#J. B. Mauceri

[bizarrobrain]

Species, MGM, Sil, the Ghost train, and frustrations of H.R. Giger by J.B. Mauceri - World of Fandom - Winter 1995

[fearsmagazine]

MIND BODY SPIRIT - Review

DISTRIBUTOR: Welcome Villain Films

SYNOPSIS: Anya receives a distinctive opportunity when her estranged grandmother bequeaths her the entire estate. As a budding yoga influencer, she draws from her grandmother's ritualistic practices to create her videos. Initially intended as a spiritual self-help guide, the videos take a sinister turn as Anya becomes engrossed in the enigmatic power of the ritual. Unaware, she releases an entity that perniciously permeates her videos and life. Anya embarks on a frantic quest to uncover the truth before her descent into madness engulfs her mind, body, andspirit.

REVIEW: The modern tale "Mind Body Spirit" follows an inspiring influencer who strives to enhance her online videos through her grandmother's book of rituals. While the film evokes the eerie atmosphere of "The Blair Witch Project" or "Paranormal Activity," certain initial logical flaws hinder it from realizing its full potential within the genre.

The plot follows a familiar narrative: an estranged grandmother with unknown origins, hidden passageways in an old house, an old handwritten tome, and undisclosed family secrets. To add a bit more interaction in the narrative, Anya enlists her influencer friend, Kenzi, to record videos in an attempt to increase her viewership. Furthermore, Anya has a couple of video calls with her mother, Lenka, who seems to possess some knowledge but doesn't convey a sense of urgency regarding Anya's use of the book or her departure from the house. The dialogue is lively, but the mythology behind the ritual is relatively shallow. As the story progresses toward its climax, it becomes increasingly predictable.

The filmmakers had an excellent location. The costumes were basic, as most scenes featured Anya in yoga attire as she records her videos or exploring hidden areas of the house. Her grandmother's secret lair needed more gravitas, and her secret journal/spellbook lacked the appearance of age.

Some interesting and creepy effects were nicely accentuated by the sound design. The film is shot from the point of view of Anya's phone/computer, with the camera mysteriously moving early in the story. This was a bit jarring. The narrative was further disrupted by several awkward commercial moments, which felt out of place given the film's genre.

Sean Thatcher Hubrich's score is used to emphasize the moments when the "supernatural" entity takes control of Anya's phone. While the score is subtle and works with the sound design, I don't think the genre needs such a cue.

“Mind Body Spirit” has a talented cast, the story supported by Sarah J. Bartholomew’s performance. Creating a likable character who spirals into darkness, she eventually becomes confrontational and evolves into something else. Her engaging performance is accessible to the viewer and allows them to take the journey. Madi Bready and Anna Knigge deliver organic performances. This wonderful ensemble cast sustains the viewer’s engagement, making for a very watchful experience.

Although "Mind Body Spirit" lacks an explicit disclaimer at the beginning indicating its found footage in nature, certain moments in the film hint at this style. As the story unfolds, Anya, who has seemingly been in the house for some time, starts recording yoga sessions. The filmmakers introduce supernatural elements early on, employing camera movements that occur without visible provocation. The film features a blend of organic, practical scare moments enhanced by digital effects. While some elements may feel out of place and appear to be added for the sake of extending the runtime, the film is elevated by its solid performances and well-crafted characters. Despite its imperfections, "Mind Body Spirit" stands as an intriguing and effective homage to several films in the found footage genre that came before it.

CAST: Sarah J. Bartholomew, Madi Bready, Anna Knigge & KJ Flahive CREW: Directors/Screenplay - Alex Henes & Matthew Merenda; Producer - Dan Asma; Cinematographer - Blake Horn; Score - Sean Thatcher Hubrich; Editor - Matthew Merenda; Production Designer - Preethi Sehrawat; Costume Designer - Jaclyn Britz; Special Makeup Effects Artist - Aldrich Chica; Visual Effects Supervisor - Fulvio Sestito OFFICIAL: welcomevillain.com FACEBOOK: facebook.com/WelcomeVillain TWITTER: twitter.com/WelcomeVillain TRAILER: https://youtu.be/dUHF4jXVp3I?si=BvcdjBV31Z2qvRID RELEASE DATE: On Digital May 7th, 2024.

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[kevindurkiin]

Danish National Symphony Orchestra – Music For Hitchcock

Playlist

Danish National Symphony Orchestra – The Man Who Knew Too Much: Overture (arr. J. Mauceri for orchestra) (2:05) Danish National Symphony Orchestra – Rebecca Suite (arr. J. Mauceri for orchestra) (8:29) Danish National Symphony Orchestra – I. Prelude (2:17) Danish National Symphony Orchestra – II. Lisa – Intermezzo (3:09) Danish National Symphony Orchestra – III. Ballet (1:47) Danish National Symphony Orchestra – IV. Lisa – Finale (2:19) Danish National Symphony Orchestra – Strangers on a Train Suite (arr. J. Mauceri for orchestra) (8:44) Danish National Symphony Orchestra – Dial M for Murder Suite (arr. J. Mauceri for orchestra) (7:48) Danish National Symphony Orchestra – I. Prelude (3:00) Danish National Symphony Orchestra – III. Scene d’Amour (6:34) Danish National Symphony Orchestra – North by Northwest: Overture (2:54) Danish National Symphony Orchestra – Psycho (arr. J. Mauceri for orchestra) (15:48) Danish National Symphony Orchestra – The Man Who Kew Too Much: Storm Clouds Cantata (arr. B. Herrmann for Soprano, Choir and Orchestra) (10:03) Danish National Symphony Orchestra – Hitchcock: Music from the End Credits (5:56)

Danish National Symphony Orchestra – Music For Hitchcock published first on https://soundwizreview.tumblr.com/

[fearsmagazine]

THE ANGRY BLACK GIRL AND HER MONSTER - Review

DISTRIBUTOR: RLJE Films

SYNOPSIS: Vicaria is a brilliant teenager who believes death is a disease that can be cured. Death is ever present in Vicaria's world - violence, police brutality, substance abuse - and after watching her mother and brother succumb, she's had enough. After the brutal and sudden murder of her brother, she embarks on a dangerous journey to put an end to all this death… by bringing the dead back to life.

