B.T.K. -- DVD Review by Porfle

Originally posted on 4/12/09

The same tall, imposing figure, dressed in coveralls, relentlessly stalking his next hapless victim--Kane Hodder remains as intimidating a screen presence now as he did as Jason Voorhees in the FRIDAY THE 13TH films. But there's no hockey mask here, only the face of a normal, everyday guy. Yet there's something about it that isn't quite right, something a little off...just enough to give you the creeps. Because this isn't the face of a mindless killing machine. It's the guy next door.

Which is one of the reasons B.T.K. (2008) is so effective. Hodder plays Dennis L. Rader, a devoted husband and father of two grown daughters, a man active in his church, a man with a fairly responsible position--he's what's called a "compliance officer", which means he gets to wear an official-looking uniform and drive around his sleepy Kansas town in a white van, looking for infractions of various city ordinances. Rader takes this job seriously, perhaps a bit too seriously, to the point of being anally obsessive and at times downright hostile toward people who let their poodles run loose or don't keep their lawns trimmed (he actually measures the grass). Not only does this feed his voracious ego and help bolster his feelings of inadequacy, but it also gives him an opportunity to scope out potential victims--the women who will be his next targets for home invasion and brutal murder.

B.T.K. isn't your usual colorfully-inane slasher flick for teenagers to hoot and throw popcorn at. It's closer to the somber, uncomfortably realistic feel of HENRY: PORTRAIT OF A SERIAL KILLER, although Dennis isn't quite the remote, solitary cold fish that Henry was. He revels in his family life and his community and church activities, as long as he has brutal murder as a release valve for his pent-up rage and an outlet for his sexual frustrations. Hodder is great at portraying the two sides of Dennis--he's all smiles and banal cordiality until the little psycho-dial in his head inches into the red and he starts turning into a monster. And with his hulking physique, bull neck, and big, powerful hands, he's someone you wouldn't want coming after you.

Writer-director Michael Feifer doesn't go in for the flashy, elaborate kills that require the services of guys like Tom Savini or the inventiveness of Rube Goldberg. The real thing is scary enough when presented in a realistic way, as he does here. The performances in B.T.K. are generally good (Hodder himself is excellent) and natural enough that we feel for these everyday people whom Dennis strangles, stomps to death, smothers with plastic bags, or simply shoots in the head. The fear we all feel of having a vicious killer stalking us in our own homes is vividly portrayed. Feifer uses a hand-held camera to good effect and deftly stages the terror sequences so that they're both unnerving and emotionally disturbing. Direction and editing are above average throughout. Not every scene works, of course, and some of the later ones with Rader's family discovering the truth about him as police investigators move in are less than successful.

As the film goes on, we're taken deeper and deeper into Dennis' whacked-out mind while also getting disquieting glimpses from the victims' POV as well. One rather shocking scene shows him tracking down and getting revenge on a hooker who ran out on him earlier in the film--he decorates the wall with her husband's brains and begins to strangle her, which we see through her eyes as her vision dims, then returns, over and over again as Dennis sadistically brings her to the point of death several times before the kill. Then, he suddenly sees his own daughter in her place and freaks out. His mental state becomes even more unstable later on until ultimately we're just as unsure as he is of what's real and what isn't. Which leads to one of the film's most disturbing moments--a final twist that ends the story on a disorienting, dispiriting note.

Picture and sound quality are good--the DVD image is 16 x 9 widescreen with 5.1 surround audio. My screener contained no extras but the final release should boast a commentary track featuring director Feifer and Kane Hodder, a stills gallery, trailers, and Spanish subtitles.

B.T.K. (the title stands for "bind, torture, kill" after the infamous B.T.K. Killer, who inspired this fictional account) isn't a "fun" movie by any means. But it is often harrowing, disturbing, and effective. Mainly because the killer isn't a faceless automaton in a mask, or a grossly disfigured monster, but just some guy you might pass by on the street. Or glimpse out of the corner of your eye while sitting at home alone at night, right before he whips the plastic bag over your head.

B.T.K. -- DVD Review by Porfle

NIGHT STALKER -- DVD Review by Porfle

Originally posted on 7/28/09

A specialist in serial killer films as of late, prolific director Ulli Lommel adds to his screen bios of Son of Sam, the D.C. Sniper, the B.T.K. Killer, the Zodiac Killer, and others with 2007's NIGHTSTALKER, which is being given a new DVD release on Sept. 8 by North American Motion Pictures (under the slightly different title NIGHT STALKER). This weak and ponderous effort makes the recent serial killer films of director Michael Feifer look like "Masterpiece Theater" by comparison.

After a brief flashback of Richard Ramirez as a child witnessing his crazy war-veteran uncle shooting his crabby aunt in the head, the film is virtually plotless. Just about the only other thing that doesn't involve Ramirez skulking around the streets of Los Angeles looking for his next victim is the part where he follows an attractive young woman to a party and is introduced to drugs and Satan worshipping. Her supposed influence on him is manifested by several flashbacks during the murder scenes, consisting of quick closeups of her eyes as she chants "Hail Satan!"

Ramirez hates women, we're told early on, and is intent on putting them in their place. Thus, several of his victims in the movie are bitchy women in the process of bawling out some mousey guy, which seems to set off his "stalker sense" and lead him straight to the scene where he starts blasting away. This is repeated several times ad nauseum during the movie--scenes of couples arguing intercut with shots of Ramirez shuffling down the sidewalk sucking on his ever-present Charms Blow Pop until he arrives on the scene. Bad acting ensues, squibs go off, and star Adolph Cortez is directed to play around with the fake blood that's all over the place while director Lommel fiddles with artsy camera angles and editing.

I've always considered Richard Ramirez to be one of the scariest and most menacing of the famous serial killers, but Cortez plays him like a weaselly high-school dropout looking to score some weed for the big Phish concert. He does a voiceover with a lot of talk about evil and "darkness" and all that stuff, and keeps telling us "God is dead", etc., but there's no real connection between these ominous words and the smirking Richard Grieco wannabe who skulks around endlessly sucking on Blow Pops. Cortez goes through so many bags of Blow Pops during the course of this movie that his stomach lining must have developed an impenetrable candy shell.

Unfortunately, this is just about the only unique trait the character has, so Cortez works those damn things like he was doing a softcore porn tease. Besides that, all the script gives him to do is one walking-around sequence after another topped by yet another splattery bang-bang. After awhile the film becomes mainly a showcase for some decent head-shot squib effects.

