Volumes of Blood (2015) Review

Volumes of Blood is a horror film centered around the community of Owensboro, KY, or more directly, the library in Owensboro, KY. While this may seem insignificant from a review point of view, I assure you, it isn't. But more about that in a minute.

This film had me tossing my hands in the air and giving up in frustration after just watching the first three minutes of it. I sat here thinking, "This guy is playing a high school senior? He has a receding hairline and a bald spot for f***s sake!" Just as I was reaching for the off button and dreading the email I would have to send to my boss stating, "This is worse than some YouTube posted fan fiction of crayon colored Anime Vs. Brony in motion stuff." I hit the 3:20 mark in the film, and caught my first glimpse of true indie film making genius!

The writing in this film is good, the dialogue is pure genius, and the cinematography is nothing short of amazing.

The story centers around a group of four friends inside the library who have to come up with urban legends off the top of their heads. Each story is unique in plot as well as feel. D.P. Bonnell is credited with the cinematography, and just from this film alone, I can not heap enough praise their way. Taking a singular location and making it feel different for each of four urban legend stories, as well as the original plot takes a lot of skill, talent, and hard work, and every bit of it shows here.

The dialogue itself, while sometimes a little over the top, has it's own fair share of genius. The urban legends of the film may not make it into youthful circulation, but I assure you, some of the jokes and one liners surely will.

Now, let's talk Owensboro for a second. It is clear from just watching the film that the community itself plays a major role in supporting the film as well as becoming part of it, and as a film maker, that is always refreshing to see.

I feel like there is so much more to praise about this film, but it really can't be done without spoiling the movie itself, so I'm sorry for that, but rest assured, this film is 100% Indie Film Group approved! There are plenty of mediocre indie films in circulation out there, but Verite Cinema's Volumes of Blood is definitely not one of them. This is a great film for both film makers, as well as those who just enjoy a good horror film with a twist!

Sound in Film

To start off on the right foot, let’s name 3 movies: Jaws, Singing In The Rain, Star Wars. The list could be more elaborated and thought through, it could contain more titles, and different ones. For the Indie films lovers, the list could have been: C.R.A.Z.Y, Boyhood, and Trainspotting. Point is, anyone who has seen some of these six movies knows where they all meet: music. By the way, let it be said here before we go further: if you haven’t seen any of these films, elevate your week and take some time to do so.   

Now, I went to film school. Throughout these years, one thing kept coming back, from professor to professor, book to book and essay to essay. Being French, I always used sources from both American writers and French writers to conduct any type of research. The point is that every filmmaker agrees: the real difference between a good and a bad production is the sound. Let's skip through the details of sound recording, editing or mixing, even if this is what makes the real difference. Let's focus on what any viewer notices: music.

Two schools of filmmakers battle whether soundtrack should be completely original or, a contrario, be a mix of existing songs. If we go back to the early part of the 20th century, the battle even included a third category: the filmmakers who thought films should be completely silent. Back definitions for a minute. It is said that: “motion picture music falls into three basic categories: underscore (James Horner's score to Titanic); the pre-existing song or song and original master recording (the Guess Who's "American Woman" in American Beauty); and the song written for the film (Harold Arlen's and E.Y. Harburg's "Over The Rainbow" for The Wizard Of Oz)”. Sometimes, the choice relies only on money considerations, as music can get very expensive (cf the article referenced above).  

