John Fallon, Director of “The Shelter”

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Q. Please tell us a bit about the subject of The Shelter. What are some of the themes approached in the film and why?
The Shelter is about a widower named Thomas Jacob (Michael Pare) who returns to his hometown after 5 years of absence. He eventually gets trapped in a house that won’t let him leave. Self-loathing, faith (and lack of), guilt, regret, betrayal and forgiveness are all themes the film deals with. All universal themes in my opinion and they were close to my heart when I wrote the film.

Q. Guilt, forgiveness and redemption. It is clear they are themes that fascinate you from viewing other films you wrote (Deaden, American Muscle) as well as The Shelter. Can you elaborate on why?
They interest me because I lived them. I had difficult early years, carried a lot of demons with me for a long time, made lots of bad decisions and it’s only with time that I figured out how to conquer said demons, to take responsibility for my mistakes, to forgive myself and move forward while trying to be a good person. But not everybody manages to face themselves in an honest way or find “peaceful” redemption, and yes, that psychological/emotional purgatory fascinates me. I guess because it could have been me.

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The Visit (2015)

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After a considerable slump with “The Last Airbender,” and “After Earth,” Shyamalan gives us yet another humanistic, demented, mystery that is filled with his trademark themes about life and coming of age. In this case, it’s young Becca and Tyler, both of whom are still healing from a broken marriage that saw their father leave them years before we meet them. Cut like a mock documentary, Shyamalan tailors the film to give us more of a personal view in to the dilemma Becca and Tyler find themselves in, and what it ultimately means in their development as adults.

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The Green Inferno (2015)

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You’d assume ten years in to one’s career that a filmmaker would begin to mature as a storyteller. But here we are in 2015, and Eli Roth is still telling the same story. A bunch of inept Americans go in to a foreign country and get brutally massacred. It’s the same xenophobic, sophomoric, silly slop that Roth’s been feeding audiences since “Hostel,” and he doesn’t seem intent on changing the formula any time soon. Roth at heart is still a fan boy stealing from his favorite horror movies, while directing tonally uneven and ridiculous schlock with the intent to shock first and foremost. Really, the intent is to shock and nothing else.

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Puppet Master 4: When Bad Puppets Turn Good (1993) [Blu-ray]

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As we saw from the chronological mythology that unfolded in the first half of the “Puppet Master” series, the puppets owned by Toulon were once kind and heroic. The puppets were the products of a man kind at heart, whose own lust for vengeance and hatred for the Nazis turned him evil. And in effect, he transformed his puppets in to evil beings that did his bidding. Toulon was once a nice man, and evil transformed him in to the villain we eventually met in “Puppet Master 2.” The third film, which is my favorite by far, features the origin of the puppets and how they were just beings living and doing their own thing until they found an inherent purpose in snuffing out the ugliness in humanity.

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#Horror (2015)

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Bullying is horrible, we all agree on this, at times it can lead to terrible consequences. In #horror, a story based on true events, first time writer and director Tara Subkoff shows what happens when the bullying of one girl by her rich friends goes too far. Here we are shown teen girls mercilessly taunting and verbally abusing each other over and over again. But it’s ok, because you laughed…

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The Final Girls (2015)

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After her mother’s death, Max has difficulty re-adjusting to life without her. As she grieves, she’s invited to a screening of 80s slasher Camp Bloodbath in which her mother starred. Against what might be her better judgment, she decides to go with her friends. Once there, an incident pushes the group into the film itself, Last Action Hero style, where they face off with its masked baddie Billy Murphy and try to save themselves, the cast, and Max’s mother.

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Bloodsucking Bastards (2015) [Blu-Ray]

BSBastardsBrian James O’Connell’s “Bloodsucking Bastards” is that type of comedy where characters speak in rapid fire pace and never actually say anything. Every character in “Bloodsucking Bastards” yammers on endlessly, and it’s all just palaver and white noise, eventually. Every attempt at a hilarious one-liners or goofy situations fails to land, making the entire affair one big misfire. This alleged horror comedy is neither comical nor very scary. Granted, there are some eerie moments, but nothing really ramps up the tension or the stakes. Fran Kanz plays Evan Sanders, a workaday cubicle jockey for a closed off telemarketing office building that sells various products.

Though aiming for the big promotion, he’s passed over in favor of an old college rival named Max, who takes over operations and begins focusing on streamlining the company. Things spiral out of control when Evan’s co-workers begin disappearing and then re-appearing as loyal office drones rather than the usual apathetic minimum wage workers they once were. Before long Evan realizes the whole office is being taken over by vampires, and, for whatever reason the master vampire has their eye on Evan’s girlfriend Amanda. Now hoping to survive, Evan teams up with his remaining co-workers to save his girlfriend before she’s eaten. O’Connell’s film actually makes vampires seem even less menacing than they ever were.

The script places them in an office setting for some crude allegory about a company takeover that ends up being interesting only until the finale. You can sense the sheer desperation to elicit some form of laughter from the group behind the film, as characters drop one-liners and bounce insults off of one another like it’s going out of style. All the while O’Connell introduces the elements of the vampires that results in some nice gory moments of carnage, but feel grossly tacked on. Plus, it’s really tough to involve yourself with the unfolding terror when not a single character is likable or charming. I almost didn’t care if anyone survived, and just wanted to see more of the solid vampire effects.

The vampire facial prosthetics are quite good, along with an accompaniment by some pretty nifty splatter effects. O’Connell anxiously aspires to deliver his own “Shaun of the Dead” (even the theme song sounds like a variation on the theme from “Shaun”) combined with “Office Space,” trying to add dimension and nuance to his central hero, but it’s unsuccessful. Instead the film feels a lot more like one long stale viral comedy segment. Only co-star Emma Fitzpatrick comes out of the affair smelling like roses, as her depiction of the hot but courageous jilted ex of Evan is fun to watch. “Blood Sucking Bastards” is brutally mediocre and instantly forgettable filler with admirable aspirations that never take off.

Featured on the Blu-Ray from Shout!, there’s a four minute outtake reel, a four minute on the set segment for the film with some B roll footage and clips, and a six minute reel of deleted scenes labeled as “Easter Eggs” for some reason.  Finally, there’s the original trailer, and an audio commentary from the comedy troupe Dr. God, which compiles the film’s director, writer, and most of the cast. They have a good time with the commentary and had an apparent great time making the movie. It’s too bad the fun and raucous energy never carries over in to the final product.