NIGHT STALKER has that shot-on-video look and a wildly-inappropriate synth score that often works against the desired effect. The DVD image is 16 x 9 anamorphic widescreen with 2.0 stereo sound. I watched a screener with no extras, but the DVD release is supposed to include a stills gallery and closed captioning.

The film rambles along until the boredom finally ends with Ramirez' capture, which is depicted in a cursory but somewhat accurate manner. Then we're shown the following actual quote: "You don't understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil." These words are more chilling than anything depicted in NIGHT STALKER. Painting a convincing portrait of Richard Ramirez and giving us an inkling of what it must have been like to live in Los Angeles during his reign of terror or to experience one of his attacks are beyond this film.

 

NIGHT STALKER -- DVD Review by Porfle

BUNDY: A LEGACY OF EVIL -- DVD Review by Porfle

Originally posted in 2009

Back in 1990, Corin Nemec starred in a "Ferris Bueller"-inspired TV series called "Parker Lewis Can't Lose." Later, he went against type to play the repellent Harold Lauder in the ABC miniseries "The Stand", based on Stephen King's book. Now, with BUNDY: A LEGACY OF EVIL (2008), Nemec seems intent on exorcising all traces of his nice-guy image by portraying one of the most cold-blooded serial killers of all time, Ted Bundy.

It's hard to say how successful he is at this because at times I couldn't tell if I was supposed to think his Ted Bundy was scary or funny. This is especially true of the scene in which Ted, after murdering a young woman in some isolated location, gets down on all fours and starts howling like a coyote. Sometimes he seems to be still playing perennial loser Harold Lauder, striking out romantically while trying to pass himself off as a normal, dynamic guy. Nemec's theatrical portrayal is occasionally interesting, but rarely convincing.

Some effort is made by writer-director Michael Feifer to show some of the possible reasons for Bundy's warped personality. He had a troubled childhood during which he thought his grandparents were his parents and his mother was his sister (his father's identity being the subject of some dubious speculation). He grew up reading violent horror comics. And he was devastated when his college sweetheart dumped him after she realized that the socially-stunted young man would never grow up. Immediately after this, however, we're shown a montage of brutal abduction-murders with the now totally bonkers Ted having suddenly morphed into a savage, bloodthirsty animal. None of it really comes together to show the evolution of Bundy from troubled youth to psycho.

I read Wikipedia's page on Ted Bundy and found that much of the film's story is fairly accurate, although we still don't get an idea of the sheer number of victims he managed to do away with. The murder sequences themselves are disturbing mainly because the actresses are so convincing--their screams and pleas for mercy are heartrending. Nemec does his best to convey the unhinged monstrousness required, yet his emoting seems overly calculated. He's at his best in the quieter scenes, such as the ones between Bundy and the warden (Kane Hodder) who's about to lead him to the electric chair in the film's bookending segments, or the gripping courtroom sequence in which Bundy serves as his own defense lawyer and makes a mockery of the proceedings.

Michael Feifer, who directed Hodder that same year in B.T.K. and has made a number of other fact-based serial killer films, gives this one the look of an above-average made-for-TV movie. Interestingly, he shoots the early 70s stuff in a way that makes it seem to actually have come from that era, right down to the film stock and cheesy soundtrack songs. This segment of the movie looks as though it could've come right out of a Joe Sarno flick. Artistically, that's the most noteworthy thing about BUNDY: A LEGACY OF EVIL--otherwise, it's capably done but relatively unremarkable.

Other details of Bundy's story are sketched in, including an impromptu jailbreak, a brush with political activism, a stint manning a suicide hotline (where the real Bundy would meet future true-crime author Ann Rule), and a reunion with his college flame Stephanie (the very cute Jen Nikolaisen) which, though fictionalized, results in one of the film's most effective moments. Bundy's infamous rampage through a girls' dormitory is documented in predictably bloody fashion. The final act, of course, consists of Bundy's execution in the electric chair. Feifer, I suspect, was trying for some of the impact of the last minutes of IN COLD BLOOD here. The results are much less effective, yet the sequence does come off pretty well.

How much of Bundy's behavior was simply a deliberate choice to do evil as opposed to the actions of someone incapable of controlling his warped impulses? In the film, a Ted Bundy still hoping for a reprieve puts much of the blame on pornography and other outside influences. Hodder's warden doesn't buy it: "You're not mental. You're not deranged. You're the most normal, intelligent man I've ever had on death row." I think Corin Nemec's performance would have been more effective if he'd played Bundy more like that instead of always trying to make it obvious to us that the guy's a total loon, because we already know that.

BUNDY: A LEGACY OF EVIL -- DVD Review by Porfle

Heartwarming End Scene To "Isn't It Shocking?" (Made-for-TV, 1973) (video)

R.I.P. Louise Lasser 💗💗

With the murder case solved, Alan Alda's small town sheriff must decide whether to stay...

...or take a job in a bigger town far away, which his secretary Blanche (Louise Lasser) dreads because she secretly loves him. 

Listen how beautifully David Shire's music enters the scene at just the right moment and then leads into the end titles.

One of our favorite scenes in any 70s made-for-tv film.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Heartwarming End Scene To "Isn't It Shocking?" (Made-for-TV, 1973) (video)

BABY BLUES -- DVD Review by Porfle

 

Originally posted in 2008

 

Whoa--I must say, this movie took a rather shocking turn I didn't expect. When I started watching BABY BLUES (2008) I had no idea what it was about, so I was on the lookout for the usual horror elements to start popping up. The setting, an isolated rural farmhouse in Georgia with a typical family of six--Mom, Dad, two boys, a girl, and a baby--seemed ripe for ghostly occurrences of some sort, or maybe a possession or an axe-wielding maniac. And that scarecrow that keeps giving Mom the heebie-jeebies sure seems like it might come to life at any moment. But the real horror that strikes this family isn't supernatural, and it doesn't come from outside.

I almost hate to give away any more about it, but the pivotal event in the story happens so early on that I wouldn't be able to talk about the movie otherwise. To put it bluntly, BABY BLUES is pretty much inspired by the case of crazed Texas housewife Andrea Yates, who murdered all of her children in one fell psychotic swoop back in '01. (At least, that's what this "based on a true story" story brought to my mind.) The "baby blues" of the title refers to postnatal depression--perhaps "psychosis" would be more apt--which has Mom (Colleen Porch) wandering around with black circles under her eyes while drifting in and out of a state of hallucinatory paranoia. We also see her reading (gasp!) the Bible in her first scene, rarely a good sign in a modern horror film.

