THE HEXECUTIONERS - Review By Greg Klymkiw - Babes who kill, legally, in Owen Sound, Ontario and the lovely, surrounding environs of Grey-Bruce Counties - TADFF 2015

In Owen Sound, there are babes who commit euthanasia!!!

The Hexecutioners (2015)
Dir. Jesse Thomas Cook
Scr. Tony Burgess
Starring; Liv Collins, Sarah Power, Will Burd,
Barry Flatman, Boyd Banks, Tony Burgess

Review By Greg Klymkiw

"A Yotar is a sky burial, a ritual performed for releasing the soul from the clutches of vengeful spirits that wish to lay claim to it through their desire for eternal revenge. I don't get it, do you? Okay, whatever." - Dialogue from The Hexecutioners as could ONLY be written by Tony Burgess.

The opening scenes of The Hexecutioners perfectly exemplify why Foresight Features, the tiny independent Canadian production company from Collingwood, Ontario are making some of the creepiest, scariest, most intelligent and wholly original horror films in the world. Their latest, shot in the seemingly normal rural locale of Owen Sound and surrounding areas, manages to bring a wholly indigenous quality to a film that will be enjoyed round the world. The bottom line: Canada IS creepy, especially in Grey-Bruce counties.

The film begins with a simple white-on-black title card informing us that euthanasia has been legal in Canada and many other countries for several years. With the passing of Proposition 177 (this even sounds like something passed by Canada's former Fascist Party under ex-Prime Minister Stephen Harper), private medical firms have been granted the right to perform assisted suicides (with full immunity and impunity).

The titles fade to black, hold briefly in the pitch ebony until a hard cut reveals an older model station wagon in mid-assault upon the frame as it barrels forward over a gravel road leading to a mysterious old rural house at the top of a hill.

The sole occupant of the car is a quiet, primly attired redheaded babe (Liv Collins), who overlooks a series of official looking papers before proceeding to the front door. She's greeted by a sour, sad-faced cynical husband (one of Canada's foremost character actors, Boyd Banks) who complains about her being late. She explains this is her first day on the job. Hubby responds with considerable sarcasm, especially in response to her clearly rehearsed speech:

"My name is Malison McCourt. I'm a palliative technician with Life's Source Closures. We'd like to extend our compassion to you at this sensitive time. I'd like to personally assure you that your family's closure will be meaningful, merciful and memorable."

Hubbles leads the peculiarly Christian-named Malison (which means, uh, curse) into his wife's sickroom where the poor woman lies in a coma. Malison prepares her implements of euthanasia and eventually injects the poison into the woman's system.

What happens at this point is sickening, shocking, grimly grotesque and deeply, deeply disturbing. It places a stunning capper to the sequence which includes a brutal shocker to top the actual shocker. This is a truly astonishing and creepy opening sequence, one which has few rivals in recent memory and plunges us headlong into the world of legitimate, though corporate-sullied assisted suicide, a world in which moral lines are clearly blurred.

Lines between this life and the next, are also blurred. This is good, and this then, is precisely why Foresight Features continues to kick considerable genre ass. The Hexecutioners delivers an opening few minutes that creeps us out, throws us for a major loop, forces us to practically upchuck and does so, from beginning to end, with a first rate mise-en-scene, impeccable cutting, crazed imagination, sheer originality and dollops of contemporary political/social issues nestled in the backdrop.

What follows the opening is even more jaw dropping. In order to add some buff and polish to his newest employee, Malison's boss (Barry Flatman) decides to pair her up with the perversely surnamed Olivia Bletcher (Sarah Power), a senior "palliative technician" (uh, killer), who also happens to be an even bigger babe than Malison (and she smokes cigarettes - nothing sexier than a leggy babe alternating twixt firearms and ciggies). Not only are we going to follow two women who perform assisted suicides, but they are both mouth-wateringly gorgeous.

This, my friends, is great cinema!

It's probably not a good idea to go down this corridor.

The next hour has our babes in an eerie old Owen Sound mansion where we meet a creepy caretaker (Will Burd), presiding over Milos Somborac (writer Tony Burgess), the hideously disfigured patriarch who has an insanely repellent request for his own assisted suicide. Will this madness ever cease?

No. The movie never lets up.

It delivers the following checklist of spine-tingling horrors:

- Plenty of sojourns into dark rooms, long corridors, murky basements, rocky exterior passageways a la Picnic at Hanging Rock and a garden maze which puts the Overlook Hotel's leafy catacombs in The Shining to shame;

- Nightmares a-plenty, which might not actually be nightmares and involve hideously masked rituals in the tradition of the pre-orgy Eyes Wide Shut ceremony and the very best devil/demon worship shenanigans that cinema has to offer;

- Ghosts. Yes, ghosts, and they are not at all benevolent;

- Magnificent blood-letting and viscera and,

- Babes. Babes in various states of sanity, costumery and undress.

