Love it or hate it, reality shows dominate our TV programming on a daily basis. So what better subject for a feature film than one about a reality show? Joe Giacobello and Bello Productions does just that in his film, “Ultimate Reality.”

“Ultimate Reality” the story of Joe Morris (portrayed by Giacobello), a man who is tired of his mundane life and ordinary job. He and a co-worker decide to inject some excitement into their lives by creating the ‘ultimate reality tv contest’ designed to really push contestants to their limits. Morris gets the idea for the show after having listened to a report on the news about a serial killer being imprisoned for life. He wonders how would your everyday person would be able to handle being isolated in a small room with only the most basic essentials and no human contact what-so-ever. The idea eventually gets picked up by a TV station and Joe Morris couldn’t be more thrilled. He immediately launches a search for contestants, all of whom include a suburban housewife (Barbara Winters), a radio dj (Erik Shark), and an ex-con posing as a priest (David Dietz). As the bizarre story unfolds, Joe Morris comes to wonder if he’s bitten off more than he can chew. He also finds himself becoming attracted to the suburban housewife, Katherine Thomas (Winters) as the relationship with his current girlfriend, Tammy (Stacy Bartlebaugh-Gmys) begins to fall apart.

I will say flat out that I really liked this film. I was immediately drawn in by the setting and cinematography of the film (rather off-setting, dark, and dingy) followed by the unraveling plot/storyline, the way the characters were written, and how many of them were portrayed. I don’t know if this was done on purpose, but while the cinematography is of an overall good quality, there are times when it is reminiscent of films like Blair Witch Project and Paranormal Entity. Given the subject matter of the film, I would say that such a thing entwined into the production is appropriate. The cast projects some pretty strong performances for the most part and there is a good variety of the type of quirky characters you would find in a typical reality show.

The movie is labeled on IMDb as a drama and comedy. I would add thriller into that equation as well. This is another film where Joe Giacobello wore many hats (actor, director, producer, cinematographer, editor, and sound department). Last month, Giacobello succeeded in getting me to actually enjoy a romantic comedy (not an easy feat) with his film, “Doing Therapy.” I certainly hope that “Doing Therapy” and “Ultimate Reality” will only be the beginning for him.

Find out more at Bello Productions http://bellofilms.com and at their IMDb page: http://www.imdb.com/title/tt1701188

“Olivia” is an independent film from writer/director Edgar Muňiz. It tells the story of a young college-aged woman (Larina Sias) who says goodbye to her boyfriend as he leaves for a trip. Before he goes, he gives Olivia a cassette tape to play. When she plays it, she’s astonished to hear an original song from him telling her that he’s breaking up with her! The news plunges Olivia into emotional turmoil, but she attempts to get on with her life. However, her insecurities and desires pull her in two different directions. Despite her best efforts, she faces the roar of silence generated by her thoughts. Olivia thinks she can change and become someone who she’s not. She picks up a stranger and brings him back to her apartment for some casual sex. But the experience leaves her cold, confused, and bitter. She continually rejects Roo (Edgar Muňiz), the one boy who truly seems to care for her. Will Olivia ever be able to recognize what’s holding her back and break out and become the person she wants to be?

“Olivia” is a poignant, introspective film. Director Muňiz shows us a young woman who wants to change, but fails to see that her past experiences have rendered her emotionally hollow. Throughout the movie, Olivia is shown walking with large headphones on her head, effectively shutting the world out. She has an empty job at a clothing store which also reflects her empty life. She’s made few emotional connections, even with her family. When she goes to visit her father (Wayne Hurley), Olivia doesn’t even go into his house. Instead, they both sit in her car, talking about nothing. She tells her feelings to Roo, tormenting him with stories of her sex life, yet she won’t even consider him as a potential lover. When Olivia talks with her sister, she doesn’t share the laughs that most siblings enjoy, and instead tells her “Life is kind of something you have to endure every day.” Nevertheless, the film ends with hope as Olivia attempts to reconnect with one of her childhood passions.

Muňiz effectively captures Olivia’s vacant, wounded world. Even his photography enhances the emptiness in her soul. Larina Sias is a true find as Olivia. She successfully exposes the maze this beautiful young woman has built in her mind, and every so often allows the viewer in so that they can also see her innermost turmoil. The only concern I have with “Olivia” is that it could probably be a few minutes shorter.

