The current Independent Sci-fi and Horror movie scene…..

One of the unexpected joys that I've experienced since beginning this blog at the end of 2012 has been the completely unexpected outcome that anybody has wanted to read my self-indulgent ramblings. I was something of a nerd in my teens - when it was nowhere near as 'cool' to be nerdy or geeky as it is these days - and I find myself in my late forties and still a nerd at heart. And the great thing is, thanks to the social networking explosion, the Internet et al, there are many like-minded people out there. 

Another side effect of the fact that this blog hasn't been an unmitigated disaster has been my growing appreciation of the thriving independent movie scene around the world. I've always been wary of being one of the mainstream and perhaps my nerdiness and teenage immersion in all things science fiction and horror was something of a barrier against the bland beige ordinariness of mainstream existence. Don't get me wrong, when it comes to science fiction, fantasy and horror, just because it may be mainstream, that doesn't necessarily make it bad. I really don't want to jump on the "there's too much reliance on CGI and special effects' bandwagon. While there may be some truth to that viewpoint, there is still great mainstream sci-fi & horror being produced. And don't even get me started on the joys of The Hobbit and LOTR.

However, ever since I can remember, I've had a special place in my twisted little heart for the more independent of film productions; John Waters, Russ Meyer, John Carpenter to name but three have all born testament to the bravery, inspiration, creativity and sheer bloody-mindedness it must take to fight against the expectations of the movie establishment to get a 'lesser' low-budget piece of work not only completed, but accepted. For there is a view held by many that is less than charitable when it comes to opinions towards low-budget independent movies, especially low-budget science fiction or horror. I won't list the plethora of 'accusations' again that I often hear directed towards these sub-genres - it has a rather unhealthy effect on my heart rate. Besides which, many in the indie movie field probably couldn't give a flying toss about peoples opinions, they just want to create the best work that they can.

So I guess that its up to the likes of me to fight their corner - whether they like it or not! Last week my latest blog entry was the result of being lucky enough to have been in contact with the makers of 'Spidarlings', a soon to be released comedy/horror musical. For which their Facebook page will give you the latest information on their project.

This week I'm highlighting 2 productions; one science fiction one horror. The first of which is in pre-production, the second one was released towards the end of 2012.

Iron Cloud

By Nikodem Wojciechowski

This group of independent filmmakers from Poland are led by the writer and director Nikodem Wojciechowski. The team is in the early pre-production stages of a short film Science Fiction drama 'Iron Cloud' - the sci-fi drama which is now in pre-production phase. The film begins shooting in June / July of this year . 

A short while ago Niko contacted me and asked me if I would help spread the word about his upcoming science fiction production. As yet there are only a few details that I can share with you as Niko is understandably cautious in overdoing the amount of detail in regard to the plot and filming. So in the meantime we'll have to be satisfied with a few snippets of information for this soon to be filmed 30 minute long movie.

The film is set In a future of an unspecified date. Two brothers live in a poor, Eastern country which is ruled by corrupted caste of dignitaries.  It seems that life for the brothers has taken a turn for the worse after the younger brother gets beaten during an interrogation and the older one’s home destroyed by a police raid. The boy manages to arrange a plan of escape to an unnamed free, technologically advanced neighbouring country. There will be no return. He goes on this one-way trip with the older brother and his wife and daughters they manage to evade the soldiers and break trough the closed border. However, during the walk through  no-man’s land, when immigrants are so close to their dream goal, things get decidedly worse. Ultimately, the Technocratic West will welcome them with open arms and give them shelter but not exactly in a way they have always expected.

It will soon turn out that their new home - apparently a perfect place to live - is only a new version of prison which people build for one another.

Niko has told me that the inspiration and theme for the story are deeply rooted in the works of such science fiction luminaries such as Philip Dick and especially Stanislaw Lem. Writers who have also asked questions such as whether the physical elimination of violence, made possible by advanced nanotechnology, will result in a pure Utopian society? Or does the the nature of human behaviour mean that there results will be nothing more than dystopian?  

