Tag: Rolfe Kanefsky

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.

“Art of the Dead” – (Movie Review)

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By Andrew Buckner

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

Art of the Dead (2019), from writer-director Rolfe Kanefsky, is a surreal, wildly entertaining and wickedly inventive work of cinematic horror. It ranks among the best genre pictures of the year. As was the case in earlier Kanefsky productions, such as The Black Room (2017), there are touches of movie masters Dario Argento, Lucio Fulci (such as one gloriously gooey occasion near the midway mark where an image of a slug oozes slime) and Mario Bava. These are unmistakably located throughout the ninety-seven minute project. There is also a first act death scene involving overdrinking that lovingly calls to mind a moment one might see in a feature from Troma Entertainment. Such examples showcase that Kanefsky is clearly inspired. His ability to evoke memories obtained from so many sources is commendable. It increases the varied and effortlessly enjoyable nature of the proceedings.

What is just as gripping is Kanefsky’s theme of the art world. In particular, the artist being underappreciated by his or her audience. This is displayed effectively in the eye-opening and attention-garnering six-minute opening segment. There is also a concentration on the hindrance of critics through the eye of said artist. Such an emphasis adds layers of insight to the proceedings. These gently sewn bits help make the work evermore resonate.

The efficiently paced effort is further propelled to excellence by its engaging plot. It involves a family, the Wilsons, who, unbeknownst to its tragic past, are slowly taken over by the Sinsation Collection. These are an assembly of beautifully rendered paintings that revolve around the seven deadly sins. In so doing, the clan begin to enact the transgressions depicted in the canvases. This is as the handspun portraits individually speak to the members of the kin and use them as pawns in their wicked bidding.

From a narrative perspective, Kanefsky’s latest also benefits from a solid and intense third act. It weaves its various plot threads into a spectacularly sinister and satisfying climax. The concluding sequence is intriguing and ominous. It offers the perfect punctuation point for the material. The sections of backstory found in the first sixty minutes mechanize just as well. It serves as engaging exposition. The handling of this attribute adds to the wonderfully bizarre and unpredictable atmosphere of the undertaking.

Kanefsky’s script, from a story by Michael and Sonny Mahal, has the right amount of character focus, development and content. The dialogue is believable and enjoyable. Furthermore, it is brought richly to life by a game cast. Every actor and actress involved with the development delivers with a fantastic performance. Jessica Morris as Gina Wilson, Lukas Hasssel as Dylan Wilson, Richard Grieco as Douglas Winter, Tania Fox as Tiffany Roberts and Tara Reid as Tess Barryman are especially good.

The exercise is just as stalwart from a technical standpoint. The cinematography from Michael Su is colorful and striking. It increases the imaginative and hypnotic essence of the exercise. This can also be said of the smartly utilized visual effects. They were supervised by Clint Carney. Christopher Farrell’s music is moody and masterful. The costume design by Monique Marie Long, editing by Jay Woelfel and the collective contribution from the makeup department is also astounding. These characteristics are all wonder-inducing highlights of this gloriously grim gem.

In turn, Kanefsky has crafted a brilliant genre outing. The venture is ambitious and thoughtful. It can also be quite graphic at times. The subtle moments of terror are instrumented just as phenomenally as the more daring, aggressive instances of fear. Much as he had done prior, Kanefsky draws from a large catalogue of genre-related elements. This will assuredly be a source of endless appeal and admiration to fellow fans of fright flicks of all varieties. What is just as exemplary is how well he wields them into a memorable composition. It is one that is wholly his own. Regardless of the familiarity of some of the items in Kanefky’s arsenal, there is never a sense of anything in the endeavor being overdone. Best of all, there is also not a dull second in sight. For these reasons, Art of the Dead is a must-see this Halloween season. It is guaranteed to satisfy.

“The Black Room” – (Movie Review)

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By Andrew Buckner

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

Taking cues from The Entity (1982), Insidious (2010), Wishmaster (1997) and The Evil Dead (1981), prolific writer-director Rolfe Kanefsky’s The Black Room (2016) is stylish, tense, captivating and fun; an instant classic. The project tells the tale of a married couple who discover a demon that thrives on sexual repression and desire. Such an unholy entity threatens to destroy the lives of the once happy duo. This is almost immediately upon their arrival in their new home.

In so doing, Kanefsky instills a plethora of inventive ideas. They greatly enhance the occasionally formulaic mechanics of the plot. The endeavor also benefits from solid, character-oriented writing. Kanefsky also sports an undeniable capacity for visually stunning direction. Such a trait is wonderfully reminiscent of Dario Argento. The often gooey 1980’s influenced special effects, which come courtesy of Eric Chase and Vincent J. Guastini, only augment the joyously retro feel. Such pulsates ardently through every frame of the proceedings. Correspondingly, Savant’s booming, nail-biting and grimly gorgeous music compliments Kyle Stryker’s same said cinematography brilliantly.

Furthermore, Lin Shaye as Miss Black and Tiffany Shepis as Monica, a real estate agent, shine in their brief turns. Natasha Henstridge as our heroine, Jennifer, makes for a compellingly vulnerable counterpart. This is in relation to her possessed husband, Paul (in a bulls-eye turn from Lukas Hassel). Such is especially true once his increasingly eccentric behavior kicks in near the end of the first act.

In turn, Kanefsky has created a smartly paced, joyously successful horror outing. It is one erected from the most endearing qualities of the genre. Admittedly, the creature in the basement scenario is the most charming element in this respective arsenal. Best of all, the ninety-four minute picture commences with an extended opening segment that is impressive on all accounts. From herein, this largely unpredictable presentation only continues its enjoyably atmospheric and imaginative streak. The rousing, blood-soaked climax and post-end credit scene can be viewed as one magnificent, elongated final wink at the audience. Such results in an all-around superbly done and satisfying venture. Kanefsky has delivered one of the best cinematic terrors of the year. The mysteries of The Black Room are well-worth seeking out.

(Unrated). Contains graphic violence, sexuality, adult themes and nudity.

Now available on video on demand.