VEROTIKA (2019)

Note: Lately, my reviews have been showing up on a new site called FILM HORDE, but because nothing is normal these days, that site is on temporary hiatus, and I’m posting my reviews back here again — for now. Here’s the latest one.

VEROTIKA (2019)

Review by LL Soares

(Warning: Review contains spoilers!)

WTF!!

Every once in awhile you see a movie and wonder how did this get made? What was the director thinking when they made it? And that’s exactly what I thought when I saw Glenn Danzig’s new movie, VEROTIKA, which got a brief theatrical release a few months ago before it came out recently on DVD and Blu-ray from Cleopatra Entertainment. If you’re a fan of bad movies, then you’ll have to add this one to your list.

Look, I’m a fan of Danzig’s music, from his days in the Misfits and Samhain, up to his albums with the namesake band Danzig, and when I heard he was going to make a movie – and a horror movie at that – I was excited. I’d heard that the movie would be based on some of the stories from his Verotik line of adults-only comics, which meant there might be some incredible visuals – depending on the budget – because the one thing Verotik is best known for is the art, by artists like Liam Sharp, Simon Bisley, and Tim Vigil, and its generous use of nudity, especially well-endowed women. I guess, in picturing the movie before I saw it, I imagined a live-action version of HEAVY METAL (1981), with lots of nudity and gore.

Let’s say the movie fell a little short of my expectations.

VEROTIKA begins with a woman in chains (an image that is used several times throughout the film), who is confronted by Morella, a goth-looking woman with upside-down crosses under her eyes, who gouges out the chained woman’s eyes, while cracking a joke. Morella is also our hostess for these little adventures. She is played by adult film star Kayden Kross (also in SAMURAI COP 2: DEADLY VENGEANCE, 2015).

The first segment is called “The Albino Spider of Dajette.” In it, a girl named Dajette (Ashley Wisdom, REPRISAL, 2018, and the short film GOOD GUY WITH A GUN, 2020) is getting frisky with a guy, but she won’t remove her top. When he pulls it off, we see that her nipples are replaced with eyeballs (which is never explained and doesn’t add much to the plot – sadly, they also don’t move, so they never seem fully animated). The guy runs away, and Dajette cries. Her tears fall on an white spider that is crawling on some flowers, and the tears transform the spider into a weird-ass monster with eight arms (Scotch Hopkins, GANGSTER LAND, 2017, and BLOOD CRAFT, 2019), who comes to life in the real world whenever Dajette goes to sleep. Kind of an arachnid Freddy Krueger. Of course, when the humanized spider is around, he goes on a killing spree, killing prostitutes, just like Dajette, including some of her friends.

The police are trying to stop the serial killer, while Dajette alternates between being sad because no one loves her, and guilty over the horrors that happen she goes to sleep. The spider-man tries to encourage Dajette to sleep more, so he can come out and play. Eventually, she tricks him into a vulnerable situation, so he can be stopped.

Despite the fact that this one makes the most sense of the bunch, in a dream-logic kind of way, there’s still not a lot that redeems it. Sometimes the monster is free to roam around when Dajette sleeps, and other times he’s in the same room with her (with no explanation why). And what about those nipple eyes? What’s the story with those?

And everyone in this segment speaks in awful French accents. I guess it’s supposed to take place in Paris, but after awhile, with more and more characters trying to sound French, it just becomes laughable. The acting isn’t very good (I guess that’s an understatement, although Hopkins, as the spider, stands out just because his character is so odd), and the effects aren’t all that amazing either (the spider-man’s extra arms are clearly plastic and have no perceivable life of their own).

Our next segment is called “Change of Face,” and this is the one I have the most questions about, because very few of the plot elements make any sense. A stripper known as “Mystery Girl” (Rachel Alig, also in BIKINI SPRING BREAK, 2012, and OFFICER DOWN, 2013) dances around the stage with a hood, with her face hidden, because she has scars. When she’s not dancing, she’s off attacking random women and slicing off their faces with a big knife. Even though this doesn’t sound like it would kill the women, most of them die due to “shock and blood loss.” Why is Mystery Girl so obsessed with taking other women’s faces? At first I thought the idea was that she would put the faces on over her scars and look like someone new each time she stripped. This wouldn’t make much sense, but in the goofy logic of the movie, it would work. Instead, she just hangs them on the wall around her mirror. There are all these fleshy sheets tacked to the wall, for seemingly no reason. She just likes to collect them! What a waste. There’s no deeper purpose. If she’s going to be ugly, then those beautiful women she steals the faces of are going to be ugly, too!

