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[DVD Review] ‘Nightmare Code’ Successfully Tweaks Found Footage Idea
“Will the found footage fad ever go away?” I asked myself that several times during Mark Netter’s Nightmare Code. Considering that the Paranomal Activity series thankfully ended this year with Ghost Dimension (and considering its box office return), audiences may have finally had their fill with the subgenre. That’s all kind of unfair to Netter’s film. Sure, the film is yet more indie fare that uses the tired trope as the basis for its plot. But perhaps Nightmare Code does something more with the idea?
OptDex’s ROPER is a new surveillance system that aims to determine the emotions of people, and therefore predict their actions. The program’s creator, Foster Cotton (Googy Gress), apparently snapped one day and murdered several of his co-workers before shooting himself in his office. Enter computer programmer Brett Desmond (Andrew J. West). Desperate for cash to pay off his legal bills for being a whistleblower, Brett agrees to join the OptDex team to help complete ROPER. However, as Brett delves into the code for ROPER, he discovers that the ROPER code is capable of more than just behaviour prediction.
Right away, Nightmare Code tackles the problem that so many found footage films stumble over and are unable to recover from. That is, the problem of why the camera or cameras are always in opportune positions, and are constantly recording. The solution being that the entire film is taken from the POV shots of the security cameras at OptDex, with ROPER doing the viewing. As a result, the film is less found footage, and has more of a Big Brother-esque feel to it. But given that these are all programmers confined to their own offices, that presents another problem. As a solution, the film will switch to a four-way splitscreen, where you get multiple characters interacting via their webcams. It’s a strange sense of voyeurism, seen through the eyes of ROPER, that’s both intriguing and creepy.
Despite the obvious obstacles presented in the film, the performances are fairly well done. Despite the problem of often having single characters in the room at one time, Netter solves the issue by having the characters talk to themselves to further exposition. Sure, it’s might seem awkward, but you can’t say that there aren’t people who talk to themselves when they’re alone. Getting into specifics, West is quite good as the film’s flawed protagonist in Brett. Him being slowly consumed by his work makes Caitlyn Folley’s turn as Brett’s increasingly-concerned wife Jennifer that much more convincing. Still with West, the chemistry that he and Mei Melançon’s character Nora Huntsman share is also believable, and again feeds into the idea of a flawed protagonist (you’ll see). Gress handles the egotistical and eccentric Foster Cotton with ease, and makes for a good antagonist.
Nightmare Code unfortunately falters in spots. While the four-way splitscreen does solve the issue of having a character confined to one area at a time, it can often lead to confusion. Having multiple characters interact via this method has multiple characters reacting at the same time. This of course has the viewer darting around the screen to follow said reactions and responses. Those of you who have had a Skype video call where multiple people talk and react know what this is like. Also, once you get into the film, you realize that the premise is not that original. Despite the fancy window dressing that is the surveillance cameras, the film boils down into your typical “rogue computer program running amok” story.
Still, in spite of treading a familiar path, Nightmare Code is a nice break in an overdone subgenre. Netter uses the found footage idea in a way that actually makes sense, and creates an unsettling mood with the constant surveillance of the film’s characters. The performances are all well done, and only add to the creepy feelings. It’s not a perfect film, but it definitely tries to be more than what many indie films using the idea eventually become.
Video/Audio:
Presented in 1.78:1 anamorphic widescreen, the video presentation is about what you’d expect from a low-budget indie release. Colours are accurate, although the image overall is a tad dark. There’s a bit of mosquito noise throughout, but nothing too distracting. It’s adequate, and typical of what you’d expect of a film like this.
The Dolby Digital 5.1 audio is again consistent with the film’s low budget origins. Dialogue is clear and easy to understand, and there is some good use of directionals at points during the film. It lacks the “oomph” of bigger budgeted releases, but that’s to be expected.
Supplements:
First up is an audio commentary with director, producer and co-writer Mark Netter and actors Andrew J. West and Mei Melançon. The trio turn in a very informative track, with Netter handling much of the talking. Personal stories about the production and behind the scenes information are shared, with the entire session being entertaining as well.
Following that are a series of mini EPK-style featurettes that can be played individually or one after another. ‘Characters’ covers the film’s characters as told by the cast and crew, ‘Technology & Fear’ talks about how technology has evolved and the power that it unlocks, ‘The Production’ covers the making of the film, while ‘Indiegogo’ is the video used for the film’s fundraising campaign.
The film’s trailer rounds out the extras.
Overall, a decent DVD presentation with an entertaining commentary being the highlight of the extras.
Home Video
‘Herencia Diabólica’ – 1993’s “Mexican Child’s Play” Finally Has a Blu-ray Release [Review]
Did you know that there is a Child’s Play-inspired film from Mexico? If you didn’t, you can thank Vinegar Syndrome’s new label Degausser Video for making 1993’s Herencia Diabólica available for the masses to watch. Or at least for the VS hardcore fanbase, Chucky completists and anyone else who needs something like this in their lives.