Her family, on the other hand, is pretty normal and well-adjusted. Dad (Joel Bryant) is an easygoing lug who unfortunately has to spend much of his time driving a big rig. Jimmy (Ridge Canipe), the oldest, is a typical boy who plays baseball and carries a slingshot. Holden Thomas Maynard and Kali Majors are younger siblings Sammy and Cathy, and bringing up the rear is the new baby, Nathan. Jimmy's starting to notice that Mom isn't quite her usual self lately, but nobody suspects what will happen when she finally flips out during Dad's absence and begins to see her children as vile creatures who need to be severely punished.

I don't know what your tolerance level is for seeing bad things happen to little kids in movies, but BABY BLUES will definitely test it. Mom's breakdown leads to one murder, an attempted bathtub drowning, and various other acts of violence until finally there's a bloody stabbing that may have you picking your jaw up off the floor. After that, the surviving kids run for their lives as the suspense becomes almost unbearable for the rest of the film. Most movies would build up to a sequence this intense as a finale, but this one hits a high tension level about a third of the way through and more or less sustains it till the end.

As Mom, Colleen Porch ably conveys her slow descent into madness and the hysterical homicidal rage that finally bursts forth. There's a great early scene in which, after hearing that a former classmate has scored a job doing the local TV weather report, a haggard Mom stands in front of the bathroom mirror with a bright smile and recites "Tonight will be mostly cloudy, with a slight chance of rain" over and over, until the smile gradually becomes hideous and the phrase itself seems to boil over with bitterness and despair. The kids all give realistic performances, especially 13-year-old Ridge Canipe as Jimmy. He's just about as believably natural as a child actor can get and we can't help but pull for him as he tries to protect his siblings and himself. The authentic Southern accents and atmosphere are also a plus.

The direction by Lars E. Jacobson and Amardeep Kaleka is first-rate as are the editing and the cinematography, which has a rustic warmth in the daytime scenes that gives way to a colder, harsher look later on. Michael Filimowicz's music augments the action well without competing with it.

The DVD is 1.78:1 widescreen with Dolby Digital sound and Spanish subtitles. I watched a screener so I can't comment on any extras, but the promotional info mentions a behind-the-scenes documentary and a trailer.

This isn't about some cool serial killer in a hockey mask slaughtering a bunch of vapid teenagers in delightfully gory ways, and the fact that the setting is so normal and the events so plausible makes it all the more horrifying. Each death is tragic and hurtful to watch, and the suspense leading up to them is dreadful. Impeccably made and intensely effective, BABY BLUES more than succeeds in what it sets out to do, but boy, is it ever hard to watch. And you may suffer from a bad case of postcinematic depression when it's over.

 

BABY BLUES -- DVD Review by Porfle

DEMENTIA 13 -- Movie Review by Porfle

Originally posted on 2/27/16

 

One of my most vivid childhood memories is of accompanying my older brother to a Saturday screening of a new horror movie with the puzzling title, DEMENTIA 13 (1963).

The stark black-and-white photography and dreary Irish castle setting were spooky enough, but it was this film which would introduce me, for the first time, to genuine, grueling screen terror.

The credit "Directed by Francis Coppola" meant nothing to me or anyone else at time--the future creative genius behind the GODFATHER films was merely an aspiring Roger Corman protege' helming his first "real" movie--and neither did the rather mundane plot about an eccentric Irish family, the Halorans, who were obsessed with the drowning death of the clan's youngest child Kathleen several years earlier.

I wasn't yet a fan of the wonderful Luana Anders (EASY RIDER, THE LAST DETAIL, NIGHT TIDE) who played Louise, John Halloran's scheming wife.  In the opening scenes, we see John die of a heart attack and Louise dump his body into a lake lest his death be discovered and she lose her share of the family fortune.

Nor did I know that William Campbell, playing oldest Haloran son Richard, would later guest star in two of my favorite episodes of "Star Trek: The Original Series" (he was Trelane in "The Squire of Gothos" and Koloth in "The Trouble With Tribbles"), or that Patrick Magee as family doctor Caleb would feature so prominently in Stanley Kubrick's sci-fi classic A CLOCKWORK ORANGE.

All I knew at the time was that part of Louise's inheritance scheme involved stripping down to her bra and panties and taking a creepy late-night swim in the same murky pond in which little Kathleen had drowned. 

What happens when she resurfaces--and the spoilers are right there in the poster and trailer themselves--is one of the homages to the likes of PSYCHO that Corman instructed Coppola to include in his script.  (Corman also got Jack Hill to write and direct additional scenes to pad the running time and gore content, to Coppola's dismay.) 

It's also the first-ever movie scene that really and truly scared the ever-livin' crap outta me.

But DEMENTIA 13 isn't done yet, because later there's a beheading (also a first for me) and other creepy goings-on thanks to an axe-wielding maniac who seems to be stalking the Halorans. 

Unfortunately, much of these doings have lost their edge over the years--the leisurely-paced story is dishwater dull at times and most of the scares no longer chill the blood quite like they used to. 

But the film still has a strong Monster Kid watchability factor and (thanks largely to the authentic Irish locations) eerie, Gothic atmosphere to burn.

Hearing music maestro Ronald Stein's creepy, harpsichord-based theme music kick in during those pleasantly-morbid opening titles always makes me want the soundtrack CD.  Come to think of it, I feel that way about all of his film scores. 

After seeing DEMENTIA 13 that first time back in '63, I found its double-bill companion (Ray Milland's colorful PREMATURE BURIAL) a relief for my jangled nerves much the same way DR. WHO AND THE DALEKS would help me recover from the traumatic NIGHT OF THE LIVING DEAD some years later. 

Modern viewers may find this hard to imagine since the film now plays as a slow but satisfying murder mystery with some mildly effective scares.  But it was my PSYCHO, and lovely Luana Anders' midnight swim was my shower scene. 

Read our review of ROGER CORMAN HORROR CLASSICS VOL.1

DEMENTIA 13 -- Movie Review by Porfle

AXE / KIDNAPPED COED -- Blu-ray + CD Review by Porfle

 

Originally posted on 3/31/22

 

Sometimes a disc falls into my hot little hands which is an all-round cinematic experience in itself, and goes beyond simply watching a movie or two and some extras. Severin Films' new 2-disc set, AXE/KIDNAPPED COED (one Blu-ray disc, one soundtrack CD) is just such a heady film-fan experience. 

Representing the entire filmic output of 70s independent writer/producer/actor/director Frederick R. Friedel (save for an obscure 2000 comedy called MY NEXT FUNERAL), it's a saga of how someone with a little money and a lot of talent made his mark in the regional movie industry, had his films robbed from him by a crooked distributor, and finally found a "rainbow at the end of the storm" decades later when his work was rediscovered by a whole new audience of fervidly appreciative fans.