REVIEW: From the writing to the directing by Bomani J. Story, to mesmerizing performances, THE ANGRY BLACK GIRL AND HER MONSTER captures the intensity of the classic Hammer Horror films with black exploitation films for a brilliant modern take on Shelly’s “Frankenstein.”

From the character voices, to the character arcs and the way themes are blended together, Story is an amazing writer who seamlessly blends the contemporary elements with science fiction themes and touches on numerous issues and makes it all work. He brings many things in front of the lens and presents them in a way that permits the viewer to reflect on them without feeling they're being preached to. Vicaria has numerous poignant lines that feel like inspired observations. Story nicely lays out Vicaria’s character arc so that her hubris overshadows her choices that affect her family in much the same way Victor Frankenstein’s family suffers from his choices. He presents the tragedies that have influenced Vicaria’s decisions, further impact by the urban community she lives in filled with drug dealers, police conflict and poverty. He creates genuine voices and realistic situations that he nicely folds in the science fiction and horror aspects. It's powerful, engaging, and passionate.

This is an independent film that looks like a million bucks. I liked the organic feel of Vicaria’s lab, made from elements she would find in her community.The other locations feel organic and grounded. Built into that are some nice color schemes that add to the tone of the film. Cinematographer Daphne Qin’s work adds soft tones to this star reality. It feels authentic, still engaging and at times like shadows in a nightmare. A nice balance. It’s well framed and paced, and is wonderfully lit. The filmmakers do an outstanding job of creating this world. Mixed in as a fantastic score by Nima Fakhrara. There are classic themes with some modern sounds blended in to create this hybrid sound that adds magic to the narrative.

Story’s film features a soulful cast, with a tour de force performance by actress Laya DeLeon Hayes. Currently starring opposite Queen Latifah on the CBS series "The Equalizer," and known for voicing the main character of the award-winning animated series "Doc McStuffins," Hayes brings a vast palate to the role. It’s a unique character that even exhibits a touch of madness, and she weaves it all into a believable and impassioned performance. Adding some delight and joy to the film is the young actress Amani Summer who plays Jada. She radiates attitude and innocence, and her performances lights up the screen.

THE ANGRY BLACK GIRL AND HER MONSTER embraces all the history from which it springs from, including the black exploitation films of the 70’s. However, there is a respect and intensity with which Story presents these characters that it never feels like exploitation. Likewise, his humor comes from the interaction between characters, never at the expense of characters or the themes of the film. There is a raw honesty in the screenplay and the directing that perfectly does what any good genre story should - explore the human condition in a different light. This is Bomani J. Story’s directorial debut and he demonstrates adept skills as a filmmaker and a master storyteller. I’m excited to see what he does next.

CAST: Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Ellis Hobbs IV, Amani Summer, and Edem Atsu-Swanzy. CREW: Director/Screenplay/Producer - Bomani J. Story; Producers - Jack Davis & Darren Brandl; Cinematographer - Daphne Qin Wu; Score - Nima Fakhrara; Editor - Annie De Brock; Production Designer - Mark Bankins; Costume Designer - Cailey Breneman; SFX Make-up - Ravenous Studios; Creature Concept - Tristan Schane; Visual Effects - Moontower VFX OFFICIAL: N.A. FACEBOOK: www.facebook.com/profile.php?id=100093250422551 TWITTER: N.A. TRAILER: https://youtu.be/5lDANhEmTBc RELEASE DATE: In Theaters on June 9th, on Demand & on Digital June 23rd, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[fearsmagazine]

Filmmaker James Croke discusses his feature film debut LATENCY.

In filmmaker James Croke’s feature debut he introduces us to Hana, a gamer with agoraphobia who is asked to test new gaming equipment that uses A.I. to read her mind, the line between reality and the subconscious begins to blur and she starts to wonder if the device is helping her or serving a more sinister force.

James Croke is a freelance writer and director with extensive experience in the field of design for both stage and screen, and graduated in 2005 with a Master of Arts from the Australian Film, Television & Radio School. Starting his career in stage design, James was based in London before returning to Sydney, Australia, where he began working in the Australian film and television industry. James’ 2014 short film, Shift, which he wrote, directed and produced was screened at over twenty film festivals worldwide, and received many accolades, receiving two Australian Cinematography Society awards and the Australian Production Design Guild award for design on a short film.

Director James Croke and actress Sasha Luss on the set of LATENCY.

LATENCY will be in US theatres beginning June 14th, 2024, from Lionsgate.

The music heard in the background during this episode is from Latency, by composer J-Punch.