Meanwhile, the police, led by Sgt. Anders (Sean Kanan, who amazingly has had recurring roles on the soap operas GENERAL HOSPITAL and THE BOLD AND THE BEAUTIFUL) try to solve the mystery of the face stealer.

This one was also weird because even though it takes place in a strip club, there’s not much nudity. Girls either wear string bikinis or black tape over their nipples, or fishnet tops. And nobody gets completely nude. What kind of strip club is this? Especially based on the nudity-abundant Verotik comics?

Aside from the fact that this story makes no sense, there are other reasons why it’s bad. The acting is atrocious (even more so than the Albino Spider story, even though no one has to pretend to be French in this one). Some of the line readings are just cringe-worthy, and no one acts like a real human being. The dialogue is sometimes hilarious. At the end, I just wasn’t sure what the point was.

By the time we get to the third segment, “Drukija, Contessa of Blood,” the bad writing takes a turn. Instead of giving us a plot that doesn’t make any sense, “Drukija” just dispenses with the plot altogether. It’s really just a retelling of the story of Elizabeth Bathory, the subject of the movie COUNTESS DRACULA (1971), and several other films. A noblewoman bathes in the blood of village virgins to stay young. Instead of Countess Bathory, we have Contessa Drukija (Alice Tate, of SNOWBOUND, 2017, and roles on the TV shows JEAN-CLAUDE VAN JOHNSON and THE KOMINKSY METHOD), who spends her time doing two things: going around the village to check out the virgins, and bathing in virgin blood after her young victims have their throats slit. That’s it. We never really see what she DOES with her youthful vigor. Maybe because she just doesn’t do much else. Her only real relationship is with Sheska (Natalia Borowsky, SO, YOU WANT TO BE A GANGSTER? 2018), who acquires the virgins for her and makes sure the Contessa is kept happy. There are hints that Sheska is in love with Drukija. And since Drukija is an aristocrat, there are no police coming for her, no punishment on its way.

At least this one has a lot of nudity (compared to “Change of Face”) and the acting is a little better (Tate and Borowsky stand out only because they aren’t completely awful). But it’s just the same thing over and over, with no plot development.

The interstitial scenes of Morella don’t add anything. She just presents each story, but doesn’t have one of her own, sadly.

The thing is, despite the fact that they adapted stories by Edward Lee (“Grub Girl”) and Nancy A. Collins (“Sunglasses at Night”), two horror mainstays, the Verotik comics line was known more for the art than the stories, and this movie just continues that theme. Written and directed by Danzig himself, there’s not a lot of drama, suspense, or real horror here. Throughout the film, I kept wondering why the stories didn’t go in more interesting directions, and yet they were so odd (and often pointless) that it added to the overall strangeness. This is the kind of movie where you’ll be amazed how bad it gets at times, but I have to admit I also laughed more than a few times. I really don’t think it was intended to be funny, but it’s such a misfire that there’s a strong sense of campiness, even though all of the actors (no matter how bad) take their roles seriously (if they’d been more self-aware and winked at the camera, it probably would have been worse). The production values also leave a lot to be desired.

One plus, however, is the soundtrack. Since Mr. Danzig is involved, this comes as no surprise. The soundtrack includes songs by Danzig, Ministry, and Switchblade Symphony, to name a few.

So I’ll admit, this is a bad movie, but I also found is strangely entertaining in its own way. I thought Glenn Danzig might be the next Rob Zombie (i.e., musician turned successful horror film director), but I guess he’s more of an Ed Wood Jr.

If you’re housebound with the coronavirus situation, this one might be a good double feature with Tommy Wiseau’s THE ROOM (2003), or Wood’s ORGY OF THE DEAD (1965). Hell, make it a triple feature!

Word has it that Danzig is already making a follow-up movie, described as a “vampire spaghetti western” and it will actually have some recognizable actors in it. In a weird way, I’m looking forward to it to see if Danzig actually improves as a filmmaker, or if he gives us more “so bad it’s good” chills and thrills.

© Copyright 2020 by LL Soares

 

 

 

MY NEW NOVEL IS COMING!

I’ve been calling it the “vampire book” to my friends, but it’s something completely different. My own special take on the theme. As usual, originality is a commandment of mine. And now the book has a home.

TEACH THEM HOW TO BLEED (the title is from a Motorhead song) has been acquired by Pete Kahle over at BLOODSHOT BOOKS.