If you like quiet and reflective movies, give this one a chance. It’s far better than the overblown, overwrought major studio efforts that try to deal with the same subject. “Olivia” is honest, and it has charm. But far more importantly, it also has a soul.

For more info on “Olivia” please go to: http://www.imdb.com/title/tt2066028

For more information on Edgar Muňiz please go to: http://vimeo.com/somuchmovies

Nina Wyeth (Cassie Ann Ross) is a 30-something writer. She has just completed a successful tour to promote her new book “June July” which Wyeth characterizes as a “non-romance” novel. She’s met many adoring fans who all want to know the same thing: what parts of the novel come from her personal experience? Nina insists that the book reflects none of her past. She flies in to visit her brother (Nicholas Null), but doesn’t stay with him, preferring instead to rent a hotel room so she can begin preparation for her next book. However, she finds herself unable to work. Nina is visited by her former lover Ivan Green (Mark Johnson) who’s initially unsuccessful at trying to revive their physical relationship. Then, at the park the next day, she meets Buddy Cortez (director Edgar Muňiz), a hopeless romantic who falls head over heels for Nina. When asked, he quickly agrees to be interviewed by her for her research. But during the interview process Nina feels herself succumbing to Buddy’s romantic charms. But this is one more distraction that she doesn’t want in her perfectly ordered life. So Nina must make a choice – leave and return to her neat and tidy ways, or plunge herself headlong into a wild romantic fling with a younger man.

“From the Heart of the Crowd” is courageous film making that presents the viewer with a challenge. Muňiz gives us an unlikable main character and asks us to care about her. This is difficult since she is emotionally distant (much like the lead character in Muňiz’s other recent film “Olivia,” which is also reviewed in this issue). Nina is a woman who fails to realize that her past inability to connect with people has greatly damaged her. She has compartmentalized her life into neat little areas and prefers to remain isolated from everyone she knows. It’s ironic that she writes prose that touches people, but is untouchable herself. She’s most susceptible when true romantic Buddy confesses his feelings to her, but knows that committing to him will mean that she’ll no longer have total control of her life. Even worse, she knows that she will be vulnerable. This truly frightens her.
Muňiz carefully composes his shots in the movie to achieve maximum emotional effect. They emphasize emptiness and coldness. The film is even shot in black and white to reflect how Nina sees everything; a life without color, passion, or depth – merely shades of grey.

Muňiz has gathered a fabulous cast. Cassie Ann Ross (who also wrote the screenplay with Muňiz) gives a sincere but frosty performance as Nina. She gives her an impervious almost robotic façade. It’s only during the last scene that you get a brief look into what she’s hiding inside. She’s so good here that you wish that Muňiz would’ve included more scenes like this. Also impressive is Muňiz as Buddy, who does his best to break through Nina’s tough exterior. He’s friendly and likable and you find yourself rooting for him to succeed. Mark Johnson is appropriately caveman-like as Ivan Green. He’s only interested in one thing. Lana Corinne Sias (from Muňiz’s “Olivia”) makes the most of her one scene as a former student of Nina’s who’s now not afraid to tell her teacher what she thinks.

But while the film is daring and thoughtful, it is also dry and somewhat frustrating. The pace is off. Some scenes go on way too long, while others end just as they are getting interesting. This unevenness hurts the film. But if you like cinematic challenges, then you should check out “From the Heart of the Crowd.” It’s distinctive enough, but be forewarned: it’s the story of a heroine who’s not easy to root for.

For more information on “From the Heart of the Crowd” please visit: http://www.imdb.com/title/tt2076851

For more information on Edgar Muňiz please go to: http://vimeo.com/somuchmovies

Swords, sorcery, beautiful princesses, valiant warriors, and vile villains; that’s the stuff of fantasy films. There have been many entries into the genre since the turn of the millennium, thanks in no small part to the success of the “Lord of the Rings” trilogy. Of course success breeds imitation: “300”, “Immortals”, and “Conan the Barbarian” (remake) to name a few. However, Hollywood isn’t the only place where fantasy films are made and B Movie Man has discovered a treat from behind the former Iron Curtain in the 2007 Russian film “Wolfhound”.

