Pycal Reviews

Protection Detail (2022)

Loving But Imperfect Tribute to Hong Kong Triad Movies

[7/10 · 23 January 2024]

Protection Detail is a generally well made indie American Triad gangster film that wears its influences on its sleeve. In large part, the film owes a heavy debt to Johnnie To's 1999 Hong Kong crime masterpiece The Mission. While they do say to "steal from the best", there are some beats that play a little too similar to said earlier film which is always a risk for a film of this size to take considering it draws the fire of inevitable comparisons (fair or unfair) to a bigger movie many consider classic. That said, the movie is by no means a remake and shows off plenty of its own courage and ambition. Director Michael Fredianelli deserves praise for insisting on an entirely Asian-American cast and keeping the action mostly confined to San Francisco's Chinatown. It doesn't go for any safe "fish out of water" tropes and instead works to immerse the viewer in a culture and community very much present within the US, but seldom explored without compromise in American cinema.

As it goes, there are a few glaring flaws present in the film such as strangely unprofessional hitmen bad guys, a sloppily staged gun skirmish or two, and some other leaps in logic. However, action is one of director Fredianelli's strong suits and he makes up for some of these lesser realized moments by delivering in spades during some of the film's other set pieces-- one such highlight being a well choreographed warehouse shootout heavily inspired by the work of director John Woo.

The movie's actors headlining the film should also be commended as Boynton Paek excels as the unhinged bodyguard called Knife and Michael Nosé proves excellent as the loyal soldier type nicknamed Pinball. James Aaron Oh is another standout playing a rather sinister villain with a vicious nature and commanding presence. While it might not be directly on par with all its influences, Protection Detail is a solid indie crime film with plenty of flavor that ends on one hell of a bang.

Ultra Red (2023)

Ultra Fred

[6/10 · 21 January 2024]

Indie filmmaker Michael Fredianelli takes off from his usual comfort zone of earth bound tough guy cinema to explore the final frontier with a sci-fi movie set mostly in space. This microbudget production is an impressive one and many of the visual effects utilized are jaw dropping especially when it comes to the indie arena. Of particular standout is the segment of the film depicting the Mars surface-- Sci-fi geeks will only recognize the familiar Agua Dulce terrain when they're done marveling at how skillful (if obviously exaggerated for effect) a recreation of the red planet the film achieves. It makes Mars seem truly frightening in all its desolate rocky and dusty landscape. Similarly, the movie makes the cold vacuum of space seem equally as vast and scary and borrows much from the look and feel from the Hollywood sci-fi classic Alien.

Well there is no denying the technical achievements on display with Ultra Red, its biggest problem is its script. It utilizes a plot that very much resembles Star Trek's The "Naked Time" and its Next Generation follow up "The Naked Now" and deals with an extraterrestrial substance that effects the brain similarly to alcohol. However the way the substance is discovered and delivered comes off clear as day as a rather clunky MacGuffin. Furthermore, there are other problems with believability. The crew of the spaceship (NASA no less) in the movie is comically unprofessional and it wasn't enough for the lead character to be a genius rover vehicle designer, but also a master thief with a rap sheet a mile long as well. Other times, the film's technobabble just comes off poorly developed like when we're told that a futuristic weapon operates on the same principle as said rover which itself is more clearly modeled after present day technology. Now, I'm no scientist, but elements like that read more as pure kayfabe to me and took me out of the movie a bit.

While it's highly ambitious and impressive in many facets as well as highly entertaining for much of its running time, Ultra Red stumbles in too many places to be a clear win and instead comes off as a rather mixed bag.

Venom Coast (2021)

Slasher on a Ship

[8/10 · 21 January 2024]

If you put Texas Chainsaw Massacre and Jason Takes Manhattan into a blender and added a pinch of Under Siege, Venom Coast would resemble something of the concoction that would result. As far as newer microbudget horror films go, it certainly ranks above average and features one of the most grotesque rogues' galleries of killers seen in a long time. Speaking of kills, the victims in this movie are dispatched in creative and gory ways with some very noteworthy practical effects on display.

