by Steve Habrat
Over the past few years, it seems that it has become routine for Hollywood to release one or two rundown drama-thrillers a year that feature blue collar characters having it out with one another in a gasping American neighborhood on the verge of total collapse. We’ve seen it in films like Winter’s Bone, The Fighter, The Beasts of Southern Wild, and Killing Them Softly, all of which relished immersing audiences in family squabbling, filth, decay, and boarded up structures. This year we have director Scott Cooper’s Out of the Furnace, another downbeat family-drama/revenge-thriller set against a dying industrial town in Pennsylvania. While Out of the Furnace may not necessarily win any points for originality (this is definitely a seen-it-all-before exercise), Cooper’s Rust Belt tale of revenge is comprised of heart pounding backwoods atmosphere, bare-knuckle brutality, and gripping melodrama guaranteed to make that hour and fifty minute runtime fly by in a flash. It also features enough A-list talent to fuel a dozen Oscar bait movies, with stars Christian Bale, Woody Harrelson, Willem Dafoe, Casey Affleck, Forest Whitaker, Zoe Saldana, and Sam Shepard all bringing the true grit required to allow a film like this to really take shape.
Out of the Furnace introduces us to Russell Baze (played by Christian Bale), a steel mill worker who slaves away taking double shifts to help out his brother, Rodney (played by Casey Affleck), a war veteran struggling to adapt to normal life after several tours of duty in Iraq. Despite some differences, Russell and Rodney still band together to look after their terminally ill father, who seems to be getting worse by the day. One evening, Russell is driving home from a local bar when he strikes a car and kills the occupants inside. Russell is sent away to prison for some time, but when he emerges, he realizes that his life hasn’t gotten any easier. As he tries to come to terms with the passing of his father and his break-up with his beautiful girlfriend, Lena (played by Zoe Saldana), Russell learns that Rodney has become involved with bare-knuckle boxing. Concerned for his safety, Russell attempts to persuade Rodney to leave bare-knuckle boxing behind and come work with him at the steel mill. Refusing to listen to his brother, Rodney demands that local gangster John Petty (played by Willem Dafoe) get him fights that are run by Harlan DeGroat (played by Woody Harrelson), an extremely dangerous backwoods thug who has a grudge against Petty. After Rodney mysteriously disappears at the hands of DeGroat, Russell takes the law into his own hands and sets out to find his brother before it’s too late.
While there are several elements borrowed from other films and there is a slight predictability to it, Out of the Furnace takes great care in really making both its story and its characters seem as genuine as possible. Russell struggles to find the motivation to pull himself from the comfort of Lena’s arms to work a double at the sweaty steel mill. With circles under his eyes and his dreams smothered under protective gear, he keeps a dignified poise as he tries desperately to keep his brother on the right track. This proves challenging when Rodney retaliates with the horrors he saw in Iraq (some of the stories he shares are deeply disturbing), which really allow us a clear understanding as to why it is so difficult for him to find his place in normal society. Russell’s composure remains in tact when he is involved in that gruesome car accident, which places him behind bars and at the mercy of vicious inmates for some time. When he finally gets out, things have gone from bad to worse, as he grapples with the loss of his father, his break up, and the horrors of that terrible accident. Despite his weary exasperation, when he finally has to confront the demons that claim his brother, there are no exaggerations in the actions taken. The frustration with local authorities and his determination to not loose his brother open a door for careful plotting that leads up to a low-key final showdown with the devil himself that is shockingly convincing.
