Tag Archives: crime

THE LAST KNOCK presents: Interview with David Wilde

The Last Knock

Independent filmmaker, David Wilde, visits THE LAST KNOCK to discuss his latest feature, the crime thriller, Cold-Blooded Killers. The story revolves around a pair of hitmen on the Scottish Island of Arran who have three days to take out their target.

David Wilde also talks about funding independent films, the making of his horror film Screen starring Nikki Alonso of Crawl or Die, the Hollywood machine, and what happened when he visited the set of “Star Trek: The Next Generation.” He’ll also give us the latest on his Crime Lord serial, which will recommence shooting this summer. Don’t miss this candid and entertaining interview with one driven artist.

You can find David Wilde on Twitter and Instagram, and check out his projects: the Twitter and site for Crime Lord, and the Twitter and site for Cold-Blooded Killers.

 

THE LAST KNOCK presents: GREEN ROOM (2016)

The Last Knock

We slamdance our way right into Jeremy Saulnier’s feature GREEN ROOM – and provide you with a spoiler free review to boot. That tells you there’s much to talk about beyond what the director has put on screen. After all, GREEN ROOM is one of the year’s most talked about films, of any genre, and its limited release has angered many a moviegoer. However, after our take, you will want to take a vacation out to a theatre in another state to catch the film…

This episode’s SCREAM OUTS:

@ktanimara    @XcentricModels   @RiversofGrue   @LianeMoonraven   @WillowsMaid   @cagraham68   @MelanieMcCurdie   @Talk2Cleo   @RonGizmo   @419Randall_P   @RealJillyG   @HellInSpace   @AnnThraxx   @theadman40   @firstscreamto   @MFFHorrorCorner   @Jessica_Jones85

THE LAST KNOCK presents: Interview with Filmmaker David Wilde

The Last Knock

The independent filmmaker, David Wilde (David Paul Baker) returns to the podcast to talk about his “all or nothing” web series, CRIME LORD. We discuss filmmaking, funding, and the fact that DIY films are both rewarding and life draining. Discover what drives David to create in spite of the odds, and why he’s an inspiration to all artists pursuing their goals of leaving an impression.

You can find David at his CRIME LORD site and on Twitter. Here, you can the most up to date information about the CRIME LORD SERIES.

Crash Analysis Support Team: EVIDENCE (2012) Guest Post from Paul J. Williams

A frustratingly interesting experience.

(Minor spoilers ahead.)

EVIDENCE is a 2012 found-footage horror film directed by Howie Askins from a screenplay written by Ryan McCoy, who also stars as our amateur camera operator.

The set-up is a familiar found-footage trope: a quartet of attractive yuppies trek out toevidence_movie_poster the wilds and inexplicably disappear, leaving behind their video footage to later be found for our enjoyment, yet still oftentimes fails to leave any resolution. The group we travel out with this time is Ryan (Ryan McCoy), who’s filming Brett (Brett Rosenberg), and their two girlfriends, Abi (Abigail Richie), the shapely blonde, and Ashley (Ashley Bracken), the shorter brunette, covering all the bases for the younger-male-heterosexual audience. (And I don’t know why found-footage film-makers continue to use the actors’ real names as their characters’ names. For authenticity’s sake, I know, but in this day and age, give the audience more credit, please.

Whereas THE BLAIR WITCH PROJECT, [REC], CLOVERFIELD, et al. provide valid reasons for our cameraman/woman to be recording every single thing that happens, EVIDENCE’s script is a little lazier with the reason we’re seeing this footage: This is Brett’s first time camping and his buddy Ryan wants to document the experience. It should be noted Brett is probably a thirty year-old man.

We quickly travel out, via an R.V., to the beautiful mountain ranges of California. EVIDENCE learns from, in my humble opinion, the sins of a majority of found-footage movies: making us wait an eternity for something, anything, to happen. It’s only fifteen minutes in that we’re provided with our first scare, a daytime occurrence, too, that is very effective.

Prior to this first scare, and continuing on after, are the requisite arguments and dissention among our group. Some of the first act is uncomfortably close to BLAIR WITCH, but after viewing the film, I wondered if this was by design and they were just toying with the audience. Questionable acting skills and fair writing make these arguments feel very manufactured and unnatural. Some casting choices pulled me out of the film, too, which is always unfortunate, but especially when you’re passing off the movie as “real”. The group is visited in the night by a creepy vagrant-type. With his bright white teeth and chiseled features, this jumped out to me as clearly a handsome actor bummed up for the scene.

Once we get rolling, though, the movie is very enjoyable. There are plenty of jump scares and satisfyingly vague creatures that hunt them. One sequence reveals a creature on the R.V.’s reverse camera charging at the vehicle and it’s very creepy and well done.