The Iron Cloud team doing some pre-production location work

The film is intended to be less reliant on the CGI infested mainstream of science fiction and intend to delve into the psychological and social existence of a futuristic society as Niko says;

"It’s all about deliberately showing fragments of our world, and building the effect of strangeness like Jean Luc Godard - by placing foreign objects (props or behaviour) in it."

The film won’t give clear answers, won’t moralise. It will leave room for interpretation.

The Facebook page link for Iron Cloud can be found here here

The very first  teaser trailer below doesn't give any information at all - except for the stunning piece of atmospheric music that accompanies the simple sound formation film. However, if the rest of the production is as half as effective and emotive as the music, I can't wait to see more!

The first teaser video for Iron Cloud

Behind The Cross (2012)

by Macabre Media

Behind the Cross - Trailer [HD] (2012)

BEHIND THE CROSS is a 38 minute long 2012 independent horror film from Finnish director Tomi Kerminen. I can safely say that it's like nothing I've seen for some time.

Tomi - looking far less mad than in his movie

It is a film that, when I watched it for the first time today, simply blew me away with its relentlessly aggressive assault on the senses. That assault still lingered after the second viewing and left me with more questions than answers - which is something all pieces of art should do.

It isn't easy viewing, and nor should it be. Some people, even those well versed in the horror genre, will find the visual aspect of the movie brutality upsetting. Not only that, it isn't straight forward step by step story telling - oh no, it jumps cunningly from point to point in the story. Not only does this give us a sense of the insanity of the main protagonist, it also serves to install in the viewer a true feeling of not being in control of what we are seeing. 

Beneath this brutal and unrelenting surface of the degradation, there are other things happening. Questions that Tomi Kerminen isn't at all afraid to ask us. But before I explore those questions, the story itself.

So how do I begin describing the plot? 

Essentially it is the story of Father Michael, who when we join him in the movie, is already well down the road on his personal journey into the depths of insanity. To say that he is having a crisis of faith would be something of an under-statement. 

It seems that a life that has been somewhat disturbed ( curtesy of some horrifying flashback episodes to his childhood) has now manifested itself beyond simple spiritual breakdown and become the literal definition of atrocity and horror. Father Michael's monstrous acts of violence and murderous depravity mirror his continuing ability to still find a psychotic link to his faith in the hope that god will still absolve him from the terrible sins he is committing.

So we have themes in this movie of sex, torture, insanity and religion. So no one to upset there then? Still not offended? Well ok then, as we also have scenes of a priest masturbating in his car, masturbating also to a shop mannequin, or him urinating over his still sleeping gimp. Jolly good. What is truly interesting about this film is the connection between the murderous mind go a madman and the world of his religious life. The film is rich in the symbolism of his faith and how it interacts with the priest's descent into insanity - this truly is a voyage into the ocean depths of a madman.

Yes it is brutal. Yes it is relentless in it's depiction of murder and madness. However there is also a genuine hint of the humour from Tomi and his approach to the subject matter. The humour my be on the black side, but it is humour nonetheless, and certainly not at the expense of the victims.

Tomi has described to me the style of his film as experimental, aggressive and even avant-garde. There is a definite nod to some of the masters and era's of horror - the influence of Tobe Hooper of The Texas Chainsaw massacre fame is certainly apparent. It is certainly all of those things, and more. It is beautifully shot, which together with the clever editing and lighting serves to continually unbalance and unsettle the viewer. Not only do we witness the priest's madness and depravity, we by virtue of the film's style, almost became part of the depravity itself.

It's not looking good for the Father….

 

I truly admire the risks that Tomi takes in producing a movie of this subject matter. Yes it is dealing with themes and actions that will offend many people. It is not for the faint hearted, nor is is for the closed-minded. For the movie is asking questions and it makes you think. But don't take my word for it, find it and watch it for yourself.