While Bale makes Russell’s soft-spoken composure, self-assurance, and deteriorating compliance in the face of tragedy and failure electrifying cinema, it is Harrelson’s sadistic Harlan DeGroat that is ultimately in charge of Out of the Furnace. With a crack-rock smile and zero patience, DeGroat relishes his rotten existence, proudly declaring that he “has a problem with everybody.” He pyshically and psychologically bullies anyone and everyone for the smallest things, proudly beating up his girlfriend at a drive-in and then viciously attacking a man who tries to intervene. It’s an unforgettably evil performance from Harrelson, who completely fills out DeGroat’s filthy-dirty skin. Affleck is perfectly suited for Rodney, a haunted soldier who just can’t seem to get his life together. He comes home with his face pounded into oblivion and sips liquor to make the pain go away. He’s on a crash course, and his fate is tragically foreseeable. Dafoe is fantastic as John Petty, a small time thug in over his head with the wrong people. He’s far from a hard-ass gangster, and when the people he has wronged come calling, the quiver in his voice will have your stomach in a knot. Saldana is given a small but pivotal role as Lena, Russell’s one and only escape from his daily grind. Forest Whitaker is present as Chief Wesley Barnes, a gravel-voiced cop who stole Lena away from Russell. His strained relationship with Russell is put to the test when he attempts to get to the bottom of Rodney’s disappearance. Sam Shepard also stops by as Gerald Baze, Russell and Rodney’s uncle who joins Russell in his quest to track down his brother.
Considering that Out of the Furnace draws from other intense works of cinema, the film dishes out plenty of scenes drenched in blood and violence. The bare-knuckle boxing scenes are difficult to watch, as each punch thrown isn’t accompanied with an over-the-top sound effect to embellish the force of the blow. The beatings are savage and the violence is shown in up-close-and-personal detail, especially one character taking a bullet to the head. We also can’t forget Rodney’s war stories, which will certainly repulse and remind us all of the horrors of war. Equally disturbing is a trip to a rundown crack house hidden in the dense hills. We glimpse junkies sprawled across ripped sofas, sucking on crack pipes and shooting heroine in between their toes. Overall, while the lack of originality will hold the film back this awards season, Out of the Furnace is still a riveting, emotional, and uncompromising backwoods drama/thriller. It makes great use of its backdrop, it’s appropriately moody, and it’s comprised of actors who take familiar characters and really give them distinctive life. It’s capped off with an abrupt finale that is welcomingly blunt and haunting.
by Steve Habrat
Among the many sleazy horror subgenres out there, one of the most popular of the late 1970s and ‘80s was the slasher film. Grindhouse theaters and rundown drive-ins were bombarded with masked psychos wielding a number of assorted kitchen utensils or power tools ranging from machetes, cutting knives, chain saws, meat cleavers, and more. While major Hollywood studios were only responsible for a small number of these slasher films, a good majority of them were released through small independent studios looking to capitalize on the popularity of films like The Texas Chain Saw Massacre, Black Christmas, and Halloween. Many of these films were artless and depraved, riddled with senseless blood, guts, and gratuitous nudity—things that were not heavily present in any of the films that inspired these knockoffs. Today, a large number of these cheap exploitation slashers are lost in the sands of time, but there are still some that have amassed respectable cult followings. One such cult slasher would be director William Lustig’s 1980 exploitation classic Maniac, an urban nightmare that appealed to 42nd Street crowds due to its unflinching violence and gore. While it may not enjoy the popularity of, say, Halloween, Maniac is still popular enough that it finally earned itself a remake makeover. Now we have director Frank Khalfoun’s Maniac, a surprisingly harrowing, disturbing, and frighteningly vicious horror film produced and written by French horror director Alexandre Aja.
Maniac places us in the shoes of Frank Zito (played by Elijah Wood), a soft-spoken loner who manages a mannequin shop that was left to him by his abusive late mother, Angela (played by America Olivio), who also worked as a prostitute on the side. Traumatized by his mother’s treatment towards him, Frank takes to the streets and stalks down beautiful young women who he murders and scalps with a hunting knife. One day, Frank meets a young upcoming photographer named Anna (played by Nora Arnezeder), who is interested in photographing the mannequins inside Frank’s shop. The two immediately strike up a friendship, but soon, Frank takes a liking to the beautiful artist. One evening, Frank and Anna go on a date to the movies, but after the date, Frank is devastated to learn that Anna has a boyfriend. Frank struggles to maintain the friendship, but after humiliating encounters with Anna’s boyfriend, Jason (played by Sammi Rotibi), and her mentor, Rita (played by Jan Broberg), he snaps and looses his tiny grip on reality, which puts Anna in serious danger.