Watching the first film, AXE, aka "Lisa, Lisa" (1974), my initial impression was that this guy Friedel is one of those creative talents who can take the kind of budget and resources usually reserved for the lowest drive-in dregs and work a kind of rough-hewn magic with them.  Even as the film's look and feel still have that unavoidable bottom-drawer ambience, there's something sharply intelligent about the camerawork and editing, as well as performances by a uniformly fine cast, which elevates it all into a much higher realm of watchability.

Two plotlines are introduced which will eventually intertwine--in one, three gangsters are on the lam after having dispatched some unlucky mug in his cheap hotel room, in luridly violent fashion.  Jack Canon plays Steele, the icily psychotic leader, Ray Green the equally sadistic thug Lomax, and Friedel himself is Billy, a novice criminal still hampered by a nagging conscience.  After the murder, they disappear into the North Carolina backwoods to find a place to lay low for awhile.

This brings them into a collision with plotline number two, in which a curiously disaffected young girl named Lisa (Leslie Lee) is the sole caretaker for her catatonic grandfather (Douglas Powers) in a remote two-storey farmhouse.  Scarcely into her teens, Lisa already seems shell-shocked by life, and barely reacts when Steele, Lomax, and Billy forcibly invite themselves to stay. 

While Lisa's deceptively placid countenance hides a fierce inner turmoil, the evil men now invading her life force her to take overt actions to defend herself.  This comes to a head when Lomax enters her bedroom at night with bad intent, and Lisa displays an aptitude for slicing and dicing heretofore reserved for chickens.

 

This is where AXE starts to live up to its lurid trailers and print ads (which scream the tagline "At last...total terror!"), with winsome nutcase Lisa wielding a straight razor and an axe in bloody fashion without ever breaking that strangely calm but troubled fascade.  Still, the film is never in the same league as THE TEXAS CHAIN SAW MASSACRE (alternate titles include CALIFORNIA AXE MASSACRE and THE VIRGIN SLAUGHTER) nor does it try to be.  It's mainly a compelling and pleasingly morbid character study with splashes of gore but little that could be called "graphic", although that didn't stop it from being condemned as one of England's infamous "video nasties" of the 80s.

As for the cast, the leads couldn't be better.  Leslie Lee is an ideal Lisa, pretty but strange, her sad face always interesting to look at as you wonder what the heck's going on behind it.  As Steele, Jack Canon is a classic big-screen tough guy that you just can't look away from.  He'd have been perfect as the lead in one of those tacky 70s or 80s TV cop shows like "Hunter"--as it is, one can only wonder why he never went farther as an actor.  Ray Green's bloated Lomax is sleaze personified, and Friedel himself, bearded and Brillo-haired, is a convincingly conflicted Billy who ends up trying to help Lisa. 

As a director, Friedel takes his time and lingers artistically over every sequence as much as the brisk shooting schedule allowed, drawing out every nuance of visual interest possible while admittedly playing fast and loose with the script.  An early scene of Steele and Lomax terrorizing a poor convenience store clerk (Carole Miller) is like a foretaste of Oliver Stone's NATURAL BORN KILLERS.  Never one to rely on sheer exploitation, Friedel shoots this and Lisa's rape scene later in the film--as well as the subsequent killings--not just as visceral exploitation but as an opportunity to indulge in a form of raw cinematic poetry.

Wanting to fully explore the potential he saw in Jack Canon during the making of AXE, Friedel then concocted the entire screeplay for his follow-up film KIDNAPPED COED, aka "Kidnapped Lover" (1976) around the actor's charismatic appeal.  Thus, Canon appears in almost every single scene and makes the most of his screen time with a performance that should've been a ticket to broader fame.

Equally compelling is young Leslie Ann Rivers as ginger-haired, bespectacled Sandra, a well-to-do teenage "coed" whom small-time crook Eddie Matlock (Canon) abducts in hopes of a big ransom.  Both actors have faces that are fascinating to look at and naturalistic acting styles that bring their characters to life. 

Friedel has a bigger budget here (around $40,000) which allows for more elaborate camera moves and other relative indulgences that really pay off in the movie's look and style.  Again, he takes plenty of time for character development as the two leads get to know each other and gradually even form a tentative romantic relationship, all done in a series of quirky exchanges taking place during some wildly unexpected situations.

These include a brutal, Scorsese-esque sequence in which both are attacked in their seedy hotel room by a couple of violent thugs who force their way in at gunpoint so that they can beat up Eddie and rape the horrified Sandra in another scene that's stunningly executed.  Continuing the theme that this just isn't his day, Eddie later encounters unfriendly shotgun-wielding farmers while simply trying to get water for his car radiator, and finally ends up in a life-or-death struggle against another bearish farmer who has just welcomed him and Sandra into his home before suddenly going pitchfork-wielding berserk. 

As all this happens to them, Eddie and Sandra's relationship wanders through different stages as the film itself passes, with varying degrees of finesse, through such disparate genres as thriller, horror, action, character drama, quirky romance, and even comedy.  Friedel admits in the commentary that he doesn't even remember whether or not there was a written screenplay for the film, but this only contributes to its off-kilter charm.  Mainly, though, it's Canon and Rivers that keep our eyes glued to this wildly uneven but compelling little film right up to its abrupt and somewhat anti-climactic ending.

The full story surrounding these two films from conception to oblivion (and, lucky for us, joyous rediscovery) is recounted in the hour-long bonus documentary "At Last… Total Terror! – The Incredible True Story of AXE & KIDNAPPED COED", which sees the warm reunion of Friedel and several key members of his production team who also gather to provide excellent commentary tracks for both films.

"Moose Magic – The George Newman Shaw & John Willhelm Story" (38 mins) tells of the two young musical geniuses who scored the films shortly before their tragic demise in a car accident.  Shining lights in the Charlotte, North Carolina music scene, these wonderfully creative and eclectic musicians contributed some offbeat, often minimalistic tracks to AXE and KIDNAPPED COED that are preserved in this set's second disc, a music CD which also includes several bonus tracks of the duo's non-movie-related jazz compositions that provide scintillating listening. 

A ten-minute interview with author Stephen Thrower ("Nightmare USA"), who helped bring Friedel and his films to the attention of new audiences, is followed by several trailers and TV spots for them. 

No doubt the oddest of all the bonus features is the full-length feature film BLOODY BROTHERS, which is actually a later re-edit by Friedel of both AXE and KIDNAPPED COED into one strange, disjointed narrative in which Jack Canon's "Steele" and "Eddie Matlock" characters are presented as identical twins unaware of each other's existence.  Their unrelated stories are intercut with little rhyme or reason, while recurring intertitles tell us that the two are gradually drawing closer to one another ("Five miles away", "One mile away", "1/2 mile away", etc.)

