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‘Dementia: Part II’: The Bizarre Midnight Movie Made in Only a Month! [Cinepocalypse]

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Images courtesy of Bloody Disgusting and BoulderLight Pictures

The biggest surprise out of Music Box Chicago’s inaugural Cinepocalypse Film Festival was completely under the radar. It was a film not listed in the program. In fact, it wasn’t even a secret screening, but a challenge, a first-of-its-kind bet between a programmer and two producers.

The production team at BoulderLight Pictures consists of 25-year-olds JD Lifshitz and Raphael Margules. Alongside both Contracted films, they also produced Bad Match, which received its premiere at FrightFest, the upcoming Dismissed (starring Dylan Sprouse), and numerous other genre titles including Dementia.

With their youthful exuberance and heavy output, the festival issued them a challenge: produce a genre feature exclusively for Cinepocalypse 2017. There were no parameters other than it must be a feature-length midnight movie, and that they must begin production immediately upon release of our first announcement. They had a month to make a film from conception to world premiere, which took place last night at the ongoing film festival.

When the lights went down, not even us programmers knew what was going to be showing on screen; we had no idea of the plot, subgenre, who starred, nor who directed. It was one of the coolest mysteries I personally have ever experienced at a fest.

It turned out to be a tongue-in-cheek sequel to BoulderLight’s Mike Testin-directed Dementia (2015), their deadpan serious thriller about an elderly war veteran who is forced by his estranged family to hire a live-in nurse, only to find she harbors a sinister secret.

Dementia: Part II, however, is all midnight movie, a complete juxtapose of its predecessor that’s not only funny but disgusting. Where the first film was a slow-burn riddled with exposition, this “sequel” was an exercise in chaos, madness, and insanity. Co-directed by Testin and star Matt Mercer, the plot follows Mercer as an ex-convict who has become a small-jobs repairman, who ends up in a house with a frightening old woman (Suzanne Voss) with dementia. Shot in black and white, the nightmare escalates as the woman shoves $100 bills in Mercer’s pocket, stringing him along for the revolting ride. Testin and Mercer take from the pages of Sam Raimi with their blocking and gross-out humor, hammering home revolting sequences similar to those in Drag Me to Hell.

Being made in a month with barely any money allowed for these filmmakers to break the rules, take chances, and basically do whatever the fuck they wanted. The result is a trippy, mind-fuck of a midnight movie that does have cult potential (it’s unclear if this will be reworked for future festival submissions).

This is a first, as far as I can tell, and is perfectly reflective of what’s it’s like to be an indie filmmaker in 2017.  Technology allows for filmmakers to pick up a camera and be creative, and while many are hoping to win the lottery with an investor, others should accept the same challenge and see what they can create just out of sheer will.  Whether we’re talking about filmmaking or some other career entirely, the lesson here is to stop talking about it and just do it.

We’ll keep you posted if the film lands distribution or plays more festivals through 2018.

Additional Info: The full cast also includes Najarra Townsend, Graham Skipper, and Stacy Snyder. Matt Mercer and Mike Testin directed, edited, wrote, and produced the film in a month. JD Lifshitz and Raphael Margules are executive producers. Cathy Tuttle co-produced with Eric Slee and Rob Yoo serving as associate producers.  SFX materials provided by Josh and Sierra Russell.

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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