Venom Coast is recommended for fans of the new breed of films commonly referred to as the "people of privilege suffer" genre seen in such recent movies as Infinity Pool, The Menu, and to an extent, the two as of this date produced Knives Out films. Not recommended for viewers who might have a penchant to feel superior to their material as a lot of the onscreen victims do make horrible decisions to their detriment in this film, but it's way too easy make an assertion that one would come out better than the characters from a position of seated armchair comfort. By far the biggest flaw that comes about in the film is the ending. Without saying much, things get messy for some of the characters involved in the story on account of a major mistake they make, but it comes off as a missed opportunity with how it is dealt with in the script. Instead of further addressing the moral complications of said mistake and fleshing out the ending with a bit more conflict and drama, the film takes a much easier route which is a bit of a shame. All in all though, Venom Coast is well made and highly entertaining. If you want a good old school popcorn slasher movie, it delivers.

Easy Targets (2021)

Third Time's the Charm

[8/10 · 12 November 2021]

With two misses in the war genre with Korean War movie I DIE ALONE and the WWII set NEAR ENEMIES, director Michael Fredianelli finally hits the mark with his Vietnam War movie EASY TARGETS. The film opens in medias res during a bloody action scene full of pyrotechnics, slow motion, bloody squibs, and rapid cross cut editing highly reminiscent of Sam Peckinpah's 1977 war film CROSS OF IRON. The movie gets it right starting off with a bang and gives you your monies worth almost immediately. What follows fares about as good as the viewer is brought along on a mission with a sniper and a spotter behind enemy lines during the late stages of US involvement in the Vietnam War. A game of cat and mouse ensues with a Viet Cong Sniper known as the VC Viper and the tension does not let up.

For an independent film with a low budget, you have to be impressed with how much bang Fredianelli gets for his buck filming a Vietnam movie in California. The locations more often than not pass well enough to sell the illusion and there's even a shot of farmland that's damn near mistakable for a Vietnamese rice paddy. The Viet Cong's costuming and weaponry could have been a bit better given the film's version of the communist fighting arm doesn't resemble the historical Viet Cong too well. Their costuming rings far too sophisticated for the ragtag guerrilla fighters with modern cargo pants and boots when sandals and more traditional Vietnamese garb would have been appropriate. And while the armament selections aren't bad (The Viet Cong got their hands on almost every weapon type of then recent vintage they could get), it's a little odd to see only one or two of the infamous AK-47 assault rifles being fielded by the guerrilla force in the war's latter stage in 1973. At best, a good chunk of the Viet Cong soldiers in this movie look like the mercenaries you'd see in a 1980s Southeast Asia set Hong Kong action figure and that's not necessarily a bad thing if you're into that sort of thing and have nostalgia for those movies.

Acting wise, Carlos Flores Jr. Does a great job headlining the film as the calm, collected, and highly dedicated sniper. He's a joy to watch as he shows his newfound spotter the ropes and employs many tricks of the trade to dispatch Viet Cong sentries and track the Notorious VC Viper. Liam Sharpe is a little less effective playing the shell shocked spotter and comes off as maybe slightly over the top as the cliché "headcase." His double dose of PTSD and religious zealotry surely had to make him one of the more challenging roles to get right from an acting standpoint. On the opposing front, the Viet Cong has less to do, but we manage to get some great moments with stoic Michael Catura who comes off as a more than adequate threat to our lead American sniper. In particular, there's a great training montage sequence featuring the character accompanied by a Vietnamese acid rock soundtrack that is fun to watch and really sets the pace for the rivalry between opposing snipers and their ultimate face-off. Boynton Paek and Thomas Nguyen are memorable showing up as minor Viet Cong sentries and add authenticity bringing actual Vietnamese dialog to the movie's proceedings. While it can be assumed that Nguyen is a native speaker, Korean-American actor American Paek (who previously delivered lines in Japanese for director Fredianelli's NEAR ENEMIES) proves a knack for dialect and linguistics performing what sounds like an authentic Vietnamese accent (this reviewer has visited Vietnam and the language has a very specific and difficult to imitate cadence that Paek nails here).

All in all, EASY TARGETS is a solid low budget war movie that keeps you thrilled from start to finish. While it explores some similar themes to Fredianelli's earlier film NEAR ENEMIES, it does so far more effectively and remains the director's best stab at the war genre so far.