The Facebook page link for Behind The Cross can be found here.

SPIDARLINGS - A Horror Musical

I must admit to being immediately intrigued when I received a message to the Facebook  page for this blog from Rahel Kapsaski, the  artistic Director of Après Vague Productions informing me about the current production of their first Feature Film "Spidarlings". She kindly asked me if I would look at the trailer they had produced and if I liked it, would I write a few words about it on here.

Now, at this moment in time, the internet seems awash with independent productions of Science Fiction and horror, but this is not necessarily a bad thing. The ability to make such productions as been revolutionised by the advent of the Internet and Social media - it truly is an exciting time for those of us that yearn for something a little different, something a little less 'mainstream' within these genres that we love so much. ……. and boy do I love something a little different.

I envy the creativity and drive that it takes to produce work on what is often the most meagre of budgets and limited location opportunities.  That's not to say that mainstream horror for example should be disregarded in the belief that it has become too formulaic, there are numerous examples of productions that are still continuing to shine. We may not be in the golden age of horror of the 1970's any longer, but that doesn't mean there isn't anything out there worth paying attention to.

Sandra Samacá  (Director of photography)    

The people involved in 'small' independent ventures like these should demand our appreciation and attention. They are the true cutting edge of Science Fiction and Horror at this stage of the 21st Century and since starting this little blog of self-indulgence I've been lucky to have been involved in a small way with some excellent people doing the most excellent of works. 

So what is this Spidarlings?

Spidarlings is a Horror/Musical and a Tongue-in-cheek satire about the British Welfare system. The film, written and directed by Salem Kapsaki, set to songs and music by Jeff Kristian, is about to go into post production and will premier this summer at the DUFF ( Detroit Under ground Film Festival) and  Film 4 Frightfest - not bad eh? 

The movie is the story of Eden (played by Sophia Disgrace) and Matilda (Rahel Kapsaski)

And well, things just aren't going too rosy for the young couple who are near penniless and face being evicted by their landlord after falling disastrously behind with their rent. To make matters worse, no money is forthcoming from the social services, which is of little surprise as the girls have had a conscious lifelong fight against becoming one of society's normal people. 

However, living on the edge of society has come at a price. so much so that Matilda eventually has to settle for working at a local nightclub (the wonderfully named 'Juicy Girls'), and soon suffering the attentions of the men who pay to drink and talk with the girls of the club - she hates it. 

Could things get worse for the lovely couple? Erm, yes.

Could life get any weirder than it is already? Gloriously so.

 

For soon the female staff at  "Juicy Girls' start suffering hideous deaths at the hands of a sadistic serial killer, which is not a good thing. What is good is that as a consequence of the killings, a good deal of money comes into Matilda's hands. This turn of events doesn't please Eden, well that is until she is 'persuaded' to accept the newly acquired money with with a present of a tarantula spider ( the present of choice for all of us naturally). However, the arrival of the very 'special' Spider has profound effects on one and all!!

So I ask you to watch the trailer for the movie (see below). Put aside any pre-conceived notions that you may have about Independent Horror productions……. I ask you, just where can you go wrong with Horror, Drag Queens, Lesbians, a nightclub called 'Juicy Girls', mass murder and a very special Tarantula Spider called Rainer?! If that wasn't enough, there is also a guest appearance from the legendary director, Lloyd Kaufman of The Toxic Avenger fame….. well I'm sold. 

Lloyd Kaufman as Mr Banner with Sophia Disgrace and Rahel Kapsaski

One final thing, I implore you to listen to the film's title song by Two Russian Cowboys feat Cleo  Spider in love. I listened to it earlier today and it's completely addictive.

If you love your John Waters, Divine and The Cramps…… you will love this I hope. I can't wait for the full movie later in the year and hope to be talking to some of the film's contributors soon.

For more information on Spidarlings - their Facebook page is here.