Since we know they'll never meet, we wonder what this is all leading up to, if anything. The main interest is seeing which scenes Friedel decides to include and how he cross-edits them, as well as what he leaves out, including the entire subplot of Eddie and his mom.  There's one scene that's entirely new, which shows Eddie on the beach performing a Jewish prayer ceremony even though he isn't Jewish.

This interesting oddity comes with another winning commentary track by Stephen Thrower. I really can't say how it would play for someone who hasn't already seen the two films on their own. 

Severin Films has restored AXE and KIDNAPPED COED from the original negatives (rescuing these from movie purgatory is part of the main documentary's gripping story) for this HD Blu-ray release, which is in 1.85:1 widescreen and mono sound.  No subtitles. 

AXE, KIDNAPPED COED, and their bastard sibling BLOODY BROTHERS, along with the abundance of extras that go along with them, add up to several hours of movie watching that are engrossing, enriching, and just plain fun.  It's all very satisfying in an exploitation vein, but not only that, Friedel's low-budget films are small-scale artistic wonders which yield all sorts of aesthetic rewards and make one wish he'd done more before being soured on the business. Rather than "so bad, they're good", his films are actually so good, they're great.



Stills used are not taken from the Blu-ray.

AXE / KIDNAPPED COED -- Blu-ray + CD Review by Porfle

THE FALL: SERIES 1 -- DVD Review by Porfle

 

Originally posted on 9/17/13

 

Bleak, melancholy--borderline depressing, in fact--the Brit cop series THE FALL: SERIES 1 (2013)  has enough going for  it to supply hardy viewers with plenty of hard-edged adult drama and suspense.  Yet those holding out for some kind of closure at the end of series one's five episode run may find it ultimately unfulfilling.

Gillian Anderson ("The X-Files", BLEAK HOUSE) plays DS Stella Gibson,  who's been summoned by the Belfast police to head a departmental review into a stalled murder investigation.  When other, similar murders point to the work of  a serial killer, Gibson urges her superior and former lover Jim Burns (John Lynch) to put her in charge of the case.

Meanwhile, we follow the everyday life of Paul Spector (Jamie Dornan, "Once Upon a Time"), a devoted  husband and father who works as a grief counsellor.  He also happens to be the killer DS Gibson and her new task force are searching for.  When not helping care for his ultra-cute kids Olivia and Liam or guiding a young couple through the heartbreak of losing their son, he's stalking young professional  women as a prelude to murdering them in extremely ritualistic fashion.

While Dornan plays the character with a quiet, smoldering intensity,  Anderson's DS Gibson seems mostly sullen and cold.  This is partially accounted for by the fact that she has no life whatsoever outside of law enforcement, and treats the one sexual encounter that we see--after an abrupt come-on to handsome  young cop James Olson (Ben Peel) to whom she's just been introduced--with less warmth and intimacy than a handshake. 

When Olson is gunned down in connection with a related case, Burns' objection to Gibson's casual encounter with him becomes fodder for series creator and writer Allan Cubitt's desire to inject gender politics into the mix whenever possible.   The scripts often feed Gibson weak male characters to get the best of and sympathetic female colleagues to  bond with, although none of this is as effective or relevant as Helen Mirren's struggles against sexual discrimination in the classic series "Prime Suspect." 

It does, however, give Anderson the chance to play an imperfect heroine who isn't particularly likable and, in fact, comes off as rigid, humorless, and emotionally-repressed.  We learn practically nothing about her past and thus haven't a clue as to how she became this way.   One might even call her character underwritten,  giving Anderson the task of filling in the blanks with her own substantial presence, which she manages to do quite well.

As for Paul Spector, so much is made of his family and professional lives that we sometimes almost forget that he's the killer, except for the times in which his public and private personas threaten to collide.  Strangely, he's just about the only male character who seems to demonstrate consistently positive traits--faithful husband, devoted father, caring grief counsellor--and he's so matter-of-fact while going about his misdeeds that we get little sense of how truly evil and deranged he would have to be underneath his bland exterior.

A not-altogether-successful attempt is made, through crosscutting, to draw parallels between Spector and Gibson as we see them going about their lives.  Both are predators of a sort--she conquers her male prey through impersonal sex while he dominates and kills his victim.  He runs, she swims; she pores over her case notebook while he studies his trophy scrapbook; and so on.  In one curious scene,  a shot of a dead victim sprawled across a bed is juxtaposed with a similar view of Gibson in a matching reclining pose after sex.

The murder sequences,  of course, are repellent but not played to chill or thrill except when things go wrong and chaos ensues,  as in episode four's botched attack.  This bit of excitement comes none too soon, as it's around this point that the series starts to drag a bit despite some mildly shocking moments which, even so, might have been directed a bit more sharply.  Other subplots which don't seem all that relevant distract from the main drive of the story.

As Spector fights to keep himself together,  a punchy phone conversation with DS Gibson provides the series with some of its most scintillating moments.  However,  this is the closest we'll get to a climax in series one, as the final episode ends with a cliffhanger that promises to stretch things out even more next season.  I would've preferred a resolution,  but if the writers go in a different,  unexpected direction next time it should keep things interesting.

The 2-disc set from Acorn Media is in 16:9 widescreen with Dolby Digital sound and English subtitles.  The sole extra is a 12-minute behind-the-scenes featurette.

THE FALL: SERIES 1 is substantial, involving drama that's worth watching,  although somewhat of a disappointment compared to some of the better Brit cop shows I've watched.  In some ways it even comes off as a bit half-baked at times.  And while I'm keen to find out what happens next season,  I'm not exactly on pins and needles.

THE FALL: SERIES 1 -- DVD Review by Porfle

THE BOYS NEXT DOOR -- Blu-ray Review by Porfle

Originally posted on 11/19/19

 

Penelope Spheeris may be best known for her comedies, but she gave us one of the hairiest, scariest thrill-killer flicks of the 80s when she directed THE BOYS NEXT DOOR (Severin Films, 1985).

Maxwell Caulfield (GREASE 2, "Dynasty") and Charlie Sheen (YOUNG GUNS, HOT SHOTS!) play high school misfits Roy and Bo, just graduated but faced with the dull prospect of going to work in a local factory for the rest of their lives.

These kids are filled with aggression and frustration and are just itching to take it out on the world, starting with their classmates whom they terrorize at one of those graduation parties held by someone whose well-to-do parents are out of town.