Larry Miller, MP for Grey-Bruce County
How this Conservative clown was re-elected is a mystery,
but perhaps he'll preside over the Owen Sound Premiere of
THE HEXECUTIONERS

The only flaw in the entire film is the hint of Sapphic Delight, presented with some lovely girl-on-girl kissing, but unfairly pulled from us like so many rugs from under a century of prat-falling-physical-comedians.

Ah well, we can't have everything, I suppose - especially when The Hexecutioners offers such original, mind-blowing scares from the diseased minds of director Jesse Thomas Cook, the clinically insane screenwriter Tony Burgess and the brilliant independent Collingwood filmmakers at the visionary Foresight Features.

That, ladies and gents, is entertainment!!!

THE FILM CORNER RATING: **** 4-Stars

The Hexecutioners enjoys its world premier at TADFF 2015 and will be released courtesy of Raven Banner and Anchor Nay Entertainment Canada.

EJECTA - Greg Klymkiw Interviews Co-Director Matt Wiele, PLUS links to Klymkiw's reviews of Ejecta and his interview with screenwriter Tony Burgess - COUNTDOWN TO TADFF 2015

My countdown to the 2015 Toronto After Dark Film Festival (TADFF 2015) will feature a variety of pieces on great genre work in the tradition of this terrific film festival which occurs in Toronto, Canada, Oct. 15-23, 2015. Let this countdown serve as a buffet of delectably exotic appetizers before the Big Meal Deal of my festival coverage.

COUNTDOWN TO TADFF 15 #1 is in honour of Anchor Bay Entertainment Canada's recent DVD release of the Foresight Features/Raven Banner presentation of EJECTA. Here's Greg Klymkiw's interview with co-director Matt Wiele, followed by links to reviews of the film and an interview with screenwriter Tony Burgess at the cool UK online mag, "Electric Sheep". You'll also find a few links to related materials throughout the piece - just don't click on the fuckers until you finish this Klymkiw-Wiele conversational reverie.

Interview with Matt Wiele, co-director of EJECTA
By Greg Klymkiw

GREG KLYMKIW: I love this movie so much. I've been following UFO reports for two decades (shortwave weirdness, Art Bell, George Noory, Chris Rutkowski from Manitoba, etc.). [Screenwriter Tony] Burgess told me he essentially wrote to order for you guys on this idea. So, where, how and why did you guys come up for the idea of this film? Did your inspirations come from all the "semi" legit UFO stuff? Or, perhaps, even the popular academic stuff in those great books by the astro-physicist Michio Kaku and his thoughts on parallel universe, multi-dimensional theories, etc?

MATT WIELE: Thanks for the love! Your review that came out during Fantasia [2014 International Film Festival in Montreal] was my favourite and I'm not just blowing smoke up your ass.

GK: I'm not partial to receiving many things up my ass, least of all lightbulbs and gerbils, but I will take all the smoke up there that I can get.

MW: It was just so great to read how well you got what we were trying to do with Ejecta.

GK: Some might call me a sick fuck, but I take UFO and alien stuff pretty seriously. Speaking of sick-fucks, let's hear about Burgess and your influences, etc.

MW: Both the idea and working with Tony Burgess came in a series of folds, first from the intent to make a very tense, fast and fucking scary found footage film. It evolved from there to include a larger wrap-around story about the whole institutional side of the unknown. For me the inspiration was simple in its truest form, which was, if I could think of situations in life that would scare the vomit out of me, like full-on puke-my-guts-out chunk blowing terror, it would be getting chased by an alien in the woods.

GK: Given that I believe in the fuckers, I can't say I'd disagree with you.

MW: Pure and simple. Complete and utter terror. Though actually it is complex, considering we're talking about aliens being real. The universe as a whole is just way too big for my tiny mind to comprehend so I have, and will forever be dumbfounded by all of it. Because of this I tried to keep the idea simple.

GK: Simple is always best. It's the things that yields the layers. So, what's the simple pitch?

MW: A crazy conspiracy blogger [played by Julian Richings], claims to have been mentally-invaded by aliens for the last 40 years. In an addled state, he asks a young videographer {Adam Seybold] to come and meet him to tell his story on-camera. That night a small spaceship crashes nearby and the two guys get mega-terrorized. The wrap-around to this involves a creepy, kick-ass Black-Ops military babe [Lisa Houle] who overseas a series of horrific experiments upon the crazy blogger.