Near Enemies (2020)

Well Made, But Silly

[6/10 · 29 December 2020]

It doesn't take much more than a look at the plot summary for NEAR ENEMIES and you can tell this film is on the far fetched side. Sure, not every WWII movie needs to be docudrama level, but some of the artistic licenses for story taken here are too implausible and silly that they take you out of the movie. While you can give writer/director Fredianelli credit for writing a WWII movie of the scale actually filmable on a microbudget entirely in Northern California (and during a pandemic no less), it doesn't erase the fact that the script plays out like some sort of bad WWII historical fan-fiction. Central to the plot is a group of renegade Japanese-Americans who escaped from a California internment camp and set up a prison camp of their own for American hostages. Actual probability of such a successful escape happening aside, this is a bit of a blow when you consider the actual (and non-nefarious) history of Japanese-Americans during the war (some of which were allowed to leave the camps on the west coast to do so) serving in the US military stateside and in Europe with one such unit becoming the most decorated American unit of the war. But the internment camp escape isn't the weirdest thing about this movie as it also has some odd fixation on being a Vietnam War movie, but set during WWII. As such, these aforementioned escaped internee Japanese-Americans sport the uncanny ability to be experts in Vietcong style DIY weapons and tactics. Hell, the film is so on-the-nose that to further drive home the random Vietnam parallels, two of these Japanese-American characters are even named Victor and Charlie! It's truly laughable and the US Army commanding officer tasked with the mission to quell the escapees' plot has a habit of shouting out things like "Let's get Charlie!" or "We've got Charlie on the run now!" that almost make you think you're watching a Vietnam movie, but with the wrong costumes and weaponry. Furthermore, the movie isn't very well researched with other bits of shoddy dialogue like when an Army officer references missile strikes (as if to imply they were as common as artillery strikes or bombings raids in WWII when missiles as we know them today were still in their infancy and would have most likely been referred to at the time as "flying bombs" or "rockets"). Meanwhile, this same officer wrongly refers to the main enlisted men on a mission in this movie as "mercenaries" like he doesn't even know the meaning of the word. The last bit of plot points you'll find in the online summary relates to a mysterious experimental brainwashing program employed by the US Army. While this element of the story is plenty pulpy, the whole premise of the program doesn't make a whole bunch of sense even as we learn more about it as the movie progresses. It's somewhat contradictory and unnecessary given the way it works even if it does generate some intriguing dramatic tension.

Despite the weak story elements, there's still plenty to praise about NEAR ENEMIES as it is very well made especially when you consider that it's a budget indie film. The filmmakers clearly go through the effort of making the movie look period and even secure a WWII era tugboat and battle tank to fit into the plot. In addition, the film is very consistently well acted and the two leads (a stoic, purposefully robotic fighting machine named Hansen and a hard assed (and asshole) commanding officer Davies are particularly well realized by the actors). Furthermore, the action scenes are all thrilling and effective and despite feeling out of place as mentioned, the movie's most Vietnam-esque scene is probably the most well realized of its set pieces. Overall, you could do a lot worse than NEAR ENEMIES for entertainment and production value, but the poor script choices keep it from being a truly good movie.

Quiet Murders (2020)

Delivers the Goods

[9/10 · 1 July 2020]

Michael Fredianelli and Wild Dogs Productions started off 2020 with a bang giving us another tough and gritty crime movie in QUIET MURDERS. It's a gutsy (in more ways than one) thriller with a healthy amount of twists and turns and plenty of action. Far from predictable, the movie isn't bound to formula and takes hitmen flicks, thrillers about killers, and vigilante films and rolls them together into a tasty sushi roll. There's enough to go around to please fans of Michael Winner and Enzo G. Castellari as well as the most ardent appreciators of splatter and slasher fare. The movie boasts a strong international flavor (making use of colorful Mediterranean and San Francisco Bay Area locations), skillful effects (both of the digital and practical variety), and sprinkles just enough humor into the mix to keep it fun and entertaining. With QUIET MURDERS, Wild Dogs succeeds with one of their most consistent, well made, and sure to be re-watchable movies yet.

Justified Force (2019)

Justifiably Great!