Director Alfredo Salazar, known for his writing connection to the 70s Santo film series, also serves as the writer here to bring us a film seemingly inspired from the Child’s Play franchise. While it has been recently labeled as the “Mexican Child’s Play” (there’s a special feature on the disc with that very title), the killer doll concept is where the comparison should start and end. Despite having some seeds planted by that franchise, Salazar delivers a story that blossoms into something unique.
Tony (Roberto Guinar) receives a letter informing him that his aunt has died, and he has inherited her estate in Mexico. He quits his job and uproots his life in New York with his wife Annie (Holda Ramírez) to relocate south of the border and move into his new crib. Now I know what you’re thinking, what person just quits their job and drags their wife to another country without having reliable monetary income? Tony does, everyone, Tony does.
And what’s the first thing they do once they arrive in Mexico and check out the estate? They hit the bedroom, naturally. We are treated to a sex scene with an erotica song that feels like a knockoff of “Sadness” by Enigma (remember them?). Sounds fun and all, but the scene takes place completely in the dark and we see absolutely nothing. Maybe that’s why the sexy-time tune was pumping, so we could know what was exactly going down.
While Tony goes on a job interview, Annie explores the estate’s grounds in a tedious chore to experience, going room by room, plodding along. But it does lead us to her discovery of our antagonist—the evil clown doll, Payasito! Of all the things in the house, she decides to bring this monstrosity down to show Tony when he gets home. What an exciting way to celebrate (sic)! Then out of nowhere, she spouts off some exposition about rumors that Tony’s aunt dabbled in the dark arts and now we know where our title Diabolical Inheritance (the English translation for Herencia Diabólica) originates. For those of you who keep score for things like that.
Before proceeding with this review, you really need to visualize what Payasito looks like to truly embrace the rest of the film’s shenanigans. While Chucky resembles a cute ginger child, Payasito resembles a small clown that is much larger in stature than Chucky. That’s because Payasito is performed by an actor (Margarito Esparaza) in clown cosplay whenever he’s on the move (like Mannequin 2), and makes some really horrible facial expressions. Chucky dresses in “Good Guys” overalls and a striped shirt, but Payasito wears a new wave Santa hat while sporting a Sgt. Pepper jacket and Peter Pan tights. As you can now tell, he is quite beautiful.
Back to our story, Payasito begins to spook Annie cerebrally until she becomes unnerved to the point of having a complete mental break down, making her easy prey to eliminate. She dies but the unborn child survives, with Tony believing that her death was caused by her mental instability. Fast forward some years later and the couple’s surviving spawn has grown into child Roy (Alan Fernando), who at this point has already bonded with Payasito to help him over the loss of his mother. Dun-dun-duuunnn!
Meanwhile wealthy Tony remains single, still grieving his late wife, until his blonde assistant Doris encourages him to move on with his life and start seeing other people. And by other people, she naturally means herself. As the old Kanye West song lyric goes, “I ain’t saying she’s a gold digger…”, and it seems that she might be until we learn more about her character. Doris is played by the stunning Lorena Hererra who has an extremely extensive resume in Mexico, and she carries most of the film quite well during the feature’s second half. The singer and former Playboy centerfold for their Mexico edition is by far the most recognizable face in the cast.
Doris and Tony do indeed hookup and she moves into La casa de Herencia, where she does her best to impress Roy and lessen his obsession with the doll. There is a scene where they go to a nearby park without Payasito that is filled with famous fairytale figures, such as Pinocchio, Cinderella and King Kong! What, you didn’t know King Kong is a fairytale? Me neither. But Roy continues to be obsessed with Payasito after their trip, much to Doris’ chagrin.
Her actions to separate him from Roy gets Payasito angry, setting up the film’s most memorable scene. We already know that Payasito is a devil doll like Chucky, but now we learn he also has the power to invade people’s dreams like Freddy Krueger! Does Payasito enter the dream world and concoct a creative way to kill Doris in her sleep? No, he harnesses his power to sexually assault her instead. Yes that actually happens. After she awakens, Doris grabs the doll and tosses him into a lake, only to find him waiting for her by the time she gets back to the house. So now we know he also maintains the ability to “transport” like Jason Voorhees too. This doll is the total package!
More insanity happens before we close out the film with the longest victim chase sequence ever. It makes the previously mentioned painful house search scene seem like an eyeblink. It feels like it’s the film’s entire third act, filled with so much padding that you could soundproof an entire three-story house.
So how’s the transfer? Considering it was created using a mix of VHS and film source elements from 1993, they did one heck of a job! The work they put into it is especially noticeable in the dream invasion sequence, with the pulsing multi-colored psychedelic visuals. Super trippy stuff. Even the film’s score provides a pretty chill vibe, during the times when Payasito isn’t on the prowl.
If anything you read has piqued your interest in the very least, you should give it a shot. But if not, it is best to leave this doll on the shelf.
Herencia Diabólica is now available to purchase at VinegarSyndrome.com.
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