Read Our Review of LATENCY - HERE

[fearsmagazine]

THE VENTURE BROS.: THE COMPLETE SERIES - Review

DISTRIBUTOR: Warner Bros. Discovery Home Entertainment

SYNOPSIS: Twenty years in the making, one of the iconic pillars of Adult Swim, THE VENTURE BROS., comes to DVD and digital in a box set that includes the seven year run of the show, all 82 episodes (14 discs), plus every single piece of previously released special features.

REVIEW: Full disclosure, I have not gone through everything. I only got the package on Friday and there is just so much, and that’s just the episodes. What I have watched so far is a real “Wow!”

The series premiered twenty years ago in 2003. It was the year my daughter was born and it was one of the late night shows on Adult Swim that kept me company. It was a delight to go back and rewatch the early episodes, especially on a big screen TV with surround sound. Oh, and no commercial breaks. Twenty years may not be a lot of time, but the writing still stands the test of time. From the writing and the music, to the design of the series, THE VENTURE BROS. pays homage to many of the adventure animated series we grew up with in our youth but takes to a whole other level, an adult comedy level. Watching these episodes again was like a trip down memory lane and there were quite a few things I had missed and made me appreciate the writing even more.

I popped in all the DVDs to view the menus and see the list of extras. No wonder they didn’t list the special features in the press release because there are a lot of them. I had never watched any of them before so I took in a few. They were well made, entertaining and informative. As a fan of the show I enjoyed the insight they added to the viewing experience.

Regardless of your level of fandom with the show, THE VENTURE BROS.: THE COMPLETE SERIES is a nice package that provides hours of viewing pleasure for you to get reacquainted with an old friend. Regardless of the nostalgia, it is the writing that made the series a hit. Some of the episodes were saterial of the period they were written in, but the style is such that it remains timeless and the humor fresh.

The 14-disc box set has a combined runtime of 1,968 minutes.

The TV series was canceled in 2020, with the final season aired in 2018, but The Venture Bros. swan song is coming with the film The Venture Bros.: Radiant Is the Blood of the Baboon Heart and will be available Digitally on July 21st and on Blu-ray Disc on July 25th, 2023.

CAST (voices): James Urbaniak, Christopher McCulloch, Michael Sinterniklaas, Patrick Warburton, Paul Boocock, Doc Hammer; plus a cast of hundreds over the 82 episodes. CREW: Creator/Director/Writer - Christopher McCulloch; Directors - Jon Schnepp, Ki-Yong Bai, Juno John Lee, Barry J. Kelly, & Ethan Marak; Writers - Doc Hammer & Ben Edlund; Series Composer - J.G. Thirlwell; OFFICIAL: www.adultswim.com FACEBOOK: www.facebook.com/adultswim/ TWITTER: twitter.com/adultswim TRAILER: www.youtube.com/@adultswim for lots of clips and the show opening credit sequence. RELEASE DATE: Digitally and on DVD June 13, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[fearsmagazine]

DEATH DROP GORGEOUS - Review

DISTRIBUTOR: Dark Star Pictures

SYNOPSIS: Corpses fill the streets of Providence, RI as young gay men from a local drag club are stalked and lured on dating app POUNDR. The victims are promised sex only to be gruesomely slaughtered by a deranged maniac. The bodies begin turning up completely drained of blood, sleazy club owner, Tony Two Fingers, and crooked detectives, Barry and O’Hara, team up to get to the bottom of these murders to save his business. The investigation sets its sights on recent club rehire, Dwayne, while local drag queens, Gloria Hole and Janet Fitness battle for the stage and limelight.

REVIEW: Here’s the deal, I live in New York City. I worked in a bar that was a stone’s throw away from Stonewall, which many in the LGBTQ community consider the site that gave birth to the modern movement. I have gay friends, a few who were and still are drag queens. You can’t have a film with drag queens in it that is a bit over the top and kitschy. Oh, and I forgot to mention dram and DEATH DROP GORGEOUS is full of it. It seems every character has some conflict with another character. And there is horror, from the grisly murders to the Countess Bathory angle.

The story takes place in/near Providence, RI. I’m not sure what the drag queen scene is there but how can it compare to what goes on in New York, and Los Angeles as well. So I cut them some slack as it seemed a bit more homegrown than the glitz of the bigger cities. The locations are fine, the cinematography is solid and I got the impression that many of the costumes and makeup were supplied by the drag queens. The special effects were as blood, gorey and as well executed as any late 80’s or early 90’s slasher film. There were some crowd scene shots in the club they cut to during performances that felt a bit flat and seemed like the same scene recycled a few times.

I enjoyed the cast. The non-drag queens were solid, given the crazy material, and added to the viewing enjoyment. In terms of the drag performances, what can I say. They were over the top and insane. I was a bit disappointed in the club owner, Tony Two Fingers, performance and writing. It seemed the actor was looking everywhere other than where he was supposed to and the writing was a bit too cliched, the delivery flat. On the flip side, I loved the character of Tragedi whose performance an look felt like Marilyn Manson in drag. And after everything he’s been through and accused is a wonderful bit of satire.

Then there's this little voice in my head that keeps questioning is this the film for right now. I believe in the power of satire and the ability to poke fun at one’s self. This film does that in more of a John Waters’ way than a Troma way, which is more sophisticated. I applaud them for what they set out to do and achieved. I know there is nothing you can do because haters are going to hate, but why give them an opportunity? Maybe if the film was receiving a release closer to Halloween it would gain a wider audience and possibly not receive the ire of the haters.