Where most horror remakes refuse to do anything new or inspired with the material they are updating, Khalfoun’s Maniac dares to get creative with its style. The original Maniac was told in a fairly straightforward manner, although, we were asked to root for the bad guy of the story, something that does indeed make the viewer’s skin crawl. Maniac 2013 asks the same thing of the audience, but it takes it a step further and presents the action from the POV of Frank. The idea that we are peering through Frank’s eyes is undeniably creepy, and since we are inside his head, we are unable to escape from his demons. At times, Khalfoun blurs the picture, distorts sound, or descends into the surreal, offering up rattling hallucinations that really do a fine job of showing off Frank’s unstable condition. This POV presentation also gives the violence a razor-sharp edge that really cuts you deep. Each and every time Frank jabs his knife into one of his victims, you’ll desperately want to close your eyes. The violence is shockingly realistic, and it is shown in all of its revolting glory. It’s so graphic that even Frank looses his lunch after murdering one poor girl. It’s certainly not for the faint of heart.
Since the story is presented from Frank’s point of view, you may wonder why a high-profile star like Elijah Wood is involved with this small project. The few glimpses that we get of Frank are in reflections, where we are exposed to the glazed-over trance that he seems to float around in from day to day. His reflection presents a boyish face, drawn in innocence that suggests that he wouldn’t hurt a fly. Obviously, we know better, but armed with those puppy eyes, we know Frank is capable of fooling a lot of people into thinking he is completely harmless. Wood uses his physical appearance to his advantage, but his performance is wounded by his line delivery, which seems very mechanical and staged. The problem could stem from the dialogue, which is embarrassingly clunky and refuses to roll off the tongue in a natural fashion. As far as the other performers go, Arnezeder’s Anna is the ray of hope that Frank is desperately in need of. When she reveals she has a boyfriend, we certainly feel the dagger driven right into Frank’s heart, but we fear for her when he finally falls off into the abyss. Olivio certainly makes you raise an eyebrow as Frank’s prostitute mother, who forces him to hide in the closet while she has a threesome. Rotibi is spot on as the testy Jason, Anna’s boyfriend who takes an immediate disliking to Frank and viscously accuses him of being gay.
In addition to the impressive POV style and unnervingly realistic violence, Maniac 2013 also benefits from an awesome retro soundtrack that is sure to get stuck on repeat inside your head. Composed by French musician Rob, the soundtrack invokes an early ‘80s aura, sounding like a mash up between the dreamy notes of Ruggero Deodato’s Cannibal Holocaust, the triumphant synthesizer blasts of Stanley Kubrick’s A Clockwork Orange, and the urban beats of Nicholas Winding Refn’s throwback thriller Drive. With the soundtrack transporting you back to 1980, Khalfoun uses it to intensify the film’s urban grit. You almost feel like you’re on the grimy midnight streets with the homeless hiding inside camping tents, club kids drunkenly stumbling out of dance clubs in search of a blackout hook-up, and wandering hoods with their faces suspiciously concealed. All of this is sure to scare you away from wandering darkened city streets ever again. Overall, while the film’s dialogue could have used some major attention, Maniac is still an unexpectedly chilling walk in a madman’s shoes. It’s respectful of the original film while also setting itself apart from what Lustig delivered back in 1980. Maniac is stylish, chilling, and wildly grisly horror remake that is sure to disturb even the most hardened horror fan.
Maniac is available on Blu-ray and DVD.
by Steve Habrat
Last year, a little movie called The Hunger Games snuck into theaters and became a monster hit. Remaining number one for several weeks and earning rave reviews from both audiences and critics, it was clear which young-adult-novel-turned-blockbuster-movie was filling the space left open by the Harry Potter series and the concluding Twilight series. With Lionsgate clearly understanding they have a major moneymaker on their hands, the studio furiously got to work on a follow-up that is dropping a little over a year after the first film. Among the big blockbusters bringing 2013 to a close is director Francis Lawrence’s The Hunger Games: Catching Fire, an inevitably darker middle chapter that is surprisingly thoughtful and entertaining, something you’d never imagine from a film that was slapped together in a rush for a big payday. With star Jennifer Lawrence still bringing down the house as the girl on fire herself, Katniss Everdeen, Catching Fire allows the talented young star to dig into the trauma left over from the first film and in the process, give audiences a resilient heroine who refuses to go down without a fight. I’ll take Miss Everdeen’s rebellious spunk over Bella Swan’s angsty high school drama any day, and it appears that quite possibly America is feeling the same way!