[8/10 · 18 January 2020]

While Hollywood belches out its 600th soon to be forgotten trope-filled corrupt cop themed crimer since 1997, ambitious tough guy indie film director Michael Fredianelli invigorates his film by going back to basics and making a cop film more in tune with the genre's heyday in the 1970s. Simply put, JUSTIFIED FORCE is a gritty, no-nonsense police procedural with some of the most impressive stunt work you'll see in microbudget indie cinema. Looking back at Fredianelli's long spanning filmography (the guy averages an impressive 3-4 films a year (albeit with sometimes varying degrees of quality)), JUSTIFIED FORCE is easily one of his most well acted movies. Leads Matt Monaco and Kevin Karrick completely sell it as both rookie cop and grizzled veteran respectively. The two characters serve as interesting dramatic foils to each other and are a delight to watch. The movie follows a trajectory reminiscent of some of the best old school cop films by both giving us a window into the leads' daily grind by responding to an episodic array of dispatch calls and then building up to a larger case where the stakes increase tenfold. And once we get to the real meat, the film's villains prove to be just as effective and well portrayed. Robert Paine gives a good turn as the lead drug kingpin and is almost reminiscent of a classic film noir baddie while the "George and Lennie" relationship he and his oafish brother Manny (played by Bryan Hurd) have brings forth another interesting character dynamic.

Technically, the movie is well made and makes use of a fine selection of well dressed interiors and sprawling outdoor locales. The shootouts and chase set pieces are intense and look genuinely dangerous. Thanks to skillful stunt work and effects, you actually feel the gravity and stakes of what's going on onscreen. The film mixes practical stunts with some digital effects (mostly muzzle flashes) rather seamlessly and it's likely that only the trained eye (or an anal-retentive goober cycling frame-by-frame on their computer) will really notice the difference. The only real noticeable thing worth singling out in that regard is some CGI fire that reads as fake and it's hard to know if the choice of crinkly, slightly muffled flame crackle sound design that accompanies it actually helps punctuate it better. But by far, the biggest complaint comes to a dubious choice surrounding the lead cop's wife. She's supposed to be pregnant, but seems to be outfitted with only a pillow in her shirt early on in the movie to show this. The quality of the faux baby bump improves later in the movie, but the earlier blunder does detract and take one out of the movie somewhat.

Minor quibbles aside, JUSTIFIED FORCE is quality product from the Wild Dogs label and stands as one of their finest efforts. 2019 was a great year for them with the one-two punch of this film and their earlier released crime movie ONE AGAINST THE HOUSE. Cannot wait to see what 2020 has in store for the studio!

The Long Streak (2019)

Razor Sharp Comedy Overcomes Clunky Plotting

[7/10 · 18 August 2019]

Asian-American led raunchy buddy comedy seems to take a cue from the HANGOVER movies and centers around BFFs Marc (Boynton Paek) and Mike (Michael Nosé) as they head to Vegas to get "cray cray" ahead of Marc's impending wedding. Paek is hilarious as Marc and delivers what is arguably one of his best performances as a whacky character who apparently isn't just a dude who hasn't outgrown his frat boy "bro" phase, but actually speaks ebonics throughout the entire movie. Paek steals the show and is laugh out loud funny just about every time he opens his mouth. Meanwhile, Michael Nosé performs solid as the straight man (a la the Porky Pig to Paek's Daffy Duck) and acts as the perfect foil. During the first act in particular, it's really fun watching the two leads do crazy things and get into trouble while director Michael Fredianelli clearly has fun capturing it all in exploitive bursts of jump cuts and slow-motion. Meanwhile, the movie cleverly ties an initially unrelated set of characters into the fray (a local big wig, his adult children, and a pair of crazy punk rockers) and upping the ante while Marc and Mike go about their original goal of recouping their Vegas losses.

THE LONG STREAK is a solid comedy with its share of fun moments, slick camerawork, and some spiffy locations. The performances as a whole are certainly worth a shoutout with only one character's monologue (delivered like a scene in Tommy Wiseau's THE ROOM) worth singling out as a particular weak point. When it comes down to it, the biggest flaws are related to plotting and pacing issues. Much of the earlier portion of the movie is appropriately wild and crazy, but for a Wild Dogs Productions comedy, the movie's second half seems almost sedate in comparison (despite some really great moments). While still making for a fun ride, it's tough not to feel a little disappointed when one major plot point gets resolved in a quick and anti-climactic manner or a big reveal that's supposed to be shocking doesn't really hold the weight the characters in the movie see it to (both within the context of the movie and the real life era we're living in). These flaws aside, the LONG STREAK comes well recommended. You'll no doubt get your fill of laughter and smiles from this fun indie comedy.