DEATH DROP GORGEOUS is an old school exploitation shlock fest that has buckets of kitsch and camp to satisfy the most depraved horror fan. Obviously filmmakers Michael J. Ahern, Christopher Dalpe and Brandon Perras are genre fans who know a thing or two about drag queens and have served up a homegrown horror film in big hair, lots of makeup and a dress. The perfect film to share with your LGBTQ friends on a horror film night. The filmmakers once again prove the immortal words of Dr. Frank-N-Furter, “Don’t dream it, be it.” In this instance they make it, DEATH DROP GORGEOUS.

CAST: Wayne Richard, Brandon Perras, Michael J. Ahern, Sean Murphy, Matthew Pidge, Anthony DeRose, Complete Destruction, Michael McAdam, Ryan Miller, Michael Puppi, Christopher Dalpe and Linnea Quigley. CREW: Directors/Screenplay - Michael J. Ahern, Christopher Dalpe and Brandon Perras; Cinematographers - Philip Gelatt and Brandon Perras; Score - Timothy Fife, Devon Hunt, Jacqueline Kamel and Kyle Paradis; Editors - Roman Chimienti, Tyler Jensen, Ryan Miller and Brandon Perras; Special Makeup Effects Artist - Scott C. Miller. OFFICIAL: www.monstermakeupllc.com FACEBOOK: www.facebook.com/deathdropgorgeous/ TWITTER: twitter.com/deathdopgorge TRAILER: https://youtu.be/wptl_kVzu20 RELEASE DATE: In theaters and On Demand September 10th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[fearsmagazine]

ROOM 203 - Review

DISTRIBUTOR: Vertical Entertainment

SYNOPSIS:  Lifelong friends Kim and Izzy move into Room 203, a quirky apartment with a creepy medieval stained glass window. Kim slowly becomes convinced that their new home may be haunted. With help from her new boyfriend Ian, Kim investigates the tortured history of the apartment, discovering a string of disappearances of former residents, a murder mystery from half a century ago, and an ancient curse that threatens to possess Izzy and kill Kim.

REVIEW: ROOM 203 is a nice blend of J-Horror and independent film making. I have not read the novel, so I’m curious if the myth employed in the film is the same as in the novel. The film’s supernatural force is based on an Irish myth and symbolism. There is an epic variety and class of supernatural entities and spirits in Japanese folklore. A fan of the J-Horror films and having read several translations, I could sense the Japanese spirits lingering in the shadows.

The narrative takes the concept of a vengeful spirit and anchors it to a landmark building> Kim and Izzy move into the only one of two apartments on the floor that are occupied. The other, by the shady landlord/super. The apartment is a character in the narrative as it is preserved and furnished, plus there is the mysterious stained glass window. There are some other supernatural objects in the apartment that fit into the story. They are nice “window dressing,” but lack any gravitas to the larger narrative. Their significance becomes relevant later on as Kim and Ian investigate the mystery. It’s obvious that Kim and Izzy have personal trauma. The narrative reveals Izzy’s as she becomes the subject of Kim’s college writing assignment. There seems to be a bit more to Kim’s story, especially the animosity of her parents to her moving in with Izzy, but it is never properly addressed. Overall the dialogue is sound, the characters interesting, and the film has a pretty solid internal logic. There is a prologue to the tale that feels a bit gratuitous in the grand scheme of the narrative.

As an independent film, the film has some solid production values. The apartment is an excellent location, delightfully dressed, and the stained glass window is impressive. The shots on the college campus seem a bit sparse, but that could have been a COVID thing. The costumes feel fresh and organic. Likewise, many of the effects sequences look realistic, especially the scenes involving the crow. There are a few cheap jump scares that are nicely edited, as is the rest of the film. I enjoyed the framing, the cinematography, and Daniel L.K. Caldwell’s score.

The cast is likable and a pleasure to watch. Actress Francesca Xuereb was a delight to watch and her work with Eric Wiegand had a lot of chemistry. Viktoria Vinyarskadoes a fine job as Izzy, and she allows the viewers to feel the trauma she is dealing with. Actor Scott Gremillion plays the super. There was something about his performance that was reminiscent of actor Brad Dourif’s creepy roles.

Director Ben Jagger does an admirable job of bringing ROOM 203 to the screen. It’s skillfully scripted and features some excellent visuals. I never really got a sense of terror and menace, and many of the horror effects are not graphic or extreme, as one might expect from something based on a J-Horror tale. ROOM 203 is more about the character relationships and the mystery than the scares. I appreciated that and was invested in the narrative. There’s nothing groundbreaking, but ROOM 203 is an entertaining film and a solid view. I was curious about the novel, but currently I could not find a translated copy of Nanami Kamon’s novel online.

CAST: Francesca Xuereb, Viktoria Vinyarska, Scott Gremillion, and Eric Wiegand CREW: Director/Screenplay - Ben Jagger; Screenplay - John Poliquin & Nick Richey; Based on the Novel by Nanami Kamon; Producers - Benjamin Anderson, Kat McPhee, Annmarie Sairrino & Moeko Suzuki; Cinematographer - Joel Froome; Score - Daniel L.K. Caldwell; Editor/Visual Effects Artist - J.C. Doler; Production Designer - Hannah May Roark; Customer - Camille Gladney OFFICIAL: N.A. FACEBOOK: https://www.facebook.com/room203movie TWITTER: https://twitter.com/Room203203 TRAILER: https://youtu.be/vhNZG_BgOvA RELEASE DATE: Debuts in selected cities April 15th, 2022, and on all major VOD platforms.