Catching Fire picks up several months after the 74th annual Hunger Games, with Katniss Everdeen (played by Jennifer Lawrence) still coming to terms with some of the horrors that she saw during the games. On the eve of the Hunger Games Victory Tour, President Snow (played by Donald Sutherland) pays an unexpected visit to Katniss and her family. President Snow warns Katniss that she needs to continue with her fake romance with fellow Hunger Games winner Peeta Mellark (played by Josh Hutcherson) in order to calm the unrest brewing in the districts. If she doesn’t comply, Snow will kill both her family and Gale Hawthorne (played by Liam Hemsworth), the mineworker Katniss has been carrying on a secret romance with. Katniss agrees to continue on with the charade, but as the Victory Tour gets underway, she sees what her win has meant to the twelve districts and the brutality being carried out by Snow’s forces. With rebellion on the horizon, Snow and new Gamekeeper Plutarch Heavensbee (played by Phillip Seymour Hoffman) devise a new way to eliminate Katniss and crush the hopes of the twelve districts. They decide to recruit all the previous winners from past games to compete against each other, drawing out some of the most dangerous contestants in the area. Realizing that Peeta and Katniss have their backs against the wall, mentors Haymitch Abernathy (played by Woody Harrelson) and Effie Trinket (played by Elizabeth Banks) get to work preparing the kids for this new game.
At nearly two and a half hours long, you could almost split Catching Fire into two different movies. The first half of the film dares to be intimate with the trauma that Katniss and Peeta suffer from and how their lives have been changed forever. They are yanked from district to district, paraded in front of grieving families who were forced to give up one of their own to the games, while scraggly town citizens look on with a mixture of awe and resentment. One particular scene has Katniss tearfully recalling her fallen friend Rue, a tearjerker moment nicely followed by that famed whistle and three finger salute. It is within these scenes that we get to see the extent of Snow’s brutality and manipulation, as his masked forces, known as Peacekeepers, pump bullets into the heads of anyone who dares show hints of rebellion. They flood into districts, trash homes and markets, and install a whipping post for anyone who acts out. As the anger simmers and director Lawrence ventures to the lavish capital where elite citizens, who sip drinks to purge their full bellies in order to eat more, rub elbows, you’ll begin to see this is going the route of class warfare. There appears to be no middle class, just those with everything and those with almost nothing. It’s heavy stuff for a young adult story, especially when Snow and Heavensbee begin discussing how to control the masses. They devise puff pieces that divert the attention of the public, blinding them to the violence and oppression spilling into the streets. It’s within this first hour that Catching Fire really does ignite, effectively earning its right to brood and scowl.
As we enter the second hour of Catching Fire, we begin meeting all sorts of different characters that seem to be introduced simply so we know who the hell they are in the third film. They are all characters that we want more from (Jenna Malone’s Johanna Mason, Amanda Plummer’s Wiress, Lynn Cohens’s Mags, to name a few), but sadly, Lawrence is forced to cover so much ground that he just can’t quite balance everything out. He has to maintain focus on Katniss and Peeta as they battle for their lives on a tropical island with as many manipulated threats as well as flesh and blood threats. There are spots where the pacing seems to stall as the contestants attempt to make sense of a lightning tree, poisonous CGI fog, CGI mandrills, and, yes, CGI tidal waves—computerized threats that drown out the human dangers that prowl that tangled mess of vines and leaves. Furthermore, the film asks us to really care when several secondary characters are killed; something that is extremely difficult considering that we have barely been gives the chance to get to know some of them. When several of the contestants finally group together to stay alive and more secrets emerge from the island itself, things manage to perk up and the thrills once again pack their punch in the grim final stretch.
