Horror shorts are a wonderful thing. No, I’m not talking about those awesome under-roos with Freddy Krueger’s face on the crotch (although using the front hole to give him a weird “tongue” is massive fun); I’m talking about the often beautiful and terrifying short films that are floating around in our beloved genre. What makes these films so special is that a filmmaker is hard pressed to fit in the logic, emotional depth, and (most importantly) chill inducing terror known so well from feature length films into a tiny package of around twenty minutes or less. The time limit alone can either make or break the entire effectiveness of a horror short, which is why they’re so delightful when they manage their time well and so disappointing when they don’t. Making a horror short is by no means an easy task and by far a very unforgiving one if the effect isn’t delivered properly.

Writer/director Randal Plunkett’s (Lord Dunsany) latest short film, Out There, comes in at only 15 minutes and 22 seconds. The film’s story weaves an intricate web of confusion and discovery surrounding its protagonist, Robert (Conor Marren). Robert wakes up in a lonely forest with a flowing wound on his forehead and no recollection of how he got there. To make matters worse, the village he eventually wanders into seems to be completely deserted and left in shambles...I think you know where this is headed. It’s a premise we all know and love from many full length films; but with the duration of little more than a commercial break, does it manage to deliver?

There’s a lot to like about this horror short. Plunkett has crafted a script that fleshes out just enough to provide heapings of intrigue, dashes of clarity, and a wonderfully horrifying ending. There are many horror tropes present in the film that may come across as somewhat cliché initially, but actually serve the film well. When you have a limited time to inject fear and mystery into your audience it’s best to stick with familiar tropes and get those red flags waving. And wave, they do. The moment Robert enters the dilapidated Irish village with seemingly no signs of activity other than an increasingly loud power generator, tiny warning bells will be going off in the viewer’s head. We’ve seen this before and it didn’t end well…certainly it won’t now either. The film is full of these moments. However, some are more effective than others. For instance, the previously mentioned generator left a nice bitter taste in my mouth. I immediately expected doom to show up around every corner for as long as that sound kept ransacking the scene. It was a really nice touch to open the madness with. Unfortunately, there’s a similar moment that in general is fairly creepy but ultimately left me more bewildered than tense. Somewhere nearing the midpoint of the film, Robert happens upon a small cottage of sorts. The rooms are scrawled with bloody messages and what appears to be some Satanic imagery. Spooky stuff to be sure (at least Robert thinks so), but in the context of the rest of the 15 minute film this bit is left rather unexplained and comes across more as a creepy device than a terrifying accent to the rest of the piece. That moment aside, the rest of the playful visual cues and tropes used throughout the film had me smiling and waiting for the next bit in anticipation.

As I said before, in order to deliver a really good horror story in a short amount of time, you have to jam pack it a bit. Which is exactly what Plunkett did with Out There. This is by no means a complaint, either. Somehow Plunkett drafted a script that manages to not only lead you with Robert’s shambling confusion throughout the small Irish town, but also toss you clues about how he got there and what he was doing. How did he do this? With another beloved trope, the ever useful flashback. It’s through these well timed flashbacks that we get a glimpse into the events prior to Robert waking up in the empty forest. These segments are where we get to know Robert’s troubled girlfriend, Jane, who is played by rising Irish starlet, Emma Eliza Regan. Without spoiling the details of these flashbacks, I will say that I found myself a slight bit confused regarding Jane. It seemed to me that Regan’s performance was on the subdued side and it was unclear if this was strictly due to her performance or if the character of Jane was meant to be that way. Both interpretations are plausible, but neither is clearly the answer (without asking, of course). On the one hand Regan’s performance possessed a sort of haunting quality to it as if the character of Jane was deeply troubled by something she did not wish to speak of. On the other hand, there isn’t much mentioned or shown in the film to explain this personality. There’s no mention of depression, secrets, etc. Perhaps this is due to the time limitation, or perhaps it’s due to something else. In any case, I didn’t find myself dwelling too much on the issue and could still enjoy the flashback segments for the purpose they served. The segments provided a clear outline of the events leading up to Robert waking in the forest, and when you have all the pieces to the puzzle you are left with an appropriately disturbing image.

All in all I rather enjoyed Out There. You can sense the filmmaker’s passion for the genre throughout and the film’s narrative has a rather sympathetic protagonist to keep things going. This is always refreshing in the current sea of unsympathetic leading roles in the horror genre. Having a confused and sympathetic guy leading you through a maze of confusion and terror helps you put yourself in the poor guy’s shoes…which eventually becomes a nightmarish thought. However, due to some of the issues mentioned (unexplained bloody symbols, unexplained depression in Jane) perhaps giving this film the full length treatment would be a good thing. It seems as if Plunkett’s ideas somewhat transcend the time limit allotted. The main plot of the film serves well for such a short, but the tiny details could benefit from some further explanation. That said, Plunkett still managed to fill up a relatively short amount of time with a fairly rich story that didn’t feel rushed or heavy-handed. Likewise, the familiar tropes sprinkled with an Irish twinge made for a surprisingly fresh experience in an otherwise known tale.

I’m a sucker for a good horror short, and I honestly thought that Out There was exactly that: a good horror short. There could still be a bit of refinement here and there concerning particular plot elements and performance delivery, but the film’s story is A-grade. I’d also like to quickly point out the rather pleasant camera work in this film. For a short film this one had some rather impressive camera angles and lighting choices. With the feel of a feature-length indie film, Out There serves its purpose well and is certainly a little film for horror fans out there to really sink their teeth into.

 

 

Tags: Blood , British horror, Drama , gore , haunting horror films, Horror , horror genre, independent films, indie horror, short horror films, zombie films, zombie movies, 15mins, Chandler Bullock, Conor Marren, Emma Eliza Regan, Horror shorts, Horror-Fix Review, Irish Horror, Lord Dunsany, Randal Plunkett

Sometimes the things you come across when working for a company like Horror-fix are so cool that they warrant you dropping everything you were planning and getting more direct info immediately. This was exactly the case when I discovered the wonderfully sick and twisted internet horror sensation: Traycee King. We at Horror-fix had covered the Ghoul Girls booth at Comikaze not too long ago. Upon checking out their site and making my way through their models list (and checking out their official websites as one like myself does), one in particular caught my eye. This was, of course, Traycee.

With a resume that features the hilarious Machnima series How to Survive a Horror Film and the critically claimed internet zombie series 8:13, I knew that I had to get an interview with Traycee. Well, as they say, all good things come to those who wait. I managed to not only get my interview, but also earn a new found respect for the power of self determination and how we horror-addicts really have to stick together. You can listen in on the super chilled and insightful conversation I had with Traycee in the link below:

Horror-fix Interview - Traycee King

Also, be sure to check out the first segment of How to Survive a Horror Film here:

And the first episode of 8:13, here:

For more on Traycee and her projects head to: 

• Traycee King - http://trayceeking.com/
• 8:13 - http://813series.com/
• Ghoul Girls - http://www.ghoul-girls.com/

Tags: girls of horror, Horror , horror fans, independent films, micro budget films, zombie films, 8:13, Chandler Bullock, Ghoul Girls, Gore, Horror shorts, How to Survive a Horror Film, Traycee King, Zombies

Recently I had the pleasure to check out this little beauty from 2009. I’ve sadly been lagging behind in catching most of the brutal and masterfully crafted horror flicks that have graced the silver screen in the last few years. This is one of the largest disadvantages of no longer living in the US. I’m no longer in touch (or range for that matter) with the happening film festivals that seem to hit regularly state-side, and the annual festival we have here in the Netherlands always seem to come up at a time when money is short but films are in bloom. Thus, I find myself reviewing films from 2009 during late 2012. Shame on me, right? Well they say longing makes the heart grow fonder, and this is exactly the situation I found myself in with The Loved Ones.

Where to begin with The Loved Ones? Well, let’s begin with the beginning, I guess. Here’s a quick plot synopsis to keep you up to speed on what you can expect: Brent Mitchell (Xavier Samuel) is a deeply troubled teenager after having to cope with being responsible for his father’s death in a car accident. With the help of his goofy friend Jamie (Richard Wilson) and stunning girlfriend Holly (Victoria Thaine), Brent is able to live his life in relative happiness. He’s young, attractive, and darkly mysterious. In a sense, he’s everything Lola (Robin McLeavy) wants. And what Lola wants…Lola gets. Things heat up as Lola asks Brent to the prom, but he unfortunately has to gently let her down by reminding her of his girlfriend. The rest of the film splits into a vile tale of torture as Lola does everything in her power to get her dance with Brent, and an endearing teenage dramady as Jamie lands a date with the hot goth chick at school, Mia (Jessica McNamee).

Sounds like fun, right? Well it is! It’s a heaping of fun, but with just enough unbearable cruelty to keep you glued to your seat. Perhaps what makes The Loved Ones so effective is the film’s emotional drive. This isn’t just another torture porn flick. This one has heart. From Brent’s inner and outer torture, to Lola’s initial dejection, there is at least one moment where every character in the film comes across as sympathetic and human. However, this is very short lived for some characters, which establishes their position in the film’s narrative really well. You really root for Brent to get the hell out of his unfortunate situation, and for Jamie to get to third base with Mia at the prom. This effect can be attributed to great acting across the board. Samuel’s depiction of Brent’s deep-seeded troubles is well versed and just emo enough to empathize with the character rather than chastise him. Similarly, you really feel Holly’s desperation to find her boyfriend due to Thaine’s riveting and realistic performance. She’s both sweet and smart. What isn’t there to love about that in a girl? But, as seems to be a trend as of late, the real powerhouse performance here comes from McLeavy’s portrayal of the sugary sweet and vile Lola. This is Lola’s show, and she eats up the screen much like she eats up her chicken…without mercy. As I said before, there are moments where you truly feel sympathy for young Lola. These moments, though, are only very early into the picture. After Lola gets Brent into her grasp there isn’t an iota of empathy left for her. By the film’s amazing finale, you’ll only want one thing: to see Lola’s head on a pike. This is a testament to McLeavy’s wide ranging performance. She can make you feel for her in one second and feel nothing but disgust in the next. I’d say McLeavy is definitely a young actress to keep an eye on. If she keeps it up like this, we may have a newly unexpected cinematic flower blossoming from Down Under. Now let’s just hope she keeps her sights on films in the horror genre (we could use some legit scream queens).

Now that I’ve got the story and performances out of the way, let’s dive into how the film looks. The short answer is: it looks good. I mean, it looks REALLY good. The Loved Ones has some of the best clarity I’ve seen in a while. Where there be shadows, there truly be creeping and sprawling blacks. Where there be color, there truly be a vibrant color pallet for the eye to feast upon. Every detail is left for you to inspect and cringe from. Not only does the camera quality impress, so does the choice in cinematography and special effects. There are some truly unsettling moments in this film which owe their impact strictly to the great special effects. When the blood comes gushing out, it pours. When flesh is sliced, it’s torn. Don’t get me wrong, this isn’t anything like Saw films of yore. This, I dare say, is even more graphic in some ways, and yet more subtle in others. Just know that the gore doesn’t disappoint, but neither does it distract. It does exactly what it was intended to do, it elicits a direct response from the audience. Whether the intended response is repulsion, empathy, or plain out pain, you feel it. Likewise, the camera angles and shots are superb. Director/writer, Sean Byrne has done a marvelous job bringing his screenplay to life. All of the characters really feel real and complex, as does the world in which the film is set. There are beautiful shots of Australia’s open landscape coupled with claustrophobic scenes in complete darkness. You also feel Brent’s torture (both physical and mental) through the crafty camerawork. For being Byrne’s first feature film, The Loved Ones sets a pretty high bar to be met later in his career. Let’s hope that he, like Ti West, is up to the challenge and helps shape our beloved genre further.

Now we find ourselves at an important, but often overlooked aspect of filmmaking…sound. I’m a pretty big sound enthusiast where film is concerned. Sure, I don’t really know the difference between one technical tweak than the other, but I know what I like to hear in a film. The Loved Ones is one of those films that has exactly the type of sound I want pumping out of my surround sound system. Just as deep blacks are preferred in image clarity, so too is a deep bass in a film’s soundscape (in my opinion). Part of the atmosphere of a film is it’s sweeping sound design, and with horror I like to hear a nice rumble when the bass kicks in. Well, luckily for me, this film does just that. The music played by Brent when feeling particularly rebellious screeches at you in a swirl of teenage angst, while the film’s score plays with your senses and gets you on edge. One particular moment, when Brent finds himself in a very unexpected location, possesses such great rumbling bass that it makes you wish the scene would end…and soon. This isn’t to say that it’s overwhelming or a bad seen. On the contrary, the sound is so well placed and so menacing that it enhances an already foreboding scene. So make no mistake, The Loved Ones packs a punch in literally all departments.

So, final thoughts? Overall opinion? The Loved Ones> is great! I know that the whole torture angle has been played out to death (pun intended) in the horror genre, but this one’s different than your standard affair. Yes there’s torture, and yes there’s an excessive amount of cringe-worthy moments, but the film maintains a sense of heart that keeps it going like an energizer battery. Also, the film’s pace is pretty perfect. This is far from a slow burn, but also nowhere near fast paced. It’s like a good bath: just right. Now, if you’re really not into the whole torture thing, this may not be the ideal film for you. Just know that there is actually a method to this madness, and by the end of the film you’ll be treated with a very satisfying result. And for you lovers of twists and turns, there are still some of those slipped into this otherwise straightforward tale. Yet, the twists are so subtle that they aren’t overplayed or irritating for those who like their horror as is. In any case The Loved Ones feels like a true win-win for horror fans of all types…well except the types who only like bad films because of how “ironic” it is. Sorry, there is nothing here for you folks to enjoy, because this a genuinely good film. My only complaint is that I hadn’t seen it sooner. And for you naysayers who may disagree with me, in the disturbing words of Lola herself, “We can’t hear you!”

Tags: independent films, indie horror, 2009, Australian Horror, Chandler Bullock, Gore, R, Robin McLeavy, Sean Byrne, Survival horror, The Loved Ones, Thriller, Torture, Xavier Samuel

There are movies that transcend their intended purpose to entertain and either by accident or purpose become something else. As creators, we are on the precipice of a new age of entertainment. The internet has almost single handedly obliterated the brick and mortar video rental business and put major hollywood studios back into the think-tank, questioning the delivery and channels of delivery for major motion pictures. Up until the last few years, filmmaking has still been largely a youtube experience for no-budget productions. Amateur filmmaking was still relegated to the obscure ranks of glutted upload-it-yourself video sites. Shawn Holme's Memory Lane heralds a shift in amateur filmmaking. Made for only $300.00, Memory Lane is better than most genre films in the indie category, and although stylish never makes the jump to art-house pomposity. Memory Lane follows Nick (Michael Guy Allen), a war veteran who returns to his hometown to pick up the pieces of his life after enduring the traumas of battle. While jogging he encounters Kayla (Meg Barrick), a distraught young woman attempting to commit suicide and the two begin a whirlwind romance that tragically ends in Nick finding Kayla dead in their new home. Overcome with grief, Nick survives his own suicide attempt only to find that his methods actually allowed him to relive his memories with Kayla in the space between life and death. Nick decides to repeat the conditions in the hopes of learning more about Kayla's demise, killing himself and being reanimated increasingly more frequent until answers are found. There are shades of other films here (Butterfly Effect, Flatliners and others) but Memory Lane holds its own distinct voice. With beautiful cinematography and a memorable performance from lead Michael Guy Allen, ML feels more like a bigger budget picture trying to disguise its price tag in the hopes to connect more on an intimate level with its audience than the reality of its almost non-existent budget. In this it represents something extraordinary: a benchmark. Memory Lane represents a true shift in the accessibility of film. It marks a film that can be made on a blue collar paycheck and still have the zeal and appeal of a film that can manage to reach a wide, mainstream audience. Memory Lane is currently available for streaming on the film's website, www.553am.com

Tags: independent films, micro budget films, Memory Lane