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[fearsmagazine]

6:45 - Review

DISTRIBUTOR: Regal Theaters

SYNOPSIS:  Bobby Patterson is taking one last shot at saving his relationship with his girlfriend, Jules Rables by taking her on a romantic weekend getaway to the picturesque island resort of Bog Grove. The sleepy beach town is curiously deserted and as they ask around they soon learn about its notorious and bloody history.  Their relationship issues are quickly cast aside as they try to overcome a demented cycle of terror in which they’re seemingly trapped. No matter what great lengths they take to avoid it, Bobby and Jules awake at 6:45 each morning to a nightmarish chain of events with no escape.

REVIEW: Director Craig Singer returns to the big screen after ten-plus years since his last feature, “Perkins’ 14,” with a sci-fi horror thriller where a struggling couple are caught in a murderous time-loop. 6:45 is receiving a theatrical release through Regal Cinemas.

The story, by veteran screenwriter Robert Dean Klein, is a simple twist on “Groundhog Day.” After spending the night, the next day the couple become caught up in this murderous time-loop. In essence, it is the character of Bobby who relives the nightmare as he is the only one who carries over the memories of the previous days. His girlfriend Jules doesn't have any clue to what has transpired and each new day Bobby tries hard to convince her, adding more stress to their strained relationship. Ultimately Bobby does something that breaks the chain of events and sends him back into the reality of a nightmare he created. The story ends on a note that feels similar to “Psycho” or “Identity” as it moves into a psychological explanation as to what brought about the events. Bobby never comes across as a likeable character and Jules remained hard to access or feel anything for.

The supporting cast, a group of veteran actors and talent, attempts to add background and atmosphere to the tale. Actor Armen Garo adds some lighter moments as the strange innkeeper. He brings some interesting ticks to the role that delivers many of the film’s memorial moments. Also creating an interesting character is veteran actor Thomas G. Waites as the peculiar barkeep. He starts out as your friendly bartender and as the days progress it begins to feel like he might know more than he is letting on. The rest of the supporting cast feels more like name recognition than anything that adds to the film. The leads Michael Reed and Augie Duke are fine but I never got anything from them that fully immersed me in the drama. It was almost as if I was watching a stage production.

For a “home grown” independent film 6:45 has some excellent locations that add depth to the film. The inn is very nice, the shops in the area are quaint, the bar was your basic dive. There were a couple of scenes shot on the beach that felt a bit off for the lighting as the time of day felt off with the rest of the timeline. There is an interesting montage utilized to show the passing of days that was utilitarian, effective but lacked any emotion or artistry. The mysterious killer was simply a guy in a dark hoodie with a simple makeup/mask to obscure his features. It was okay but wasn’t scary, at best slightly menacing.

The score by composer Kostas Christides adds depth and emotion that was lacking in the cinematography. It also added edge to the tension, as well a bit more scare to the mysterious killer's appearance and actions.

6:45 looks fabulous in the theater. However, it lacks any passion or intensity to engage the viewer. After a while, it felt like I was being shown pictures and videos from a friend’s killer vacation. They may have made memories that will last a lifetime, but after a while I was bored and couldn’t wait for it to be over. I mean how many times can you see the same shots of their room, beach, quaint shops, over and over again before you’re bored. 6:45 isn’t a bad film, just not the time of my life.

CAST: Michael Reed, Augie Duke, Thomas G. Waites, Armen Garo, Remy Ma, The 45 King, Ray Mancini, Joshua Matthew Smith, Sabina Freidman-Seitz, Allie Marshall, Leonardo Mancini, and Sasha K Gordon. CREW: Director/Producer - Craig Singer; Screenplay - Robert Dean Klein; Cinematographer - Lucas Pitassi; Score - Kostas Christides; Editing - Sam Adelman; Production Designer - Erin LaSorsa; Special Effects Supervisor - Vincent J. Guastini. OFFICIAL: www.645movie.com FACEBOOK: www.facebook.com/645movie TWITTER: twitter.com/645movie TRAILER: https://youtu.be/VivQxpbRbkc RELEASE DATE: In Regal Theaters August 6th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[fearsmagazine]

AMITYVILLE POLTERGEIST - Review

DISTRIBUTOR: Breaking Glass Pictures

SYNOPSIS:  Jim is a young slacker who is still traumatized by a family loss. He takes on a housesitting job to earn some money from an unusually spooky old woman. While interviewing for the housesitting job, the old woman, Rebecca Morse says that she is not scared about anyone getting into the house, she is more afraid about what’s already in the house. As day turns to night, doors start slamming, steps begin to creak, and the spirits emerge.

REVIEW: This film really has nothing to do with the “Amityville Horror,” the house, or anything to do with the series of other films bearing the word “Amityville” in their title. If there is any reference it is gun violence and family members killing family members.

The narrative becomes nonlinear at a later point and becomes confusing until the end of the film. Yes, there is something in the house. However, what is the initial event that sets Rebecca off? Is it dementia, an evil presence, or is she just fed up and simply can’t stand her family any more? I simply didn’t care. In fact, all these characters needed to die and I felt gravely cheated when that did not transpire.

This is clearly a home grown horror film with a limited to no budget. Director Calvin Morié McCarthy has a compilation of 17 directing credits, mostly shorts, to his name and has acted in 63 films, mostly shorts and a couple of TV series. AMITYVILLE POLTERGEIST is a hodgepodge of themes and visuals from a variety of films from “The Ring,” “The Amityville Horror” films and other horror films so that the film feels more like a demo reel than a narrative.

