The latest edition digs into some unexpected places.
The newest edition of Twisted Parallels features a bunch of homages from Chilling Adventures of Sabrina, alongside some other great visual references.
C.H. Newell chats with filmmaker Larry Fessenden about his new film, DEPRAVED, Mary Shelley, the state of America, and more.
The newest film from Larry Fessenden is a fresh take on Mary Shelley's Frankenstein that takes aim at our violent patriarchal culture.
Mickey Keating's PSYCHOPATHS tells a series of short narratives about people driven to kill. A nasty, stylised piece of work.
The Mind’s Eye. 2016. Directed & Written by Joe Begos.
Starring Graham Skipper, Lauren Ashley Carter, John Speredakos, Larry Fessenden, Noah Segan, Matt Mercer, Michael A. LoCicero, Jeremy Gardner, Patrick M. Walsh, Brian Morvant, Josh Ethier, Susan T. Travers, & Chuck Doherty. Channel 83 Films/Site B.
Not Rated. 87 minutes.
Not sure how everybody else felt about it, but I loved the debut feature Almost Human from Joe Begos – it was on one of my favourite lists after being released in Canada finally. He proved to have a knack and a love for old school filmmaking, as well as the science fiction and horror pictures of a few decades ago. In that first film, Begos channelled a Fire in the Sky vibe into his own brand of retro horror with a fresh, exciting story. The Mind’s Eye bears its obvious Cronenbergian influence particularly right on its sleeve. Yet there’s so much more to it.
I knew just from the trailer that Begos was hugely influenced by Scanners. Not that he copies Cronenberg. Not at all. There’s a more personal, emotional plot that serves as foundation for The Mind’s Eye, as opposed to Scanners. Begos is focusing less on a metaphorical psychokinesis, much more on the action and horror elements. The pacing does most of that job, keeping us edgy the entire time. Again, after his fantastic debut, Begos proves that you can go over-the-top and still keep things satisfying. His science fiction-horror cocktail is better than the mere label of a throwback film, or any of the buzzword headlines you may read. It’s not perfect. However, it is everything the awful Scanners sequels could have been. Perhaps when Begos first saw it, this story began to brew in his mind, bit by bit. Until years later he’d fleshed out this entirely new tale of psychokinetic power and those who seek to control it. With Graham Skipper (also the star of Begos’ previous effort) and the ever wonderful Lauren Ashley Carter as the two main characters with psychokinetic powers, on the run from a doctor gone mad, the story sells itself through interesting performances and a load of practical, bloody goodness.
In his previous movie, Begos didn’t really have much action outside of some gunshots and frantic behaviour – not a bad thing. Mostly, it was straight up horror and sci-fi crossed together. Here we get to see him go for a different type of atmosphere. On one hand, Almost Human was great; it required different storytelling, a slow build of terror after the initial scene involving some alien craziness. On the other hand, The Mind’s Eye plunges into an action-oriented plot. As I mentioned, the pacing keeps everything pretty wild. We move along fast, as the main plot kicks in real quick. Essentially this is a road movie crossed with the sci-fi and horror elements in heaps. Or rather you could see it as a chase movie: a series of confrontational events stretching out over this insanely tense cat-and-mouse game between Zack and Rachel (Graham Skipper & Lauren Ashley Carter) and the doctor who tried to use them as guinea pigs, Dr. Michael Slovak (John Speredakos). Of course there are sections of the story where we slow down, get a bit of character development. The awesome motherfucker that is Larry Fessenden plays Zack’s father, Mike Connors, so there are more than just the main characters to find interest in. These brief reprieves in the chaotic pace of the action are just long enough to make us feel settled. Before Begos rattles us down the drain again and into the rabbit hole. A great place to be with a filmmaker who so admires the age of practical effects, as opposed to one totally dominated by CGI and jump scares.
THE EXPLODED HEAD! THE FUCKING EXPLODED HEAD!
Can we talk about it?
