Category: Michael Madsen

Arena Wars – (Movie Review)

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By Andrew Buckner

Rating: ***½ out of *****.

Arena Wars (2024), from writer and director Brandon Slagle, is a scrappy, often entertaining variation on such dystopian science-fiction/action films as Paul Michael Glaser’s adaptation of Richard Bachman’s same titled 1982 novel, The Running Man (1987), and Joe D’Amato’s cult classic Endgame (1983). The latest cinematic exercise from Slagle also boasts a brutal tone that is successfully executed throughout the 95-minute project. It also incorporates crisp, all-around beautiful cinematography from frequent Mahal Empire Productions collaborator Michael Su. These elements, along with a plethora of one-on-one fight sequences that are quick, credible, grounded, and thrilling, continually lift the film up when the overfamiliarity of the material threatens to sink the composition. These conventions extend to the characters, their backstories and arcs, the dialogue, themes including corporate corruption and media greed, and, most notably, the plot, and the structure of the piece itself. Additionally, though the pace of the endeavor is smooth, the occasional slow-moving section creeps into the proceedings. This is especially true of the second and third acts of the undertaking. Nonetheless, Slagle has crafted an undemanding, pleasantly straightforward, ultimately satisfying picture that is perfectly suited for late-night viewing.

Set in 2045, the narrative revolves around a sporting event entitled Arena Wars. Taking place over seven rooms, the televised competition finds convicted death row criminals fighting for their freedom against seven of the most monstrous murderers in the country. Despite the high ratings of the program, audiences are growing tired of the violent spectacle. Sensing that viewers need someone to root for to make the show more intriguing, an innocent, undercover man and skilled marine, Luke Bender (John Wells, in a commanding portrayal that effortlessly exerts a gruff aura), is offered a chance to lead the inmates through the game. Upon accepting the proposal, Bender must guide through myriad trust issues within his group as well as the vengeful fists of his opponents in the name of liberation. 

Though Michael Madsen and Eric Roberts (as Arena Wars co-host Samson and Admiral Jordan, respectively) provide workmanlike performances, their easily recognizable and likable presence erects welcome strong spots throughout the creation. Other highlights in this department can be found in Sheri Davis’ lively depiction of Arena Wars’ announcer, Holly Daze, Kylie Fulmer’s gripping turn as Billie, and Kevin Hager’s same said representation of Belladonna. Robert Donovan is marvelous as Samson’s co-hosting partner, Moses. Maria Bova is just as good as the off-the-wall, ever-watchable Cutie Pie. Robert LaSardo is tense and compelling as Perez.

Outside of the generally excellent enactments found in the design, the music from Scott Glasgow is appropriately rich, dramatic, and striking. Furthermore, the effects, particularly the plentiful gory bits, are memorable and impressive. The editing from Wayne Kent and costume design by Joseph Goratowski and Mercedes Peterson (who is outstanding as Domino), are extraordinary. The proficient sound utilized in the exertion helps Slagle’s outing roar clearly to life throughout every frame. The sets, makeup, and stunts are also deftly implemented.

Released on June 25th, 2024 on digital platforms through Gravitas Ventures, Arena Wars is an ambitious yet intimate example of the can-do spirit of independent moviemaking. The direction from Slagle is sharp. It is also injected with just the right amount of style. Though the screenplay from Slagle isn’t as sturdy, the attempt is filled with engrossingly wild, larger than life villains. It also contains a protagonist who is more authentic because his flaws aren’t hidden from the screen. Ultimately, the fabrication is a finely honed jolt of adrenaline. Like the hero of this tale, audiences will find it easy to cheer for this feature.   

DEATH COUNT (2022) – Movie Review

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By Andrew Buckner

Rating: **** out of *****.

Death Count (2022), from director Michael Su and screenwriter Michael Merino (with revisions by Rolfe Kanefsky), is a lean, efficient, captivating, and grisly take on Saw (2004) style horror pictures. After a visually bravura and claustrophobic commencing acknowledgements segment, Su’s offering even begins in a related manner to James Wan’s previously stated masterpiece. Continually, there is an explicit mention of Saw, as well as the narratively similar Hostel (2005) from director Eli Roth, in one sly late first act sequence. It involves a montage of news reports. Aside from being an opportunity to address the oft-utilized theme of the operation, the sadistic underbelly of The Internet, this short episode is also a refreshing nod to the photoplays from which it evokes motivation. The presence of Costas Mandylor, who deftly enacted Detective Lieutenant Mark Hoffman in Saw III (2006) through Saw: The Final Chapter (2010) and just as capably depicts the wonderfully ominous Warden in Su’s latest effort, greatly enhances this correlation.

Michael Madsen, who magnificently portrays Detective Casey, delightfully offers his gruff, commanding charm to the material. His bits of dark humor also pepper the proceedings. Yet, none of these items are employed so frequently that they take away from the superbly fashioned and anxiety-fueled tone of the enterprise. The beautifully orchestrated mood of the article skillfully permeates the appropriately brisk 81-minute attempt from the initial frame to the last.

The story concerns a group of eight strangers who find themselves in a foreign environment. They are isolated in holding cells and cannot recall how they got to be in such a situation. Their conditions become even more dire when the frightful Warden announces that they are being forced to play a deadly game. It is one which involves getting the most “likes” on social media. This is achieved by partaking in violent escapades, all of which have a ten-second time limit per unwilling contestant, that revolve around self-harm.

