Independent filmmaker Anthony Spadaccini always had a keen visual eye, leaving no stone left unturned. You can tell by watching his films that he takes great pride in every shot and every camera angle. His films are an emotional experience, but even more than that, they are a visual experience to remember. You feel as though you are entering another dimension or another universe. You are a little uncomfortable, scared, and unsure, yet you can’t look away and you can’t wait to see what unfolds next. It grabs the viewer right from the get go and doesn’t let go.
Tag Archives: Mystery
Sinister (2012)
Ethan Hawke plays Ellison Oswalt, a successful crime author whose last book was a hit and garnered him a lot of hatred from folks surrounding the murders. Desperate for another hit book, Ellison moves his family in to the house where a vicious murder was committed in hopes of finding out why the family was murdered, and where their daughter Stephanie disappeared to. The explanation that he moves them in to the house where the murders ensued should be a clue that Ellison isn’t very smart. Hawke is a very good performer capable of conveying desperation and torment, but he’s given the task of turning Ellison in to an empathetic protagonist. Which is tough considering the more we know about Ellison the less likable he is, and when the screws finally turn on him, we’re not too saddened by it.
Raze (2014)
It’s gratifying that “Raze” blew me out of seat from the first blood drenched bone crunching five minutes. Because once it starts with a bashed in blood soaked face, it never stops being an electrifying series of vicious fight scenes. “Raze” embraces its grindhouse exploitation tropes so unabashedly, I can imagine if this were made in 1975, it’d star folks like Pam Grier, Uschi Digard, and Lina Romay, with Joe Estevez playing Doug Jones’ part. That said, “Raze” is a mind blowing action thriller all on its own, that is so simple yet so damn entertaining.
Static (2013)
Todd Levin’s “Static” would work a lot better if it were shorter, better paced, and didn’t give away the surprise ending in the opening seconds. Seriously, if you’ve seen this type of film with this kind of set up before, you’ll catch on to where the entire premise is going. I figured it for a home invasion thriller like “Ils Them,” but then I eventually pinpointed where they were headed once Sara Paxton reared her gorgeous face.
Don’t Go to the Reunion (2013)
Steve Goltz is quickly becoming one of my favorite indie directors working today. One of the creators of Slasher Studios, he and his group know slasher movies and when they deliver their own original slashers, they have a ball with classic tropes of the sub-genre that feel new. After their pleasing revenge slasher “Teddy,” Goltz delivers one of the more unique and engrossing entries of the sub-genre I’ve seen in years. While it’s true Goltz and writer Kevin Sommerfield provide their nods and winks to classic eighties slasher films, “Don’t Go to the Reunion” works to the beat of its own drum, delivering kills aplenty, and a very interesting whodunit mystery.
Mischief Night (2013) (DVD)
Director Richard Shenkman’s “Mischief Night” isn’t exactly the most original horror films ever made. It garners elements of “Ils Them” and “The Strangers” with a dash of “Scream.” And let’s face it, we’ve seen a ton of movies about blind women being tormented by someone in their house, the best of which was “Wait Until Dark.” But what the director does with the film is entertaining and often times very compelling, and that’s mostly thanks to the very powerful performance by actress Noell Coet who lends the film’s heroine strength, wit, and a fierce independence that becomes her saving grace.
Crave (2013)
I really wanted to like Charles de Lauzirika’s “Crave,” because while it is painfully boring, it plants seeds for some chaos and havoc when it begins. The problem is that it never follows through on those seedlings of story potential. At least Charles de Lauzirika doesn’t seem to know how. What could be a demented look at a descent in to darkness turns in to a soapy, dripping melodrama with a hint of violence added all for a very lame pay off.