I mean, that sequence came not at all as a surprise. And behold, a savage, perfectly executed practical effect. Better still, I love the moment before that when Rachel is holding the guy up in the air – with her mind – and then POP! Just properly accomplished all around. You combine wild practical effects, good doses of bloody mess, a truly enjoyable score from Steve Moore (The Guest, Cub), you’ve got yourself a stew, baby!
I have to say that while I loved Skipper in the other Begos film, he wasn’t always as strong as he could have been, or needed to be either. Still, I loved his performance because you can see the genuine effort in some actors. In the role of Zack you can literally see the maturity of his acting coming into being. That’s not a bullshit line to throw out there; it’s a genuine observation. For instance, the scene where he and Rachel sit together and he tells her about his mother, his performance reaches the perfect pitch. He is so believably real it makes the character grow all the more quickly, in the best sort of way. If you weren’t rooted in his story emotionally yet, this scene should cement that.
Oh, and Carter? She’s phenomenal, as usual. Most recently, her turn as a damaged woman on the verge of a breakdown in Mickey Keating’s Darling blew me away. But back to Jug Face, The Woman, even her one episode of Law & Order: Special Victims Unit, she is fairly consistent in her quality as an actor. Each character carries their own vulnerability yet are vastly different. As Rachel Meadows, she is another damaged character and this time with more than enough power to take whatever revenge she deems necessary. I like that Carter keeps what seems to be her inherent sweetness while simultaneously being capable of being a strong, determined woman – Rachel’s only in distress as much as Zack, so in a sense they both enable one another in certain ways. This also lets them each be a fully developed character, rather than simply a half of one whole. Carter’s charisma as a bit of a bad ass gets to come out here, which is lots of fun to watch.
A 4-star action romp across science fiction-horror territory. Begos may not have won everyone over with his first feature – he had me sold – but I just can’t believe that The Mind’s Eye won’t impress. It is exciting and fun above all else. The story isn’t overly innovative. Instead, Begos makes it feel fresh, intriguing. Because he takes the Scanners influence, all that love of the ’80s and early ’90s filmmaking, then moulds it into a tightly knit ball of tension and weirdness, in great ways. I’m not sold on the whole cast, although Skipper and Carter are so excellent. What I dig most is how the heart of the film beats loud and proud. Begos never pulls any punches, giving us exactly what we expect in such a way that isn’t boring or expected in the slightest. If you can’t have fun as a horror (or sci-fi or both) fan, then I’m not sure what to tell you. It never needed to be perfect. Part of the appeal of the ’80s and the early ’90s felt like things didn’t have to be totally polished, pristine like porcelain. Personally, I dig my movies with a bit of girt, in every sense. I’d like to think Begos understands that. At least that’s how he makes it feel. The Mind’s Eye gives its all with a ton of adrenaline and blood-soaked spirit.
Carnage Park. 2016. Directed & Written by Mickey Keating.
Starring Ashley Bell, Pat Healy, James Landry Hébert, Michael Villar, Bob Bancroft, Larry Fessenden, Andy Greene, Alan Ruck, Graham Skipper, & Darby Stanchfield. Diablo Entertainment.
Unrated. 90 minutes.
Ever since seeing Ritual, I’ve been hooked on Mickey Keating. His directing and writing are a sight for sore eyes in the world of indie cinema. These days there are lots of talented people coming out of the independent scene. But Keating has an old school sensibility, a practical effects-driven manner of taking on horror specifically. The way he directs has a wonderfully rock n’ roll-style feel. The atmosphere of his movies is always wildly palpable, no matter what the ultimate main genre. Most recently Keating wowed me with Darling; a trip down the rabbit hole of guilt, murder, shame, and more.
Carnage Park does not come with anything overly original. It’s the way in which Keating gives the material over to us that’s exciting. Best of all, like Darling and its Roman Polanski vibes, this movie – via Keating admittedly – is fashioned after the Sam Peckinpah, machismo-filled 1970s films about dangerous men running wild on the fringe with guns and knives and big steel balls. At the same time, the movie switches genres, transforming from action-thriller into something more horror oriented as the various characters collide out in the eponymous park.