Ultimately, the movie comes down to the third act, and it delivers, just not in the way I thought, or hoped. I was enjoying the glimpses and jump-scares in moderation. The finale offers creatures, government/military goons, blood, I don’t know what the fuck that was, zombies, gore; it’s all there and makes you yell out, “Holy shit!”. Yeah, there’s a complete shift in tone, pacing, and even genre to a point, but Askin’s direction and editing make for a non-stop, first-person shooter-esque experience. His skills are really on display here. We all know going in that we’re not about to witness the next “Wuthering Heights” or “Casablanca”. It’s a fun seventy-eight minute escape.

In a 2012 interview with the U.K.’s Daily Record, writer/actor Ryan McCoy states, “In January 2010, Paranormal Activity had just come out on DVD. I bought it, watched it and thought they had done so much in the set-up but somehow lost it at the end…I started thinking I could do a found-footage movie. However, my goal was to make it bigger with a last act no-one had seen before.”

Mission accomplished, my friend.

3.5 out of 5 stars.

Paul J. Williams is a multi-award-winning screenwriter, producer, and director. He is also a decorated law enforcement officer of over seventeen years, having served as a Federal Agent and Police Officer in Newark, N.J.

(Photo from Zombots.)

Crash Analysis: THE KILLING GENE (UK, 2007)

If you liked SEVEN…

A couple of nice turns for the serial killer subgenre…

Though more of a crime/thriller, there’s enough gore and disturbing elements to shove posterthis movie into the horror vein, and it is labeled as such. I hadn’t heard of THE KILLING GENE until I began looking at more work from the amazing Melissa George (30 DAYS OF NIGHT, TRIANGLE). And as soon as I realized the equally fabulous Stellan Skarsgard (THE GIRL WITH THE DRAGON TATTOO series, INSOMNIA) also played the lead, it was my first no-brainer in a long damn time.

THE KILLING GENE script comes from the pen of Clive Bradley, best known for his television work, especially with “Waking the Dead,” and he delivers a gritty, noir tale that’s free and wide open. Director Tom Shankland (THE CHILDREN, and the forthcoming DARK CORNERS) brings the film to light, though there may be less than a handful of minutes where the sun almost shines. Regardless, Shankland lets his actors dive head first into their characters, and few are likable. All seem dirty, tainted by the grime of the eternally dark streets that they roam. In less than ten minutes of viewing, I wanted to take a shower and rub my skin off with pumice stone.

In this ugly tale of torture and murder, Eddie Argo (Skarsgard) and Helen Westcott (George) are on the trail of a serial killer with one twisted agenda of revenge. And as for revenge tales, this is one of the most interesting and disturbing premises I’ve seen in a long, damn time. But never fear, it’s not a slow and tedious police procedural, and we don’t have to worry about meddling officials or slow courtroom banter. The cast is small, the city vast, and the visceral mayhem is up close and personal.

Sure, the acting’s solid, and Morton Soborg’s (VALHALLA RISING, THE GIFT) cinematography truly captures the graininess of the nasty and unremorseful streets, but through all the tumult and suspense, there are problems. As with most movies of this ilk, our gruff cops seem to keep a blind eye to all things legal. As far as they’re concerned, they’re princes of the city, allowed to roam every avenue, and they can equally ignore “the book” to get shit done for the greater good. At times, things happened in the film that throws police procedure way out the window. I’m sorry, but if gang members start whipping out guns right and left, cops would be hauling their asses in jail, not turn away and leave them to their own devices. Furthermore, the most successful gangs keep things on the down low as much as possible, and wouldn’t risk such stupid and blatant exposure. There’s just too much of the over-the-top “movie reality” versus “reality” that cheapens the movie. Additionally, though a UK production, the city is supposedly New York. Though modern in scope, it seems to capture the rough and tumble streets of the eighties and early nineties more than anything else. It’s hard to buy into how sick the streets are in the narrative considering that the bulk of New York seems to be an offshoot of Disneyland nowadays.

As for those little twists and turns, I’d love to mention them, but that would sink the film for you. Suffice to say, both turns were well executed and long over due in the genre. Though they may not surprise ever viewer, they both serve as a relief from the hackneyed formula.

THE KILLING GENE would make a great double bill with SEVEN. Even though the latter does have its farfetched moments, it still has the edge over Shankland’s modern noir. Even so, if you’re looking for a crime thriller that’s hard hitting without an apology, this is the one you need to check out.

Let me know what you think…

3.5 out of 5 stars

(Photo from Bloody Disgusting)