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The Orphan Killer 2011 Review

The Orphan Killer 2011

Directed by: Matt Farnsworth

Starring: Diane Foster, David Backus, Edward Winrow

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Review by Luis Joaquín González

The IMDB is such a fantastic tool for checking out big budget movies. Before going to the cinema or buying a DVD, it’s always worth looking at the ranking that a studio flick has acquired. If it’s above an 8, you’re 4545657687879898generally in for an out and out classic, whilst anything from 6.5 will certainly be worth investing two-hours of your life with. Where the site really has issues is when it comes to stalk and slash pictures. Whilst Halloween sits accurately at 7.9, Friday the 13th Part II has a measly 6. It’s even worse when you start to look at low budget entries, and that’s where I found a problem with The Orphan Killer.43456576768789898

After watching the film, I checked to see what others had been saying about it and I found five reviews in a row that had given it 1/10, the lowest ranking that the IMDB offers. There were also a few comments, including the classic, ‘Just when you think you’ve seen the worst movie in the world, you stumble upon this piece of trash.‘ Really? We live in an age where there are features available that have been shot and edited on an iPad, but if you listen to the users on the IMDB, this is poorer than any of them. Without blowing my own trumpet too much, I have to underline the necessity of a site like a SLASH above, where authors like my good self make the effort to analyse these films in detail to give you the best possible heads-up.

 

Two young children that survived the brutal murder of their parents in a botched robbery attempt are transferred to a catholic orphanage and put up for adoption. Upon arrival, Audrey manages to settle in quickly and make friends with the other kids, but her brother Marcus has a much tougher time and displays bouts of vicious violence that lead to aggressive punishment from his superiors.  It doesn’t take long for Audrey to find a home with a loving family, but Marcus is left behind to suffer abuse from the over-zealous 454565768988776665priest. Years later, Marcus escapes his confines and returns to the church to hunt out the sibling that he feels abandoned him.   

As someone who was collecting slasher VHS during the late eighties, I remember the buzz of hunting out the full version of a gore film. Back then, due to censorship issues, it was a challenge to uncover an uncut copy from foreign (usually Dutch) shores and a real treat when you finally did. The likes of Absurd or Mil Gritos Tiene La Noche were never known for their intriguing plots or great acting, but they certainly delivered on the red stuff, which gave them a unique standing. In more recent times, we have much more leniency in what gets through on DVD or Blue Ray and it means that viewers don’t only demand gruesome effects; they want everything else to boot. If The Orphan Killer had been released in 1981, it would have become one of those cult classics that horror fans spent an eternity searching for. Nowadays though it’s a fossil from a bygone era and gratuitous bloodletting alone 45656576879809886544doesn’t have the same underground appeal.

Whilst it’s hard for me to say whether my recollections of those times have swayed my opinion, I found quite a lot to appreciate about The Orphan Killer. I am writing this review the morning after the 2015 Oscars and Alejandro González Inarritu’s wonderfully kooky Birdman picked up Best Picture. It was filmed using lengthy tracking sequences that were so cleverly cut that the film looked like one continuous shot from start to finish. Director Matt Farnsworth (on a much smaller scale of course) utilises the completely opposite approach here, but also creates some intriguing visuals that brought to mind early Aronofsky. I counted 8 cuts in a thirty-second scene at one point; and each came from a camera placed in a creative location that was rarely static. It’s almost as if Farnsworth entered a room and spent hours defining all the possible areas that he could shoot from before deciding how he could apply movement to keep the momentum running. During the mid-section, there’s a marathon 4545657687989898of stalk and slash action that includes so many camera switches and angles that I literally lost count of them. A great example of this can be found in the murder of the unfortunate nun that I have posted above.

Orphan is a splatter flick at heart and the gore is exceptional considering the stringent funding. Heads are crushed, squashed, smashed and in one really gruesome scene, split in two by a machete. I recall numerous moments that made me flinch away due to the level of grotesque imagery, and this is a picture that revels in the suffering of its players. Marcus Miller is a terrifyingly ruthless antagonist and he stalks with an obvious menace that brings to mind the iconic bogeymen of yesteryear. Unlike many of his kin, Marcus taunts his victims with verbal threats that add to his intimidation and the backstory works to help build his psychopathic aura. David Backus does a superb job of bringing the killer 4565768787989809to life and he fills the role with power, strength and maniacal intent. 