The opening sequence, while deranged in its own right even in comparison to what comes later, is a lot of fun. It has an energy that kicks the story off right. We get a taste of Wyatt Moss (Pat Healy) right off the bat, then it switches into us spending time with Scorpion Joe (James Landry Hébert), his soon to be dispatched buddy Lenny, and the kidnapped Vivian (Ashley Bell) in the trunk of Joe’s car. Keating keeps the pacing solid, moving fast. Everything gets really interesting then once the different characters come together, and the movie shifts gears.
Isolation is the key here. Under the cinematography of Mac Fisken the desert looks like a gaping, open wound, a vast and dry sore in the earth. Watching Vivian try to make her way through the large lot of privately owned land is akin to somebody wandering a giant hedge maze, but instead of any hedges it’s all sand, shrubs, rundown billboards, so on. The isolated hills in between which Vivian finds herself lost are so huge and far reaching that it’s impressive the way Fisken and Keating create a claustrophobic sense of that isolation. Like The Thing or any similarly remote set script, Carnage Park takes us out into the open while simultaneously bringing us deeper into our own minds, into the head of Vivian who’s faced with outrunning a maniac in the vast desert.
What I love is that this story Keating draws out, the characters and their respective plots, is all a disturbing little slice of Americana from the late ’70s. The unstable Army veteran at the centre of it all, Wyatt, has so clearly been affected negatively by the war. Meanwhile, his brother is the local sheriff, whose ideas about his brother seem pretty clear despite what he tells himself, and especially despite anything he admits to knowing. Within these two characters there’s wrapped a whole bunch of socioeconomic significance, as we consider everything from the dishonesty of those charged with serving and protecting, to the right of land owners in America (in certain states) to shoot anyone that comes onto their property, to the concept of all those men coming back from Vietnam, devastated emotionally and mentally, not receiving any proper care other than some cash and a pat on the back. Instead of a simple setup of a madman with no backstory there’s the fact Wyatt has been psychologically traumatised in the war, which sort of ups the ante on the usual scenario. Watching the various, hideous bits of American life unfold out across the sprawling hills on Wyatt’s property is a tense nightmare that’s hard to predict re: where it may head next.
The performances really help sell the whole thing. Bell does a nice enough job with her character, especially considering all the back and forth moments we see, going from being Scorpion Joe’s hostage to being at the fingertips of a demented ex-soldier, to the shocking scene where she stabs the wrong person than who she intended. She does well showing us the breakdown this woman experiences while going through the most trying day of her life. But best of all, Pat Healy – the god damn man, as far as indie movies are concerned. He’s been in lots of stuff, though never better than when working on something daring, something small, things like Cheap Thrills and The Innkeepers, among more. As Wyatt, we see him become a truly scary individual. At first you almost don’t know if he’s going to be some kind of anti-hero, the sort we’d expect out of a neo-noir-Western hybrid like this becomes now and then. Then when it’s becoming clear that Wyatt is the big evil in the situation there’s a feeling you start to get each time his eerie, smiling face comes into the frame that tells you: this guy is bad, bad, bad news. This is a great role, one that might end up as a load of generic garbage were it left to a less talented actor. Rather, Healy gives us lots to enjoy, as he touches all corners of the spectrum, creeping about, charming a little, and above all else terrifying his victims.
I do prefer other Keating films about this one. However, Carnage Park is a good time; through and through. The performances are one thing. The adrenaline pumping pace is what kept me glued. I can sit through all sorts of films, but a great effort usually has me consistently stuck to each scene, wondering where exactly things are about to move. Not once did I know for sure where the plot might go, or which characters would go on to survive. The ending didn’t totally eclipse me in any way. Still, it is a fantastic finish to a nicely executed bit of indie cinema. Whereas other filmmakers could have gone in vastly different directions throughout, Keating sticks to his old school style, his simple though beautiful way of directing. This way nothing strays too deep into familiar territory so as to bore the viewer. Ultimately, the cat-and-mouse thriller that frames the entire film is jammed full with suspense and the tension you’ll feel is like a chokehold. Keating takes you into the darkness fully, never once really letting you go. Take the ride, even more so if you dig his other directorial efforts. This one is yet another top notch instance of his talents.