As far as the A-list cast is concerned, Jennifer Lawrence is top dog once again. She’s a feisty heroine who isn’t afraid to let the world see a few tears stream down her face. Whether she is in the concrete streets of one of the districts or in the sweltering heat of the island, she remains the poised hellraiser that we fell in love with in the first film. At times, the script threatens to allow a Twilight-esque love story take control of her character, Lawrence places her character’s love life on the back burner, something that is solidly believable considering the harsh realities of the world she inhabits. Hutcherson’s Peeta is still the softie with clear feelings for Katniss, feelings that go beyond a simple friendship. Hemsworth is still underused as Gale, the beefy blue-collar mineworker who swoons for Katniss and isn’t afraid to fight back against the ruthless Peacekeepers. Banks and Harrelson are still as colorful as ever as fashionista Effie and drunken Haymitch, the eccentric mentors to Peeta and Katniss. Sutherland is still commanding as the calculating dictator Snow, who is willing to kill as many people as he needs to in order to keep his citizens in line. Hoffman is equally cruel and savage as Heavensbee, the ruthless new Gamekeeper that will stop at nothing to make sure Katniss perishes in the game. Other newcomers include Jeffrey Wright as the brainy Beetee, Plummer as Beetee’s sidekick Wiress, Jena Malone as the axe-wielding Johanna, and Sam Clafin as the charming new ally Finnick.
Compared to the original film, Catching Fire expands its scope and improves its special effects, but there are places where the computerized wizardry still looks dated. The sprawling shots of the Panem capital look great, the fire that was ablaze on Katniss’s dress has improved, and the futuristic shuttles the glide above the capital are convincing, but the poisonous fog looks cheap, the tidal waves appear rushed, and a spinning portion of the island looks way too cartoonish for its own good. One aspect that I am particularly torn over is the way the film ends, in a “to be continued…” style that doesn’t allow this installment any sense of closure, something I found immensely infuriating. However, despite leaving the door wide open, I did admire the way the film sprung multiple twists and turns in the story in such a short period of time, and I particularly liked the final blow that is sure to leave members of the audience gasping in shock. Overall, while the second half may pale in comparison to the first and some of the characters may be left a bit underdeveloped, The Hunger Games: Catching Fire still rewards with a smart script, a darker tone, and a fantastic performance from Jennifer Lawrence. Bring on round three!
by Steve Habrat
In 2011, Danish director Nicholas Winding Refn found mainstream success with his blazing art-house thriller Drive, a film that took me by complete surprise. What I figured would be just another throwaway action movie with growling muscle cars turned out to be an 80s existential gut-punch throwback that wasn’t easy to shake off. Needless to say, it definitely had me eagerly anticipating what Refn would deliver next. Two years later, Refn returns with Only God Forgives, a film that couldn’t be a bigger disappointment. Lit like Dario Argento’s Suspiria, sculpted around one of the laziest plots you could imagine, and weird just for the sake of being, well, weird, Only God Forgives reteams Refn with Drive star Ryan Gosling, an ever-welcome talent that was the head-stomping main-attraction of Drive. With a star like Gosling in front of the camera, you’d think that he would be able to bring something substantial to this snoozefest, but its as if he was sleepwalking through the role, quietly trying to make sense of what exactly Refn was trying to achieve here aside from paying tribute to his idol, Alejandro Jodorowsky, which is what he claimed to be doing with Drive. What we’re left with is a senselessly bloody exercise in style without any purpose or direction. Only God Forgives exists simply to be morose collection of empty neon images that are better suited for a music video.
Only God Forgives introduces us to Julian (played by Ryan Gosling), an American drug dealer running a boxing club that is actually a front for a drug operation in Bangkok. One stormy evening, Julian’s erratic brother, Billy (played by Tom Burke), rapes and kills a young prostitute in a seedy hotel room. The Bangkok police quickly discover what Billy has done, but rather than detaining him and taking him to the station, the police call in retried officer Chang (played by Vithaya Pansringarm), a sword-wielding sadist known as the Angel of Vengeance. Chang encourages the girl’s father, Choi Yan Lee (played by Kovit Wattanakul), to do what he wishes to Billy. In a fit of rage, Choi kills and mutilates Billy’s body. Word of Billy’s death soon reaches Julian and his associates, who track down Choi to question him about Billy’s brutal murder. Meanwhile, Julian’s mother, Crystal (played by Kristin Scott Thomas), arrives in Bangkok to claim Billy’s body and get to take control of the situation. After learning that Julian spared Choi’s life, Crystal demands that he take to the neon streets and exact bloody revenge on the men responsible.