One Against the House (2019)

More Than a Simple Heist Movie

[8/10 · 5 June 2019]

ONE AGAINST THE HOUSE is a solid indie crime thriller that is thoroughly suspenseful and rich in themes. As director Fredianelli's movies go, this is one of his tightest and most polished movies of late. Very little about it screams "low-budget" as the sprawling locations and slick camera work go a long way. The acting is solid for the most part with Derek Crowe making a fine lead and the performances only seem uneven when it comes to a handful of supporting players (as is common it seems in a lot of Wild Dogs Productions). Erik Jorn Sundquist makes his first appearance in a Wild Dogs movie and proves appropriately menacing and threatening as the film's villain. Looking at Fredianiell's recent output, this movie stands out for being more than a simple genre exercise. It's less of just "Fredianelli does a heist movie" than a unique story that delves into gambling as a central theme. In fact (though very different in tone), this movie at times reminds of the Robert Altman classic CALIFORNIA SPLIT with the level of immersion it brings to the subject. ONE AGAINST THE HOUSE explores what being addicted to risk and games of chance does to someone in a chilling manner. More than appropriately, it's a movie where the stakes feel real. As far as indie films of its type go, this one scores a royal flush.

Through the Ashes (2019)

Tightly Paced and Full of Action

[7/10 · 27 May 2019]

THROUGH THE ASHES is an ambitious microbudget post-apocalyptic sci-fi movie which was at least partially inspired by (and filmed amongst) the rubble of California's deadliest wildfire. While there's certainly ethical arguments that could be made there, there's no denying that it gives the earlier part of the movie a chilling Cinéma vérité quality that green screens and CGI environments (particularly on the budget afforded) could not have achieved. While the film doesn't manage to grapple very heavily in lofty themes, it's certainly a post-apocalyptic movie that feels very much like a product of 2019. Instead of the typical Cold War era narrative of rival super powers blowing themselves out of existence, this film's apocalypse is ushered in by a group of extremists (known simply as The Disciples) that take the law into their own hands and go out to pillage, plunder, enslave populations, and establish a new world order. While the exposition makes The Disciples sound like more of a force than the film is ultimately able to depict them, these characters nevertheless feel unique for the genre. Unlike a lot of films of its type, this movie directly deals with the people who caused the apocalypse as The Disciples figure in as the movie's very villains. Also, instead of the lead character being a Mad Max type, she's a middle aged housewife named Sloan (played by Keely Dervin) and we're treated to flashbacks of what her life was like before her neighborhood and surrounding areas turned into a wasteland. It's a more human take on the genre and Sloan's ambitions are simply to regain her displaced family and maintain a sense of normalcy after losing so much of her old life.

For the most part however, ASHES isn't overly concerned with plot or substance. It's an entertaining and briskly paced movie and makes its way mostly from action scene to action scene without being boring. While it's tough to call any of the action set pieces the best in director Fredianelli's nearly forty film oeuvre, they certainly stand out among what we've seen in his past few films and are a return to form to the director's earlier more Peckinpah infused take on violence. There's a real visceral quality to the action and the slow-motion discharge of blank ammunition and squibs makes the impact of every onscreen wound or death inflicted felt. The movie also mixes practical and digital effects to a very effective level making the CGI difficult to spot to the untrained eye. In addition to many moments of gunplay, the film contains a rather ambitious car chase sequence. Though not as large in scope (or as dangerous) as the one in Fredianelli's backwoods thriller HUNTER AND THE HUNTER, the cool cars and vehicle attached heavy weaponry more than make it stand out on its own.

Overall, the acting isn't the strongest there's been in a Wild Dogs movie and there are a few awkward line readings and stilted performances. Standing out most among the cast members by far is Fredianelli himself in a turn as a truly sleazy villain. While his character is largely a minor one in the scheme of the film, he's certainly one of the movie's most memorable.

Despite being clunky in parts, ASHES still comes recommended to any fan of action cinema. While it might not stand as essential Wild Dogs, the movie delivers the goods and entertains in spades. The running time buzzes by and will surely lend itself well to a good movie night.