The Trailer for Spidarlings

The Man who Haunted Himself.

There are a number of supposedly undeniable laws of cinema that people seem to believe are absolute beyond all scientific deniability. For example, Law number 1; Roger Moore's only major acting skill in portraying any emotion was to raise an eyebrow ( just one at a time mind you). Law number 2; George Lucas lost the plot with The Phantom Menace (Yes Jar Jar Binks, I'm talking about you) . Then of course there is Law number 3; the old chestnut, that The Exorcist is the most terrifying movie ever ever made.......ever.

Now on the face of it, those three laws of cinema are pretty much water tight in their assumptions. I personally love The Phantom Menace, but even putting aside the absolute annoyance (& not to mention racist undertones) of Mr Binks and the sheer total mind wrenching annoyance of the brat kid who played Annakin, much of the movie is something of a meandering & soulless piece of cinema. The Exorcist is a great film I agree. It frequently tops various all time favourite horror film lists with it's incredibly frightening set pieces, a stunning ensemble cast and eminently quotable sections of dialogue. (It's not MY personal favourite, but it's up there somewhere). Finally, yes it's a well known fact that Roger Moore couldn't really act, even if his life depended on it. We all love him, he may not be a favourite bond ( he is actually mine), but we all snicker a little at his limited acting range. 

Well actually, dear reader, on that last point we may be quite wrong. In fact I would argue that people would be very, very wrong. For you see, Roger could act when given the right role, and boy was he given the right role in a little known 1970 psychological thriller/horror called The Man who haunted himself.

Just why this gem of British thrillers is still largely ignored outside its' small but loyal cult following will be discussed shortly. Suffice to say at this point, that it is criminal that it doesn't have a much wider following.

The story is taken from a short story from the  'Alfred Hitchcock presents' series. It features a very British, a very strait laced upper middle class character called Harold Pelham. "Hmm, so far that doesn't sound too much of a stretch for Mr Moore" I hear you say........well, hold on a moment, there's more. Harold is a very successful business executive in a large electronics company whose life reflects his very conservative outlook on life; 

He is your archetypal Bowler hat and umbrella brigade, he takes few chances, his relationship with his wife lacks passion, oh, he also has a rather unfortunate moustache. Still not convinced?Well lets continue.
All is running smoothly in Harold's world until one day when he is involved in a terrible car accident. The reason for the car accident seems either to be a panic attack or possibly some sort of momentary demonic possession of Harold that forces the car off the road at high speed. Needing emergency surgery he is taken straight to hospital where, whilst on the operating table, he is declared clinically dead. This is until suddenly a double heartbeat is seen momentarily in the scanner just before Harold then starts to slowly recover his vitals. 

After a long convalescent in hospital he's eventually released, only to find that his beautifully ordered world has been turned upside down. Harold soon discovers that a precise double of him has recently been seen in places that he's never been, and has upsurged his place as head of the family. His business has been undermined as a merger that he previously actively opposed has now taken place. It seems that he has even had the gumption to undertake an extramarital affair. This 'other' Harold seems to have a distinct taste for the high life.

At first he thinks that this is all some elaborate practical joke played by his family & friends. However , the number of occasions when he is confronted with stories of people having dealings with him when he couldn't have possibly been there lead Harold to start doubting his own sanity. So the question is  whether Harold is going insane or has his life been taken over by a malicious double of himself?

This is one of the great strengths of this movie, as from the moment Harold leaves the hospital and starts to 'discover' that he may have a doppelganger, the audience is left guessing right to the end about what is actually taking place. Are the series of events merely delusions of Harold lying unconscious in his hospital bed, is he suffering from Dissociative identity disorder or is he in fact really being forced out of his own life by his alter-ego? Consequently, the movie on one level becomes an exercise in examining the human condition. Psychological explanations start to abound in ones mind - Freudians would cream themselves trying to analyse the battle emanating from his unconscious between his Id (the new, bad, exciting and lustful Harold) and his superego (the old staid, conservative and rather boring Harold). 