“Wolfhound” is the story of a boy from the “Grey Wolf” clan, whose village is destroyed in a brutal attack by a powerful, evil overlord Zhadoba. The destruction of the village and all of its people is no random act; Zhadoba had learned that the boy’s father had just made a special sword, one that could slay the overlord. After slaying the boy’s father and pregnant mother, the child is taken to die a slow death as a slave in the mines.

Years later, the slave boy has gained his freedom. Now a warrior who goes by the name of Wolfhound, he travels the country seeking to avenge the destruction of his people and to stop the spread of the overlord’s evil. He does not fully understand Zhadoba’s motives, but he feels there is more at stake than simple vengeance.

During his travels, Wolfhound befriends many people, usually by saving them from certain doom. In doing this he reveals the essential goodness of his nature, going out of his way to free a slave, help an old blind prisoner, and rescue a woman and child facing execution at the hands of a backwards tribe of mongoloids. He even saves a princess, named Elen, whose homeland is cursed to endure eternal winter. Wolfhound at first appears to be a simple character, but as the story unfolds and more of his past life as a slave is revealed, it becomes clear he is more than just a two-dimensional warrior driven to seek revenge. But will Wolfhound and his friends have the power to stop Zhadoba from his goal of using Princess Elen’s blood to open a celestial gate, thereby allowing true evil free reign on the land?

“Wolfhound” at first glance seems to be a knock-off version of the original 1981 “Conan the Barbarian”, right down to the opening scenes of a blacksmith forging a great sword, only to see his village destroyed and a child taken into slavery. However, the story is more complicated than that and the character is somehow more noble, interested not just in revenge against those who’ve slain his people, but also in doing what is right and helping the weak. While the plot never becomes overly complicated, it is seasoned with strong characters and enough underlying surprises to make the film enjoyable.

The movie also has strong production values. The Eastern European filming locations, sets, costuming and such do not look cheap or cobbled together. While the film does rely on CGI effects for some of the settings, monsters and even the hero’s companion, a bat named Ragged Wing, the effects don’t stand out the way they do in some films. It is easy to lose track of what are CGI inserts and that is the sign of good effects. One of the film’s strongest point may be the cast. The filmmakers chose their actors well, with their looks and costuming helping to creating a true feeling of a medieval fantasy world. I recommend “Wolfhound” for any fan of sword and sorcery films. It has a good look, an enjoyable story and is fun to watch. So check out the Russian film “Wolfhound” if you get the chance, and you might be pleasantly surprised.

Sometimes the title says it all. Rage -an emotion beyond anger, beyond reason. They say some people actually see red if they are gripped in a strong enough rage. Perhaps they are right. In writer/director Christopher Witherspoon’s film “Rage” we see the film’s antagonist go over the edge to the point where only seeing blood will satisfy his anger.

“Rage” follows a day in the life of struggling writer Dennis Twist (Rick Crawford). After kissing his wife Crystal (Audrey Walker) goodbye, he heads into Portland to run a few errands on his day off. When he gets into Portland from his home in the suburbs he thinks he’s having a bit of luck when he finds a good parking space and slips into it as another car pulls out. Unfortunately, there is a motorcyclist (Christopher Witherspoon) waiting to pull into the spot that Dennis doesn’t see until he’s already pulled in. The cyclist, dressed from head to toe in black bike attire and a tinted helmet, honks at Chris, but the thirty-something writer shrugs the guy off.

This seemingly harmless slight, the kind that anyone might do during the course of a day and not think a thing about it, is the catalyst for what will become the worst day in Dennis’s life. The biker follows him and watches Dennis break off an affair he’s been having with a woman named Dana (Anna Lodej). As Dennis drives to his next meeting, the cyclist appears and taunts him at each traffic light. The harmless pranks quickly escalate to the point that he keys Dennis’s car.

Ironically, Dennis spends his lunch talking about turning his life around and professing his belief in the karmatic axiom of “what goes around, comes around”. Soon he sees how true that is as the biker sabotages his car, almost leading to an accident, and then continues following Dennis, beating and taunting him at every opportunity.

Dennis begins suspecting that the biker is actually Dana’s ex-boyfriend, recently released from prison on parole, but he can’t prove it. Finally he makes it home and has the unenviable task of explaining why he looks beaten up to his wife. Still he believes he is safe. He’s not. The biker breaks in and takes his revenge to even more savage levels not just against Dennis, but also his wife and any neighbors who interfere. One thing is for certain: even if he survives the mad cyclist’s rage, Dennis’s life will never be the same.