McCarthy and fellow screenwriter Jon Ashley Hall pay little to no detail to the adult characters in the film. They are very one dimensional and offer no emotional engagement. The three twenty something main characters are simply unlikeable. They have no redeeming qualities whose only life lessons they should take away from this narrative is that they should be dead. There is not one good quality written into the three of them combined. The only actor that has a modicum  of talent is Airisa Durand. It could also be that her co-stars were that bad that they made her look that good.

Bottom line is that if you rent or buy AMITYVILLE POLTERGEIST and feel cheated or like you’ve wasted your money, it wasn’t because I didn’t warn you. This is one film that will haunt you long after viewing, but for all the wrong reasons.

CAST: Parris Bates, Sydney Winbush, J. Rebecca Morse, Conor Austin, Jesse Sass, Airisa Durand, & Jon Hall. CREW: Director/Screenplay/Producer/Cinematographer/Editor - Calvin Morie McCarthy; Score - Joel Whited; Special Effects MakeUp - Zach Smith OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/T4S5K39MC44 RELEASE DATE: DVD & VOD May 18th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike) Reviewed by Joseph B Mauceri

[fearsmagazine]

SON - Review

DISTRIBUTOR: RLJE Films

SYNOPSIS: The film begins eight years later after we witness Laura (Matichak0 alone and giving birth in her car, obviously on the run. Now in a new life and home with her son, David (Blumm), everything appears to be working out. However, a group of mysterious strangers breaks into Laura’s home and seems to attempt to abduct her eight year-old son. The mother and son flee town in search of safety, but soon after the failed kidnapping David becomes extremely ill. He is suffering from increasingly sporadic psychosis, convulsions, and changes in his skin. Although following her maternal instincts to save her son, Laura commits heinous acts to keep David alive. For all her efforts she knows that she will soon have to decide how far she is willing to go to save her son.

REVIEW: I am a massive fan of director/screenwriter Ivan Kavanagh’s film “The Canal.” His latest film SON possesses many of the elements found in the aforementioned film. And so I thought I’d be in for an exceptional thrill.

The opening scene is an intense and shocking sequence filled with gore and empathy. Shot in cramped quarters, Kavanagh does a brilliant job capturing a complex emotional palate juxtaposed against an extremely visceral  one.

As that scene transitions into the next, and we are reintroduced to Laura, it becomes evident that actress Andi Matichak is a talented actress with an amazing skill set. Likewise, Luke David Blumm's performance, the child actor playing her son David, adds a flawless authenticity to their mother/son relationship and is convincing when he deals with the trauma of his deteriorating condition.

SON may not be a studio film with “A” list talent, but it sure looks and feels like one. The locations, production designs, visual and special effects clearly are above average for an independent horror film and give it this 70’s type feel to the production. Although Kavanagh never fully shows us the demon design, which looks very interesting, there is only a quick subliminal shot of the front of the demon at the beginning of the film.

The problem is that the film starts to fray a bit in the third act. Some plot points that should have played out as a big reveal become obvious early on. Laura’s character begins to deteriorate as she loses control and descends into a cliche. What is supposed to have the viewer off balance just unbalances the film leaving us to feel like we’re watching a different film. A solid first and second act is railroaded into a scene we can see coming and have seen many times in films of this genre, but first shocked us in the 1976 film “The Omen.” The epilogue, if you will, is no surprise and lacks any punch.

I think part of the problem, at least for me, was the performance by actor Emilie Hirsh. He never really convinced me that he was a detective. There were simply times it lacked honesty and didn’t resonate with actors he was playing against.

SON has a lot of potential. From the previous work by Ivan Kavanagh, and some of which show up her, to some talented actors, and amazing production values. It never fully gells and just ends up an okay film. Newcomers to the genre will probably like it more than the die-hard genre films, especially those with a well stocked film library. Regardless, I would not be quick to pass on Kavanagh’s next project.

CAST: Andi Matichak, Emilie Hirsh, Luke David Blumm, Cranston Johnson, Blaine Maye, J Robert Spencer, Rocco Sisto,  & And Kristine Nielsen. CREW: Director/Screenplay - Ivan Kavanagh; Producers - AnneMarie Naughton, Louis Tisné, & René Bastian; Cinematographer - Piers McGrail; Score & Sound Designer - Aza Hand; Editor - Robin Hill; Production Designer - John Leslie; Costume Designer - Tora Eff; Special Make-up FX - Leo Corey Castellano; VFX Supervisor - Dan Cullen. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/KX-JM4YR2v4 RELEASE DATE: In Theaters, On Demand and Digital March 5th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

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DON’T LOOK BACK - Review

Distributor: Gravitas Ventures

Synopsis: Caitlin Kramer (Kourtney Bell) is a woman trying to overcome a not too recent tragedy that haunts her. Out for a run she becomes one among several people who witness a man being fatally assaulted in the park. A short time after the event the witnesses start dying mysteriously. Caitlin must discover what is happening, are they being targeted by a killer or something far more insidious.

Review: Just in time for Halloween screenwriter Jeffrey Reddick returns to the screen with a supernatural thriller that seems to rise from the depths of today’s headlines. Not only is Reddick the scribe on this tale of terror, Jeff makes his feature film directing debut.

DON’T LOOK BACK  is not your typical horror fare or what you might expect from Reddick based on his previous films. This is a bit more of a sophisticated tale that is rooted more in the thriller genre with supernatural overtones. It’s a wonderfully constructed plot with twists and turns, and a few red herrings, to keep the viewer engaged and on edge. Reddick is at the top of his game in crafting these characters and serving up dialogue that draws the viewer into the narrative.