Early on, Only God Forgives shows signs of promise with the swirling sense of dread that lingers over the hypnotic red and blue frames. Refn slowly glides his camera down harshly lit hallways aglow with red lighting that suggest that we have stepped into Hell itself. You’ll be on the edge of your seat as Billy, Julian, their associates, and a boxer stand around in a darkened room declaring “it’s time to meet the devil.” The tension and unease tighten when Billy stumbles off to a futuristic whorehouse in the hopes of finding a young fourteen-year-old girl to have his way with, something that is sure to make any viewer sick to their stomach. It all feels so tremendously evil and it’s about as atmospheric as a film can be. Sadly, the sinister mood of the film is quickly overtaken by Refn’s trudging pace, which gives way to frustrating tedium. Every single scene feels unnecessarily drawn out or glaringly hollow as characters sit around in flashing nightclubs or lavish hotel rooms staring off into space or silently plotting their next vicious move. It’s certainly pretty to look at, that I can’t deny, but it seems that Refn is under the impression that these stretches of meditative silence are thought provoking in all their surreal glory. Instead, they become mind-numbingly boring, further hurt by the lack of an entrancing character.
As far as the characters of Only God Forgives are concerned, almost every single one of them is as wretched as they could possibly be. Gosling’s Julian just sits around sulking, watching blank-faced prostitutes pleasure themselves or staring down at his quivering fists like it’s the first time he has ever seen them. He does show a few hints of compassion, which makes him slightly redeemable, but his constant detachment makes his character a major bore. Things really get weird when his sexpot mother, Crystal, shows up to scold him for not gunning down his brother’s killer when he had the chance. Crystal consistently alludes to having sexual relations with both of her sons, the most awkward coming when she discusses Billy and Julian’s, um, manhood with Mai (played by Rhatha Phongam), a prostitute paid to act as Julian’s girlfriend. Then we have Pansringarm’s Chang, a mysterious man who brings his punishing sword down on any man or woman who has committed an atrocious sin. He encourages Choi to murder Billy, only to return to chop off one of Choi’s arms for turning a blind eye to his daughter’s line of work, and he savagely tortures a gangster responsible for ordering a hit that left several citizens and police officers dead. Pansringarm’s eerily calm demeanor is meant to send chills, especially when he nonchalantly brings bloody vengeance down on his victim’s heads with so much as blinking, but Refn doesn’t write any personality into the character. The most interesting thing about him is that he likes to sing karaoke.
Only God Forgives finds Refn also reteaming with Cliff Martinez, the man who composed the chilling score for the masterpiece that is Drive. Only once or twice does Martinez unleash the retro synths that accompanied Drive and he does incorporate a throbbing organ that compliments the hellish blaze of the winding hallways we wander around, but everything else just falls flat by comparison. One of the stronger aspects of Only God Forgives is the way that Refn pays tribute to Jodorowsky, the man behind such midnight movies like Holy Mountain and El Topo. Several symmetrical shots called to mind certain scenes from Holy Mountain and there was even an echo of Kubrick in a few spots, something that was particularly surprising. Overall, while Drive was certainly going to be a tough act for Refn to follow, Only God Forgives is a disastrous follow-up that consistently allows style to mask the fact that there is very little substance. The artistic freedom is certainly refreshing and the ominous mood is undoubtedly effective, but it becomes increasingly clear that Refn is simply stroking his ego, leaving you disappointed that you didn’t just re-watch your copy of Drive. Plus, it’s a bad sign when Ryan Gosling can’t even save your movie.