Christopher Witherspoon’s “Rage” is an homage to one of Steven Spielberg’s first films: “Duel”. In fact, Witherspoon goes so far as to reference the film at one point as Dennis hears some guys talking about the movie and you see the spark in the writer’s eye that suggests he sees the similarity. “Rage” is a well made thriller. Although Witherspoon’s filmmaking resume` is short, he shows genuine talent behind the camera, especially in bringing life to the biker, a character who never speaks and whose features are never shown. That said, the film does overuse some plot devices such as the red herring of who might be the cyclist and surprise dream sequences. Still “Rage” is a fun and entertaining film that is well made and well acted. So check out Christopher Witherspoon’s “Rage” and remember the next time you think about stealing that parking spot, you may not live to regret it.

Horror and Giallo icon Dario Argento's Four Flies on Grey Velvet, the final part of his 'animal trilogy', following on from The Bird With the Crystal Plumage and Cat O' Nine Tails, is the subject of a 40th anniversary DVD and Blu Ray release from Shameless Screen Entertainment. This early career entry, coming before the run of films that would see the Italian cement his reputation as one of the most visually distinctive genre directors of the period with Deep Red, Suspiria, Inferno and Tenebrae, may be rough around the edges, possessed of a clumsy narrative and unsatisfactory climax but it's still a lot more fun than many of Argento's lacklustre contemporary efforts. Boasting a suitably bizarre cast - Michael Brandon (better known to UK television audiences of a certain age as one half of 80s crime fighting duo Dempsey & Makepeace), Bud Spencer, Mimsy Farmer, Donald Sutherland's current wife Francine Racette and French actor Jean-Pierre Marielle - Four Flies is a typically Giallo tale of murder and psychological torment played out to the strains of an Ennio Morricone score.

The catalyst for the narrative sees the life of rock drummer Roberto (Brandon) turned on its head one night in an abandoned theatre when he confronts, and accidentally kills, a mysterious stranger who has been tailing him over a number of days. To Roberto's additional horror a strange masked figure hiding in the balcony takes a series of compromising photographs of the incident. Deciding against telling his wife Nina (Farmer) or the police about the situation, Roberto is subsequently subjected to psychological taunting as the unknown photographer,seemingly bent not on blackmail but on emotional and mental torture, ratchets up the pressure on the increasingly fraught drummer.

To try and unmask the assailant Roberto ropes in his larger than life friend 'God', amusingly played by Spencer, his scruffy, Bible quoting friend 'The Professor' (Oreste Lionello), and Gianni (Marielle), a homosexual private eye with no crimes solved in 84 attempts. These warped Three Stooges, along with a bumbling postman and a sub-plot involving Swedish porn magazines, bring a left field, comedic touch to the increasingly delirious and violent storyline, replete as it is with narrative revelations, odd incidental characters, fantastical plot developments and even an early example of bullet time photography. Argento mirrors the off-kilter onscreen action by employing split screen and slow motion scenes, expressive framing, extreme close ups, vivid colour contrasts and fetishised murder sequences.

Four Flies is as weird, chaotic and enjoyable as it sounds and Argento's still developing stylistic approach makes up for the lapses in narrative cohesion. The central mystery remains intriguing up to the somewhat rushed denouement which also explains the film's title, paving the way for the more overtly horror genre themes the director would go on to embrace.

As someone who has been reviewing independent film, on the microscopic level at least, for roughly a decade at this point, I feel that I have a fairly strong grasp of the popularity of genres. In the wake of Quentin Tarantino and Robert Rodriguez's Grindhouse, the indie world was completely dominated by "retro" genre-film love letters. Recently, I have seen a number of varying genre films popping up that have seemed to be coming into some popularity. Faux-documentaries and romantic comedies have been popping up a great deal here lately, but horror is one of the true go-to areas for independent filmmakers. Recently, I have had a great deal of luck in regards to the anthology titles that have been sent my way. Although anthology films are notorious for their difficulty, due to pacing and tonal differences between shorts, I have been subject to several higher quality outings as of recent. It seems that with the cult success of Trick 'R Treat, many filmmakers have decided to pair their own short films together with the hopes of developing a successful formula. Such is the case with Road Hell, an independent anthology flick that looks to bring together numerous horror film aesthetics in one feature. Is it successful in the strange combinations that it attempts to put together? The simple answer would be yes, but it is not without a fair share of problems.