Clinical Psychologists would counter that (nonsense) with the argument that Harold's disorder is thought to stem from trauma , in this case, physical and mental trauma from the car accident. That Harold's separate dual personalities are in fact  a coping mechanism. Or, as the rest of us may argue, this is a supernatural event and that a doppelganger has indeed being created and now it's a battle between the two to see who will come out the winner. I'll leave that up to you if and when you get to see the film.

So this brings me back to addressing one of the laws of cinema. Namely, Roger Moore's limited acting ability. Moore himself has gone on record as saying that this is the only movie he ever appeared in that he was allowed to 'act'. Always regarded as a pretty boy leading man, firstly in the 60's television series, The Saint, then with Tony Curtis in The Persuaders and finally as a certain secret agent chappie - all a good body of work no doubt in which no-one of sound mind could deny the charm and humour be brought to his roles. The problem was that none of these roles tested the RADA trained actor as he fast became a hostage to the typecasting roles that came his way. On the one hand Moore is far too much of a gentleman to complain about this situation, after all he has gained riches and fame on the basis of a perceived lack of acting range. However, it is clear from numerous interviews that he feels  this movie, out of everything he has ever been involved in, is clearly his best work. He isn't wrong.

Quite simply, he is a revelation in this role, or rather, roles. He is on camera in virtually every scene of the film as either the good or bad character. This revelation may be in part due to the fact that he was directed by one of the finest of British directors, Basil Dearden, who had previously been responsible for such cinematic classics as The Assassination Bureau, Khartoum and Dead of Night. Dearden brings out in Moore a performance of genuine depth and conviction that perfectly conveys the range of emotions in his character which start from vague confusion and ending in raging fear and unrelenting paranoia. Not only does Dearden let Moore show the true range of his acting abilities he moves the pace of the movie along at a cunningly effective pace until the final thrilling climax. I won't spoil the ending for those that haven't seen it, but the final scenes where Harold finally 'see's the truth are spellbinding, traumatic and thoroughly effective.

Sadly, this was to be Basil Dearden's final movie as shortly after he was decapitated in a car accident in virtually one of the locations where he had filmed only months before.

So why is The Man who haunted Himself  a triumph of supernatural story telling and yet performed poorly on it's initial release? Indeed, to this day the film has yet to attain the level of acclaim that other releases that suffered the same initial fate have now garnered. I will be the first to admit that some aspects of the movie haven't aged as well as some of its contemporaries of that era, the musical soundtrack for one. However, it's partly because of how it's aged which I suggest actually gives it an added charm. I think the reason why it is underrated is two-fold. Firstly, Moore has gone on record in his autobiography that the movie had no chance from the moment it was completed due to the amateurish marketing and diabolical under promotion on  the film's behalf. It's not an uncommon problem, British horror has historically suffered from lacklustre or inaccurate marketing and publicity campaigns. Movies such as The Wicker Man, now regarded quite rightly as classics of their genre's, suffered from problematic theatrical releases but have gained huge status in the intervening years. 

The Man who haunted Himself has not achieved that modern day classic status, which brings me onto the 2nd reason for it's continuing obscurity; and that it Roger Moore himself. In the 1980's the satirical puppet show Spitting Image featured a long-running joke about Roger's acting (or rather lack of) ability. Scenes would feature his director pleading with him to show anger, the puppet Moore would respond by raising his left eyebrow. The director would then ask for fear, the right eyebrow would be raised…..you get the picture? 

The fact is is that Moore has never been taken seriously as an actor by the general public, and also by various 'film critics' that quite frankly should know better. When I am king of the world (and its only a matter of time) I will make it my first job to make sure sure everyone gets the chance to watch this masterpiece. Because my friends, one of cinema's laws has been broken, Roger Moore can act.

Have a looksee at the rare cinematic trailer to wet your appetite.