Caleb Watches Movies, returns to Ginger Nuts of Horror with a review of Inheritance 

Inheritance is 2020 American thriller film directed by Vaughn Stein from a screenplay by Matthew Kennedy. The film stars Lily Collins, Simon Pegg, Connie Nielsen, Chace Crawford and Patrick Warburton.

Inheritance was released on May 22, 2020, by Vertical Entertainment and received generally negative reviews from critics.

A patriarch of a wealthy and powerful family suddenly passes away, leaving his daughter with a shocking secret inheritance that threatens to unravel and destroy the family.

Written and Directed by Kevin Tran
Starring Scott Friend, Brooke Bloom, Lindsay Burdge, Jim Parrack, Anthony Chisolm

The Dark End of the Street is a slice of life ensemble narrative following a group of neighbors over the course of one night as a deranged man (Rod Luzzi) stalks the area killing pets. The neighbors are Jim (Scott Friend) and Patty (Lindsay Burdge), a newlywed couple about to have their first child, Jim’s friend Richard (Jim Parrack), Marney (Brooke Bloom) a lonely woman whose cat was killed and her elderly neighbor Ian (Anthony Chisolm), a young Korean family (Daniel K. Isaac, Jennifer Kim, and Kasey Lee) and a group of skateboarders.

From there the film moves at a leisurely pace, jumping back and forth between Jim partying to avoid the looming responsibility of fatherhood, Marney grieving for her dead cat and opening up to the elderly Ian, the skateboarders skating around town and rehearsing with their metal band. As Jim stumbles home drunk from the party and the skateboarders plan to go out for a late night session, the deranged pet killer prowls the streets and the stories collide.
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Writer/director Kevin Tran creates a mosaic of interesting characters, embodied by a strong ensemble of actors who create genuinely poignant and memorable moments here. The standouts being Brooke Bloom, Anthony Chisolm and Jim Parrack. Unfortunately, the narrative doesn’t culminate in a satisfying way and we’re left wanting more. But nevertheless, the rich performances on display are more than enough reason to give this one a look and to keep an eye out for Kevin Tran’s next project.

3 out of 5 stars

Review by Kyle Hintz

In order to give what we believe to be a more unbiased constructive criticism of the piece; the members of Bloodhound Pix are tackling each review as a panel of three. None of the members know the others’ thoughts on the content until after they submit their initial response.

Fried Barry
Director/Writer: Ryan Kruger
Starring: Gary Green, Brett Williams, Joey Cramer

K.  I came into Fried Barry having seen the short film it was based, which is essentially an experimental piece where a heroin addict gets abducted by aliens, so I knew this was gonna be weird but nothing could have prepared me for what was in store.  This is a full-fledged midnight movie (complete with a mock warning from the ratings board), the likes of which they don’t make anymore.  It’s a whacked-out odyssey chocked full of weirdness.  Once Barry becomes the host to the alien, he bounces around from one scenario to the next like some kind of deranged Forrest Gump encountering prostitutes, drug dealers, human traffickers and other sordid characters.  
 
The score and sound design by Haezer really help create the texture of this odd world.  The visual style is highly saturated and colorful and gorgeous to look at.  The narrative was constructed via improv and there are moments when you can tell, sometimes it drags here and there.  But it’s also full of original and unique moments, deadpan humor and wild shit, so you can forgive most of its stumblings.  Highly recommended for those that want to see something different.
 
C. “What did I just watch?” is the phrase that will most likely be uttered by many that see Fried Barry and was probably the director’s intention. What the synopsis suggests is what you get as an alien takes over a drug addict’s body and has itself a wild bender. There’s a part of me that wants to try and explain/dissect the plot more but I think you’ll find that isn’t really the point. That being said I found the movie to keep my attention and have me wondering where alien Barry will end up next through his journey of experiencing some of what it’s like to be human… well experiencing humanity in the more primal, seedier sense. Though it is interesting despite it being an alien who shows no understanding of intercourse among homosapiens, there is a different treatment between the heterosexual and homosexual encounters. Which most of the dialogue is based around someone discussing sex, so maybe there’s a deeper reasoning behind that.
 