But that's not enough to quell the fire in their bellies, so they head for Los Angeles, where cruising Sunset Strip is just the beginning of a weekend of wild abandon that will quickly escalate into violent crime and, eventually, murder.

THE BOYS NEXT DOOR makes a halfhearted effort to "say something" about violence in society, serial killers, etc., but it pretty much boils down to total exploitation with some slasher-horror elements. (Which, of course, is a good thing.)

It's actually not all that scary--it never gets as intense, horrific, or graphic as, say, HENRY: PORTRAIT OF A SERIAL KILLER. It's more like an edgy adrenaline rush that gets the blood going while leaving a sour taste in your mouth.

Caulfield is so much better here than in his pretty-boy, nighttime soap opera-type roles, never overplaying but giving us just enough "crazy" bubbling up beneath the sweaty surface.

His sociopathic young "monster-in-progress" character is always wire-taut and on the lookout for people he can violently take out his impotent frustrations on, channeling his pent-up sexual aggression into narcissistic rage.

While his friend Bo is constantly on the prowl for girls, especially ones that remind him of his unobtainable blond heartthrob from school, Roy seems so sexually paralyzed as to be violently asexual.

We wonder if his biggest problem is impotence with girls or a fear that he's actually gay, one which he acts out by attacking an innocent homosexual who invites them back to his apartment after meeting them in a gay bar.

Sheen gives an equally strong performance as an impressionable, easily-led type who tries to maintain a cool fascade while his own deep-seated emotional problems are coaxed into action by the stronger personality. 

We wonder if he would be capable of such antisocial behavior on his own, and, like so many serial killer duos, the two disturbed youths combine into one very dangerously psychotic entity that thrives on acts of swift, senseless violence and murder.

Iconic 70s-80s actress Patti D'Arbanville (BILITIS) plays Angie, a sophisticated Hollywood girl who unwisely lets herself be picked up by these two very bad eggs.

The film  also follows the progress of two dogged, world-weary police detectives (familiar faces Christopher McDonald and Hank Garrett) who are on the killers' trail.

Each murder sequence builds inexorably as the unsuspecting victims are dispatched in quick, jarring bursts of rage that come seemingly from out of nowhere, mostly at the hands of the ever-unstable Roy as Bo either looks on in shock or is compelled to join in.

Spheeris (WAYNE'S WORLD, BLACK SHEEP) directs it all in taut, crisp fashion, giving us plenty of action (including a couple of exciting chase scenes) as Roy and Bo head nonstop for the inevitable bad ending. 

The Blu-ray from Severin Films looks and sounds great, and comes with a well-stocked bonus menu which includes a commentary track with Spheeris and Caulfield, several interviews and featurettes, alternate titles and extended scenes, and the film's trailer.

Watching THE BOYS NEXT DOOR is like watching a driver speed down the wrong way on a freeway and knowing he's eventually going to crash, taking out a number of innocent people along with him and doing it just for sick, suicidal thrills. 


Buy it at Severin Films

Special Features:
    Audio Commentary with Director Penelope Spheeris and Actor Maxwell Caulfield
    Blind Rage: Interview with Stephen Thrower, Author of Nightmare USA
    Both Sides of the Law: Interview with Actors Maxwell Caulfield and Christopher McDonald
    Give Us Your Money: Interviews with Street Band Performers Texacala Jones and Tequila Mockingbird
    Caveman Day: Cinemaniacs Interview with Director Penelope Spheeris and Actor Maxwell Caulfield
    Tales from the End Zone: Interview with Actor Kenneth Cortland
    The Psychotronic Tourist – The Boys Next Door
    Alternate Opening Title Sequence & Extended Scenes (Silent)
    Trailer

THE BOYS NEXT DOOR -- Blu-ray Review by Porfle

The Classic Party Scene From "Dead Kids" (aka "Strange Behavior") 1981 (video)

 

As "Strange Behavior", this intensely atmospheric horror flick was a Cinemax fave.

Years later we got to review it under its original title, "Dead Kids", and it seemed better than ever. 

The cast is amazing, including Dan Shor ("Tron"), Marc McClure ("Superman"), Dey Young, Louise Fletcher ("One Flew Over The Cuckoo's Nest"), Fiona Lewis ("The Fury"), and Michael Murphy ("MASH"). 

Here's the classic party scene which features the song "Lightning Strikes Again" by Lou Christie.

 

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

 

The Classic Party Scene From "Dead Kids" (aka "Strange Behavior") 1981 (video)

DEAD IN 3 DAYS -- DVD Review by Porfle

 

Originally posted on 3/4/09

 

At first, the Austrian horror film DEAD IN 3 DAYS, aka In 3 Tagen bist du tot (2006), seems to have all the makings of yet another forgettable teen slasher flick. But it quickly proves to be a sober, atmospheric murder mystery-thriller with believable characters and a suspenseful story that held my interest till the very end.

A close-knit group of childhood friends celebrating their graduation from school each start getting a text message on their cell phones that reads: "Dead in 3 days." When one of them disappears from a dance, the others report it to the police but aren't taken seriously until his body is found floating in a nearby lake, bound and weighed down by an anchor. Then, when Nina (Sabrina Reiter) is abducted from her home and barely escapes alive from the hooded killer's lair, it becomes clear that the group of friends have been marked for death. So they have three days to figure out who's after them and why.

An early incident in which they run over a small deer on an isolated road and are forced to club the suffering animal to death brings the inferior I KNOW WHAT YOU DID LAST SUMMER to mind, but fortunately this merely hints at a more extreme occurrence in their past that binds them together and will soon come back to haunt them. (Which was a relief since I wasn't all that interested in watching a horror movie about a deer avenger.) This establishes a tone of shared guilt that will increase as the story progresses. With the first murder, which is shown in agonizing detail from the victim's point of view, it's clear that no one is safe and that anything can happen.

The teens, thank goodness, are fairly well-developed characters and not just cardboard cutouts. They work at part-time jobs, argue with their parents, have unstable home lives, etc. and aren't always entirely likable. Even when they have sex, it's unexploitive and not simply to get us stoked up for their slaughter by-the-numbers. The fact that we care about them creates genuine tension instead of just the usual build-up to the next jump scare.

That said, this is a pretty scary movie at times, with touches of old-school graphic violence. The "fish tank" scene is well-staged and harkens back to 80s films like HE KNOWS YOU'RE ALONE and SILENT PARTNER--as soon as Clemens (Michael Steinocher) notices the tank's dangerously sharp edge while filling it with fish, it's pretty obvious that somebody's eventually going to have a bad throat day.