I’ll be posting details here as they develop. Right now, it’s estimated to come out sometime between Fall of this year and Fall 2021, so it could be a wait. But as things progress (like when the cover is done, when you can preorder it, etc.), all the news will be here.

I think you’ll like it, but fair warning, it’s one of my darkest books so far.

You’ll see.

TOKYO VAMPIRE HOTEL (2017)

Streaming Review by LL Soares

Streaming over on Amazon Prime, you can check out the 10-part miniseries TOKYO VAMPIRE HOTEL (2017), a Japanese show that got very little promotion when Amazon acquired it. There were actually two versions of this story—the miniseries available on Prime, where the episodes run from 30 – 50 minutes each (it varies) —and a two-hour and 22 minute theatrical version which played at festivals. I have no idea how coherent the theatrical version is—that’s a lot of story to cut down into 2 ½ hours! I suspect, though, that many people will find the 6+ hour miniseries to be something of a challenge. I was able to get through it, but that’s because I liked the pure crazed anarchy of it. Other viewers may not agree it’s worth seeing to until the end.

Directed by controversial Japanese director Sion Sono, who also gave us SUICIDE CLUB (2001, probably his most famous film), STRANGE CIRCUS (2005), LOVE EXPOSURE (2008), COLD FISH (2010), and WHY DON’T YOU PLAY IN HELL? (2013), TOKYO VAMPIRE HOTEL begins in a sushi restaurant where Manami (Ami Tomite, also in Sono’s TAG, 2015, and Yoshihiro Nishimura’s MEATBALL MACHINE KODOKU, 2017) is celebrating her 22nd birthday. Suddenly, a woman arrives who pulls out a machine gun and kills most of the people in the restaurant, until she is murdered by another group of killers. Everyone is after Manami, because when she turns 22, her secret powers will manifest.

It’s a long story. There are two groups of vampires. The Dracula Clan, the oldest group, once dominated but have since been forced underground, hidden from the society of humans. The new clan, the Corvin (or Neo-Vampire) Clan, control much of the above-ground world, unbeknownst to the human populace. In a last-ditch effort to return the Dracula Clan to prominence, the planets aligned on September 9, 1999. Children born at nine seconds past 9:09 on this day were considered sacred, and were secretly stolen and given blood of Dracula to suckle on, then they were returned to the hospitals. Three children were born at this time in Japan, but we assume others were born in other countries. When these children turn 22, they will have the power to resurrect the Dracula Clan and restore the clan to its former glory.

However, most of the children suckled on Dracula blood do not live to their 22nd birthday. Most go mad and kill themselves. Manami is the only one who survives, and she immediately becomes a chess piece in the struggle between the Dracula and the Corvin Clans. On the Dracula side, we have the relentless warrior named K (Kaho, of FOREBODING, 2017, and JOURNEY OF THE SKY GODDESS, 2019), who leads a gang of female assassins. She works for the “Master” – Dracula’s descendant in Romania. On the Corvin side, we’ve got the ambitious gangster Yamada (Shinnosuke Mitsushima, of BLADE OF THE IMMORTAL, 2017) who wants to be the lord of the vampires, his lover Elizabeth Bathory (Megumi Kagurazaka, of Sono’s WHY DON’T YOU PLAY IN HELL?, 2013, and Takashi Miike’s 13 ASSASSINS, 2010), and Elizabeth’s mother, an ancient vampire who looks like a shriveled up doll with a big head, until she’s given vampire blood to drink and turns into a youthful woman with pigtails!

Both sides want Manami, and fight to get her. This includes not only vampiric attacks, but lots of automatic guns and samurai swords. Vampires are killed more likely in a hail of bullets than with a wooden stake. At one point, Yamada opens the Hotel Requiem to some of the human population, inviting numerous young and attractive people who do not have any immediate family members (and won’t be missed). Yamada has sinister plans for them, involving the revelation that the world has come to an end (via nuclear destruction) while they’ve all been partying, and demanding that they feed the Corvin Clan with their blood. He also wants Manami and her sacred blood for himself. K does whatever she can to keep Manami away from him.

It’s a long, convoluted storyline with lots of blood, bullets, and overall violence. Sion Sono is known as an iconoclastic director in Japan, and his films aren’t for everyone. If you like the first episode, you’ll probably want to give it a chance. If not, you might want to invest the time elsewhere. But I really enjoyed it, from the insane storyline right down to the theme song by Japanese pop band, Tricot. An unexpectedly poignant storyline unfolds late in the series, involving the hotel’s chef named Cody, a vampire who sneaks out of the hotel to the outside world after his shift is done, and his friendship with a little girl who is the only human born in the hotel.