Even if I have highlighted that gore films are never huge on character development, it is clearly visible how the lack of any at all has left Orphan looking extremely hollow. It’s rare that you’ll see a cast list with so many anonymous credits such as ‘Skateboarder’ or ‘Urban Legend Teen #2’ and the people featured within are given less importance than the props the killer uses to dispatch them. It makes such a difference to have players that we’ve invested in emotionally, but even the heroine failed to win us over in this script. This leaves the film without a solid structure and it plays almost like a collection of kill scenes that have been loosely stapled together. I’m not a fan of death metal and I look at horror as a genre that succeeds when audio and visual are juxtaposed together to bring an environment to life. More often than not I found myself reaching for the ear plugs and the 4545657687878798film could have done with a suitably creepy score.

Once Marcus has finally caught and imprisoned Audrey, we get some slower paced torture porn-like scenes that are a lot less engrossing. A directorial style as rapid as Farnsworth’s didn’t flow as well in an enclosed environment and the best pieces of his work came during the numerous chase sequences. In terms of dramatics, the performances were weak but serviceable and kudos to Diane Foster, who gives her all in a portrayal that 4565657687899898asked an incredible amount of physicality. The insane killer stalking his sister synopsis has been done to death, but Orphan manages to keep you interested, despite the numerous flaws.

Matt Farnsworth has worked really hard here to give us a film that pushes the boundaries of what we have experienced previously. It infuriates me that all this effort can be brushed off by a 1/10 rating without recognition of all that he has achieved. It’s ok to dislike a film, but it’s a waste of time to read any write-up that contains something along the lines of ‘this is the worst movie ever made’. You’ll have to trust me when I tell you that it simply is not…

Slasher Trappings:

Killer Guise: √√√√

Gore √√√√√

Final Girl: √√

RATING:a-slash-above-logo11a-slash-above-logo11

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Gutterballs 2008 Review

Gutterballs 2008

Directed by: Ryan Nicholson

Starring: Alastair Gamble, Mihola Terzic, Nathan Wittle

Review by Luisito Joaquín González

As fans of horror, maybe you can tell me, when is it safe to say that in attempts to shock, filmmakers have gone too 9838738738739839030-3far? Now a big part of my youth was spent hunting out video nasties, but bizarre as it may 87575487484949848494seem, they look very tame opposed to some of the efforts to be gratuitous that we get now.

I turned thirty this year and maybe it’s just that I’m a bit of an old fashioned kind of guy. I even think that modern music takes the level of profanity far too high. I mean, as adults we all have sex, we all know swear words, we all can drink and if we really, REALLY wanted to, we could probably all get hold of a bag of drugs. Does it excite you to hear songs about this? How does it make you feel? Is it really necessary? Personally I 86349864think it’s more creative to be restrained, but as I said, I must be somewhat out of touch.

I know that it is a strange thing to say, but cultural transgression and a much looser level of acceptance, has given old-skool slashers a kind of innocence about them. I guess that you could compare it to the way that the fifties era of rock and roll now looks laughably lame, but at the time was pretty controversial. Despite it’s efforts to reference its retro roots as you can see in most of the artwork, Gutterballs goes all out to take things to a new level of explicitness.

A verbal and physical fight between two gangs results in the sadistic rape of a young girl. The following night at the bowling rink, a masked killer locks everyone inside and begins to slaughter them one by one.

* I tried to edit out the language as much as possible, but I couldn’t post without one ‘F’ so be warned –

Judging by his age, director Ryan Nicholson would have experienced and enjoyed the outstanding achievements of  8767565878998098Canada’s entries to the slasher genre under producers such as John Dunning, Peter Simpson and directors including William Frue, Paul Lynch. He began his career as a make-up artist and special effects technician for TV shows like the X Files and Stargate before he took his talents to the silver screen for major budgeted pictures, which include Final Destination. His success has allowed him to be the major force in Canada based studio, Plotdigger films. His first feature length movie, Live Feed – a torture porn gore fest in the vein of Hostel – gave him the springboard to produce more of his ideas and Gutterballs is the result of years of hard work.