The Infinity Project (2018)

Sloppy Spy-Fi Action

[6/10 · 1 February 2019]

Michael Fredianelli's THE INFINITY PROJECT boasts impressive production values including choreographed martial arts fight scenes, sci-fi tech (okay they're mostly light-up hair dryers, but they're fun!), private aircraft, and an Italian second unit. However as a complete product, the movie falters and could have benefitted from a few extra coats of polish. For one, the film suffers from a odd, sluggish flow that feels less than suspenseful. Instead of feeling the gravity that should be felt when the main characters are on the run from threats to their lives, it's got an odd sense of pacing that's feels closer to following the protagonists' journey from smoke break to smoke break. There's a lack of energy and the stakes never feel as high as they should. It also doesn't help that our supposed lead hero isn't much more than a cipher. Despite Agent Ramsay (John Ozuna) being featured on the poster like it's HIS movie, he largely takes the backseat to other characters and isn't given enough depth to his character to keep me invested. Another big issue is tone. The movie is tonally inconsistent as it throws doses of humor and moments that defy logic. So we have something that is part straightforward (sci-fi elements asides) spy/action movie and part political satire. This would be fine, but instead of melding these different tones together seamlessly, the movie just comes off as messy and unsure of what it wants to be. Much of the movie is too on-the-nose to be compelling and a lot of this could have been fixed if the movie was established as a full-on action/comedy from the get-go.

Cast wise, James Allen Brewer continues to stand out among Wild Dogs Productions players and gives an entertaining turn as the President of the United States. The character is a thinly veiled Trump stand-in which is funny because Brewer looks a little like (albeit a handsome version of) Paul Manafort in the role. Some minimal set-dressing goes a long way in making the president's dwellings look convincing, but even a stock D.C. establishing shot or two could have helped sell things a bit better. As previously mentioned, I would have liked if protagonist Ozuna was given a bit more to do, but as it stands I enjoyed his performance more here than in his previous Wild Dogs role in BLOOD RELATIVE. Additionally, the action scenes more than impress with Ozuna's fights being among the biggest highlights. Among them there's a beautiful nighttime rain drenched set piece as well a later skirmish climaxing when two poor SOB's get simultaneously stabbed in the nuts. Sonny Chiba would be proud. But despite its fun moments, THE INFINITY PROJECT is mediocre product for Wild Dogs. There's a good film to have been made with what it had to play with, but some more thought and better execution could definitely have elevated it a few notches above what it is.

Year Eight (2018)

Wild Dogs Gets Weird

[6/10 · 20 January 2019]

YEAR EIGHT is an odd film filled with quirky, depraved characters and situations. At it's heart, it's a dysfunctional family movie mixed with a sex slave ring suspense thriller. And while I can't accuse the movie of being boring, I can't say I walked away feeling particularly satisfied either. The biggest fault lies in the acting. There's some real awkward line delivery throughout that discredits any attempt at taking the film's heavy subject matter seriously. In fact, there are times where I scratched my head wondering if this was supposed to be a serious drama or a comedy. While there are some strong performances that are commendable (Jeanne Young is great as the co-star as is Boynton Paek in a supporting role as a sadistic john) and the production values are sound, too many times I felt like I was watching more of a Tommy Wiseau movie than a Michael Fredinalli movie. A misfire from what was an otherwise great year for Wild Dogs Productions.

Home Free (2018)

Modern Noirish Thriller

[8/10 · 20 January 2019]

As things started out, I was a little worried HOME FREE might veer too far in to soap-opera-y melodrama territory, but I was quickly proven wrong. This is an exciting film that keeps you on the edge of your seat for the entire running time and has more than its fair share of thrilling twists and turns. When it comes to the plot, I don't think I've seen a ton of movies of its type made recently. The movie harkens back to all the murder plot collection scheme movies that were prevalent in the 40s and 50s. HOME FREE is very much a DOUBLE INDEMNITY or THE POSTMAN ALWAYS RINGS TWICE for modern times. Casting wise, the movie is well acted and Boynton Paek in particular impresses in his first Wild Dogs starring role. Paek is a powerhouse here and more than carries the weight of the film's heavy subject matter. HOME FREE is a solid indie that does not disappoint. Highly recommended.

The Woods of Purgatory (2018)

Detective Driven Horror Goodness!

