Connect with us

Home Video

[Review] ‘Bornless Ones’ Is ‘Evil Dead’ With New Tweaks

Published

on

Who doesn’t love The Evil Dead? It’s the cult classic that keeps on giving. It’s certainly been referenced in many films since its release, but it’s also really a wonder why it hasn’t spawned as many imitators as you’d think. Well, in the press release for writer/director Alexander Babaev’s Bornless Ones, it makes no attempt to hide Babaev’s inspiration. “The Evil Dead return in Bornless Ones“, and “In the tradition of The Evil Dead…”. One wonders if Raimi is (or should be) getting some kickbacks for this. I’m never a fan of indie films pulling this sort of stunt, since to me it’s an indication of a mediocre film hiding behind its marketing that will never live up to its potential. But okay, I’ll bite.

After the loss of their mother (Gwen Holloway) in an accident, Emily (Margaret Judson) is left as the sole caregiver of her cerebral palsy-afflicted brother, Zach (Michael Johnston). In order to be closer to her brother while he’s at a longterm care facility, Emily purchases a countryside cabin. Emily and Zach, together with Emily’s boyfriend, Jesse (Devin Goodsell), and Emily’s friends, Woodrow (Mark Furze) and Michelle (Bobby T), the group heads to the cabin to check it out before the move. Unbeknownst to the group, the cabin’s previous owner, a woman named Dolores (Lana Titov), was doing some treatment of her own with her dying daughter that involved summoning demons capable of healing. Things ended badly, and the demons are still kicking around the cabin.

In spite of the obvious, there was effort to set Bornless Ones apart from its inspiration. One of the more interesting ideas involves the demons themselves only being able to possess the injured. So, in order for the demons to possess others, they must coerce others to harm themselves, or (the fun part) cause injury. This leads to the film’s big fun involving the gory goods. Bravo for using some awesomely executed practical effects that are downright nasty to see. Who doesn’t love knitting needles in the eye? Or a firepoker through the jaw? Heck, when a possessed character has their legs broken, how about drilling in some splints? Yes, there’s a bit of CGI, but for the most part, the blood is real, the makeup is real, and the way things are pulled off is just a joy to see. Tying it all together is the overall presentation. The lighting creates some tense and spooky atmosphere, coupled with the set design and music. It definitely feels far more polished than your typical indie film, and a very different style than The Evil Dead.

Another plus is the acting, which is surprising given the overall inexperience of the cast. Margaret Judson (of “The Newsroom” fame) hits a few bumps in some of the earlier scenes, but overall proves to be quite capable of carrying a film on her own. Her chemistry with Devin Goodsell is spot-on. Goodsell also turns in a great performance as Jesse. The emotion and interaction between Emily and Jesse feels genuine and realistic, as does the interactions between Jesse and Zach. Michael Johnston’s role does have a bit of physicality it with regards to being afflicted with cerebral palsy, but Johnston also does show off an effective mean streak when possessed. Likewise, Bobby T also does well when possessed, but is also realistic otherwise. Despite being relegated to the clich&eactue; asshole role (with a name like Woodrow, it’s a no-brainer), Mark Furze shines in the role. He’s not a constant one-note asshole as you’d expect, but is thankfully rounded out. Even bit parts are well executed. David Banks plays the smarmy retailer Richard Alonzo Jr III with gusto, and Greg Travis does a great drunk gas station attendant.

In spite of all the impressive aspects of Bornless Ones and attempts to differentiate the film, the biggest drawback is that it can’t escape being a little too close to The Evil Dead. I give Babaev and the marketing team credit for embracing that, but it’s no big secret that you’ve seen this all before. The initial premise, the partying scene, the basement full of weird stuff, the dumb move to unleash the demons, the foul-mouthed possessed that mess with our protagonists, the gore. All of that we’ve seen with Sam Raimi. As a minor nitpick, when used, the CGI is pretty obvious, but it’s not that obtrusive to take you out of the film.

While I initially was afraid that Bornless Ones was another indie film that was using a far more successful and better-made film like The Evil Dead to grab some quick attention to mask its mediocrity, thankfully I was wrong. Babaev shows skill behind the camera, and the cast was gung-ho to pull off an enjoyable romp. Yes, the film still apes The Evil Dead quite a lot, in spite of a few tweaks to the formula. However, the attempts to make it stand on its own (including some neat practical gore effects) do lessen the blow. Give it a shot when it hits theatres for a limited run. You’ve seen it done before, but having it done well does count for something.

Bornless Ones arrives in theatres and on VOD February 10th.

BD2016_YT

Home Video

‘Herencia Diabólica’ – 1993’s “Mexican Child’s Play” Finally Has a Blu-ray Release [Review]

Published

on

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.

Continue Reading