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From Within Review

July 19, 2012 By Horror Palace Leave a Comment

From Within cover posterMovie: From Within
Year: 2008
Studio: Burgundy Films
Director: Phedon Papamichael
Stars: Elizabeth Rice, Thomas Dekker, Kelly Blatz
Language: English
Length: 89 Minutes
Sub-Genres: Witchcraft / Supernatural

Plot: A perpetual string of gruesome suicides plagues a small town. And the reason for this plague may be well-deserved.

Review: The movie that comes to mind when I hear this premise is M. Night Shyamalan’s “The Happening,” which was also released in 2008 and was built around an inexplicable phenomenon of mass suicides. Thankfully, “From Within” is far better than “The Happening,” but I guess that’s not saying much. The eventual explanation for this film’s suicides is much better than Shyamalan’s, to be sure.

Director Phedon Papamichael’s film, “From Within” (2008), has a number of promising ideas for a horror flick: For example, imagine facing off against an evil specter of certain death when the grim reaper I’m referring to is actually one’s own self! That’s right — in “From Within,” the fatal omen is seeing a disturbing version of yourself, coming to kill you in a violent manner that will look like suicide to everyone else, but will feel like cold-blooded murder to you.

Now, if you think about this for a minute, you’ll realize that Papamichael has a clever, circular idea at play here in his film. When a person commits suicide, he takes his own life. But in this movie, there is, for lack of a better description, an evil version of the victims’ selves, killing themselves. So, on one hand, they seem to be murdered by an external force, or another being, but since they appear to be murdered by themselves, isn’t that technically still suicide? Neat, right? Not to mention, being killed by yourself seems like the ultimate betrayal, a concept that’s horrifying in itself.

Another interesting spin that screenwriter Brad Keene gives us is the role reversal of the evil religious zealots versus the sympathetic family of witches. I am reminded of Isaiah’s biblical prophecy which speaks of them that “call evil good, and good evil; that put darkness for light, and light for darkness.” But we see in “From Within” that evil is everywhere, and therefore, inescapable. Keene does more than play with our assessments of good and evil. In many ways, “From Within” is a cautionary tale for intolerance. The subtext seems to be that intolerance of others turns into self-loathing, which in turn, eventually results in self-destruction.

The director, Phedon Papamichael, is actually a long-time cinematographer-turned-director, so he’s no rookie to the film industry. In fact, he was the director of photography on a giant list of mainstream (and some award-winning) well-known film titles, such as “The Descendants,” “Knight and Day,” “3:10 to Yuma,” “Walk the Line,” “Sideways,” “Identity,” and “Cool Runnings,” just to name a few. He also directed “Dark Side of Genius” in 1994. In short, the captain at the helm of this film is a good one, but for some reason that I’m having trouble identifying, “From Within” doesn’t amount to a noteworthy horror film.

Perhaps it’s forgettable. For example, just to give you an idea of how mild the witchcraft theme is in this movie, as I wrote this review, I was planning an upcoming Horror Metropolis episode with a witchcraft theme, in conjunction with Rob Zombie’s forthcoming “The Lords of Salem” (2012). And even though I have been writing the review for “From Within” for the past few hours, it never even came to mind when I was thinking about possible picks for witchcraft movies… So, what does that tell you?

Sure, there are a couple of good kills, such as a big pair of scissors jabbed into a girl’s neck. We’re shown the aftermath, but not the attack. I like the scenery in this film, as well; it was shot in Maryland. How many films are shot in Maryland? The sound design is decent, too, because the victims’ alter egos make this creepy growling noise. But without a doubt, the scariest part of this film is a painting of one character’s great grandmother in the nude (regrettably painted in her later years). Yikes. I bet there’s a story behind that painting (and I’d love to hear it), but there’s no trivia provided on IMDb. If you know anything about that freaky painting, please post a comment below.

“From Within” is just barely below par to qualify for a rental in my book, and ultimately I’d say avoid it … unless, of course, somebody is trying to make you watch “The Happening.” In that case, “From Within” is the lesser of two evils.

DVD Contest: Here is the long-awaited, 2-DVD, 8 horror movie give-away contest word: “Meatloaf.” Helpful hint: The other word you’ll need to win is spoken during Episode 004 of the Horror Metropolis podcast. After you collect these two words, be the first to e-mail HorrorMetropolis@gmail.com and you’ll win! Good luck.

To hear horror movie reviews from Jay of the Dead and his cohorts, listen to Horror Metropolis.

Reviewer: Jay of the Dead
Date: 07/19/2012
Rating: 4.5/10
Recommendation: Avoid
Trailer: Watch
DVD: Amazon
BluRay: N/A
Social Media: N/A

Filed Under: Horror Movie Reviews, Zombie Tagged With: 2008, after dark films, after dark horrorfest, brad keene, burgundy films, elizabeth rice, from within, horror movie review, jay of the dead, kelly blatz, movie review, phedon papamichael, suicide, supernatural, thomas dekker, witchcraft, written review

Exit Humanity Review

June 22, 2012 By Horror Palace Leave a Comment

Movie: Exit Humanity
Year: 2011
Studio: Foresight Features
Director: John Geddes
Stars: Bill Moseley, Brian Cox, Mark Gibson
Language: English
Length: 108 Minutes
Sub-Genres: Drama / Western / Zombie

Plot: As the American Civil War concludes in 1865, Confederate soldier Edward Young begins to see something even scarier than his Union enemies in the wooded battlefields: walking corpses. When Young returns home to discover his 11-year-old son is missing, he begins to search for him across the zombie-infested countryside, while keeping a journal of his account of the living dead phenomenon.

Review: Many horror fans are purists and don’t appreciate the blending of genres that’s become so commonplace today. I’m closer to the purist side of the spectrum myself, so I was surprised that a zombie western that’s primarily a drama appealed to me. I attribute this to how well made the film is. “Exit Humanity” is a good-looking, well written period piece inhabited with the flesh-eating dead. Except for the “period piece” part, that’s all any zombie fan ever wants anyway.

Consider an early scene where Young’s Confederate soldiers are warring against the Union army in the woods. Even though he’s amid the horrors of war, something even more terrifying catches Young’s attention: a seemingly unstoppable ghoulish-looking man charging toward him, barely acknowledging the gun-fired body shots he’s taking from Young’s gun. Here the protagonist fights a literal monster for the very first time, and he behaves accordingly.

Contrast the scene described above with other modern zombie films where the actors confess their awareness that they’re playing in a zombie movie by referring to the monsters as “zombies.” I hate that. So many zombie films today regard their monsters as merely an atypical occurrence on an otherwise typical day. But in “Exit Humanity,” the characters behave as though they are genuinely freaked out by internalizing the fact that dead people are not only moving but trying to eat them.

Think about it: The reason why “Jaws” is a great title for the book and the film is because the characters never refer to the shark as “Jaws.” The moment a film becomes self-reflective is the same moment that the spell is broken for me.

Just to be clear, I review films like “Exit Humanity” with the hard-core horror fans in mind. So, you should know that this movie starts out as a period piece with zombie elements mingled in. And then at that point, the film’s tone shifts into a western, then a romance, and the zombies are almost forgotten about altogether. (And this doesn’t have a horror movie type of ending, either.) I suspect this problem with the changing tone of the film happened at the script level, where the lead character takes on other missions and objectives during the movie (such as keeping a promise to a loved one, or helping a friend in need), because there’s no single objective that the protagonist is trying to accomplish throughout the duration of the film.

“Exit Humanity” has some artistic merit, as well. For instance, particularly in the beginning of the film, there are animated graphics inserted from time to time as transitions. Some of the animations are better than others, but I suspect this decision was made of necessity, as a shorthand solution to cut down on some shooting and special effects costs. Creative choices like these graphics are often the result of some kind of limitation or restriction.

Horror actor favorite Bill Moseley has an antagonist’s role in this film, but his performance is fairly tame by Bill Moseley’s standards. Indeed, all of the performances are quite good, including the lead, Mark Gibson, who resembles Kiefer Sutherland and plays Edward Young convincingly.

The first 30 minutes of “Exit Humanity” are heavy-laden with voice-over narration (by Brian Cox), which is usually indicative of a problem at the script level, but for the first part of this movie, our protagonist is the only speaking character. The journal is the device used to sustain such lengthy narration, and it works.

Overall, “Exit Humanity” is a well written, smart and artistic film. It depicts the story of a believable, struggling character and his grief and pain, mixed with some zombie attacks and kills. The zombies look fine, with black and lifeless eyes, but we don’t see them as often as we do in other zombie flicks. As is the case with many zombie movies, the film itself isn’t actually about zombies.

As a film critic and a lover of the cinema, I have to admit that “Exit Humanity” is far better than I ever could have hoped for. It exceeded my expectations for a zombie film set at the end of the Civil War. But taking into account its genre-blending and how it might hold up for a horror purist who’s looking to watch a good horror movie, it’s a good movie, yes, but not a good horror movie: 5.5 out of 10 — Rental. “Exit Humanity” is currently new at Redbox as of this past Tuesday, June 19.

To hear horror movie reviews from Jay of the Dead and his cohorts, listen to Horror Metropolis.

Reviewer: Jay of the Dead
Date: 06/22/2012
Rating: 5.5/10
Recommendation: Rental
Trailer: Watch
DVD: Amazon
BluRay: Amazon.ca
Social Media: Facebook

Filed Under: Horror Movie Reviews, Zombie Tagged With: 2011, a zombie saga, american civil war, bill moseley, brian cox, child zombie, civil war, drama, edward young, exit humanity, foresight features, genre blending, horror metropolis, horror movie review, horror palace network, jay of the dead, john geddes, mark gibson, period piece, rental, western, zombie child, zombie western

Autopsy Review

May 10, 2012 By Horror Palace Leave a Comment

Autopsy cover posterMovie: Autopsy
Year: 2008
Studio: A-Mark Entertainment
Director: Adam Gierasch
Language: English
Length: 84 Minutes
Sub-Genre: Body Horror

Plot: After being involved in a car accident during Mardi Gras, three men and two women are admitted into a Louisiana hospital to have their non-life-threatening injuries treated by a life-threatening hospital staff.

Review: Drafty gowns that open in the back. Bed pans. Surrounded by illness and injury. That singularly unique odor. And then there’s the food. There’s a lot to feel uneasy about when we’re in the hospital, not to mention the unthinkable scenarios, such as receiving the procedure prescribed for the patient in the bed next to you, or having a surgical sponge sewn inside you during your operation. But we choose not to think of all the countless things that could go wrong, because we have to trust total strangers to repair our bodies since we can’t do it for ourselves.

After Dark Films’ 2008 release, “Autopsy,” taps into these deep-seated fears and turns our hopefulness on its head.

If you hate movies shot to depict hand-held footage, don’t let the opening credits scare you away. “Autopsy” begins with hand-held shots during its opening credit sequence, but the rest of the movie is filmed conventionally.

Right at the start you’ll probably take notice of the lead actress, Jessica Lowndes (“Altitude,” “The Haunting of Molly Hartley”), whose screen presence is somewhat captivating, despite a decent performance that doesn’t always maintain credibility. I think it’s her eyes that draw my attention.

And though Jessica Lowndes was enough for me to keep watching the film, the reason I’m recommending that horror fans check out “Autopsy” is for a few scenes of painfully convincing gore: For instance, in one scene a character finds a piece of glass under his skin, and as he slides out this surprisingly long shard of glass, it looks absolutely real and excruciating. This scene made me squirm with discomfort.

There are other graphic scenes that depict the spilling of organs and entrails that look quite good, especially considering the modest budget for this film.

A couple of assaults on women occur that are brief, but memorable and upsetting. In one scene a naked man tackles a woman and what happens next is probably unlike anything you’ve ever seen from this scenario. In another scene, a man punches a woman in the stomach a couple of times, and there’s something about the verity of this portrayal that makes it feel like you’re watching a real-life assault, which is both scary and unsettling.

And let’s not forget a “lumbar puncture” to extract spinal fluid from a victim. Oh, and “Autopsy” also features a stabbing in a face with a hypodermic needle. Speaking of facial attacks, there’s a pummeling with an air tank that begins to approach the severity of the unforgettable fire-extinguisher-caving-in-the-face scene found in “Irreversible” (2002), the infamous French film that has the most realistic and lengthiest rape sequence I’ve ever endured.

So as for its execution of effects, “Autopsy” does fairly well, except for a terrible-looking, CGI explosion. (For some reason, CGI fire seems to be difficult to pull off.)

Overall, the casting is fine, with actors you’ll recognize, such as Michael Bowen (“Kill Bill: Vol. 1”) and Robert Patrick, who played the liquid-metal terminator in “Terminator 2: Judgment Day” (1991).

One could definitely pick up on an underlying but pervasive theme of “Don’t Do Drugs,” but it’s buried enough that it doesn’t seem preachy.

“Autopsy” has at least one good jump-scare that’s unavoidable, involving an eerie scene with an impossibly skinny patient slouched over with his back toward the camera, sitting up on his bedside. I challenge you not to jump during this sequence — even though you know it’s coming.

And though the mad doctor has some understandable motives that echo those of Mr. Freeze (from the abysmal “Batman and Robin”), hopefully you didn’t subject yourself to that movie so you can enjoy this subplot for the first time in “Autopsy.”

Finally, any film that features the song “House of the Rising Sun” on its soundtrack is OK by me. So, I rate “Autopsy” a 6.5 out of 10, and I recommend renting “Autopsy” for some violent, gory effects that make it a halfway decent scary movie.

To hear horror movie reviews from Jay of the Dead and his cohorts, listen to Horror Metropolis.

[Note: This review is 1 of 8 of the Horror Metropolis 2-DVD, 8-horror movie give-away contest.]

Reviewer: Jay of the Dead
Date: 05/10/2012
Rating: 6.5/10
Recommendation: Rental
Trailer: Watch
DVD: Amazon
BluRay: N/A
Social Media: N/A

Filed Under: Horror Movie Reviews Tagged With: 8 films to die for, adam gierasch, after dark horrorfest, autopsy 2008, body horror, horror film critic, horror metropolis, horror movie review, horror palace, jay of the dead, jessica lowndes, michael bowen, robert patrick

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