The movie has a nice look and a very retro feel in the way it makes the most of its eighties setting. The bootleg that I watched for this review has a great soundtrack, which was never licensed for the final cut that is widely available, due84767478498309303-03 to the obvious high costs involved. Nicholson makes good use of the location and the methods of murder are themed to involve all that you can imagine from bowling appliances. One girl is killed by having her throat sliced by the laces of a pair of the specialised shoes, whilst another has his entire face ‘burned off’ by a ball waxing machine (see above). There’s also a highly amusing ’69 suffocation’, where a chick is choked by her partner’s (prosthetic) penis and the guy is smothered to death by…well, you get the idea. The director has said that he doesn’t believe in cutting away and his vision of horror is to make it as graphic as possible. In its unrated print, Gutterballs definitely delivers on the gore score and you will never feel cheated by a lack of ambition from the effects.

The killer’s disguise is immense and the mystery aspect is handled with enough suspects to keep you guessing and I liked the choice for the maniac’s identity. The pace stays high from start to finish and there’s even a macabre calling 8338787398320922card as the body count is notched up on the computerised score board – a skull and crossbones for each victim.

If this had been released during the period that it references, it would have been banned in most countries and therefore would have become a cult classic. I can imagine it being the kind of film that my buddies and I would have uncovered on a cruddy VHS and bunked off of school to sit down and watch – repeatedly. Whilst trying its hardest to be the baddest of the bunch, it 8487467567748744comes across as too excessive and lacks class and charm. The director has been very vocal in his defence of the extremely graphic rape sequence, which sees a girl violated by a bowling pin after being brutally penetrated by three guys. He has admitted that it was tough to shoot, but he did it to get a reaction from the audience, even if it be one of immense disgust. It’s certainly an uncomfortable scene to watch, but even after the appalling nature of the event, it’s almost impossible to feel sympathy for any of these characters as they are a collection of personalities without one redeeming feature between them.

There’s no excuse for rape and no one deserves it, but after an intro that takes ludicrous sexual profanity to a level perhaps unseen in cinema previously, it’s impossible to pick anyone to care about. The film is heinously scripted to 848748794983093093the extent that it looks to have no vocabulary other than swear words and in some scenes we get five or six actors shouting over each other at the same time. Every second word is a vile cuss and by the fifth time of hearing c**t or d**k it had exactly the wrong kind of effect. I may have thought that Gutterballs was cool when I was a rebellious fourteen year-old, but as an adult it just looked ignorant and devoid of intelligence.

It’s not just the language that is taken to the outer limits. When it comes to nudity, we get a close up shot of a shaved vagina and countless prosthetic penises. Most of the murders have a sexual angle, including one guy getting his eyes gauged out and then his corpse discovered with used condoms in his eye sockets. The ‘included just for a reason to be homophobic’ transvestite gets his genitals cut in half in loving close up and one guy is violently 9725sodomised with a sharp instrument.

If any or all of the above takes your fancy then Gutterballs will fulfil your wildest cinematic desires and if that’s the case it has achieved exactly what the director had intended. For me, I definitely prefer the less is more approach and thought this was too distasteful for its own good. It’s sleazy 98387387387398239822for sure, but in a way that lacks sympathy for the results of its actions and that’s the biggest missing ingredient that it needed to make it effective. I agree with director Ryan Nicholson that gore is in itself a form of art, but to be artistic you need to be aware of parameters and this slasher has none that I noticed.

A tribute to the eighties peak this may be, but even the worst of them had more style than this. I may be harsh as the director seems like an intelligent enough guy to realise that pushing it beyond the limits was always going to upset some and therefore he must have expected this type of reaction. I do however have to call it as I see it and what I saw I didn’t enjoy as much as I should have

Slasher Trappings:

Killer Guise:√√√√

Gore √√√√

Final Girl √

RATING:

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