[8/10 · 19 January 2019]

THE WOODS OF PURGATORTY is a thrilling bicoastal occult mystery yarn with a powerful Fredianelli lead performance. In the film Fredianelli plays a rather unorthodox (tee-hee!) priest out to avenge his mother's death and does some serious detectiving to thwart a satanic cult. WOODS is an atmospheric and creepy film and features an aesthetic rich in callbacks to Hammer Horror and 70s New Hollywood fright flicks. When I saw a preview clip from the film featuring Father Fredianelli and a priestly (Boynton) Paek I was a little worried Fredianelli might take things too far with these play-by-their-own-rules priest characters to the point where they'd come off as too far-fetched (a la the way the cop character comes off in PALE BLUE BALLOONS), but each actor nails it in a manner that's convincing. Aside from Fredianelli standing out as the lead (and making prime use of the patented "Fredianelli stare"), the antagonist of the picture also shines in Matt Monaco. Monaco channels Charles Manson as the head of the satanic cult (with a moniker any fan of classic movies should recognize) and is frankly terrifying in this. WOODS' Florida and California locations add novelty and scope while a maritime set piece in particular manages to excite. While I must admit I saw the ending coming, it's no less satisfying and closes the film with one of the most powerful (and 70s) single images I might have seen in all of cinema.

The Rogues of Flat Oak (2018)

Fredianelli and Lambert Deliver Another Western Win!

[8/10 · 7 January 2019]

THE ROGUES OF FLAT OAK marks the much anticipated (for this reviewer anyway) re-team of director Michael Fredianelli and writer David Lambert to the Western genre. Their partnership previously gave us the 2011 Western THE SCARLET WORM which arguably stands as one of Fredianelli's most accomplished films as well as one of my favorite Western movies made of late. While ROGUES isn't quite as good as this earlier effort, it still edges in among my favorite Wild Dogs movies and lands a healthy spot on my list of top ten movies of 2018 (beating out many bigger budgeted and wider releases). In comparison to that afformentioned Wild Dogs Western effort, ROGUES is slightly slower paced and lacks the slick camera work or adrenaline filled visceral action scenes. However, where it falters in delivering those goods to fulfill my somewhat Joe Sixpack sensibilities, it exceeds when it comes to reinvigorating a genre that's often filled with tropes. Compared to WORM, it's a much brighter, bolder, colorful and quirky film. And while much of WORM took place in a brothel and had whores getting abortions, a lot of that movie's beats wouldn't seem too far out of place in a Randolph Scott movie. ROGUES on the other hand portrays the Old West much more from the angle of a period piece than Hollywood cowboy movie. The movie relishes in Victorian era style and culture and depicts the West as a more gaudy place where characters act less like John Wayne and more like European noblemen. Meanwhile, the movie takes some of the artsier touches WORM utilized and expands on them giving the movie a literary vibe full of character narration and cutaways. It's also framed much through the sense of a fictional historical re-telling and dime novel mythicism to the point that it expands on the oft explored theme of facts vs. legend when it comes to the so-called Wild West. So the movie very much deals with myth building and the tall tale type of boasting that surely gave rise to many an Old West legend.

As far as the production is concerned, ROGUES is a gorgeous looking movie which trades the vast dusty desert landscapes you might expect to see in a Western for forests, rolling green hills, wave battered beaches, atmospheric caves, and lively townships. The costuming is appropriately colorful and dapper with only some background players looking like they might be more at home at a contemporary rodeo outing than in the 19th century. Meanwhile, ROGUES is one of the best acted movies in the Wild Dogs catalog and the actors all do a convincing job of delivering dialog that sounds period authentic. Only thing that my ears picked up on immediately was when Fredianelli's character refers to the "Bowie" in his belt and I could imagine fans of the British glam rocker cheer while US history buffs cringe, but I'm nitpicking there. Wild Dogs newcomer Joseph Paul and lead co-star Todd Risby excel as the leads. Paul carries the film with a strong sense of swagger while Risby adds a more human touch grounding the movie with his character narration. There's a little bit of a Tonto/Lone Ranger dynamic between the two and the way Risby's character serves as our window into their world. Also standing out among the cast is the talented James Allen Brewer who is always a welcome face in a Wild Dogs joint. Here he's particularly memorable wearing the snazziest of duds and providing a little bit of comic relief as a wonderfully eccentric snake oil salesman.

In the end, ROGUES is a deeply satisfying film. It's plenty dense with a steady helping of memorable characters, themes, and locales with plenty of action sprinkled throughout what still amounts to a relatively smooth 90 min. running time. Definitely a movie I plan to pick up off my shelf for multiple spins!

