IMDb > Alyce Kills (2011)
Alyce
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Alyce Kills (2011) More at IMDbPro »Alyce (original title)

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Alyce Kills --  After accidentally knocking her best friend off a roof, Alyce is haunted by guilt and delves into a brutal nightmare wonderland of sex, drugs and violence, her mind tearing itself apart along with anyone else who gets in her way.
Alyce Kills -- Clip: Kitchen Scene

Overview

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Release Date:
24 May 2013 (USA) See more »
Genre:
Tagline:
She was always a bit weird...now she is truly insane. The breakdown of a psychopath! See more »
Plot:
After accidentally knocking her best friend off a roof, Alyce is haunted by guilt and delves into a brutal nightmare wonderland of sex, drugs and violence, her mind tearing itself apart along with anyone else who gets in her way. | Add synopsis »
NewsDesk:
(54 articles)
Alyce Kills (2011) Film Review
 (From MoreHorror. 8 April 2014, 12:07 AM, PDT)

Giveaway: Alyce Kills DVD + Movie Poster
 (From Horror News. 5 September 2013, 10:35 PM, PDT)

"Alyce Kills" it as an Old-School Indie Horror
 (From JustPressPlay. 31 August 2013, 8:50 AM, PDT)

User Reviews:
In this pointless, yet engaging psycho-thriller, a young woman spirals into anti-social behavior, dragging her acquaintances into the dark morass of her twisted psyche. See more (18 total) »

Cast

  (in credits order)

Jade Dornfeld ... Alyce

Tamara Feldman ... Carroll

James Duval ... Vince

Eddie Rouse ... Rex

Larry Cedar ... Harold

Yorgo Constantine ... Warner

Megan Gallagher ... Ginny

Rena Owen ... Danielle

Tracey Walter ... Landlord

Bret Roberts ... Mike

Max E. Williams ... Kurt (as Max Williams)

Whitney Anderson ... Renee

Siri Baruc ... Erin
Jake Thornton ... Clive
Gus Krieger ... Quinn
Victor Avitia ... Santiago
Catero Colbert ... Mouse

Brian McGuire ... March
Adam Novak ... Clark

Shannon Malone ... Faye
Jim Roof ... Chester

Allison Goodman ... Dina
rest of cast listed alphabetically:

Pamela Cedar ... Mourner
Jackie Evangelista ... Funeral Director
Gavin Horner ... Funeral Guest
Ashlee Romero ... Young funeral guest

Renee Sweet ... Jackie
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Directed by
Jay Lee 
 
Writing credits
(in alphabetical order)
Jay Lee 

Produced by
Duncan Blake .... executive producer
Zak Kilberg .... producer
Shannon Malone .... associate producer
Linda L. Miller .... producer
Jim Roof .... associate producer
Deniz Önce .... co-executive producer
 
Original Music by
Billy White Acre 
 
Cinematography by
Jay Lee 
 
Production Design by
Amanda Rosbrook 
 
Art Direction by
Georgia Schwab 
 
Costume Design by
Kristen Anacker 
 
Makeup Department
Jenn Hall .... key makeup artist
Nikki La Rose .... makeup artist
Tara Lang .... key makeup artist
 
Production Management
Alex Baker .... unit production manager
Ben Hasler .... post-production supervisor
Renee Sweet .... production supervisor
 
Second Unit Director or Assistant Director
Jim Roof .... second unit director
 
Art Department
Joseph Adam Dunn .... property master
Brittany Fagerlind .... set dresser
 
Sound Department
Jake Eberle .... supervising sound editor
Michael J. Fox .... sound re-recording mixer
Brian Hawlk .... sound mixer
 
Special Effects by
Patrick Magee .... key effects makeup artist
Josh Russell .... effects makeup artist
 
Visual Effects by
Mark Dornfeld .... visual effects producer
Kammie Rivera .... digital compositor: Custom Film Effects
 
Stunts
Bobby C. King .... stunt coordinator
Roger Stoneburner .... co-stunt coordinator
 
Camera and Electrical Department
Remi Elkhatib .... key grip
Sebastian Hackett .... lighting technician
Wilson Knorr .... grip
Ryan Purvis .... gaffer
Makena Shepard .... still photographer
 
Costume and Wardrobe Department
Jane Moro .... wardrobe supervisor
 
Editorial Department
Sean Carter .... additional editor
Wilson Knorr .... assistant editor
 
Music Department
David Bowick .... composer: additional music (as Alder)
Sean Fernald .... music supervisor
Katie Gavin .... composer: additional music
Nate Hertweck .... composer: additional music
Tracy Marceillano .... composer: additional music
 
Other crew
Kelli Gillam .... production accountant
Sunna Hettinger .... assistant to producer
Gavin Horner .... production assistant
Vincent Polidoro .... media engineer
 
Thanks
Dima Alzayat .... special thanks
Robert E. Baruc .... special thanks
Julia Buchwald .... special thanks
Stephen Clark .... special thanks
Stuart Coleman .... special thanks
William Fisch .... special thanks
Glenn Garland .... special thanks
Liz Garo .... special thanks
Ari Gold .... special thanks
David Gordon Green .... special thanks
J. Todd Harris .... special thanks
Sean Hughes .... special thanks
Jeff Kilberg .... the producers wish to thank
Angela Lee .... special thanks
Matthew Kai Livsey .... special thanks
Joseph McKelheer .... special thanks
Dan Mendelsohn .... special thanks
Niall Mulcahy .... special thanks
Malee Nerenhausen .... special thanks
Adam Novak .... very special thanks
Levi Plesset .... special thanks
Ten Travis .... special thanks
Heather Wixson .... special thanks
 

Production CompaniesDistributorsSpecial Effects
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Additional Details

Also Known As:
"Alyce" - USA (original title)
See more »
Runtime:
90 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Certification:

Did You Know?