GK: What I love about Foresight Features and Blackfawn Films [the visionary rurally-based Canadian production companies that co-produced Ejecta] is that the work is rooted in the country livin' - or at least, not fucking Toronto. These are locales both companies hang their shingles in. To what extent do you feel this has informed Ejecta? Do you guys naturally look to the skies in the Guelph/Collingwood areas? I ask out of personal experience. I confess, living way north on the Bruce Peninsula for most of my existence, I do. Do you feel there is something about the rural "psyche" which allows more openness to notions of ET life and visitation? To what extent, if any, do you think this informed the project?

MW: Like I said before, I find great comfort or understanding from simplification and for me it boils down to the fact that when you're in a city with millions of people, buildings and endless sensory stimuli, it's far easier to be distracted by what surrounds you on the human level instead of what surrounds you on a cosmic level. In the rural setting, especially dare I say "out in the country" where there are no street lights, and the only illumination at night comes from the moon and the stars it's essentially impossible to ignore. Just like you experience up on the Bruce the skies are fucking big out here. That isolation also plays perfectly into horror and sci-fi tropes. Whether it's two guys out in the woods being chased by an alien, a group of kids out at a cabin in the woods being terrorized by a slasher character, or even humans lost in space, it all stems from some form of isolation when terror strikes. I find myself getting into a trance at times just staring out at the sky while my brain shuts down trying to process. With that isolation and opportunity to sit and stare I think there is a more accepting thought of "what the fuck is out there?"

GK: The idea of the aliens creating what is, essentially, a fucking living room in Julian Riching's mind to hold their ET kaffeeklatches got me soooooo hard. The fuck, you guys? Where'd this sickness come from? Did you ever consider shooting these alien get-togethers in some perverse literal construct of Julian's brain? If so, were there, like, armchairs with doilies and coffee tables and shit like that? If this never entered yours and/or Tony's diseased minds, is it, or something similar to it, a possibility for a prequel/sequel?

MW: [Laughs uproariously. Perhaps too uproariously.] That's amazing. That "living room" in Julian's mind was, naturally, all Burgess. Tony has such an amazing ability to not fall into the standard or obvious story paths - duh - and he thought it would be interesting to set it up as if these things would probe or experiment with Julian mentally and not in the way we're used to seeing wherein aliens would abduct him and poke his asshole looking for human answers. Further to that, I always had a strong mental image of Julian's character performing a crude autopsy on a table in his shed with just a simple hanging light over top as he was poking and prodding this thing, so we tried to flip a typical dynamic between man and alien on its head. As far as having shots of the aliens in cardigans playing cribbage in Julian's head, we didn't think to roll with that, but now that you mention it...

GK: How much pull [booze] is consumed when you guys work with Tony? How does pull contribute to the early stages of the creative process? Would you ever consider having creative meetings up north here with Ma Pincock and her boys so you could create with her magnificent home brew whilst cavorting with her hideously deformed lads? [For further insights into this statement, read my interview HERE with Tony Burgess on the Foresight film entitled Hellmouth - scroll down to the section entitled "PULL, MEAT DRAW and PINCOCKS".]

MW: The pull had become quite customary when gathering with Tony. For those unfamiliar with the term, "pull" refers to single malt scotch, typically amongst 12-15 year old lads, often of the Highland variety. We use pull more as a reward than a constant for the creative process. Often it would go that we would get the wheels turning at a nice pace on the creative side of things before introducing our first sips. As Burgess has coined, "earn the pull". Due to some lifestyle changes the pull has been put on hold so despite the generous offering, I would have to respectfully decline the homebrew, at least for now. Maybe on the next film however.

GK: It seems obvious to me how you two directed Ejecta. [I refer here to co-directors Wiele and Chad Archibald, the latter of the pair having bailed on the dubious opportunity to talk to me, in spite of the fact that I cascaded huge wads of critical semen upon his new film BITE, which you can read HERE.] You see, Ejecta has two concurrent narrative/stylistic movements, so for me, it makes sense without even knowing the facts. Would you like to talk about the creative collaboration in terms of the planning of and shooting of the film itself? It'll be fun hearing from you separately on this. Here you'll have a shot at trashing Archibald if desired.

MW: One thing I've learned about Mr. Chad Archibald is that he is immune to being trashed as it's simply impossible to do so to such a good man. [Oops! Maybe y'all need to read my decimating Klymkiw-special review of Archibald's The Drownsman HERE.] Working together in a variety of roles across this film, as well as on Hellmouth and Septic Man, I formed a strong bond and respect for his work ethic and wealth of talents. It was damn interesting and exciting working together on this as I took the reins at the start with the POV style shoot, getting the first chunk of production done and then moved into full time producing as Chad directed the second production. It was an incredible lesson in creativity and adaptability to make this film come together the way it did. Collaboration was king throughout as it always should be in independent film. Without your army around you it's damn near impossible to make anything in this industry.

GK: Was Julian Richings always a part of the equation, even in the earliest stages of creating the film? He's probably one of the world's greatest character actors. How do you work with him? What's his process as an actor and how do you mesh with it, encourage it, repress it, etc.?

MW: Yes, Julian was always part of the equation and an actor we've wanted to work with for years. He's a tremendous talent and even more, a tremendous human being. Initially I had a few phone calls with him and set up a table read for the second-to-last-draft of the script along with Adam Seybold, Tony Burgess and myself. From there it was final refinements based on everyone's notes and then, off to the races. I think we meshed very well as I had full confidence in Julian, obviously, and he, in turn, was incredibly confident in me, which, being a first time director was key. What I loved most about working with him, aside from always making my job much easier thanks to his talents, was that he always had great insights and offerings for the character and the specific scenes. This was especially true when it came to the found footage stuff, where blocking the scene was incredibly important and finding the marks not just physically, but also from a story and dialogue standpoint, was incredibly vital. Julian is a trooper and his dedication to his performance and the team is humbling.

GK: The movie is fucking scary on a number of levels. How do you specifically infuse those things that scare you into the film?

MW: I tried to keep the tension of what scares the shit out of me as a central pulse to the POV footage and characters. I think it's like directing in a manner that's similar to how actors try to call on personal experiences, to put themselves into the right space for their characters' emotions. I think we have to do that as directors.

GK: You and Archibald must both have distinctive voices as filmmakers. How aware are each of you in terms of your respective personal stamps? How do these mesh and/or positively repel each other throughout the entire process of making the film?

MW: I've been the producer on six features, but have only directed one, so I think my voice hasn't been fully established. Hopefully I can direct more projects in the future and start shaping the concept of who I am as a filmmaker, but right now my focus was pace, action and scares. I think Chad has an incredible voice in the Indie horror community and his stamp is obvious in terms of production quality, execution and originality. I'd say his voice was essential in making this film shape up the way it did and in such a creative way after filming the original content. I think for both of us keeping things positive and enjoyable for everyone on-set is key. This is especially important when adversity hits, the cold creeps in or a gag isn't working exactly how you envisioned it. It's key to have the positive propel you through the challenges you'll get hit with every single day on set.

GK: In terms of post-production, the end result feels like you both had definite ideas about the coverage you needed in order to play with it fruitfully in the cutting room. Were there any surprises post-shoot which informed the final product? If so, what were they?

MW: This film was an interesting beast to cut together. Initially we had all envisioned a linear timeline for the story but after a rough assembly we felt we needed to ramp up the pace and tension, sticking with the intent to always aim to create something great. I took on a lot of the final editing duties as Chad was working away on his next feature and after a ton of insight from fellow filmmakers and Foresight Features producers, Jesse Cook and John Geddes, we went with the multiple timelines colliding and that really made the thing sing. It kept the audience guessing, the pace and tension high and demanded a lot of the viewer. I found editing this film to be one the most challenging and rewarding times in my career. It was both a demon and a delight.

GK: Did you guys ever consider having more babes in the movie?

MW: Indeed we did. It's always a discussion that comes up when planning a film and story. However, we try not to get hung up on "this story needs X females, Y males, Z races". We just let it happen naturally. Specifically to the central female character Tobin, Tony was absolutely set on her being a hard-ass, and ultimately, completely crazy. Lisa [Houle] did a great job pulling off that wildness.

GK: Did either of you indulge any of your fetishes with respect to the film and the finished product? If so, would you mind elaborating? I guess what I'm referring to here is how most genre directors including greats like Hitchcock and DePalma barf-up their fetishes all over their films.

MW: Originally there was going to be a death scene involving the alien absorbing Julian by way of his skin, which when we started filming it kinda looked like they were fucking, so we turfed it. Also, I've never really had a "fucking an alien fetish", other than the gal with three boobs in Total Recall, of course.

GK: Of course!

Ejecta is on DVD via Anchor Bay Entertainment Canada

AND NOW, HERE'S A WHOLE LOT MORE TO READ ABOUT EJECTA:

Click HERE to read my original Fantasia Festival review of EJECTA

Click HERE to read my DVD review of EJECTA at Electric Sheep

Click HERE to read my INTERVIEW with Tony Burgess on EJECTA at Electric Sheep

GREG KLYMKIW interviews TONY BURGESS on EJECTA at ELECTRIC SHEEP MAGAZINE in UK

Greg Klymkiw and Tony Burgess
share pulls from a jug of Peninsula shine
and discuss writing, aliens and EJECTA,
the latest screenplay from the writer of
PONTYPOOL, SEPTIC MAN & HELLMOUTH
Read on by clicking HERE

HELLMOUTH - Review By Greg Klymkiw - World Premiere TorontoAfterDarkFilmFest2014

Stephen McHattie, a babe-o-licious ghost,
creepy graveyards, the jaws of hell itself,
Bruce McDonald & Julian Richings in tow,
plus super-cool retro imagery fill the drawers of
HELLMOUTH

Hellmouth (2014)
Dir. John Geddes
Scr. Tony Burgess
Starring: Stephen McHattie, Siobhan Murphy, Boyd Banks, Julian Richings, Bruce McDonald

Review By Greg Klymkiw

To both the living and perhaps even the dead, old graveyards are as comforting as they are creepy. Screenwriter Tony Burgess seems to understand this better than most and with Hellmouth, he's crafted one of the most deliciously insane horror treats of the new millennium. Superbly and imaginatively directed by John Geddes and delivered to us by Foresight Features, the visionary company of (mad)men from Collingwood, Ontario, this is a first-rate mind-penetrator designed to plunge us deeply into the hallucinogenic properties inherent in Hell itself.

When I was a (relative) kid in the late 70s and early 80s, I programmed a movie theatre devoted almost exclusively to cult and genre films and Hellmouth is exactly the kind of picture I'd have been playing during midnight shows in the 70-year-old 600-seat former-neighbourhood-cinema-turned-Porn-emporium-turned-arthouse in the waste-end of Winnipeg (just round the corner from famed cult director Guy Maddin's boyhood home and his Aunt Lil's beauty salon which eventually became the studio for his first bonafide hit film, Tales from the Gimli Hospital). It's this very personal observation which proves to me, beyond a shadow of any doubt, just how universal Hellmouth is. The narrative is rooted in a strange amalgam of 40s film noir and the controversial early-to-mid-50s William Gaines period of the late, lamented and utterly demented E.C. Comics. In this sense, the madness that is Hellmouth yields a classic horror movie for now and forever.

And lemme tell ya, this ain't nothing to sneeze globs of bloodied snot at.

Charlie Baker (Stephen McHattie) is a tired, old grave-keeper living out his last days before retirement in a long-forgotten graveyard still maintained by a rural municipality with a certain pride in its historical legacy. As the film progresses, however, the legacy goes well beyond its commemorative value. Mr. Whinny (Boyd Banks) is a slimy, local bureaucrat who demands Charlie curtail his retirement plans to preside over an even older graveyard a few miles away. Charlie reminds Whinny that his own days are numbered due to a rare, degenerative brain disease, but the cruel, taunting administrator will have none of it and threatens to fire Charlie if he doesn't do his bidding (and thus flushing the retirement package down the toilet). Bureaucrats are just like that, especially if they work for Satan.

Alas, poor Charlie has little choice in the matter and is forced to make an odyssey across the dark and stormy landscape of this rectum-of-the-world township where he meets the mysterious babe-o-licious Faye (Siobhan Murphy). Swathed in form-fitting white, dark shades and blood-red lipstick, Faye hooks Charlie immediately into her plight and he becomes the unlikeliest knight in shining armour.

Grave-keeper Charlie Baker will, you see, soon do battle with a formidable foe at the very jaws of Hell itself.

Burgess's writing here is not only infused with imagination, but the archetypal characters, hard-boiled dialogue and unexpected turns taken by the tale create a solid coat hanger upon which director Geddes can display the stylish adornments of cool retro-visuals as well as all the eye-popping special visual effects splattering across the screen like so many ocular taste buds.

The mise-en-scene is not unlike the Frank Miller/Robert Rodriguez approach to the world of Sin City, but here, the rich monochrome, dappled occasionally with garish colours, seems even more suited to the genre of horror rather than neo-noir. Geddes guides his superb cast through the minefields of a gothic nightmare with the assured hand of a master, eliciting performances that play the more lurid properties of the characters blessedly straight (McHattie, Banks and Murphy), thus allowing occasional explosions of over-the-top, though never tongue-in-cheek thespian gymnastics from Julian Richings and legendary director Bruce McDonald.

Crypt-Keepers and Grave-Keepers have long been a staple of horror, but usually, they're not treated as characters, but as "hosts" to deliver anthology-styled tales of terror (not unlike the classic Amicus production from the 70s such as Tales from the Crypt). As a feature film, Hellmouth gets to have its cake and eat it too. However, given that Charlie Baker is a living, breathing character, Foresight Features might actually have a property here worth revisiting - either in feature-length prequels, sequels and/or standalone "presents" tales of other grave-keepers. Better yet, there might even be a terrific continuing anthology series for the likes of Starz with Charlie involved week-to-week as an actual participant and storyteller. God knows the creative above-the-liners are more than skilled and up-to-the-challenge and Stephen McHattie, one of the best character actors in the world would be the ideal star.

Just a thought from a middle-aged old exhibitor, film buyer and movie producer . . .

Getting back to my personal rumination of those halcyon days when I programmed cult movies, it's with all respect that I reveal now that Hellmouth is the kind of picture we used to fondly refer to as a "head film". Like the work of Alejandro Jodorowsky (El Topo), Slava Tsukerman (Liquid Sky), David Lynch (Eraserhead) and so many others during the "Golden" Age of cult cinema, Hellmouth is ideal viewing for those who wish to ingest copious amounts of hallucinogens prior to and during their viewings of the film. That said, like all terrific "head films", the movie itself is plenty hallucinogenic and ultimately requires no added stimulants.

THE FILM CORNER RATING: **** 4-Stars

Hellmouth enjoyed its World Premiere at the Toronto After Dark Film Festival 2014 and is being distributed by Anchor Bay Entertainment Canada (and its Uncle Sam counterpart Anchor Bay).

MONSTER BRAWL - Review By Greg Klymkiw - Canuck Foresight Delivers Brawl To End All

MONSTERS BRAWL
ALL OVER THE WORLD

Monster Brawl (2011)
dir. Jesse T. Cook

Starring: Dave Foley, Art Hindle, Robert Maillet, Jimmy Hart, Herb Dean, Kevin Nash, Lance Henriksen

Review By Greg Klymkiw

Who doesn't love Mexican wrestling movies? You don't? Well, go to hell, then. Santo, Blue Demon and Rodrigo the Hippie, however, are pussies compared to monsters. How about a movie that has wrasslin' monsters? Yes, you read correctly. MONSTERS THAT WRESTLE. What's not to like? Monster Brawl is unquestionably one of the most insane, hilarious, original gore-fests I have seen in ages. It's Canadian - which is no surprise given the wealth of truly insane films that come from this country. It's also no shocker that it's entertaining as all get out since it appears to have avoided dining too deeply at the trough of taxpayer financing.

The plot? Well, there really isn't one. (At least, not much of one.) Does this matter when the movie is full of monsters, babes and head-stomping carnage? My question is rhetorical. Don't bother answering. The movie is not dreary, depressing, dour, desperately arty nor a downer. In fact, the only downer is that it could use more babes, but the babes it's blessed with are delectably babe-o-licious!

Rachelle Wilde, one of Monster Brawl's
delectably babe-o-licious babes,
with yours truly!!!

What we've got here is 90 minutes of a world wrestling championship taking place on unholy ground in a lonely cemetery after the sun goes down. It is being broadcast to the world, but a live audience is not allowed to attend as the dead could rise from their graves at anytime and feed on them. (A great low-budget narrative hook to avoid paying for scads of extras.) We get colour commentary from a blustery sports broadcaster (The Kids in the Hall's Dave Foley) and a former monster wrestler (Art Hindle from scads of great Canuckle flicks like The Brood, Black Christmas and Face Off).

Hindle, by the way, is especially brilliant in the film. Playing a rather dapper Bigfoot who has integrated nicely into contemporary society, he's more or less a typical back country inbred redneck. Hindle chews the scenery, but in a manner that is wholly credible. He might be a Bigfoot monster, but in his heart, he's a mere country cousin to Zeke, Zebulon and the entire kit and kaboodle of your garden variety pioneer family.

The conceit of the movie is ridiculously simple, but winning. The wrestling event - featuring several bouts between a variety of monsters (a werewolf, a mummy, the frankenstein monster and, among others, the delightfully monickered Witch Bitch) unfurls as a live broadcast. Between bouts we get documentary-style introductions to each of the creatures and their recruitment to this astounding battle. What's so inspired about this format is that it's like one of those live pay-for-view events that's broadcast over regular television or appears like opera, theatre and wrestling events that now play on a big screen in mainstream multiplexes. As such, an audience for the movie could have one hell of a great time and cheer on their favourite monsters and/or boo the creatures they detest.

Added to this mixture are appearances from such famed wrestling and fighting game stalwarts like Jimmy "The Mouth Of The South" Hart (flanked by two eye-popping babes who preen and gyrate appropriately and keep looking directly into the camera as Jimmy introduces each monster), Herb Dean (who comes to a most delightful end), Kevin Nash who delivers a genuinely great comic turn as straight-faced rogue military man experimenting with some truly horrendous fighting machines and the jaw-droppingly enormous Robert Maillet (the Über-Immortal berserker in Zack Snyder's 300) who makes a perfect Frankenstein monster. Oh, and the voiceovers are delivered with suitable portent by Lance FUCKING Henriksen!

Is this cool, or what?

On casting alone, this picture deserves kudos. It's the sort of nuttiness one expects from low budget genre movies in terms of how they should be populated with a good variety of familiar faces - pop-culture icons, character actors and comedians.

I have a few minor quibbles with the picture. The wrestling matches themselves appear within a ground-level fighting ring located on a wonderfully designed graveyard that feels like it resides in Ed Wood Land. Alas, too many of the shots of the fight action are composed from outside of the ring so that compositionally, our view is annoyingly obstructed with the ropes of the ring itself. There simply aren't enough shots from inside of the ring. There also aren't enough wide shots that hold on what appears to be some terrific fight choreography.

On the film's budget, I'm aware that some truly spectacular God shots from directly over the ring might have proven beyond the filmmaker's means, but given the fact that this was a relatively controlled low budget shoot within an obvious warehouse studio, it would have been extremely easy to cheat any number of higher angle shots which could have been used to provide a sense of breadth to the fights, but also put emphasis on the fight choreography itself rather than creating almost ALL of the drive of the fights through editing. The number of shots used is impressive, however this fashionable, but to my mind, lazy manner many fight scenes are presented (even in huge budgeted Hollywood movies that should know better) detracts from the dramatic resonance of the fights.

And sure, you might think - "dramatic resonance"? What the fuck is Klymkiw on about? It's a fucking monster wrestling movie, for Christ's sake! Well, the best fights are those in which we have some dramatic stakes in those doing the battles. The Monster Brawl screenplay simply and rather smartly provides any number of story and character beats that allow for this - especially through the introductory segments used for each of the monsters (even the play-by-play colour analysis is blessed with such moments). The bottom line is that a series of entertaining fights between the monsters could have ascended to dizzying heights with a more traditional approach - a few wider overhead shots that held longer on the choreography, far more wide medium shots IN the ring, a judicious use of closeups and through the ropes shots and only during key moments in the fight should the filmmaker have utilized a requisite flurry of cuts. God knows, a "cutty" approach to any scene can work wonders, but these cuts need almost to be planned meticulously as part of the mise-en-scene.

This, of course, is not just something that young filmmakers make the mistake of doing, but you see it all the time in humungously budgeted movies. Yes, I mean YOU, Michael Bay!

Fights are drama. Every blow, every move, every view should be treated as a dramatic beat. Doing so allows for much more successful visceral thrills. Shawn Levy in Real Steel handled this perfectly - even down to seeking inspiration from John Avildsen's exquisite approach to the final boxing match between Carl Weathers' Apollo Creed and Sylvester Stallone in Rocky and Stallone's own directorial touches during the fight with Drago in Rocky IV. This is where director Cook would have been able to improve things. A careful study of great boxing and wrestling matches in films - great films like The Set-Up, Body and Soul, Raging Bull, the Rocky pictures and even Stallone's brilliant, highly underrated Paradise Alley - would have gone a long way in giving Cook an opportunity to storyboard (even in a rudimentary fashion) all his fights with cuts in mind.

What IS exceptional about the fight sequences in Monster Brawl, however, is the superb sound design, mixing and sound cutting which more than makes up for some of the visual deficiencies. (These deficiencies don't, however, extend to the first-rate art direction and astounding makeup and special effects.)

The erratic visual approach to the fights - which, I believe is more a product of the manic editing of the fights than the actual coverage of the action (which seems bounteous: Cook is clearly a talented filmmaker in this respect) - has a wearying effect. The running time is short, but the movie occasionally feels like it's going on far longer than it should. This is precisely because of the lack of wider shots and the director (who also served as editor) not trusting the coverage he already had. Allowing even a variety of the shots far more breathing space would have worked wonders.

All this is to say, however, that I still loved the film and my only frustration is seeing - with the benefit of objective eyes - how a good picture could have been great.

THE FILM CORNER RATING: *** 3-Stars

Monster Brawl was the opening night Gala presentation of the 2011 Toronto After Dark Film Festival. It is available on Blu-Ray and DVD via Anchor Bay Entertainment Canada.

EXIT HUMANITY - Review By Greg Klymkiw - Visionary 4-site Civil War Zombie Western

Only Canucks from Collingwood would
think to unleash Civil War Zombies

Exit Humanity (2011)
dir. John Geddes

Starring: Mark Gibson, Dee Wallace,
Stephen McHattie, Bill Moseley, narrated by Brian Cox

Review By Greg Klymkiw

Ambition, when it is clear, true and sparked by originality is nothing to be sneezed at - even if the end result falls a bit short of what it needs to succeed. Exit Humanity, a zombie western, is certainly one of the strangest and compelling movies I've seen in sometime. In fact, while it clearly belongs in the horror genre (there are zombies, after all), the picture feels a lot more like it's rooted in a tradition of magic realism and fairy tale. It doesn't quite gel, but in spite of this, it's a solid feature debut for a director whom one hopes will have a long, fruitful career ahead of him. His film begins with an all-out, no-holds-barred brutal battle sequence twixt the opposing blue and gray forces of the American civil war. As the carnage heats up, a third fighting element creeps into the madness - zombies. Even though the war soon ends, a dark cloud appears over the land and during the reconstruction period, a plague spreads across the once-divided, but now tenuously-melded nation.

The living dead, you see, rise to eat the living.

Following one young soldier, Edward Young (Mark Gibson) we embark upon his odyssey of pain, revenge and redemption that follows the deaths of his beloved wife and son. Edward keeps a detailed journal with vivid drawings and the most exquisite calligraphy. The reading of voice over journals is hardly original, but when it works, it works and there's certainly no reason for the insistence of those who should know better to NOT use it cinematically. Within the context of Exit Humanity, the journal proves to be a reasonable way to let us in on Edward's inner life, but to also pepper the picture with a lot of background - both narratively and historically. Edward's words of reflection appear over much of the action and are read by one of the world's great living actors Brian Cox. Even more astoundingly, the drawings often morph into gorgeous animated sequences.

On the plus side, the use of this narrative device helps plunge us into fairy tale territory. (Don't worry, there's plenty of brutal zombie action inflicted by the living dead and, most deliciously, upon them.) It's also, frankly, a brilliant approach to fleshing out the micro-budget of the film and delivering production value that fills out the movie. Amazingly, the picture has excellent production value in the non-animated sequences, so it never appears as if this is a choice tied to basic exigencies of production.

On the down side, there's too much narration and the writing tends to tell us stuff we already know and can see. There's occasionally times when it's totally fine to tell and show at the same time, BUT I do wish this had been more judiciously applied in the final cut.

The movie is quite a revelation in that it signals a new force in Canadian cinema. Foresight Features, the burgeoning Canadian company that produced Exit Humanity and the delightful Monster Brawl is making cool movies with next-to-zero dollars. Foresight is especially unique in that it brilliantly makes use of any number of no-budget techniques. They do so in a way that's tied directly to the narrative and atmosphere. (Note, for example, the exceptionally canny use of rural locations in both Exit Humanity and Monster Brawl.) Foresight is creating wildly original work that also maintains extremely high production value, private financing, tons of sweat equity and no dining at the Telefilm Canada trough.

Too many low budget Canadian films have big ambitions, but the artistic life is sucked out of them by bureaucrats and worse, those pictures almost always feel impoverished - with artistic cuts made to appease "industry standards". I've seen too many talented young filmmakers in Canada destroyed by the need of financing agencies and training institutions demanding an adherence to supposed standards that are, ultimately, nothing more than uninformed check-listing of buzz-words to ensure the survival of said agencies and institutions rather than the filmmakers.

And while many Canadian films are dotting their landscapes with genuine stars, Foresight Features has the imagination and, if you will, foresight, to populate their casts with quirky genre-specific stars. Exit Humanity - in addition to the aforementioned use of Brian Cox (the original Hannibal Lecter in Michael Mann's brilliant Manhunter) - features welcome supporting turns from a bevy of cool actors like Dee (E.T., The Howling, Cujo, Critters) Wallace, Bill (The Devil's Rejects, House of 1000 Corpses) Moseley and Canada's greatest actor (tied with Louis Negin for this Klymkiw Accolade) Stephen (Pontypool, the great 70s TV movie James Dean and his memorable star turn as Vreenak the Romulan in Star Trek: Deep Space 9) McHattie.

Exit Humanity is flawed, to be sure, but at least it's not stricken with the typical malaise infusing most Canadian features. It has scope, sweep and, although weirdly muted, high stakes. If anything, the movie is infused with a great deal of love and compassion. The strange blend of romantic yearning, fairy tale, horror and western genres is terrific when it clicks like clockwork. When it is deliberate, it's wonderful, but oft-times it's ponderous. The movie really needs a good 20-or-so minutes shaved from it. This would not, in any way, shape or form take away from the director's clear intention to provide an offbeat journey. It would, in fact, have enhanced it.

Instead of the usual hyped-up urgency that infuses so many contemporary genre films, I applaud the filmmaker's intent to bring us back to a time when scares and creepy-crawly feelings could hold an audience. Director Geddes has crafted a movie in this tradition, but it's mildly frustrating to watch a picture and SEE PRECISELY where the movie could be cut with no detriment to the intent. I psychotically watched the movie three times. Once, just to watch it. Twice, to figure out why it haunted me in spite of its considerable flaws. And finally, a third time to ascertain what could have been done with the footage in its final form. The movie it should be is buried in itself and most notably, in its intent. But as we all know, the road to hell is paved with good intentions - action, finally, speaks louder than words.

THE FILM CORNER RATING: *** 3-Stars

Exit Humanity was unleashed at the magnificent Toronto After Dark Film Festival 2011 and is being distributed on Blu-Ray and DVD by Anchor Entertainment Bay Canada.