shot-on-video enfant terrible Olaf Ittenbach's first gooey blast of backyard splatter borrows heavily from Raimi's first Evil Dead film in plot and ideas, but Ittenbach establishes his vision within those parameters, crafting set-pieces that look as if your worst nightmare of an indoor kid made a life-size paper-mache diorama detailing the goreist passages of Sade's 150 Passions.
Mickey Keating's stand-your-ground parable avoids the pitfalls of most similarly costumed "grindhouse" throwbacks due in large part to convincing performances from all the players involved, an organic sense of who the characters are, and a narrative that escalates into strobe-lit nightmare.
THE DEVIL LIVES HERE
occasionally formulaic (sometimes frustratingly so) and periodically dragging, this Brazilian export still has enough visual imagination and energetic aggression to encourage its recommendation.
DOG EAT DOG
Paul Schrader's latest veers dangerously close to being one of those dreadful post-Tarantino celluloid husks that pocked the indie-scene throughout the 90s, but mercifully all those involved are able to stay the course, crafting a film that hearkens back to the themes that made Schrader the Poet Laureate of White Male Impotence.
THE GREASY STRANGLER
every frame... every piece of dialogue... is a work of mind scrambled post-ironic art.
Richard Bates Jr.'s (Excision) delightfully mean-spirited gothic horror comedy dips hard into perverse surrealism and dinner-table-giggling blasphemy, topped off with some of the most likable unlikables this side of John Waters.