Movie Connections:
References Mad Max (1979)See more »

FAQ

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2 out of 3 people found the following review useful.
In this pointless, yet engaging psycho-thriller, a young woman spirals into anti-social behavior, dragging her acquaintances into the dark morass of her twisted psyche., 21 November 2013
Author: Pamela De Graff from United States

With a cursory acknowledgment of the Lewis Carrol tale, Alyce is as much an entry-level clerical answer to the Fortune 500 American Psycho (2000), as it is a morbid odyssey of self discov- uh, make that self-destruction. Like a high-speed bullet train to Hell, Alyce Kills is novel, slick, and exciting, but it doesn't take us where we want to go.

Young, pert Alyce (Jade Dornfeld) toils away in a depressing corporate cubicle for a shrewish boss at a thankless job. After work she trudges home to her cramped apartment to freshen up before some much needed steam-venting at dingy nightclubs. It's not much of a life, but Alyce has her friend Danielle (Rena Owen), an alpha female who provides Alyce with a framework of guidance upon which follower Alyce proves to be reliant.

When Alyce and Danielle take the Generation X drug "ecstasy," Danielle sexually leads on Alyce. It comes out that Alyce has a crush on Danielle who then rejects her.

Is it an accident then when Alyce "accidentally" pushes her off the roof a short while later? It's not clear whether Alyce is vindictive and a little crazy, or merely reckless, and irresponsible. Danielle stands on the ledge, tempting fate, Alyce mock-pushes her. Alyce is playing a game and behaves as if she doesn't intend the result -Danielle's dive to the pavement. But Alyce definitely intends to make contact, and under the circumstances it's no surprise when Danielle plunges to her doom.

Despite that it led to tragedy, Alyce decides she likes ecstasy and trades sex for the drug from a repulsive dealer. Under the influence of the psychedelic, Alyce locks herself in her apartment for marathon-length trips during which she perpetually masturbates to violent videos. Conniving to obfuscate her complicity in Danielle's misfortune leads Alyce to take increasing risks until she pulls out all the stops. Traipsing across an urban landscape of bizarre characters, settings and situations, Alyce taunts the family of her victim, and eventually conspires bloody murder against those who annoy and inconvenience her.

Having now lost Danielle's boundary-defining structure, Alyce's fragile veneer of sanity falls away like an uncoupled caboose from a speeding express. Her locomotive throttle is wide open and there's no engineer in the cab. Alyce resolves to take charge of her own life, but her brand of self-assertive, feminist "empowerment" is to embark upon a self-indulgent journey of risky behavior. Yet it's more like a spree, and it degenerates into a maelstrom of self destruction, dragging those closest to her along for a hell-ride on her crazy train.

The theme of women scheming against men has been around at least since ancient Greece. From Aristophanes' Lysistrata, to the Biblical Eve convincing Adam to bite the proverbial apple, we've seen versions of the femme fatale in various literary incarnations through the ages. A few include Shakespeare's Lady Macbeth, and Cleopatra, Daniel Defoe's opportunistic Moll Flanders, Oliver Goldsmith's lighthearted, scheming, Katie Hardcastle in his 1773 play, She Stoops To Conquer, the conniving Matilda in Matthew Gregory's 1796 supernatural Gothic novel The Monk: A Romance, and the malevolent man-hater, Miss Havisham in Charles Dickens' Great Expectations.

Whereas these feminine plotters employed cunning and sexual manipulation to achieve their aims, their modern counterparts resort to brute force. The concept of the fairer sex outwitting men has evolved into the myth of womens' domination over men, and convoluted orchestrations have given way to the karate kicks and machine guns used by characters such as secret agent Emma Peel (Diana Rigg; Uma Thurman in the 1998 film version) in BBC's The Avengers, to Max Guevera (Jessica Alba) in TV's Dark Angel, and La Femme Nikita (Anne Parillaud; Bridget Fonda in the US remake). The latest trend has dark-psyched vixens engaging in just plain psychopathic killing sprees.

Alyce's quirky, but undeveloped character may be inspired by the leads in May (2002), and Neighbor (2009), two similar stories about loner hellcats who indulge their necrophilic and cannibalistic urges through acts of violence. Yet May (Angela Bettis), the film's namesake, commits her violence via a misguided search for an similarly misfit mate. In Neighbor, "The Girl," (America Olivo) thrill-kills for the sheer sadistic pleasure of it, making a living by robbing her victims and using their homes like motels.

Alyce however, lacks any sensible or even cognizant motivation at all. Her deeds defy logic, her methods are unsound, and Alyce's lack of planning is sure to bring her only more trouble. We're not sure if even she understands her actions. This makes her singularly one dimensional.

It's a profound disappointment, too. What's engrossing about Alyce's sexy character is not what she does, but the wry way she does it with her distinctively iconoclastic demeanor. It's not the revulsion inherent to her wanton acts of sex and violence that catches our attention, but the manner in which her smug, witty bearing holds out the promise of a satisfying payoff. We keep waiting to tumble into an epiphany of insight into her disturbed psyche, or at least some commentary about human nature or revenge. It never happens, and we're left feeling like the lone passenger on a runaway train with no destination in sight, and no emergency pull-cord to stop the projector.

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