If, in the making of Inglorious Basterds in 2009, Tarantino said that he would “rather work with an editor and already existing titles rather than with a composer” and that “the idea of giving that much power to somebody else for his pieces was unconceivable” , he changed his mind when hiring Ennio Morricone to write an orginal score for Django Unchained. Does that prove that there is no more effective way to create a soundtrack? (Or just that Tarantino can get over his ego to make a better film?). I do have an easier time remembering and humming to “Djaaaango, have you always been alone” than to the Inglorious Basterds soundtrack. I am now exercising with the 6 initial films. Jaws' famous violins, Singing in The Rain's obvious eponymous song, Star Wars's grand trumpets. But then come CRAZY, Boyhood and Trainspotting. I want to do is to listen to their famous tracks on my Ipod, and create my own scenes as I’m listening to them. Let’s be real, when a good song comes on our Ipods, don’t we all pretend that we’re in a movie? But I want to believe that Tarantino didn’t change his mind on a whim, and I have hence come to  a realisation. Original soundtracks serve the purpose of the movie in an almost exclusive way.  However, using existing songs feeds the viewer beyond the purpose of the film. The director is throwing extra culture at them, on top of the piece they have created, for you. In that regard, I applaud both schools. On the one hand, I value the team work of certain directors and the tandem they often make with music composers. To name a few: J. J. Abrams and Michael Giacchino, Paul Thomas Anderson and Jon Brion, Wes Anderson and Alexandre Desplat, the Coen Brothers and Carter Burwell or Sam Mendes and Thomas Newman. But I also applaud directors who pick the right song at the right time. See for example Cedric Klapisch, the Nakache Brothers or Jean Marc Vallée.  

All in all, one thing is for sure, my teachers were right: there is no movie without good sound. There is no good movie without a good soundtrack.

Blue Is The Warmest Color

Blue Is The Warmest Color, 

by Abdellatif Kechiche

Palme D’Or at the Festival De Cannes, Blue is The Warmest Color is a real master piece that delivers, through the power of emotions, extraordinary performances by its two main actresses. A truly mind blowing piece. 

The story line: At age 15, Adele doesn’t really question her sexuality. To her, girls go with boys. Her life turns the opposite way the day she meets Emma, a young woman with blue hair, who helps her discover the joys of desire and allows her to become both a woman and an adult. The film tells the story of that journey (very French new wave-y).

Blue Is The Warmest Color dares to be long (put yourself in a European context here: movies standard length is one and half hour to two hours) and hence offers its characters the opportunity to express their complexity and the evolution of such over the course of a few years. Adele starts off as a high school girl, Emma as a student at Les Beaux Arts, a prestigious art school in the heart of Paris. They run into each other on the crosswalk and although they don’t stop, the two girls notice each other, in contemplation. I have heard about that scene that it was the hardest one to shoot. Kechiche was apparently very particular and precise in the way it should happen. The girls meet randomly later at a lesbian bar where Adèle finds herself. Right then the motor starts rolling and love, through gazes that need no explanation, has hit the two females (the girl and the woman). From that point on, events just keep coming (in a very organic way, for that matter) and snapping the viewers through natural and lively dialogues, as well as grasping situations. In that way, Blue Is The Warmest Color very much knows how to make ordinary situations come across as extraordinary moments of life _which seems to be a recurring theme in today’s indie cinema, cf Boyhood.

Now, is it possible to write about the movie without talking about the most famous scenes of it all, the ones that made the director Abdellatif Kechiche so controversed? In the middle of the movie arrives a very intense sexual scene between the two women (at that point, it seems to me like Adele has crossed that step). The graphics were indeed very intense and, once again, daring but it seemed to me that, through the subtlety of the montage (almost invisible: no music, etc), the scene gave the story the power of great romance stories. It is even said that when shown at Cannes for the first time, the audience would have applauded during the 7 

minutes scene. 

At first, I found it hard to write words about that scene. In the theatre itself, my first reaction was to be shocked and trying to avoid as much as possible everyone sitting around me, but I then embraced the moment and remembered something: it’s a movie. I reopened my eyes to these fictional characters and took it all in. I discovered that the scene describes without making up the bodies and the ecstasy of the mind: it’s completely true and, once again, organic. The two actresses, sublime and fusionnel, give into their characters’ pulsions, guided by passion only. It is simply impossible to come out of there cold or indifferent. The scene scars in a way or another (and if it does that effect to the viewer, imagine being the actress!).

There is so much to say about what ends up not being so much: the feature merely is a representation of life has best to offer (love, obviously) and worst, the death of feelings and fatality. Blue is The Warmest Color remains hence, before and foremost, a terrible but wonderful love story, that ends on an interesting open note. If Adele and Emma’s story are over, Adele’s life isn’t. And there is no such thing as a sad ending to her story.

Tarantino: Vengeance & Women

TARANTINO VENGEANCE AND WOMEN

By definition, vengeance is an actor attack from one actor to another, motivated by a previous

action. Vengeance is hence issued by a feeling of grudge holding from a person A to a person B. However, if the representation of vengeance has grown with the history of cinema, vengeance and women is a far more recent topic. Prior to the 50’s, women characters were always secondary. They were used as a “support” for a main male character. It is only after the 50’s that women start to become a principal part of the intrigue, of the narrative. In 1955, Henri-Georges Clouzot makes Les Diaboliques and gives a whole new vision for women: two female teachers ally to kill one of their husbands. While women’s characters were up until then defined in relation to men, in this film, Clouzot succeeds at giving women the major parts of the plot. The woman becomes more independent, reactive and cynical. The same way, Truffaut, in 1968, makes La Mariée Etait En Noir and presents the image of a vindictive woman who finds in a vengeance the very reason for life. That woman almost scares the audience because elf how cynical and fixed on her goal she is, because she is a woman that does not fear death or to end her life in prison for that matter, after she killed the last man on her “death wish list”. That list is also found in Tarantino’s Kill Bill.

Tarantino is the director who gave most of his leads to women characters. It is the case in Jackie Brown (1997), Kill Bill, Death Boulevard and Inglorious Basterds. The theme of vengeance is present in all four movies, although each time treated in a different way. The problem here is to wonder what these differences are. Who are the characters taking revenge on? How is revenge executed? What’s feminine about these acts of revenge? What vision of women comes out of it? It is thus a matter of analysing the ways in which Tarantino directs these feminine acts of vengeance and what impression of women that gives the audience.

In the four movies that we will analyse, revenge is undertaken in different ways, through different methods. In Kill Bill, Beatrix Kiddo is a woman who belonged to a secret team of murderers. The head of this team is Bill, with whom she used to have a relationship. However she decides to change life and flee to El Paso, TX, where she marries another man. During the ceremony, Bill and his team interrupt and slaughter everyone attending, including the bride’s husband. The latter, who was pregnant, miraculously survives and enters a coma. When she wakes up from it, she realises that she’s not pregnant anymore and believes that Bill murdered her baby: she then decides to get revenge. She writes a “death wish list” that involved the four members of the murder team, one man and three women, and Bill. Revenge becomes her only reason for living and analogies with Truffaut’s La Mariée Etait en Noir are obvious: the two women become “killing machines” and their only goal is to get revenge on the people on her lists. If in Truffaut’s movie, that list is only made of male names, there is sexual distinction in Tarantino’s piece. However, the bride’s vengeance is not the only one in the movie. A whole chapter is dedicated to O-Ren Ishii, member of Bill’s special team and dreaded murderer. At 9 years old, She witnesses the murder of her parents by the Japanese criminal Matsumoto. She then decides to get her revenge and eventually kills Matsumoto the same way that he killed her parents. In Jackie Brown, revenge is taken against two men. Jackie Brown is a stewardess who, to make a little extra money, decides to take money abroad, money that belongs to Ordell, an illegal arms dealer. One night, police officer Ray Nicolette surprises her and uses her to find and arrest Ordell. Jackie finds herself stuck between Ordell and Ray Nicolette, but smartly cheats them both by stealing $5,000 from Ordell and fleeing. It is the revenge of a woman over men, an answer to men violence. We see that vengeance from women against men in Death Boulevard as well. Stuntman Mike is a man who takes pleasure in killing women with the help oh his car. In the first part, we witness him slaughter a group of women whereas the second part is dedicated to women looking for the psychopath to murder him, relentlessly. However, Death Boulevard is a special case. At the end of the movie (Stuntman’s death), the audience gets their revenge. Indeed, women who end up killing him don’t commit real vengeance. They don’t really get it because they don’t know the other girls who died: they don’t really want that revenge; what they want is to hit him, to make him react. However, it still remains revenge for the audience, who had spent the whole movie witnessing Mike’s acts of slaughter and had built up despise toward the man. The audience almost feels relieved and they see the women beat Stuntman to death. Finally, Inglorious Basterds: here, the woman gets her revenge on many men. Shoshana Dreyfus is a young Jewish woman who saw her family slaughtered by the German colonel Hans Landa. She finds shelter in Paris, under a fake identity (Emmanuelle Mimieux), with her aunt and uncle. When the latter die, she inherits their movie theatre: the Gamaar., where she works there alone with her boyfriend Marcel. A private showing of a movie where all the German crème de la crème is gathered is organised there and Shoshana choses that moment to avenge her family.