While these instances of gory violence are shocking, they're not really what the movie is about. Ultimately it's the mounting tension and a heavy atmosphere of suspense and dread that drive the story and keep us on the edge of our seats. Directors Andreas Prochaska and Stewart St. John involve the viewer with unique camera angles (especially a good use of overhead and POV shots) and consistently compelling photography. This is a very visual movie, with muted colors--even the daylight scenes have a hazy look--and the deliberate pace gives us time to be immersed in the mood.

Certain dramatic moments are emphasized by switching to slow-motion and/or silence. When the first victim's body is found, there's no dialogue for several minutes, with only the images telling the story and conveying the emotions. It's a reminder of how effective silent movies could be at times, without all the noise and chatter. At other times there's even a Dario Argento-like quality in the use of interiors and exteriors to help build an overall sense of unease. In some shots you might almost think it was Argento's camera lingering over eerie windswept trees or prowling down shadowy hallways. All of this is bound together by a recurring water motif, the reason for which becomes clear at the end.

The DVD is in 1.85:1 widescreen with Dolby Digital sound and your choice of English dub or original German soundtrack with subtitles. There are no bonus features.

Once the surviving members of the original group figure out what's going on and who's after them, they decide to sneak away from police protection and take on the killer themselves. Incredibly dumb, yes, but it does lead to a bloody, intense finale that left me with that special glow that comes from having just watched a really good horror movie. For its rich, inventive visual style alone, DEAD IN 3 DAYS is well worth watching.

 

DEAD IN 3 DAYS -- DVD Review by Porfle

BLOODY BIRTHDAY -- DVD Review by Porfle

Originally posted on 6/15/11

 

In the hallowed annals of "bad seed" flicks, BLOODY BIRTHDAY (1981) has to be one of the coolest.  Not really a slasher, nor even a horror movie, it's basically a giddy kill-fest made novel by the fact that the three maniacs on a murder spree are just celebrating their tenth birthdays.  It's kind of like GOODFELLAS with little kids, and they're more bloodthirsty than a boatload of Joe Pescis.

The movie starts out with one of those cool ideas that sets it apart from all the other similar cheapo horrors being ground out like sausage in the 80s.  Three babies are born at the same time on the same day, during a solar eclipse.  Somehow, a weird alignment of the planets causes each of them to be born without a conscience.  Ten years later, the urge to kill hits these cute little tykes and they start racking up a body count that would make Jason proud.

Low-budget filmmaker Ed Hunt (STARSHIP INVASIONS) does a modest but efficient job of bringing his screenplay to the screen, serving up some pretty decent thrills during the film's leisurely pace.  Lori Lethin (THE PREY) plays all-American girl Joyce, who's taking care of her little brother Timmy (K.C. Martel, THE AMITYVILLE HORROR, E.T.) while the 'rents are away.  Their house will be the scene of the film's frantic finale when our trio of homicidal cookie-grabbers descend upon them in a frenetic frenzy of rip-roarin' revenge.



Elizabeth Hoy (THE BLUES BROTHERS), who would've been perfect as the lead in THE BAD SEED, plays the role of cute little Debbie to the hilt.  This angelic-looking imp has drilled a hole in the wall of her closet and sells 25-cent peeks at her big sister Beverly (MTV's Julie Brown) as she dances around naked in her bedroom.  (Julie Brown fans will no doubt be willing to cough up a few quarters.)  But this is nothing compared to the shocking scene in which she stages the murder of her own dad, the town sheriff (Bert Kramer), with the help of her cohorts Curtis and Steven.

Steven (Andy Freeman) is a nutty little bugger, but the bespectacled Curtis (Scott Jacoby's half brother Billy of ROAD KILL and THE BEASTMASTER) is a smirking, kill-crazy loon who fits comfortably within the ranks of the screen's most trigger-happy thrill killers.

When he isn't locking Timmy in an abandoned refrigerator in the junkyard, he's prowling around with the dead sheriff's hand cannon looking for people to blow away.  This might include a playground enemy, a bossy school teacher, or the traditional teenage couple having highly gratuitous sex in the back of a van.




These kids are exhilaratingly evil without overplaying it and the murders are depicted in a matter-of-fact style that emphasizes their gleeful coldbloodedness.  Debbie, whom one might refer to as "The Jump-Rope Killer", even keeps a nostalgic scrapbook of her kills and gets mad when big sis discovers it and reports it to Mom.  (Big mistake!)  The boys, meanwhile, are so industrious that they manage to hotwire an old car at the junkyard and attempt to run down Joyce as she searches for her missing brother.

The cast ranges all the way from the sublime to the--well, not quite sublime.  Ed Hunt somehow managed not only to snag Susan Strasberg for the role of strict schoolteacher Miss Davis, but also screen veteran José Ferrer as the doctor who brings the three diabolical darlings into the world.  A young Joe Penny ("Jake and the Fatman") shows up in one scene, as does Cyril O'Reilly (the anti-Semitic redneck from PORKY'S) as Joyce's boyfriend. 

Familiar faces such as Ellen Geer, Michael Dudikoff, and Ward Costello can also be found here and there.  The "Worst Actor" award would have to go to the guy who plays the deputy.  I didn't catch his name, but you'll recognize him--he's the guy who can't act.  Listening to him step all over Lori Lethin's lines is a real treat.

The kids themselves are a ball to watch throughout BLOODY BIRTHDAY, whether squeezing out crocodile tears at the funerals of friends and family members they've just offed or simply reveling in their own playful wickedness while putting on an innocent front.


The triple-header backyard birthday party of the title finds them greedily ripping open their presents as guests tuck into gooey birthday cake that may or may not be laced with ant poison. When Joyce walks in on Curtis in the kitchen with a frosting squeezer in one hand and the poison bottle in the other, it gives Lori Lethin the chance to race into the backyard knocking cake out of people's hands and screaming the film's most deathless line: "DON'T EAT THAT CAKE!"

The DVD from Severin Films is in 1.66:1 widescreen with Dolby Digital sound.  No subtitles.  Extras consist of a cheerful interview with Lori Lethin ("Don't Eat That Cake!"), a lengthy audio interview with director Ed Hunt which should be of interest to aspiring low-budget filmmakers, the entertaining featurette "A Brief History of Slasher Films", and some Severin Films trailers. 

BLOODY BIRTHDAY may be lumped in with all the other gory slice-and-dice flicks of the 80s, but don't expect a lot of blood and body parts, or an unkillable killer in a mask.   Just settle back and enjoy the heartwarming antics of some cute little kids terrorizing their hometown and rapidly reducing its population.