Only God Forgives is available on Blu-ray and DVD.
by Steve Habrat
Over the past several years, the horror movie market has been flooded with “found footage” movies made on the cheap. It’s easy to see why Hollywood loves producing these kinds of films, as they can be made with a small pile of cash and when they are finally dumped on the market, they can turn quite a profit for the studio. While a good majority of these films are garbage, every so often one turns out to be worth your while. Take director Richard Raaphorst’s Frankenstein’s Army, another “found footage” horror film that doesn’t necessarily break any new ground with this particular subgenre. While it might not get too creative with it’s style, Frankenstein’s Army manages to sneak by as a winner due to its must-see creature effects, all of which were achieved without the aid of rubbery CGI. Where most horror films drop the ball when they reveal their boogeymen to the audience, Frankenstein’s Army actually finds its momentum in these lumber abominations. And you know what? They are stunningly creative and absolutely terrifying. Sadly, they are the strongest part of the film, as the storyline and most of the performances fail to live up to the how-the-heck-did-they-do-that? special effects.
Frankenstein’s Army tells the story of a battalion of Russian soldiers, who are fighting through enemy territory during the final days of World War II. Among the group is Dimitri (played by Alexander Mercury), who claims to be filming a propaganda film for the Russian government. As the group pushes through the German countryside, they stumble upon a small town that is seemingly deserted. After finding a number of charred bodies and bizarre mechanical skeletons strewn about, the soldiers begin investigating the empty buildings, but as they push underneath into the town’s catacombs, they come face to face with a slew of nightmarish creatures that are half human and half machine. With their numbers quickly dwindling, the monsters closing in, and their options limited, the soldiers make a push to flee the town, but in the process, they meet Viktor (played by Karl Roden), a distant relative of the infamous Victor Frankenstein and the demented creator of these hellish monstrosities.
The early scenes of Frankenstein’s Army force the viewer to spend time with a bunch of two-dimensional soldiers as they shoot, bicker, and stomp through the scenic German countryside. Probably the only interesting moment of the first twenty minutes is a pit stop in a small German village, where our heroes decide to terrorize the frightened villagers like a pack of ravenous dogs. After a while, you fight the urge to take a nap, but rest assured that things are going to get very twisted very fast. Things finally pick up when the boys stumble upon the smoldering corpses of what appears to be nuns and twisted remains of some sort of mechanized terror. When the “Zombots” (the title their maker has bestowed upon them) finally decide to make their presence known, you’ll have a difficult time getting enough of them. They come in various shapes and sizes, one more horrific than the next. One has a plane propeller for a head while another struts around on what appears to be stilts with a drill for a head. There is even one Zombot that goosesteps towards his prey like an oversized tin soldier from Hell! They are absolutely fantastic in all their menacing steam-punk glory, made all the more horrifying through the idea that these were all created without the use of distracting CGI. It’s best not to say too much about them because most of the fun comes from being on the edge of our seat over what may come charging at us next, but just know that they are the best and most suspenseful part of the entire movie.
With Raaphorst placing all the attention on his magnificent monsters, the rest of Frankenstein’s Army begins to feel a bit rickety. The opening is dreadfully slow and he does very little with the “found footage” gimmick that he uses to tell his story. The plot itself is very thin and riddled with flaws in logic (How the heck is Dimitri still holding onto the camera—let alone, alive—when the Zombots take their swipes at him? What type of camera is he using to get a picture this good?), making it feel like we’re playing a video game rather than watching a feature length movie. As far as the film’s performances go, everyone is mediocre except for Roden, who is unhinged treat as the maniacal Viktor. For you gorehounds out there, Frankenstein’s Army delivers plenty of the red stuff. Zombots wheel around carts of bloody body parts, dead bodies dangle from the celling, and people’s heads are peeled open to reveal their gooey brains. Overall, while the “mockumentary” approach is uninspired and the entire project feels like a mash-up of Wolfenstein and Call of Duty, Frankenstein’s Army manages to milk plenty of entertainment from its ingenious monsters and Roden’s screw-loose performance, making it a horror gimmick that is worthy of your precious time.
Frankenstein’s Army is available on Blu-ray and DVD.