Road Hell tells the story of a wealthy couple who attempt to go on a vacation. Hardly the romantic getaway, this husband and wife can't stand one another. They slap one another, constantly argue and only seem to be together because of their money. However, as they ride on the open road, the wife decides that she must stop and use the bathroom. After the couple bicker, it is decided that they will spend the night in this strange motel that they have stopped at for their bathroom break. When they check in, they discover that the innkeeper is more than a little strange. Extremely perverse and seemingly psychotic, this creepy desk jockey points them to their room and the horror show soon begins. As this couple try to survive this night of slumming, they are subject to multiple stories of extreme horror! The hubby discovers a television program about vampires that seems all too real, the wifey has hallucinations about a monstrous animal that torments children and we are also shown the bizarre life of a real-life zombie hunter! Will this couple survive their night of hell?

Road Hell starts off promising enough. Although the two main characters, at least the two who we will be saddled with throughout the movie, are walking/talking cliches, their villainy somhow makes them interesting. We are first introduced to the husband, and he is absolutely disgusting in every way. He cheats on his wife and then brags about it to her, and he encapsulates the very worst sort of yuppy behavior that audiences could possibly imagine. His wife is no keeper, though, because she may be one of the most annoying "trophy" wives that cinema has ever seen. Although actress Jaclyn Marfuggi may be stunning on the eyes, her performance here grates the nerves. This of course means that she is doing her job as an actress, as this is what the role demands, but as with most things, Road Hell definitely pushes things to their most extreme limits.

The tonal values of the movie are all over the place, and this is probably where it runs into its biggest hurdles. Made up of independent shorts that have been tied together through the "Happy Couple" storyline, each short horror segment seems incredibly different from the last. While this isn't always a bad thing, the movie shifts around a great deal and doesn't seem consistent in any of its ideas. This Happy Couple sequence, described in the plot synopsis above, is handled very well but seems fairly distracting when placed alongside the rest of the short stories found in the movie. Featuring an aesthetic that seems to be more directly related to a Troma movie, or maybe something like Hanger/Gutterballs, these short interludes between stories are certainly eye catching. Featuring CGI feces, fake semen and sex with a plastic sheep, this portion of the movie is entirely over-the-top. The shorts, The One, Deep Into the Rabbit Hole (which was previously reviewed, by me, here on Rogue Cinema) and Zombies! Zombies! Everywhere!, are much more toned down in terms of the crazy stuff. If you want to know more about Deep Into the Rabbit Hole, check out my detailed review, but the other shorts are equally as impressive. The One is a reserved little vampire tale that details a revenge story hidden in a sexy little package. Stylishly shot, it is a fairly straight forward little slice of horror in comparison to the other sequences within the movie. Zombies! Zombies! Everywhere! is a more comedic take on a similarly grounded horror-genre, but it looks to remove the "horror" element and try out a few different things. Shot in the mockumentary format, it attempts to show a zombie apocalypse that doesn't seem quite as threatening or imposing. Very solid stuff!

Although The Happy Couple may seem like my least favorite of the bunch, do not be mistaken. I actually like it quite a bit, it is just unfortunate that it seems so drastically different in comparison to the rest of the movie. Audiences may feel that the movie seems somewhat disjointed by the end of the movie's running time, but hopefully they will instead look at this as an opportunity to see just how dramatically different the worlds of indie horror can be. A journey into some very different worlds in the horror community, Road Hell is certainly something different than what audiences might expect. For this strangeness, as well as the quality of the shorts, I have to recommend it. You can read more about this project via the official production site at: http://www.screamkings.com

Way back in 2009, I was lucky enough to have been forwarded a copy of Ryan Noel's The Notorious Newman Brothers. A mockumentary, of sorts, that looked to lampoon the crime "genre," it was a title that truly stood out at the end of the year. Easily one of the best of that year, and if I am going to be honest, it is probably one of the funniest comedies that I have ever been sent via Rogue Cinema. Although it hasn't received a great deal of mainstream notoriety, it has developed a decent little life for itself through the internet. It has developed a sustaining fan base that has made it possible for the title to be released through a new, and totally quality, DVD. I will get to the special features on that disc shortly, but for now I would like to focus on the feature itself. As has already been mentioned, The Notorious Newman Brothers is a mockumentary in the same vein as This is Spinal Tap or Best in Show. However, director Ryan Noel, along with his stars Brett and Jason Butler, attempted to take this genre and subvert it just a little bit further. Standing out as a piece of meta-crime-fiction, The Notorious Newman Brothers is a ridiculously silly and raucously funny faux-documentary.