It’s one of those movies that finds itself in this great predicament for arthouse or niche cinema. Its narrative is competent enough to fill that void of people looking for a weird movie to watch or suggest to their friends. However, it’s also strange enough that many of the criticisms one could find with the film become moot because they can be chalked up to “stylistic choices.” Even if they were not purposeful, like several instances of lull in the improvised script or with the acting, it ultimately doesn’t matter. What I will say for those that venture into making these types of movies, the audio and visuals have to be on point to make up for the lack of narrative. Fortunately it is beautiful in a vibrant-color-drenched sort of way, with a sound design that heightens the experience for an audience. Firing on all cylinders, Fried Barry plays like a grungy Gasper Noe flick, which no one knew they needed.
 
J. As Kyle and Craig mention, this is a strange one.  Barry is kind of an asshole and then he gets “possessed” by aliens, or whatever the hell actually happens and he sort of becomes… less of an asshole.  I dunno if that’s technically correct but he stumbles around in a sort of amnesiac daze from one weirdo situation to another with no concept of what he’s doing.  Hence in one scene he consumes about 25 MDMA pills without a care in the world.  I found the situations he gets himself into to be fascinating although a bit repetitive as it goes from one to the next to the next to the next but they do all sort of up the batshit factor so that’s saying something.  I wasn’t really sure what exactly was going on but I didn’t really care either.  I wanna mention specifics but I can’t for spoilers sake and you really don’t wanna have anything spoiled in this, trust me.  Just go along for the insanity ride.

C. We all agree that it’s designed to enter the growing subgenre of a “midnight movie.” Will it enter the ranks of those kinds of classics like El Topo? Maybe if it was made a few decades prior but that doesn’t change the fact that it’s a wacky trip if you’re willing to take it.
 
J. Batshit.  Drugs.  Aliens.  Stream of consciousness.  See it. 
 
K.  I can’t really add much to what’s already been said.  I agree with my cohorts.  It’s really a crazy ride, that’s visually interesting and totally weird.  Whatever faults it may have, they don’t seem to be the point of it, so if this sounds like your bag, buckle up for the ride.
 
Bloodhound’s average score:  3 ½ out of 5

Thank you to FANTASIA 2020 FILM FESTIVAL for providing a screener for this film.  More information on the festival can be found here https://fantasiafestival.com/en/
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Bloodhound Pix is made up of: Craig Draheim, Josh Lee, and Kyle Hintz

Follow them at
https://www.twitter.com/BloodhoundPix
https://www.facebook.com/BloodhoundPix/
https:/www.instagram.com/bloodhoundpix/
Be on the lookout for new episodes of the Bloodhound Pix Podcast every Tuesday. Available on Itunes, Spotify, Google Podcasts, Anchor, and Youtube.

​In order to give what we believe to be a more unbiased constructive criticism of the piece, the members of Bloodhound Pix are tackling each review as a panel of three. None of the members know the others’ thoughts on the content until after they submit their initial response.

HAIL TO THE DEADITES
​Director/Writer: Steve Villeneuve
Starring: Patricia Tallman, Ellen Sandweiss, Betsy Baker, Richard Domeier, Dan Hicks and Bruce Campbell

C. I’m always nervous about documentaries that deal with this subject matter, because as a Michigan horror fan that spent many years obsessed with The Evil Dead series, this documentary is playing to me. However, I find myself wondering if it’s just playing “fan service” and if I wasn’t a Deadite (name for Evil Dead fans) would this still work as an interesting piece. Would my mother-in-law find it interesting? Would this inspire my teenage niece who’s just getting into more serious horror to search out the series? Does it stand on its own or would it be better as a special feature on the blu-ray?  For all those questions I’d have to say, yes and no. I believe you’d have to be at least curious about the horror genre and have knowledge of the series’ existence to really understand its following. But it has enough explanation for most to appreciate what Evil Dead has done for the fans.
 
Hail to the Deadites, while about the fans of the series examines everything. We’re not just getting talks about Campbell and Raimi or the series’ influence on the horror world, which has been common with those movies for many years. This covers everything because, as mentioned in the doc, fans of this series want to be emerged in every aspect (special effects, props, cinematography, etc.). That is the crucial element for a documentary like this, giving us the whole picture and really showcasing the heart and soul behind its longevity.
 
Unfortunately there’s not a ton to say. It does what it intended and since it is a documentary there’s little complaint about certain topics we’d harp on with a fictional movie.
 
J. Full disclosure: I absolutely adore The Evil Dead franchise.  If you don’t, it should go without saying that this documentary isn’t going to be your thing.  It was refreshing to see something that focused mainly on die hard fans but also had some of the cast and creators present as well.  Of particular interest to me was some of the “lesser known” but no less important players such as Sarah Berry (Annie Knowby), Kathy Wesley DePaiva (Bobby Joe) and Richard Domeier (Ed Getley, all from Evil Dead 2).  Speaking of cast and creators, it was awesome to see FX maestro Tom Sullivan play a decent part as I personally haven’t  really had much exposure to him over the years for whatever reason.  He’s a great dude with a warm soul and seems game to talk Evil Dead whenever and about whatever. 
The fan stuff was pretty amazing in its own right if for nothing else than to see some of the craziest, coolest, most badass Evil Dead collections of everything imaginable.  Each of the fan segments also detailed some unique and memorable ways the franchise has made an impact on their lives which was cool to see.
I enjoyed the hell outta this and the only thing that made me a little teary-eyed (minus some of the fan stories) was seeing horror conventions and knowing that those mass gatherings are simply a long way off in our current reality.
 
K.  I was a bit worried going into this documentary that it might be one note or repetitive but the excitement of the fans is truly infectious.  Being a lifelong Evil Dead fan, it was interesting to hear the stories of other fans, how they discovered the films and what they mean to them.  It was also surprisingly emotional to hear some of their stories, particularly a proposal that takes place at one of the conventions and the story of a child named after Ash but sadly passed away in infancy.  In addition to the fans, there were interviews with the cast of Evil Dead 1 & 2.  All in all, it was a really fun watch and a little bittersweet to see people congregating at conventions given the current state of the world.
 

​C. I think we’re all in agreement that this is a love letter to the fans and what sets it apart from your standard “special features” documentary is its ability to find that emotional core. To keep viewers engaged even if they are not specifically interested in the material.
 
J.  Joe Bob would say, “Check it out!”
 
K.  Again, we’re all on the same page here.  It’s a lot of fun and very interesting to hear from Tom Sullivan, the other cast members aside from Campbell, and all the fans themselves.  Especially their personal stories about what the films mean to them.
 
Bloodhound’s average score: 4 out of 5

Thank you to FANTASIA 2020 FILM FESTIVAL for providing a screener for this film.  More information on the festival can be found here https://fantasiafestival.com/en/
​

Bloodhound Pix is made up of: Craig Draheim, Josh Lee, and Kyle Hintz

Follow them at
https://www.twitter.com/BloodhoundPix
https://www.facebook.com/BloodhoundPix/
https:/www.instagram.com/bloodhoundpix/
Be on the lookout for new episodes of the Bloodhound Pix Podcast every Tuesday. Available on Itunes, Spotify, Google Podcasts, Anchor, and Youtube.

First, I have to say that while it may be where I grew up or my love of hockey, but the Goon films have a special place in my heart. And it’s not because Baruchel co-wrote both of those films and directed the second one. I say this because he has a wonderful ability to inject a sympathetic insight into genres commonly regarded as “mindless entertainment;” genres said to be based around funny gags, pot jokes, titillation, or other spectacles that aren’t typically seen as art. Random Acts of Violence actually opens with the protagonist, Todd Walkley (Jesse Williams), having an mental crisis around this dilemma and finding that balance of creating the perfect ending to a successful horror comic that still appeases fans, while proving its worth as a piece of art to critics.

The story follows Todd, his wife Kathy (Brewster), publisher/best friend (Baruchel), and assistant (Wilson) as they travel to New York Comic Con through the same rural patch of New York State that inspired his successful comic, Slasherman. However, the road trip that was meant to inspire the comic’s ending and Kathy’s book, turns to terror as someone begins copying the grotesque murders from the comic. Is it a copycat or the original killer that the comic was based on?

In the way Red State was for Kevin Smith, this film has the markings of Baruchel taking that creative leap into the uncomfortable. There is no intended humor, except for characters joking with each other casually as friends do, but once the terror starts, any evidence of that stops. And I thought it worked wonders at showcasing Baruchel’s range and depth as a storyteller. While many would classify it as a slasher, it appropriately enters that realm of modernist horror that comments on and identifies our reaction to violence. Everyone knows Ted Bundy or Jeffrey Dahmer, but how many of us can name their victims? Random Acts of Violence makes us aware of this issue, that people being killed are not meant to be fodder for our entertainment, and shown through the imagery of letting us know who the victims are and not providing a quick, campy death. As well as being told through many instances within the dialogue that doesn’t feel too on-the-nose or forced because it makes sense within the scene, such as Kathy stating, “Everybody talks about Slasherman, everybody talks about the murders, but nobody ever talks about the victims and those are the people that matter.”

The movie is technically sound, with enough homage elements to appease fans of the genre, but also making it its own. Also, it is some of the most grounded and mature acting I have seen from Williams, Brewster, and Baruchel. As with anything there are little stylized choices here and there that didn’t work for me, like how certain supporting characters interact with the primary cast. Then there’s certain directions the story went that I felt did not have as big of an impact as it could. Really all my criticism is based upon my own personal tastes than it is the movie’s execution, so I can’t really fault them for that.
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Maybe it’s the time of day, my love of Goon, or even my desire for more slasher/serial killer films that remember by valuing life, that makes for a more impactful story. I found it to be a powerful piece that is now in the running for my favorite horror of 2020 list. If my mood changes tomorrow or my views are in the minority, whatever comes out of it has me craving what Baruchel will give us next.
 
4 out of 5
 

​In order to give what we believe to be a more unbiased constructive criticism of the piece, the members of Bloodhound Pix are tackling each review as a panel of three. None of the members know the others’ thoughts on the content until after they submit their initial response.

​Director: Ivo van Aart
Writer:  Daan Windhorst
Starring: Genio de Groot, Katja Herbers, Rein Hofman

C. “Don’t read the comments. You never read the comments.” Because of modern society this line has become a golden rule if you’re planning on putting content into the world. While it’s easy for others that aren’t facing the comments directly to say this phrase, it is hard to not take them personally, no matter how ludacris they may be. Werner Herzog and others have discussed the hateful acts and comments shown through the internet under the banner of “freedom of speech.” There hasn’t been a fictional film that’s handled it so well.
 
The Columnist is one-part black comedy, one-part dark thriller about an author’s descent into violence against her critics. The irony of Femke’s story is that her initial stance as the film opens is arguing why people won’t be nice to each other despite their different beliefs. However, we quickly learn that her stance is based on hypocrisy, as she is not as “nice” or open to other views as she presents herself. At the same time, we see Femke’s daughter, Anna, start a major campaign for freedom of speech within her school, which acts as a juxtaposition to the main story. But like her mother, Anna’s reasoning behind her campaign feels like it’s more based on the fact that she couldn’t swear in school, rather than about those in less fortunate countries that don’t have the same rights.
 
This is one of those films that is fairly easy to know where it’s going from the first murder but I found it incredibly engaging and the movie flew by for me. I don’t want to spoil too much so anyone reading this can go in blind and watch it unfold. The acting, dialogue, all the technical aspects are spot on and leave little room for any criticism. It’s funny that a film about criticism has little from me. There are moments that leave you wondering about the credits role, because Femke is a very sloppy killer and there’s hints that the police are on to her, so you wonder how she’s able to get away as long as she does. But, a lot of that issue can be chalked up to the black comedy stylistic element that I mentioned prior.
 
J. So as the synopsis above suggests, there isn’t a lot here in terms of plot but I can see how this would be entirely relatable to a certain niche of writers/actors/directors and the like.  Certainly not me cuz no one knows who the fuck I am but I do admit that Twitter and Facebook (mainly Facebook) make me wanna kill some folks.  The thing about this film is that it’s funny but it’s not that funny.  The murders start and it’s gory but it’s not that gory.  For me personally, I would’ve gone all out, over-the-top with both because it’s sort of a ludicrous premise. That’s not to say it doesn’t work but things do get a little repetitive as our protagonist (antagonist?) Femke just goes down the list of her Twitter trolls and kills the shit out of them.  Ironically, Femke’s daughter Anna is doing a school project on freedom of speech which Femke is seemingly all for but aren’t Twitter trolls just utilizing their own freedom of speech albeit in dickish and moronic ways?  There’s something to be said for this juxtaposition although I’m not exactly sure what.  Things get a little confusing as we wrap up and I can’t say how because of spoilers but let’s just say one of Femke’s murders I wasn’t too clear on the motivation behind.  The Columnist is entertaining though and I thought Femke had a great line when she tells one of the asshole trolls that, and I’m paraphrasing here: “you are what is wrong with the country.  You and your laptop.”
 
K.  I came into this one totally blind and honestly it didn’t look too interesting but I was blown away.  Femke Boot (Katja Herbers) is an online columnist working on a novel and dealing with the constant stream of hate from internet trolls that comes with being a public figure.  Quite a timely scenario.  And while preaching kindness and tolerance, Femke indulges in murder.  The kind of dark wish fulfillment everyone fantasizes about in the midst of an unwinnable online argument or when insulted by anonymous vitriol spewers.  This plays as black comedy but eventually the repercussions catch up with her. 
 
I won’t spoil anything.  But this is writing of the highest order.  Daan Windhorst encapsulates the Chinese finger trap that is online discourse and forces us to face the worst that freedom of speech allows and exposes the inexorable hypocrisy of confronting it.  No one wins.  Everyone loses.  And if you allow it to spill over into your real life, you lose doubly. 
 
The acting is solid all across the board, anchored by an inimitable lead performance by Katja Herbers.  She manages to win you over right away and then do terrible things that you can’t help but excuse.  I cannot recommend this film more highly.  Check it out!

C. I have to disagree with Josh a little that the last murder made sense to me. I would say I can see how they could have worked with the daughter’s plotline a little more to connect the two arcs a little better but it didn’t bother me overall. Once she begins dating the horror writer I knew instantly that somehow he’d be seen as a suspect over Femke, despite the fact that he’s the nicest guy (don’t worry, I’m not spoiling anything).
 
I don’t know if it’s one I’d be watching anytime soon but it’s definitely something I’d put in my top recommendations list when others are looking for a newer movie to watch… and yes, I’d probably buy it since I have a problem.
 
J. Everything here mostly works and I like that the character is relatable (although let’s not actually murder Twitter trolls, folks).  There’s an honesty that’s balls-to-the-wall and although I wish it pushed a little harder, it’s worth the ride no doubt. 
 
K.  Obviously, I agree with both Josh and Craig, for the most part.  The only thing you could criticize is her getting away with the murders so long, like Craig said but I think that’s a stylistic choice.  I feel the same way about Josh’s critique, there is definitely a version of this you could make that’s more over the top and gory but I felt that this iteration fit the tone that was set by the filmmakers.  I’d be down to rewatch it tomorrow and recommend it, of course.  And kill anyone who criticizes, while I hypocritically endorse their right to free speech.
 
Bloodhound’s average score: 4 out of 5

A thank you to FANTASIA 2020 FILM FESTIVAL for providing a screener for this film.  More information on the festival can be found here 

A thank you to FANTASIA 2020 FILM FESTIVAL for providing a screener for this film.  More information on the festival can be found here https://fantasiafestival.com/en/

Bloodhound Pix is made up of: Craig Draheim, Josh Lee, and Kyle Hintz

Follow them at
https://www.twitter.com/BloodhoundPix
https://www.facebook.com/BloodhoundPix/
https:/www.instagram.com/bloodhoundpix/
Be on the lookout for new episodes of the Bloodhound Pix Podcast every Tuesday. Available on Itunes, Spotify, Google Podcasts, Anchor, and Youtube.

I have an ongoing conundrum as a reviewer, which is noticeably evident in horror and the other “genre” movies. At what point is the lack of budget no longer an excuse for issues within the movie? I used to think it was issue with the story, because obviously it does not cost anything to have a solid script. But then a great point was made that sometimes, the straightforward that can be told, would not hold up against a flick with a higher budget, so relying more on visual poetry elements provides an opportunity to stand out from the rest. I don’t buy it all the time, but I get the sentiment. This isn’t some opening that’s going to have me bashing the film, as I actually thought it was well executed for its “shoe-string” budget. But it did cross my mind and gives me reason to create a dialogue on the subject.

Nothing but the Blood tells the story of Jessica Cutler, a small-town reporter looking to make more of a name for herself by covering the opening of a controversial cult-like church. And as it usually happens with scenarios like this in these kinds of stories, while Jessica goes further down the rabbit hole and the church begins to put its stamp on the town, things get violent. While the story is told in linear fashion, there’s some quick flashes or recurring imagery that suggests a dream or something that will happen later (I won’t spoil it).

One thing that should always be evident is the passion behind making a project of any kind. While you might not be able to place a finger on it, you can feel what was made as a labor of love vs. for the paycheck or credits. This feels cathartic on its views of religion, specifically Christianity in small-town USA. A good chunk of the movie is built around these monologues designated to show us both sides of religion: the influence it can have on people and when someone twists the scripture to justify acts of hate; and the care in showing “good” people within the church. It is obvious which viewpoint Mr. Tucker aligns with. For the most part it is compelling, but ultimately is too “on the nose,” preachy (maybe a pun intended), and covers dialogue/thematic territory that we have seen/heard. That doesn’t mean you can’t tell a story like this, since every plot can be seen as similar to another, but you need to tell it in a way that is purely unique to you. In terms of this, I felt there was so much focus on the “message” and philosophical dialogue that it tends to bog down the movie. A prime example of this is being under 90 minutes, and perhaps the entire first half is built around what could be its own feature but ends up as exposition. The kind of build that is dedicated to the events prior to the film’s inciting incident (commonly referred to as the first 15minutes). Yes, there are many movies that accomplish a later shift (House of the Devil is consistently referenced) but without spoiling anything this just isn’t one of those movies where the extensive build or “slow burn” is a crucial component to the story that is being told.

However, as always, I am coming back to my opening discussion to say I found many instances where my criticism could be muted when recognizing what was accomplished for so little. There are many locations, a relatively large cast, and many plot devices that make the movie rather busy. For all of that I commend it. It is an incredibly well done (true) indie thriller. And yes, I know ultimately budgets should not affect whether a movie is good or not but as this is a collaborative medium it really plays a crucial part. For that reason, I will offer leeway to independent projects made from passion, the filmmakers’ own funds, and limited sources over some feature that has, what feels like, limitless possibilities.
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In the end, Nothing but the Blood is enjoyable and shows a lot of promise for those involved if they were able to get more funds or time put into their work. But it makes the common mistake associated with first-time features where it bites off more than it can chew, when they should have condensed, making their dollars and time go a little farther.
 
2 out of 5

A punk rock band with the politest roadie… except when he’s a man-eating demon? Um, count me in! Maybe it’s because of everything going on in the world but horror comedies have been making a huge comeback after what felt like a several-year hiatus of quality flicks.  

Uncle Peckerhead follows the three members of the punk band, DUH on their first tour. The band is unconventional and made up of three modern comedy stereotypes you’d find in successful comedy series like Parks and Rec (the nerdy and ambitious one, the silly man-child, and the dark/sarcastic one). After their tour van is repossessed, they scour the city in search of a new vehicle, eventually stumbling upon Peckerhead, Peck (Littleton) for short, who is looking for a reason to leave the city. Shortly after their journey begins, the trio realize that their new roadie transforms into monster (a “thing” as he likes to call it) from midnight to 12:13AM. While everyone is instantly taken with the overly charming Peck, the band’s leader, Judy (Siegel) struggles to maintain her sanity, keep the demon at bay, and jumpstart her music career.

First, I must say that watching this was such a joy in terms of dumb fun and that’s a compliment. It’s one of those projects that radiates positivity through and through. Even to a criticism that while some of the actors are delivering serious lines you can see the faint trace of a smile on their face. Issues like that flew under my radar because I was able to let go based on the silliness of the movie. In the same vein as the workplace vampire comedy, Bloodsucking Bastards, it feels like a horror film that was a product of a close-knit sketch group. Ultimately the success of this kind of movie comes down to its two leads, the intoxicating David Littleton and charming Chet Siegel, who provide what little heavy lifting is required for a movie like this.
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Now since the reviewer in me must discuss a little more. Apart from the acting issues, the movie is well done and made competently. There are many moments throughout where the editing or shots are a little clunky and can’t just be chalked up to lack in funds. Did it ruin my viewing? No, but it was still considerably noticeable. Also, while I understand we are following this road trip structure, it never felt like there was enough urgency in the script for the character. Having the tour plot allows for an instant goal but that doesn’t equate to urgency, especially when dealing with a man that turns into a killing monster. Now, sometimes a certain level of silliness can negate those issues. However, the ending of Uncle Peckerhead takes a serious turn that doesn’t exactly flow with the tone prior. A prime example of a film that made this work is Shaun of the Dead, which starts off as a straight comedy but gets profoundly serious toward the end. In that movie there’s a progression and it feels like the same story. In this, without the urgency, having the sketch-like characters, and so on, it just ultimately feels, not unwarranted, but wrong within the world that they have created. They witnessed all this horrific stuff throughout and yet when a different bodily function is involved, that is the tipping point that changes this (already) strange dynamic?
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I could say more, and it is an easy one to pick apart for those with too much time on their hands and forgot why they started talking about movies in the first place. But like its title character’s obvious flaws yet compelling charm, Uncle Peckerhead is a joy that had me grinning ear-to-ear throughout. If a movie can do that to me, I’m certain it could do that to many of you and why I highly recommend it.
 
3 ½ out of 5

 
Take a Wes Anderson’ film, add a dash of 8-bit video game influence, then strain it through a surrealistic Japanese filter, and you’ll get We are Little Zombies… And it was miraculous! Before we go any further, I will say apart from the title and each of the four kids’ parents dying, there is nothing horror-related about this movie. It doesn’t bother me at all, because it was actually a much-needed break from the horrors of reality. But being that this is Ginger Nuts of Horror it should be noted.
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The story follows four children (average age of 13) who happen to meet while attending each of the parents’ funerals. Though they have little in common (besides losing their parents) they find a common ground as each feels they are unable to show emotion. As they are running around town in attempts to avoid returning to normal life, they eventually form a band and become a nationwide sensation. In short, this is the plot, however, in surrealistic and Japanese fashion a lot of other things happen. There’s an hour of build before we eventually get into what is considered the main “plot,” which then only lasts a short while until the story moves elsewhere. I will say by ignoring IMDB’s (or another site’s) synopsis you’ll be treated to a coming-of-age tale where kids navigate through their emotions while dealing with their losses, instead of waiting for their music careers to start.

I thoroughly enjoyed this movie. It’s quirky and experimental, but not enough to exclude certain audiences that may not be into that genre. More than anything is the film’s authenticity to explore the anxieties and connections kids have in the modern world with a ton of heart. Yes, it won’t be for everybody, and based on my opening “buzzwords” you’ll know what camp you fall into. That is not a criticism in the slightest, but a matter of personal taste for the individual.
I thought all four of the children were compelling, despite their characters falling into your stereotypical kid-group tropes (the smart one, the troubled one, the overweight one, and the leader). Hikari (Keita Ninomiya) is what would be considered the central protagonist in the same way Gene Hackman is to The Royal Tenenbaums. I mention this because the group members take turn narrating, with their manager even taking the story’s focus for a small stint. Some people may find this “lack of focus” to be problematic, as I mentioned above, it is something I would chalk up to what you enjoy.

We Are Little Zombies provides an interesting dilemma for me. It’s something I want to discuss more with others that have seen it because I feel it’s such pleasant piece even though it deals with death and is in deadpan. However, on the other hand, I find myself unable to say much after only one viewing that provides justice to the film. I can really only say as the credits rolled, I scrambled to find my wife and tell her about “This movie you need to see when it’s officially released,” and anymore that’s the highest compliment I can give.
 
4 ½ out of 5