Fans of crazy, ultraviolent Japanese movies might have a good time with this one. If nothing else, TOKYO VAMPIRE HOTEL is unlike anything else on TV.

© Copyright 2019 by LL Soares

TROUBLE EVERY DAY (2001)

Movie review by LL Soares

I’m a big fan of French horror films. From the 1960 classic Les Yeux sans visage (Eyes Without a Face) to the 1970s French vampire films of the great Jean Rollin, to the movies Jesus Franco made in France, to the more recent films considered part of the New French Extremity movement, such as HAUTE TENSION (2003), INSIDE (2007) and MARTYRS (2008). So when I finally had a chance to see Claire Denis’s 2001 film TROUBLE EVERY DAY, one of the earlier films of the New French Extremity, I was happy to check it out.

Claire Denis is sort of a one-woman genre of her own, having made so many different kinds of movies, from the colonial drama CHOCOLAT (1988) to the French Foreign Legion drama BEAU TRAVAIL (1999), to her most recent films, the comedy LET THE SUNSHINE IN (2017) and the sci-fi flick HIGH LIFE (2018). Of course, she made a horror movie, and it’s a doozy.

TROUBLE EVERY DAY is kind of a vampire film. It starts out with a woman named Core (Beatrice Dalle, also the titular character in the movie BETTY BLUE, 1986, as well as in Michael Haneke’s TIME OF THE WOLF, 2003, and the great French horror film INSIDE, 2007) wandering around and seducing a trucker, who she then proceeds to mutilate and drink his blood. Not really the fangs in the neck variety, let’s just say that Core is a very messy eater. She bites off facial features and body parts as much as she drinks blood, and when her husband Leo (Alex Descas, also in several other Claire Denis films, and in Olivier Assayas’s IRMA VEP, 1996) tracks her down, she’s a bloody mess. The fact that he stays with her, and that he covers up her murders by burying the victims and cleaning her up, says a lot about their relationship. First of all, he obviously loves her. And second, he clearly feels guilty about what she has become.

It’s also the story of newlyweds Shane (Vincent Gallo) and June (Tricia Vessey, also in BEAN, 1997, and GHOST DOG: WAY OF THE SAMURAI, 1999) Brown, who have just arrived in Paris for their honeymoon. They are also in love, and June at first seems very happy. But there’s something wrong, an overriding tensions that slowly devours their wedded bliss. This gets worse when Shane takes the last of some pills he has brought along. He immediately goes searching for a doctor from his past, namely Leo, who we met earlier.

Shane works for a pharmaceutical company and in enigmatic flashbacks, it’s clear that he worked with Leo on some past project in the jungles of Bolivia. We are led to believe that whatever has happened to Core has something to do with this secret research. And it also had some effect on Shane that we’re not sure about.

Shane can’t find Leo. The lab where he worked fired him, and the scientists there claim to have no idea where Leo is. In the meantime, Leo has taken on the role of a local physician for rural patient, and keeping a low profile, while still doing research of his own in the basement of the house he shares with Core.

Meanwhile, two criminals have been casing Leo’s house, and are curious why he goes to such lengths to keep it secure (there are bars on all the windows, etc.). Obviously, he’s done this to keep Core from going out (even though she escapes occasionally anyway), but the thieves think he’s hiding something of value in the house. After at least one unsuccessful attempt to break in, they finally are able to break a basement window and gain access after Leo has gone off to work.

Needless to say, they find something they’re not expecting.

Shane has been getting more and more desperate. He needs to track Leo down, but isn’t getting very far. In the meantime, he is avoiding any passion with June (for fear that he might not be able to control himself?). In one scene, he stops making love to her to run to the bathroom and finish himself off violently, which disturbs his wife (and us). Then a woman who works at Leo’s former lab finally contacts him and tells Shane how to reach his old friend. Shane arrives at Leo’s house soon after those thieves have broken in…

TROUBLE EVERY DAY is dark, enigmatic, and atmospheric, and the violent scenes are very gory.  A big reason why I wanted to see it was because Denis is such an interesting director, and I’m a fan of star Vincent Gallo, who had previously starred in and directed the great BUFFALO ’66 (1998) and had roles in films like Abel Ferrara’s THE FUNERAL (1996) and a previous Denis film, NENETTE AND BONI (1996). He would go on to write and direct (and star in) the controversial THE BROWN BUNNY in 2003.

I really enjoyed this one and think it deserves a wider audience.

© Copyright 2019 by LL Soares