In the four movies, women get their revenge using different methods. In Kill Bill, the bride creates a death list. Her revenge is hanse a physical act. Her husband and daughter were murdered, thus her mission is to kill everyone involved in these murders; which follows the talion law, which states that who killed should be killed. At the end of the first volume, this reciprocity is accentuated by a sentence said by Bull: “This woman has the right to get revenge. And we... deserve to die". Vengeance here is bloody, rough, merciless, just like O-ren Isii’s. Beatrix Kiddo is a woman who doesn’t see obstacles and lives only to get her revenge. Tarantino stresses that aspect in the beginning: after getting shot in the head, Beatrix enters a coma from which she ‘resuscitates’ only to avenge her family. She cannot die without having terminated her mission. Tarantino shows this when the com an est buried alive and resuscitates a second time, putting to life master Pai Mei’s lesson: she manages to dig a hole in the coffin and exit. Beatrix Kiddo has to give up all of her feelings during the mission. However, once her mission done, she can throw her weapons away, she can allow herself to cry in the bathroom. Because she has not lost her identity as a woman, as a mother; In Death Boulevard, vengeance is also a physical act although, like before, we can’t really talk about a real vengeance! The group of women is chased down by Stuntman Mike, risking to die. They survive and manage to shoot him in the head. In Jackie Brown, it is a very different type of revenge. It is the victory of ruse over violence, the victory of women over men, of intelligence over strength. Jackie is a forty-four years old woman who can’t do anything against violent men like Ordell or the police. However, if she seems like a fragile woman, she can unleash a stronger personality than her male partners. With the wit and will to change her life, she’ll succeed at deceiving Ordell and Ray Nicolette, and steal $500.000. In Inglorious Basterds, vengeance is once again a physical act. And just like Jackie, Shoshana, Dreyfus is defenceless against German officers, but still has a personality and a courage that many men would be jealous of. With her intelligence and Marcel’s help (as well as the Basterds’ help), she elaborates an evil plan as soon as she learns that the projection will happen in her theatre. knowing that she’ll have to die herself, she avenges the Jews and her family, all killed by the German army.

Now that we have seen the different types of vengeance, what differentiates the acts themselves, the moment in which they’re accomplished? The act is different in each four films. Through the analysis of three scenes, we’ll study these differences. In Kill Bill, vengeance is shown though the mantra “one against all”, in Jackie Brown through the face to face, in Death Boulevard through the mantra “all against one” and in Inglorious Basterds through ‘one against all”.

The scene is roughly halfway in the first volume of Kill Bill. The bride, whose name we still don’t know at that point of the movie, arrives in Japan to get revenge on O-ren Ishii. She goes to the night club where she finds O-ren. The latter sends her escort, muderers armed with katanas, the Japanese sword. Our analysis starts when the 88 crazies find themselves face to face with the bride. In the first scene, the camera focuses on Johnny Mo’s sword, the head of the gang. There is a panoramic movement: the camera focuses on a object and rotates, obliquely. The camera captures the tip of the sword and operates an oblique movement along the sword, from the bottom left to the top right, up until we see the character’s masked face, a movement that’s continued from the actor’s face to his chest. The fact that shot is reversed underlines a will to lay stress on that character. At the same time, an oriental sound effect starts. the second scene begins with a half thigh shot of the bride. We notice that the woman is holding her sword in her hands. In the background, a group of ennemies is ready to attack the heroin. We notice three grounds: first one is the heroine looking at the camera (she is almost provoking the audience), the second one is the group of ennemies and the third one is the room and its design, the scenario. The camera starts a panoramic movement once again, vertically this time. It gradually goes up and seems to be stitched to the ceiling, turning the shot into a bird’s eye view. This allows us to see the scene more fully. Indeed, we see the bride circled by way more soldiers than we could see before. The camera seems to be dancing, un aesthetic effect that drives us away from the fight. At that point, the “one against all” becomes obvious: only one yellow dot, Beatrix’ clothes, faces a ocean of black, the ennemies’ suits, who slowly come and go, making the fight seem like a ballet. 

In Jackie Brown, the extract we will study is in the first hour of the movie. Jackie is barely out of prison and goes back home. Ordell knocks on her door. He has a gun and will probably kill the woman should he find out that she gave him up to the cops. The face to face dialogue scene is entirely shot in darkness. We only see the faces of the two characters and this accentuates the tension in the living room. The shot is rather close and the actors are filmed chest up. All of a sudden, a split screen appears and interrupts the scene’s continuity. Through the left screen, we learn that Jackie stole the gun in Max Cherry’s car while we see on the right screen Ordell putting his hands around Jackie’s neck and asking her if she’s scared. She denies with her head and we hear the sound of gun being armed. The split screen disappears and we go back to the scene in normal dimensions. Ordell asks the woman if it is really a gun that he’s feeling being pointed at him and Jackie pushes him to the window and calls him ‘negro’, which lays stress on her strong and rough personality. The situation is reversed. Ordell doesn’t have the upper hand anymore: he is now submitted to the woman’s will, the latter who took advantage of the dark to to hide the gun. Indeed Ordell would’ve never though that a woman like her could own a gun, especially right pout of prison. She takes the gun and points it to his head. For some moment, we see an extreme close up of the gun pointed at the criminal’s head, to then go back to a wider shot. We remain in the darkness: it is a dialogue face to face, a way for jackie to impose her character and succeeding at overwhelming him. Suddenly Jackie turns on the light again and dictates her wills to Ordell, who sees himself forced to accept. This part of the dialogue is composed of shots and reverse shots, opposing Jackie and Ordell.

In Death Boulevard, the scene is at the end of the movie. The three women finally meet Stuntman Mike after the car chase. They pull him out of his car and start hitting him, one after the other. We notice an alternation between medium shots and close ups. There are many hits and shots are cut very rapidly, which demonstrates a real fury on the girls’ end. If the image sometimes slows down, it is only to get better idea of Mike’s suffering. These fast cuts create a sort of effect that’s both funny and ridiculous and may even have the audience smile. One of the three women then kicks him and Mike falls on the ground, dead. As the women literally jubilate and the words “the end” appear on the screen, a happy 1964 French song starts playing, which translates as “Let go of women, one day you’ll be the one crying”. The audience then gets their revenge, because Mike’s death was expected and Tarantino has him die in a funny way.

The scene that we’ll study from Inglorious Batserds is at the end of chapter 5. At the beginning of this chapter, we hear the David Bowie song Cat People, which perfecto sums up Shoshana’s intentions when she gets ready for the big finale. Once the projection has started, Marcel blocks all the exits in order for the Germans to be able to escape. Shoshanna pasted her filmed message to the actual film being projected for the Germans to all hear it and hence create an effect of

surprise. Indeed the germans are all surprised. Plus Shoshanna places her clips in the right place, right when the here Frederick Zoller says “who wants to address Germany”: we then see Shoshanna appear on screen and say “I have a message for Germany”. That moment is very well chosen since Shoshanna explains they are all oing to be killed by a Jew. Marcel then follows Shoshana’s orders to burn everything down and throws his cigarette on the film, which leads to Shoshana’s face appearing in flames on screen and makes her look like the devil. The theatre becomes a gigantic blaze and we see the Germans running to the exits, which are all blocked.

To conclude, in each of these four movies, Tarantino conveys a different image of the woman. In Kill Bill, she is a violent and cynical woman. The great pleasure of being a mother was taken away from her, which leads to transform into a killing machine trying to get her revenge on her daughter’s murderers. Vengeance becomes her reason for living. However, once her revenge fulfilled and reunited with her daughter, she breaks down in tears, proving that she still has feelings. The woman in Jackie Brown is manipulative and smart, and prefers to bamboozle her ennemies rather to be physically confronted with them. She is however a strong woman who isn’t afraid to of a face to face with a criminal capable of killing and even succeeds at overpowering him. The women of Death Boulevard refuse to be submitted to men: they may act as normal women but become harsher then men when in need, and answer violence with violence. In Inglorious Batserds, the woman is smart and also refuses to be submitted to men. Four years before she saw her family being killed by German soldiers. She also behaves as though a normal woman but doesn’t hesitate to use intelligence and violence to sacrifice herself and get what she wants, i.e., avenge the Jews and her family.

Lamb Feed (2014) Review

Benito Mussolini was an Italian politician, one of the key figures in the creation of Fascism. Leading the National Fascist Party he was the prime minister of Italy under Victor Emmanuel III of Italy, from 1922 until 1943, when he was overthrown; rescued by German commandos, he then became the leader of the Italian Social Republic from 1943 until his summary execution by members of the Italian resistance in 1945.

He is credited in history with the following quote, "It is better to live one day as a lion, than 100 years as a sheep." Though not precisely a repetition of any of them, this somewhat resembles far earlier remarks attributed to others, including Tipu Sultan, Alexander The Great, and Chabrias.

Why the history lesson in a movie review? No real reason, other than the title of the film as well as the actions depicted within triggered some long lost little nugget of useless information my brain had stored, and I thought it a fitting opportunity to continue it's expansion into the universe.

That brings us to, Lamb Feed!

The first thing that caught my eye, as well as my attention, was the absolutely amazing title sequence that is credited to Hayden Blades. A quick search didn't turn up much about him, but I am positive that with work like this, it won't be long before people know the name and are scrambling, begging, and back alley fighting for his talents.

Another gem from the film is the acting of Luke Church, who plays Mitchell Barnes, the relationship troubled young whipper snapper, who is trying as hard as he can to subconsciously tear his own world apart, while screaming about the injustice of it all. Church's ability to play the jaded young egomaniac is either a testament to perfect casting, astonishing acting ability, or both.

In truth, the acting is strong throughout the cast of Lamb Feed, with no real deal breakers in the mix. Since I already probably bored you with a history lesson earlier I will refrain from listing every actor (although I really want to) and just get to the guts of the issues at hand, er, mouth. You'll see what I mean later.

I can not however, in good conscious, pass up the opportunity to highlight some great writing and directing by a young fellow named Michael S. Rodriguez.

Rodriguez does not bore you with a seven year back story, or drone on and on over a sunset. Instead, he slaps you awake from the first couple scenes, and keeps your attention through out the film with innovative and creative use of direction as well as superb writing.

Take for instance the introduction of the massive Rev Wicker, played by the 6'1" Michael Wainwright, who towers menacingly over our young Mr. Barnes, but does so with a theatrical flair and grace akin to a Carny barking out the promises of a sure fire giant teddy bear for the missus. You immediately think to yourself, "Okay, this is the big guy of the film, I can't wait to see him in action."
Don't be so quick to think you know what Michael S. Rodriguez has up his sleeves though, because you won't truly have any idea, until he decides to show his hand. Only then will you clap excitedly and wiggle happily in your theater chair as you await the next tidbit of goodness.

Could I kiss the ass of this films creators any more? Yes, yes I do believe I could, but I know what you really want to ask, "Is there any problems with this film? Because you know, it costs money to go see it, and I don't want to break open my five year old's piggy bank if it isn't worth it."

The only real problem I had with the film was in one of the opening scenes and that was simply a sound issue. There is a scene where Mr. Barnes is driving down the road and it sounds a lot like an actor sitting in an immobile car in front of a green screen. A little tweak here and I wouldn't have anything negative to write about though, so, for that I am thankful at having something to say that doesn't make me sound like a family member of the crew or something.

Having said that though, you should definitely go see this film if you like cutting edge horror films that use their own creative license to bring new things to the screen! Apologize later for breaking open the piggy bank, it'll be worth it!

Bronson (2008) Movie Review

Bronson is a film for those who enjoy artistic violence and dark comedy. If you find yourself naming "Fight Club", "A Clockwork Orange", "Trainspotting", or any Quinten Tarantino film as among your favorites, you should definitely give Bronson a try.

Tom Hardy ("Inception", "The Dark Knight Rises") plays Michael Peterson, who at the tender age of 19, finds himself wanting more than what life is ultimately offering. So he cuts down a shotgun and robs a post office, semi-successfully. Ultimately, he is caught, arrested, and sentenced to 7 years in prison.

Unfortunately for the young Michael, his dreams of grandeur land him in even more trouble as he continues to try and buck the system. His aggressive and violent nature condemns him to spend the next 34 years behind bars. 30 of those years, in solitary confinement.

The film is narrated by Hardy as Charles Bronson, the name and personality that Peterson assumes in his time spent bare knuckle fighting while enjoying a short time outside of prison in his 69 days of freedom in 1988. Bronson would then spend his time creatively capturing the hearts of all with his eclectic theater performances as well as his uncanny ability to smother butter over his naked body to make it harder for the guards to wrestle him to the ground when he is feeling a bit frisky and violent. 

The film itself is actually based on a real inmate in Europe named Charles Slavador, born Michael Gordon Peterson, whom the press dubbed "The most violent prisoner in Britain". Salvador robbed the post office in 1974, he has been incarcerated pretty much ever since. He is currently being housed at Wakefield Prison as of this review in 2014.

Naked Zombie Girl (2014) Review

Naked Zombie Girl takes the Grindhouse genre and mixes in some new school Indie Art to give you a mouth watering, chainsaw wielding good time!

Meghan Chadeayne plays Barbara, who leads a group of friends out of the infected inner city in the hopes of finding salvation while her boyfriend Tony (Joshua Keith Mathews) struggles with the effects of being bitten.

As the sun sets, infection creeps across the land and we find ourselves riding shotgun as Barbara has her lucidity shredded, along with her clothes.

Naked Zombie Girl has something for everyone. From the unique and amazing infection scene with Joshua Keith Mathews, the Grindhouse chainsaw wielding nudity of the heroine Meghan Chadeayne covered in blood and determination, as well as the old school horror of being absolutely and completely surrounded by death with no modern day miracle explosions to clear the way.

Leading the cast of zombies is none other than D.T. Carney ("The Lackey", "World's End") whom, along with the makeup genius and artist Nick Reisinger ("Grimm", "Scary or Die") adds a true sense of doom and destruction to the normal brainless and semi harmless zombie actions of some other movies.  In Naked Zombie Girl, we learn that not all bad things can be washed away and forgotten, that the world doesn't return to normal for those who truly want to survive. Instead, we must embrace a certain amount of madness to triumph over the dead!

Grab a weapon and prepare to fight, clothing, modesty, and timidity are no longer required for living, tenacity is the only option. Welcome to Naked Zombie Girl!

Special Screening Sunday May 4th at the Bakersfield "Mini" Comic Con located at the Bakersfield Museum of Art.