The Newman Brothers, Thunderclap and Paulie, are a pair of mafiosos fresh out of jail. These two hardened criminals did a little time after they were hit with murder charges in the 1st, 2nd, 3rd, and even the seldom-seen 4th degree. Well, it was either all the murder that got them locked up, or it might have been the pirated DVDs. Regardless, once the duo are back on the streets they hook up with documentary filmmaker Max Chaplin. Max turns out to be an inexperienced, soft spoken, and slightly feminine young gentleman who is bullied by the brothers from the very start of their collaboration. The two brothers try to play up their connections and importance within the criminal underworld, but in reality that are simply small-time hoods looking to make their name. With a huge drug deal ahead of them, and with Max documenting the entire thing, this could be the opportunity that these two buffoons have been looking for. That or it could just be another impressive failure, which is very much a possibility.

"Did she cast a spell on you?" is just one of the many great quotes to be found in The Notorious Newman Brothers. The film takes an idea that, by all of my previous experiences with cinema, should have turned out as a 'done-to-death' genre spoof, but the filmmakers somehow took this simple idea and crafted something that is both genuine, unique and always funny. The entire 'mockumentary' sub-genre can very easily be hit or miss, depending on the ideas and the crew behind the film. It is particularly difficult to create something that remains interesting in feature-length form, which is why the majority of mockumentaries that I am usually sent are in the short-film variety. Ryan Noel and the Butler's took their concept and simply ran with it. Staying away from genre-spoof simplifications, the funniest bits within the film usually come from the delirious improvisational dialogue that the actors revel in. Numerous lines of ridiculous dialogue are born within these sequences that tend to focus on elaborate yarns that are spun out of control, usually coming forth from Brett and Jason Butler. Some of the most memorable moments come from this form of absurdist comedy, like the aforementioned line about spell-casting. The line comes after the duo convince their director to steal a porcelain wizard statue from a house that they burglarize. After the trio are caught red-handed by the woman who owns the house, the two brothers then grill their director before letting him into their own home, because the woman who busted them may have cast a spell on him. Why this woman, who walked in on the three of them looting her home, was thought to be a witch, or might have even had time to cast a spell, is kind of beside the point. As the scene continues, the brothers just seem to bounce off one another making the whole concept more and more ridiculous. Another favorite bit of mine involves Thunderclap describing his designer suit, which was apparently made out of Wooly Mammoth hair. His suit color? Intergalactic black. That's right, he reached up into the sky and pulled down the dark in order to form his suit. Without a doubt, this flick goes into some strange territory, but that's what makes it great.

The performances from the small cast are all top quality. The Newman Brothers themselves (Brett Butler and Jason Butler) steal the show at every opportunity. The over-the-top tough guy accents could be seen as being too stereotypical, but the devotion that the actors have ends up making it all come together. It's easy to fake an accent, but to actually create unique characters who contribute in varying ways, and who actually deliver "the funny," while throwing on a silly accent, that is something entirely different. Ryan Noel, as Max, also does well filling in as both an actor and director, generally making his role much more than just the straight man to the Newman Brother's over-the-top shenanigans. His constant questioning of the situations surrounding him can be a bit nerving at times, but his character becomes endearing as the film progresses. Noel does a great job on both fronts, as a performer and filmmaker. With a tight plot and quick pace, the film moves along at a steady rhythm and it looks great while doing it. With some great post-production editing techniques, such as the title-cards for the main characters, the movie has some polish to it.

