explain how Dakota has received the wounds inflicted, until we realise that these two young women are Stigmatic Twins, who, due to a psychic connection, share similar experiences, including pain and injuries; this also explains why Aubrey has been writing a story about a girl called "Dakota".

As Dakota explains how she lost the use of her limbs, I did manage to find the loss of her finger particular strange - indeed, her reaction to this horrifying event seemed somewhat... I would say "underplayed", but quite frankly Lohan's delivery did leave a lot to be desired - she acted like it was more of a bloody inconvenience than a serious devastating loss! Still, that aside, the use of the "stigmatic" link was an intriguing plot device. As the story progresses, we learn that twins Aubrey and Dakota were born to crack addict Virginia Sue Moss. When Susan Fleming's newborn dies in the incubator, her husband Daniel makes a deal with Virginia and one of the twins is raised by both him and his wife - the latter, however, remains unaware of either her baby's death at the hospital or the swap, believing Aubrey to be her child.

Seeing as Aubrey has been missing since near the start of the movie, it is Dakota's duty to investigate and find her sister. It is a mystery as to why she is able to work out the serial killer's identity when the police cannot, given access to the same evidence. Still, where would we be if everything was wrapped up too quickly and neatly by a law enforcement agency? Lohan certainly isn't a strong actress, neither are her films memorable enough to be classics. But it is interesting to see her act "adult". This feature was clearly Lohan's attempt to shrug off her Disney image and show fans that she had matured enough to try something new. And, in part, it works fine.

If you are unfamiliar with Lohan's career then it is interesting to point out that the actress had played twin sisters once before, in the 1998 comedy "The Parent Trap". Based on the 1949 novel "Lottie and Lisa" by German author Erich Kästner (and serving as a remake of the 1961 Walt Disney film starring English actress Hayley Mills), the story focused on 11-year-old sisters Hallie Parker and Annie James who, separated at birth, accidentally meet at summer camp. In all honesty I prefer Lohan's version to the original 1961 feature.

"I Know Who Killed Me" certainly has taken some inspiration from several other movies, including "Saw". For those who are a little squeamish, stay clear of the madness and watch something less disturbing. However, gore fans will enjoy this, if they can accept Lohan's limitations and not get too distracted by the plot holes. Even with 2013 American erotic thriller "The Canyons" under her belt, and a portrayal of iconic film star Elizabeth Taylor in 2012 television film "Liz & Dick", one does wonder if Lohan can ever rediscover the success of her Disney days.

Purchase I Know Who Killed Me from the Store:
DVD - Running time: 105 minutes

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Dracula AD 1972 - FilmReview

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Article author: Alwyn Ash

Taking a look at the seventh in the successful Hammer Horror Dracula film series...

It has been described by some as one of the weakest in the Hammer Horror Dracula franchise. However I disagree. "Dracula AD 1972" has always been a favourite of mine since I first discovered it at the same time that I purchased "Satanic Rights of Dracula" on video tape. It is even possible that it was "Dracula AD 1972"'s appeal that led me to sampling and enjoying further Hammer tales. So what is it that excites about this movie? Firstly the casting, with Peter Cushing and Christopher Lee reprising their roles as Van Helsing and Dracula respectively; Cushing even gets to play two generations of the Van Helsing family: Lawrence in 1872 and descendant Lorrimer in 1972. Other cast include Christopher Neame as the mysterious Jonnny Alucard, and sex bombs Stephanie Beacham as Jessica Van Helsing and Caroline Munro as Laura Bellows certainly add to the attraction.

Secondly there is a freshness about "Dracula AD 1972" that permeates throughout the film, matched by a funky soundtrack written by fellow Manfred Mann member Mike Vickers. There is even a brief appearance by American band Stoneground.

The contemporary feel of 1970s London, with the upper class being invaded by hippies strikes a workable contrast to the film's opening fight sequence set in 1872 between Lawrence Van Helsing and Dracula - of course, the opening few minutes for the prologue do raise problems in the chronology of the Dracula film series: as the original Hammer Dracula 1958 motion picture was set in 1885, and Van Helsing had not even encountered Dracula until that year, how is it that Lawrence Van Helsing has managed to feature in the 1872 opening scene battling a vampire he was yet to meet? To be fair, I didn't even realise this piece of trivia until researching both Hammer movies - it has been some years since I last watched the 1958 outing directed by Terence Fisher...

Though Hammer had been known for its contemporary productions, "Dracula AD 1972" was a considerable jump from what had gone before compared to period pieces such as "Horror of Dracula", "Dracula: Prince of Darkness" (1966) and "Taste the Blood of Dracula" (1969).

Something that should be acknowledged is that Peter Cushing's original Van Helsing does not even seem to share the same name as his 1897 novel counterpart, Abraham Van Helsing. In "The Horror of Dracula" he is simply referred to as Doctor Van Helsing; its sequel "Brides of Dracula" (1960) suggests his name to be "J. Van Helsing", though perhaps the "J" was a reference to a middle name? Still, the only explanation for "Lawrence" in "AD 1972" is that Cushing's Van Helsing in the 1958 feature had been called "Lawrence" and not "Abraham". Taking this in mind, "Doctor Lawrence J Van Helsing" makes the most sense.

And so back to director Alan Gibson's offering... The prologue gives us a battle between Count Dracula and Van Helsing, and the final death of our vampire slayer. As Lawrence is laid to rest ("Requiescat In Pace Ultima"), one of Dracula's disciples buries some of his master's ashes nearby. Cue title sequence and we are now one hundred years forward, in 1972. How nice that both the disciple and Lawrence's descendants look identical to their ancestors, allowing the same actors to play both parts. Though in a contemporary setting, Peter Cushing's character remains the same elegant and charming gentleman. As previously mentioned, among the young cast is Neame as Johnny Alucard, whose fascination with the occult is more than just a passing phase: he hopes to raise the dark lord, and serve under him.

Dracula's hatred for the Van Helsing family is so strong that he wishes to turn Jessica Van Helsing (Beacham) into a vampire, and his bride! Very surprising that he didn't keep Laura as a bride too - such a waste! Munroe did, however, feature in another Hammer film as Carla, a Gypsy girl in "Captain Kronos – Vampire Hunter", released in 1974.

Perhaps a small part now, but one of the interesting characters in "Dracula AD 1972" is Inspector Murray (played by Michael Coles - who also starred opposite Peter Cushing in the 1965 feature-length "Dr. Who and the Daleks" as a Thal, Ganatus). Though he doesn't have much to do in this production, Murray does return for the follow-up "Satanic Rites of Dracula", in which he plays a more prominent role.

For those who still believe "Dracula AD 1972" to be poor, it was surely more of a shame that the 1974 feature "The Legend of the 7 Golden Vampires" featured Peter Cushing once more as Lawrence Van Helsing, in 1904 - thirty-two years after he was supposed to have perished? Perhaps "Legend of... Vampires" was trying its best to wipe away any trace of the two films that had preceded it, or am I missing something? Whatever the reason, Gibson at least managed to update a tiring film franchise with his direction, even if it divided fans in the process. At heart, this is simply a fun movie.

Purchase Dracula AD 1972 from the Store:
DVD - Running time: 92 minutes

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World War Z (2013) - FilmReview

Article author: Alwyn Ash


"There will be no warning"... Taking a look at the blockbuster featuring Brad Pitt, zombies, and a ladder of Climbers.

Just when did the zombie culture become so successful as a film franchise? Perhaps in George A Romero's 1968 cult "Night of the Living Dead", or an earlier example with Hammer Horror's "The Plague of the Zombies" (1966)? Or just maybe Victor Halperin's 1932 independent offering "White Zombie" is the father of them all? And though it doesn't contain the romanticism of vampire lore, or the fascination of extra terrestrial beings regarding this earth with envious eyes, tales of the walking dead have kept theatre and television audiences entertained for over forty years. Even the gaming market has shared its own slice of terror with Capcom's survival series "Resident Evil". And comics have led to AMC's horror drama "The Walking Dead", developed by Frank Darabont ("The Shawshank Redemption", "The Green Mile")

If it is at all possible to forget Steve Miner's creatures in the 2008 reimagining of Romero's "Day of the Dead" (they can defy gravity - really?), there are two types of undead: "Generic Zombie", those that you can quite simply walk past (unless you are desperately out-numbered, as does happen from time to time); and "Fast Zombie", those whose speed brings an extra dimension to the fear factor, making it almost an impossibility to escape. The latter is where Marc Forster's feature film "World War Z" focuses...

Ironically, though based on the novel by horror author Max Brooks (son of Mel Brooks), the film adaptation chooses to speed up its zombies intentionally, and there is much difference from the printed version. "World War Z" is, however, one of the most ambitious zombie thrillers of all time, focusing on a worldwide epidemic with the best use of news reporting, CGI and regular action sequences. The confusion and panic of zombies in Philadelphia, for instance, really impresses as Former UN worker Gerry Lane (Brad Pitt), wife Karin (Mireille Enos) and their two daughters, Rachel (Abigail Hargrove) and Constance (Sterling Jerins) attempt to escape the chaos. Though they eventually seek refuge on a U.S. Navy vessel, Gerry is forced to return to active duty and help locate the origins of the virus.

During the course of 116 minutes approx., we are taken from Philadelphia and the coast off the New York City coast to a military base in South Korea, the walled city of Jerusalem, and finally a research facility in Cardiff, Wales. It is during the Jerusalem scenes that memories of Romero's "Land of the Dead" (2005) are resurrected, the defences of a protected city breached and finally overrun by zombies. It is indeed a chilling moment as we quickly learn that, no matter the precautions taken, no where is exactly a safe harbour against the flood of walking dead intent on attacking the living.

What I do admire about this take on the genre is that, instead of just being flesh-eaters, these zombies attack to infect, quickly moving on to their next victim. There is much about "28 Weeks Later" present too, a 2007 post-apocalyptic horror directed by Juan Carlos Fresnadillo that chronicled the outbreak of the highly contagious Rage Virus. In both, the infected move rapidly, as they also did in Zack Snyder's 2004 remake of "Dawn of the Dead". But what "World War Z" manages to serve up in addition is the extreme case of a world at war with its own, those who were unfortunate enough to be attacked, now single-minded in intent. The twist, however, as we learn later in the film, is that not everyone is at the mercy of the zombies - and not because they possess any special skill or fighting ability... We are safely in scientific territory now, and it is Gerry who must somehow find an answer to eradicate or slow the tide of the growing threat that is engulfing the world's population.

Though the majority of the cast is unknown to me, I was pleasantly surprised to see Scottish-born Peter Capaldi in the role of a World Health Organization (WHO) doctor. Fans of the popular BBC television series "Doctor Who" will understand the irony of the role he plays in this horror feature. Another welcome appearance comes in the form of Israeli soldier "Segen" (played by Israeli actress Daniella Kertesz), who remains with Gerry after his flight from the overrun Jerusalem. During one scene she is bitten and, in an attempt to prevent her from turning, the UN employee amputates her hand.

The scenes in which an airliner is overwhelmed by zombies really does everything to amplify the feelings of tension and desperate claustrophobia as you realise there is no place to escape. This is brief but much better handled than in the 2007 film "Flight of the Living Dead: Outbreak on a Plane". As more of the passengers are attacked, becoming infected, we are left wondering just how Gerry and Segan will survive this nightmare...

Being a zombie genre fan, this is undoubtedly now one of my favourites, alongside George Romero's "Day of the Dead" (1985). It is also nice to see a zombie feature with such large-scale storytelling. Copying the success of "The Walking Dead" in cinematic form is not an easy feat, but director Forster manages it with unforgiving expertise, as his undead go on the rampage in every corner of planet Earth.


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DVD Blu-ray - Running time: 114 minutes

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