BLOODY BIRTHDAY -- DVD Review by Porfle

A BUCKET OF BLOOD -- Movie Review by Porfle

 Originally posted on 3/2/16

 

A BUCKET OF BLOOD (1959) is a Roger Corman classic that I wasn't that familiar with at first since I bought the dollar DVD years ago at Wal-Mart,  watched it once, and then sold it in a garage sale.  I probably only got 50 cents for it,  maybe even a quarter, but I was glad to get it because that's the kind of year I was having.

Corman regular Dick Miller plays a guy named Walter Paisley, who's also having a bad year (how's that for a segue?)  He's an insecure milquetoast who buses tables in a coffee bar where beatniks hang out, but dreams of being a creative artist like pretentious poet Maxwell (Julian Burton) in order to impress his heartthrob Carla (THE WASP WOMAN's Barboura Morris). 

Another Corman fave, the great Antony Carbone of THE LAST WOMAN ON EARTH, CREATURE FROM THE HAUNTED SEA, and PIT AND THE PENDULUM, is Walter's overbearing boss Leonard.

When Walter accidentally kills his landlady's cat, he covers the evidence with modeling clay and then shows off the result as his own artistic creation, garnering instant fame as a brilliant new talent. 

But a hunger for greater recognition leads to murder when he whacks a gun-waving narc (future game-show host Bert Convy) over the head,  killing him, and then turns him into a highly-praised clay sculpture as well.  With more money and fame rolling in, Walter's trail of victims grows longer, eventually leading to Carla herself.

If you liked 1960's THE LITTLE SHOP OF HORRORS you should really be interested in this amusingly morbid tale which amounts to pretty much a dry run for the later film.  Besides also being helmed by Corman,  both were penned by Charles B. Griffith, whose sense of humor seemed to play into the then-current appetite for beatnik culture and "sick" humor (the film's tagline is "You'll be sick, sick, sick--from laughing!")

 
 Both feature typical be-bop musical scores by Fred Katz and similar production values (moody black-and-white photography, modest stage-like sets, a "skid row" ambience).   Carbone's bullying boss Leonard, just like flower shop owner Gravis Mushnik, first sees dollar signs from his employee's creative efforts but grows increasingly squeamish when he discovers the truth behind them.

Walter could be a first cousin of Jonathan Haze's Seymour Krelboyne,  another mousey shlub stuck in a dead-end job with an oppressive boss, who yearns to break out of his rut by doing something creative which will lead to murder.  We almost expect him to have a clinging, overbearing mother when he shleps back to his cheap apartment, and indeed his landlady is played by Myrtle Damerel, who was Seymour's hypochondriac mom in LITTLE SHOP. 

Barboura Morris, however, grounds the film by playing her role straight, and Griffith's script for BUCKET isn't nearly as whimsically farcical as the later story.  Carbone maintains a delicious deadpan even when Leonard's dazed reactions to Walter's bloodthirsty activities threaten to incapacitate him. 

Other familiar faces include Ed Nelson as Bert Convy's undercover vice-cop partner,  Lynn Storey of LITTLE SHOP (she played "Mrs. Hortense Fishtwanger") as a curious square, and, as an art patron interested in Walter's work, the ubiquitous Bruno Ve Soto.

In the lead role that would define his career as a cult actor, Dick Miller wrings every nuance of nebbishness out of his pitifully desperate character and manages to remain likable even as his murderous tendencies spin out of control.  Corman's camera explores Miller's manic expressions with his own artistic eye and the collaboration results in a truly memorable performance. 

A BUCKET OF BLOOD itself stands as a minor classic and a model of efficient, creative low-budget filmmaking as well as simply being a real kick to watch.

Read our review of ROGER CORMAN HORROR CLASSICS VOL.1

A BUCKET OF BLOOD -- Movie Review by Porfle

Writer, producer, director, DAX PHELAN, “THE OTHER SIDE OF THE WIND” and “JASMINE” Helms Hitchcokian Thriller "KIRKWOOD"

DAX PHELAN TO RETURN HOME 

TO DIRECT “KIRKWOOD” FEATURE FILM

Writer, producer, and director whose credits include “THE OTHER SIDE OF THE WIND”and “JASMINE” to helm Hitchcockian thriller to be filmed in St. Louis during the fall and winter of 2019


ST LOUIS (July 25, 2019) -- Los Angeles-based writer/producer/director Dax Phelan (“The Other Side of the Wind”) will return home to St. Louis to direct his sophomore feature film, “Kirkwood,” this fall and winter.

The film is a Hitchcockian suspense thriller about former police detective Joe Dolan and his estranged teenage son, Max, who grow closer as they work together to cover up an accidental murder.  But, when the family of the deceased hires a ruthless private investigator to re-examine the evidence in the case and the investigator begins to suspect the Dolans, Max’s sanity is pushed to the breaking point and Joe must take extreme measures to keep their secret safe.

Phelan wrote the story with his father, Joe Phelan, a former City of St. Louis policeman. 

Phelan wrote the screenplay and will produce with Stratton Leopold (“Mission: Impossible III”) and Eric M. Klein (“Jasmine”). 

“Although I’ve made films all over the world, I’ve always dreamed of one day coming home to Missouri to make something personal with my family and friends,” Phelan said.  “I’m grateful to the Missouri Film Office, which has been working with me to turn that dream into a reality, and I look forward to teaming up with other local partners.” 
 
In 2015, Phelan wrote, produced, and directed his feature directorial debut, “Jasmine.”  Shot in Hong Kong, the thriller played in 75 film festivals worldwide and won nearly 100 awards, including 17 for Best Picture, 10 for Best Director, and 5 for Best Screenplay.  The film was acquired by Lionsgate and released theatrically on June 16, 2017. 

In 2018, Phelan was included in the LA Film Awards’ list of “Thirty Filmmakers to Watch,” a celebration of the “inspiring, creative, and incredibly talented directors who are making indie filmmaking great right now.”

Phelan recently co-produced Orson Welles’s final film, “The Other Side of the Wind,” with Frank Marshall. The film had its world premiere at the 75th Venice Film Festival where it opened to strong reviews and was released theatrically by Netflix on November 2, 2018.  The National Board of Review honored the film with the prestigious and rarely given William K. Everson Film History Award.  It also received the Film Heritage Award from the National Society of Film Critics and appeared on over thirty year-end “Top 10” lists.

Phelan grew up in Kirkwood and is a graduate of Mary Institute and Saint Louis Country Day School.

Writer, producer, director, DAX PHELAN, “THE OTHER SIDE OF THE WIND” and “JASMINE” Helms Hitchcokian Thriller "KIRKWOOD"