With a flashy website and several new viable options for checking out the movie, The Notorious Newman Brothers now has a chance at reaching out and finding a potentially larger market. Through their website, you can now rent and stream the movie or purchase it and download it for later. Even better, you can also purchase the DVD which features an assortment of special features that actually adds a lot to the experience. Featuring numerous deleted scenes, as well as some funny video clips that show the boys trying to break into the Toronto International Film Fest, the DVD is probably the best Newman Brothers experience currently available... aside from having them "whack" your spouse, of course.

Overall, this is a hilarious and bizarre look at the gangster-film pastiche. Piecing scenes together with famous mob-film quotes, that ensure the audience that this was a film made by actual fans of the genre themselves, The Notorious Newman Brothers is more than just an outsiders view of a genre-film. I absolutely recommend it to anyone looking for a fun piece of true independent cinema. You can read more about the film at the official website

. Check it out, it might be one of the funniest independent features I've come across.

Within the world of independent cinema, high concept ideas usually lead to two inevitable outcomes. The first is that the filmmakers may take the adversity of crafting something outside of their means, and then step up to the plate and deliver something highly creative. Let's face it, when you have a 40 million dollar script and a budget of thirty dollars, you have to get pretty innovative. Unfortunately, this isn't the most commonly traveled road. The more common road is that filmmakers do their best to emulate the movies that they have seen before, and the budget becomes extremely noticeable. As is sometimes the case, filmmakers seem to imagine that by reminding the audience of films that have come before them, this will bring the same enthusiasm to their own project. Unfortunately, it only leads to comparisons being drawn when the quality levels don't seem to match up. Although Drama Class stands out as a film that tries its best to be something much larger than it actually is, it is unfortunately smothered under the weight of its own commitment to the genre.

Drama Class is a comedy film that follows the daily happenings of a small town college that has recently been opened. In this peculiar school we find numerous young people with their own laundry list of problems. However, their world is seemingly about to change when a new reality show decides that their school will be the perfect setting for their "theater based" reality show. The dean of the school is a young woman who may be a bit in-over-her-head, but she gets away with it because she is the young trophy wife of the boss of the Marconi crime family. She loves the idea of potentially becoming a star, and eagerly anticipates this new reality program within her school. Many of the young people are also quick to jump for their own chance at stardom, but as the start date for the reality show looms closer this group finds that there are things more important to them than just being on a television show.

High concept goals aren't necessarily a bad thing, but they usually don't work out if there isn't enough budget to make the onscreen happenings seem believable. While some of the acting in Drama Class is actually impressive enough to sustain an aura of beliveability, there are times when the filmmakers try too hard and we are reminded of the budgetary restraints behind the project. When the movie sets itself within the offices of a huge network, for instance, it simply falls flat because everything looks too cheap. Although there are probably easier ways to give the idea that your movie is set within the confines of Rockefeller Center than actually shooting in New York City, you still have to at least present sets that help the audience believe in the illusion. During these earliest scenes, I found myself wondering what the filmmakers were inevitably going for. Would this be a faux-documentary? Would it be a spoof of the reality-TV culture? As it turns out, the movie is neither of these things. Instead it seems to be a title that hopes to evoke memories of American Pie or various other teen-comedies that have come about within the past two decades. The success rates for this are mixed, unfortunately.

While I do think that Drama Class has its moments, the meandering plot and distant characters never have a chance to grab the audience. The cast does a fair job for newcomers, and they try their best even though many are lost within the large cast of characters. The post-production video effects within the movie are also very well handled. Although this is a movie that may step above and beyond its budget level, it still retains a certain coat of gloss due to the color filters used and the striking credit sequence used at the start of the movie. While I am also talking about the positive areas within the movie, I would be remiss if I didn't mention the beautiful girls that are found within this little indie movie! A quick look at the Drama Class website will only verify my opinion, the ladies found in this small university can only be described as heavenly!