Reddick has assembled an excellent cast that does a fine job of selling this tale of terror. At the center is actress Kourtney Bell as the character Caitlin Kramer. She is a fresh, new face with enough talent to carry the drama of this film. In some regards she is reminiscent of Heather Langenkamp (A Nightmare on Elm Street ‘84) or any of Hitchcock’s leading ladies in extraordinary peril.

An independent film, DON’T LOOK BACK looks like a bigger budgeted film, which I would attribute to Reddick, who spent every opportunity he had on the set of the films he penned. It at least looks as good as anything that has come out of Jason Blum’s production company, Blumhouse. I enjoyed the production designs, the costumes were nicely crafted, and the special effects had just the right amount of gore and provided several good scares. I truly enjoyed the score by composer Christopher Thomas. It added another level to the film, ratcheting up the suspense and terror. I was not familiar with his work prior to this film, but I’ve since become a fan.

With DON’T LOOK BACK Reddick demonstrates that he is equally adept at directing as he is at screenwriting. It also earns him the title of triple threat - director, screenwriter, & producer. The film has its share of scary and violent moments, so I’d say it is a PG-13, although the film has not been rated.  It’s a film of our times, just in time for Halloween.

Cast: Kourtney Bell, Bryan Batt, Will Stout, Skyler Hart, Jeremy Holm, Jaqueline Fleming, Amanda Grace Benitez, Damon Lipari, Han Soto, Dean J. West and Stephen Twardokus. Crew: Director/Screenplay - Jeffrey Reddick; Producers - Roman Dent, Ashleigh Snead, Andy Steinman, & Andrew van den Houten; Cinematographer - Andy Steinman; Score - Christopher Thomasi; Editor -Mike Mendez & Erik Rosenbluh; Production Designer - Jeff Subik; Visual Effects Producer - Chris Bailey; Costume Designer - Michael Bevins & Donald McFinley.

Official: N.A. Facebook: N.A. Twitter: N.A. Release Date: October 16th, 2020 Trailer: youtu.be/HSW4P4U5tCo

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on Netflix - 👍 or 👎 Reviewed by Joseph B Mauceri

[fearsmagazine]

Review: THE TRANSFIGURATION

Distributor: Strand Releasing

Synopsis: Milo (RUFFIN) is a troubled teen who hides behind his fascination with vampire lore. When he meets the equally alienated Sophie (LEVINE), the two form a bond that begins to challenge Milo’s dark obsession, blurring his fantasy into reality. Set against the grit of the New York City housing projects and urban strief, THE TRANSFIGURATION is an atmospheric thriller transformed by haunting overtones of vampire mythology.

Review: Michael O'Shea’s THE TRANSFIGURATION is a quiet urban horror thriller that is mesmerizing. The narrative is an exceptional blending of the main character’s, Milo’s, tragedy and his search for an explanation of his place in the world within vampire lore. It is a slow burn that builds, drawing the viewer in, and delivers a devastating climax.

The film’s use of the vampire mythology reminds one of George Romero’s Martin or Tomas Alfredson’s Let the Right One In, while skillfully combing that with the urban landscapes and themes of New York City reminiscent of Spike Lee’s Do the Right Thing or Darren Aronofsky’s Requiem for a Dream. At the center of all this tragedy is Milo, nowhere near as loquacious as a Shakespearean character, but as tragic as Hamlet or Macbeth. Through his journals, limited dialogue, flashes of this thoughts, the viewer comes to know this character that is older than his years. It is a skillfully crafted character study. Milo’s course is diverted by the appearance of Sophie. There is violence in her own life and she attempts to find some normalcy with Milo, unaware of his dark secrets he keeps hidden from her. As their relations develops it causes Milo to call into question everything in his life and what his future path must be. As the narrative moves towards its resolution the viewer is left to struggle with the emotional impact of Milo’s choices. O'Shea’s screenplay is a wonderful blending of themes in an urban setting that is a powerful drama with adolescent characters at it’s core, a contemporary Romeo and Juliet.

O'Shea’s tale is supported by two young and extremely talent actors. Eric Ruffin’s organic and compelling performance allows the viewer to feel both sympathetic and horrified for this flawed anti-hero. He provides the viewer with an emotional hook. He is a gifted performer who unquestionably delivers a tour de force that firmly places him on viewers’ radars for his upcoming work. His co-star Chloe Levine does an exceptional job of complementing his performance and creating an equally strong character. She portrays innocence, balanced with an inner strength, while exposing a vulnerability. You can feel the space that she opens up that allows Milo to drop his guard and expose his own innocence. Again, an actress whose performance should place her on your radar.

As the director, Michael O'Shea takes these amazing performance and surrounds them with some breathtaking and horrifying visuals. He instills a Grimm and Shakespearean tone to the film while capturing that barren landscape an urban environment can be. He balances hot tones with cool night sequences creates a captivating visual style that enhances the narrative and supports performances. He sparingly uses visual effects to enhance the visuals and allows the physical effects to shock the viewer. All the elements come together to deliver a haunting cinematic experience.

THE TRANSFIGURATION is a rare independent film that is simply more than a showcase of exceptional talent both in front of and behind the camera. It is a rare cinematic experience that deserves to be experienced in the theater as it will undoubtedly lead viewers into a variety of discussions about the film they’ve just experienced. I’m sure many viewers will want to include this film in their personal cinema libraries.THE TRANSFIGURATION is sure to be the springboard for several amazing careers. 