It’s exactly the type of plot one would expect from a tale of this ilk. The characters are also familiar archetypes. The exposition and general development they are handed is satisfactorily dispersed yet garden variety. Even the inevitable climactic reveal of why these individuals were gathered and how they are connected follows suit. The dialogue the central figures are handed is sharper and more successful. Nonetheless, it still falls under the banner of what spectators foresee from such an outing.

Notwithstanding, the film is relentless in terms of its taut pacing and same said tension. The project expertly erects its setup in the initial ten minutes of the venture. From herein, it imaginatively crafts increasingly macabre ordeals for our leads to endure. The account is just as creative in its plentiful and exceptionally well done gory bits. A courtesy of the confident guidance of the vehicle from Su, the solid script, and the all-around high-caliber performances in the construction, the suspense rarely wavers. It is smoothly concocted from the engaging and enigmatic opening to the grimly gratifying conclusion. The latter cleverly hints at a potential sequel.

What is just as impressive is the fascinating way in which the affair combines numerical, literary, and sonic clues which may aid in the contributors’ survival in the second half of the fiction. The quickness and unpredictability with which most of the cast gets slaughtered in the mesmerizing first act is just as noteworthy. Such measures create a welcome balance to the more routine beats of the composition. It also makes the endeavor far more palpable in the nerve-shredding anticipation it brilliantly builds.

From a technical perspective, the work is equally stalwart. The cinematography from Su and music from Scott Glasgow is atmospheric and immersive. I especially enjoyed the incorporation of the fitting track from Psycho Synner, the Jeremy Spencer and Shawn McGee penned “The Torture Never Stops” (2021), during the enthralling end credits. Moreover, the editing from Jeremy Wanek, costume design by Joe Lujan, sound, makeup, stunts, and effects are all outstanding.

Also identified as Numbers, Death Count is a scrappy, in-your-face midnight movie. It isn’t as groundbreaking as the features from which it derives inspiration. Regardless, it will assuredly please those of us who are always frantically searching for a stellar dose of grueling cinematic terror. A Mahal Empire, Mezek Films, and Blaen-Y-Maes Bootleg Films production, Su’s exercise is twisted fun. It’s also one of the best genre undertakings of the year.

Death Count will be released in North America on July 19th, 2022.

“Devil’s Domain” – (Movie Review)

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By Andrew Buckner

Rating: ****1/2 out of *****.

New York born Writer-director Jared Cohn delivers a beautifully made, splendidly acted and engrossing take on an oft utilized concept in Devil’s Domain (2016). Cohn’s invention concerns a cyber-bullied teenager, Lisa (in a compelling performance from Madi Vodane that immediately and continuously draws sympathy from audience patrons). Frustrated by the torment that she undergoes daily, and a video of our central figure that only makes our central figure more of a target for harassment, Lisa meets an appealing stranger online. She initially states that her name is Destiny (in a hypnotic and superb enactment from Linda Bella). Almost immediately Destiny reveals herself to be The Devil. Drawn into the powerful and seductive promise of having her desires fulfilled, Lisa makes a deal with Destiny. The promise soon turns to tragedy. This is as Lisa’s peers find themselves the unwilling victim of this unholy pact.

Despite the familiarity inherent in the general plot, Cohn’s feature never feels predictable or overdone. Such is a courtesy of Cohn’s competent pace. It is also the consequence of his terrific balance of characterization and story. The horror sequences, especially a third act arrangement involving Lisa watching someone who recently confessed her feelings to our protagonist being hit by a car, are all effectively staged and tremendously executed. Cohn also implements a finale that shares the generally tried and true sensation of the tale itself. Yet, still it arises as a potent punctuation point to this memorable thrill ride. It also serves as a necessary extension of where the narrative appears to be naturally headed.

Such an ability to turn tropes into triumphs is the result of Cohn’s masterful, ever-taunt guidance of the project. His script, which is immersed in realistic dialogue and motivations, provides a consistently solid backbone to this celluloid exhibition. The photoplay is also made increasingly stalwart by Josh Maas’ atmospheric and striking cinematography. Additionally, Rob Pallatina’s editing is seamless and sharp. Correspondingly, the special effects are so credible that they greatly enhance the believability of what we are watching on-screen. Furthermore, unlike many similar genre efforts of the day, there isn’t an overreliance on these filmmaking illusions to mount intensity or culminate dread. This is another indicator of the sheer craftsmanship at hand.

Also, assisting matters are the top-notch depictions. Michael Madsen is especially good as Lisa’s compassionate and understanding stepfather, Bill. The music from Iggy & The Stooges, DMX and Onyx, reiterates both the tone and the overall beats of the affair uniquely and spectacularly. Likewise, the piece casually ebbs and flows eye-catching style. This is evident instantly in an opening credits sequence that is filled with comic book-like renderings of the leads. This is paired with Satanic symbols and images. The section is capped off by excellent animation work from Devin J. Dilmore. In turn, this bit calls to mind the bravura cinematic flash of a Gallo feature from legendary Italian moviemaker Dario Argento. This visceral flare, and alignment to the aforesaid maestro, is recaptured in the variety of imaginative and grisly kill scenes found throughout the labor. The outcome of these elements is a gripping and ever-immersive example of all-around talent; a brilliant tour de force. See Devil’s Domain when it is released in limited theaters and on video on demand on May 30th, 2017.

Runtime: 92 minutes and 48 seconds.

Distribution Company: The Orchard.

Production Company: Cleopatra Films, Cleopatra Records.