While I did not love the movie, the filmmakers have some promising areas that they can build off of within the future. The movie tackles many "college" ideals, and tries to be witty about it, but inevitably falls into the same trappings that many of these movies do (weak characters, episodic nature of the plot, etc.) but it must also contend with a very limited budget. Writer and director John Salvatorelli shows a lot of courage in attempting such a large concept with his feature film, I have to give him that. I think this film might be a bit much for even the most seasoned independent filmmaker, and perhaps he will step forward with a stronger work in his next effort. If you're interested in learning more about this project, however, you can visit the official website at:

You can sometimes get a feeling for a movie based primarily on the advertising materials sent with a DVD. Free swag can be fun, but more often than not it isn't expected for a reviewer of independent films. When Serena and the Ratts showed up at my door in a rather large box filled with memorabilia, it seemed that the filmmakers certainly had dedication to their project. This extra mile, while not having any effect on a review be it positive or negative (a t-shirt won't secure you a positive review, dear indie filmmakers), does show how invested a filmmaker is in his or her project. The beautiful cover art, as well as the DVD menu found on this disc, seemed to further its appearance as a project that intended to take its place in a real straight-to-video market. While Serena and the Ratts might still have trouble with modern audiences who turn their nose up to low budget affairs such as this, the movie does show a wealth of imagination in its script and appearance. A hodgepodge of ideas and genre film aesthetics, this is a movie that may have some internal problems, but it attempts to make up for it with endless enthusiasm and some very impressive concepts.

Serena is a hired assassin who may very well be one of the most dangerous professionals in her racket. Despite her punk rock appearance, she is extremely dedicated to her job. When she and her partner are contacted about an important job, everything seems routine until the details are divulged. It appears that a group of scientists have discovered a way to produce wormholes here on earth. With these wormholes, they have managed to break down the space time continuum and someone has decided to play with fate. A man will apparently be traveling back in time in order to kill Adolph Hitler, which may very well completely avoid the second World War. However, as time travel movies have shown us before, playing with the space-time continuum can have dire consequences! So, Serena has been handed the contract to take this would-be hero's life. Although she finds herself in a moral conundrum, she is soon confronted with the incredibly difficult task of killing someone who can quite simply travel back in time and stop their own death. How will she tackle this hit, and what secrets are held behind this mysterious job?

For this sort of production, with the minimalist budget that it likely had, this movie is supremely shot. Featuring some fantastic photography, well decorated sets and fantastic costumes, this movie looks far better than it probably has any business looking. During some of the more innovative camera moments, the filmmakers become creative with quick pans and crafty editing in order to give the movie further polish. The mix of visual techniques, with a lot of handheld and an equal amount of traditional dolly work, gives the movie a surprising sense of technical merit. Aside from the technical feats that are achieved, the movie should be most recognized due to its idea structure. Audiences are bound to be a little perplexed when they first start in with Serena and the Ratts, that is for sure. A bombardment of genre-film ideals hit the audience during its introductory scenes, and they are likely to be left a bit dazed. We are thrown into this assortment of wild movie concepts, and the movie never comes right out and spells out its next move. We have hints at science fiction, the assassin genre and even some strange David Lynch style tastes of surreal horror, but for the most part the audience remains in the dark. While the audience may have its expectations, as this movie plays out they will find that this is a movie that isn't interested in playing by the rulebook.

If the movie has any problems going on in it, it might be that it takes too long to do too little with all of the great ideas that are floating around in the plot. While it is interesting to flash back to World War II, a time period that is tied closely to our story due to the Hitler assassination subplot, it seems that this idea is slightly less interesting than the "how do you assassinate someone with a time machine?" plot line that sort of stalls out after the first thirty minutes. The movie is certainly packed with inventive ideas in multiple areas, but at times it seems to become overshadowed by this creativity. Due to this, some topics that probably deserve more time are never fully given their credence. With nearly two hours worth of running time it would seem that there was plenty of time for the filmmakers to cover these issues, but it just didn't pan out that way.

The performances in the movie are universally solid. Although there are a few instances of stilted dialogue, and characters who never really seem all that lively, but for the most part the movie remains afloat with several talented actors/actresses in the dominant roles. Evalena Marie is an absolutely stunning girl, no question about it. Independent filmmakers are usually lucky if they can manage to find a actor or actress who can manage to remember their lines without noticeably reading them from a cue card, but to find a talented young actress who also has model-good-looks, that is a rare find indeed. Although Marie has her slip ups every now and then, she actually stands out as one of the best performers in the film.

Overall, I have to say that I am a big fan of the movie. Although I can understand many complaints that viewers may inevitably have, I think that the promise of these young filmmakers tends to overshadow everything. Serena and the Ratts is a movie packed with energy and ideas, and while it has its missteps occasionally, the movie is too much fun to stay upset with. You can read more about the film via the official website at: