Movies
[BD Review] ‘Jacob’ is Admirable but has Zero Focus
Reviewed by Patrick Cooper
Sometimes the sincerity and DIY spirit of an indie horror film can make you like it more than you should. Case in point: Texas filmmaker Larry Wade Carrell’s 2011 shocker Jacob, which just dropped on Blu-ray. I can’t help but admire Carrell’s ambition and his obvious passion for the genre. His southern gothic bloodbath was clearly a work of love and for that reason alone, I think a lot of horror fans will enjoy it. However, the film does buckle under some of the trappings of a DIY production – namely poor acting, an unbalanced tone, and languid pacing.
The titular character is a six-foot tall, 400lb bald-headed behemoth who’s a cross between Lenny from Of Mice and Men and Frankenstein’s monster. In saggy overalls and a blank expression, he sulks around town, listening to the voices in his head that tell him to kill cats or whatever’s handy. He’s a horror cliché in OshKosh B’gosh. His stepdad, Otis (Carrell), is the local rabble-rouser. He gets loaded during the day then beats his wife at night. The only family member who connects with Jacob is his little Sissy, who throws tea parties for him and helps cool his growing hatred of Otis. One night, in a drunken whirlwind, Otis kills Sissy, setting off Jacob’s homicidal berserker rage.
Carrell (who, besides Otis, also plays a bumbling police officer) spends a gross amount of time developing characters and presenting trashy small town stereotypes. He seriously overdoes it in these departments. We don’t need a 10-minute scene of Otis getting trashed in a dive bar with his buddy to know he’s a rowdy alcoholic. During all of these lengthy scenes of character “development,” Carrell’s unable to balance the serious and comedic tones. This lack of focus disallows any actual attachment on the audience’s part, so by the time Jacob’s hillbilly slaughter begins (around the 50 minute mark) all there is to care about is how entertaining the kills are.
The film definitely brings the heat in this department. Once Sissy is killed, Jacob transforms into a battering ram – tearing off limbs and gutting redneck shitkickers with superhuman strength and zero regard for finesse. The townsfolk literally take up torches and pitchforks against Jacob. It’s never clearly explained where he got his abnormal strength, but it’s inferred through a series of flashbacks that Jacob’s real father, played by OG Kyle Reese (Michael Biehn), messed around with some Necronomicon book that infused him with an ancient power. See, this film’s all over the goddamn place. There’s even an old crone with cataracts who’s shown later in the film cackling and stroking the book with her bony fingers. Because why the hell not at this point.
Jacob is a mixed bag of comedy, drama, and gore, but it only pulls off the bloody bits successfully. There’s zero focus and too much time is needlessly spent beating us over the head with unwarranted character development. I admire Carrell’s enthusiasm, but his next films will definitely benefit from more clarity.
A/V
Jacob is presented in 1080p in 2.35:1 widescreen with a DTS Master Audio 5.1 surround track and a 2.0 stereo mix. Detail is very fine in, although it does reveal facial makeup imperfections at times – particularly in close-ups on the older officer Carrell plays. You can clearly see where the wrinkly makeup ends and his natural skin begins. It’s awfully distracting. The 5.1 mix sounds terrible because dialogue comes out of every speaker, so when a character is in the front of the screen, his dialogue can be heard behind you. Stick with the 2.0.
Special Features
Two Audio Commentary Tracks: One track features Carrell and the film’s cinematographer, the other features some of the actors.
Deleted and Extended Scenes: Seven minutes of deleted scenes with optional commentary by Carrell.
“The Journey of Jacob: Behind the Scenes”: this ONE HOUR long feature looks at all of the aspects of the production. Features cast and crew interviews and on-set footage.
From Storyboard to Screen: Montage of storyboard to screen comparisons.
Interview at Montreal Comic Con: An interview with the director and some of the cast members at the Canadian premiere.
Screen Test Featurette: Cast members practice one of their scenes.
Trailers
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Rated “R” ‘The Little Mermaid’ Horror Movie Coming Soon; Watch the Trailer
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
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