Cast: Eric Ruffin, Chloe Levine, Aaron Clifton Moten, Carter Redwood, Danny Flaherty, Larry Fessenden, and Lloyd Kaufman. Crew: Director - Michael O'Shea, Screenplay - Michael O'Shea; Producer - Susan Leber; Cinematographer - Sung Rae Cho; Score - Margaret Chardiet; Editor - Kathryn J. Schubert; Production Designer - Danica Pantic; Costume Designer - Samantha Hawkins; Special Effects Supervisor - Brian Schuley; Visual Effects Supervisor - Chris Haney. Official: thetransfigurationfilm.com Facebook: www.facebook.com/thetransfigurationfilm Twitter: twitter.com/TransfigMovie  |  @TransfigMovie Release Date: Friday, April 7th, 2017 Trailer: youtu.be/sLXiyMbLR30

**Based on $15.99, a prime-time Manhattan Ticket Price at time of release. Reviewed by Joseph B Mauceri

[fearsmagazine]

THE CARNIVORES - Review

DISTRIBUTOR: Dark Sky Films

SYNOPSIS:  Alice and Bret’s dog, Harvie, is dying and he’s ruining everything. What had been a bright little family is quickly being consumed by clouds of self-doubt, suspicion, and a disturbing amount of ground beef. As the stress on Alice, a vegan, manifests in increasingly strange ways involving sleepwalking and a fascination with meat, she plans to get rid of Harvie to reclaim Bret’s love. But when Alice wakes one night holding an empty leash with no sign of Harvie except his severed ear, she begins to fear she's become a monster. As each woman sets out in search of what's been lost, Alice and Bret uncover parts of each other they never suspected, hideous and beautiful alike.

REVIEW: The best way to sum up THE CARNIVORES is - two vegan lesbians with issues and their dog, who live in Austin, TX. Hey, keep Austin weird! The filmmakers do a solid job of maintaining the city’s anonymity. As I was watching the film I thought it might be Portland, OR. Keep Portland weird! Regardless of the city, the film is an incredibly bizarre comedy reminiscent in many ways of the 1989 film “Parents,” which was directed by the amazing Bob Balaban. Even with all its exteriors and additional locations, there is an aspect to the film that feels like it could  have been adapted from a theatrical production.

THE CARNIVORES is one of those special films where it is a delicate balance of screenplay, directing, and casting that all come together to create a memorable cinematic experience. It all starts with two very fractured personalities that are attempting to have a relationship.  Bret, played by actress Lindsay Burdge, is a postal worker with an unhealthy attachment to her dog. Actress Tallie Medel plays Alice who is attempting to adapt to a vegan lifestyle and be supportive of Bret’s issues with her dog, in hopes of maintaining whatever their relationship is. At the beginning we see how the pressures are causing Alice to fray  around the emotional edges, but Bret only comes unhinged rather quickly when Harvie goes missing. Here are two characters that are primed for a mental breakdown and the fireworks are spectacular. Adding to the overall weirdness of the film are the even more peculiar and strange characters that surround their lives. They feel like people from an alternate reality we might have encountered in our workplace or while taking public transportation.

Filmmaker Caleb Michael Johnson does an excellent job of working with his cast to create characters with an instability or tick, but they remain grounded. They could easily come across as caricatures or clichés, but are presented as damaged people on a weird journey. The film is an excellent collection of memorable performances and set pieces. The nice touch to this edgy satire is that the only normal “person” in the whole story is the dog.

Caleb Michael Johnson is a skilled filmmaker who conveys an unbalanced reality that connects with the viewer and sets them on edge. His characters may feel grounded, yet he manages a frenetic energy that resonates up to the closing of the film. There are quiet moments where you feel the underlying tension of the characters emotional instability and are riveted by the potential outcome.

The costumes and locations feel authentic and help maintain the viewers immersion in the story. Having been to Austin, the cinematography captures the tone and mood of the city and complements the narrative.

Caleb Michael Johnson’s THE CARNIVORES is a weird, contemporary, dramedy that is wonderfully written, masterfully directed, and features a memorable cast of characters. I thoroughly enjoyed this wickedly delightful film that is undoubtedly one of my favorite films of 2021. I have to say it, but it is a film that keeps the “weird” in “Keep Austin Weird!” Although I’m not sure this would be a recommended date night film, I think your pooch might find it entertaining.

CAST: Lindsay Burdge, Tallie Medel, Vincent James Prendergast, Thomas Fernandes, Frank Mosley, and Aiden the dog as Harvie CREW: Director/Screenplay/Editor/Special Effects/Visual Effects - Caleb Michael Johnson; Screenplay - Jeff Bay Smith; Producers - Thomas Fernandes, Adam J. Minnick, Jeff Bay Smith, and Ted Speaker; Cinematographers - Caleb Michael Johnson & Adam J. Minnick; Score - Curtis Heath; Production Designer - Scott Colquitt; Special Effects - Danie Plott; Visual Effects - Glenn Dill & Daniel Stuyck. OFFICIAL: N.A. FACEBOOK: www.facebook.com/The-Carnivores-107241998233732/ TWITTER: N.A. TRAILER: https://youtu.be/oshBF1b3RzI RELEASE DATE: In Theaters and VOD/Digital Platforms June 4th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike) Reviewed by Joseph B Mauceri