Shutout (2017)

Entertaining Baseball Drama

[7/10 · 6 January 2019]

I will confess to being no sports fan even if I've still been able to find enough sports themed movies to enjoy. SHUTOUT is one that I really went into not knowing what to expect since I didn't immediately recognize any of the leads from previously Fredianelli films. But as I watched the film, I found there wasn't much to worry about in that regard as the performances are solid. In fact, SHUTOUT might be one of the best acted Wild Dogs movies as the actors excel at both believability and comedic delivery. Though my praise of the latter is not meant to imply that this movie is a comedy. It's very much a serious drama almost to the point that it feels like a low-budget version of a Hollywood Oscar bait movie (though swapping baseball for boxing and devoid of faux New England accents). And I don't mean that as an insult because the movie delivers on telling that kind of broken home sports star drama very effectively. The faults come along moreso when it comes to the technical aspects of the production. Much of the movie is under lit and shot in a way that either feels static or repetitive. The climactic baseball bout for instance had me zoning out more than a few times as the innings increased. Part of this probably stems from my indifference to baseball, but I also believe that some slightly more engaging and dynamic staging and camerawork could have gone a long way. While SHUTOUT is far from landing a spot among my favorite Wild Dogs movies, it certainly turned out far more enjoyable than expected. Recommended.

Zero to Heaven (2018)

Zero to Sequel

[7/10 · 5 January 2019]

ZERO TO HEAVEN is the sequel to director Michael Fredianelli's 2015 meta moviemaking comedy CROSS-CUT. The movie is the first sequel from Wild Dogs Productions and this makes sense. The CROSS-CUT universe is one that's a ripe playground with few rules so it's easy to see why director/star Fredianelli and producer/co-star Maralynn Adams would want to play in that sandbox again. While ZERO TO HEAVEN is ultimately the lesser of the two films, it's still a lot of fun. For one, the film ups the ante and increases the scope to cover locations along the Western US. It's also peppered with plenty of action set-pieces including car chases, shootouts, and probably the best fistfight Fredianelli has filmed. While the CROSS-CUT formula (or non-formula) does warrant that these movies should feel like more than one movie and traverse genres, ZERO TO HEAVEN plays a tad too stitched together and never comes off as being as cohesive as its predecessor was. And while the movie's production values impress, it makes use of perhaps one too many theme parks as settings. This might sound like an odd critique, but much of the scenes set in these places feel tacked on and overstay their welcome to the point that they feel like you're watching someone's old camcorder vacation diaries. One scene involving creative use of a Disneyland fireworks display is almost enough to justify the earlier meandering though. Despite its shortcomings, ZERO TO HEAVEN is a plenty fun and funny indie film offering that you should definitely give a shot.

Frankly a Mess (2018)

FRANKLY A MESS-- Largely a Success

[7/10 · 27 April 2018]

FRANKLY A MESS is the type of wild and raunchy dark comedy we've come to expect from Wild Dogs. Penning the script this time around (along with taking on many additional duties) is director Fredianelli's longtime producing partner Maralynn Adams. Adams populates her world with colorful characters and outrageous situations that range everywhere from hilarious, to sexy, to gross. The movie has a strong visual style which brings to mind things like a Tonya Harding bodysuit or the neon pink and green color palette of the FRESH PRINCE OF BEL-AIR opening. Everything is big and bold and you'll find everyone from drag queens to drag kings, fetish models, and webcam perverts. Set in LA, the movie is also notable for its on-location shooting that provides a wonderfully unglamorous depiction of Hollywood. The movie's cast of characters led by wannabe actress turned webcam fetish model Frankie (Natasha Estrada) come off as highly entertaining. Estrada in particular shines at bringing to life an eccentric character while still keeping her performance believable and not akin to a cartoon impression. This movie is also easily the most estrogen filled of movies in the often male dominated Wild Dogs canon. That's certainly refreshing along with a woman screenwriter giving the characters voice. Sometimes you might recognize a character or two spouting off very Fredianelli-esque dialog and whether or not the director wrote a few things uncredited or if Adams and Fredianelli just happen to be soul mates is yet to be determined. In any regard, the multiple talents on display here put something together that is very fun to watch.

As far as the movie goes, there are more than a few laugh out loud moments and images that stay with you. A drug fueled hallucination in the latter half of the movie is certainly standout and comes as one of the movies best assets. There are a few things about the movie that don't quite work however. While we get a decent variety of locations and the great LA city environments, the movie is full of a lot of dimly lit interiors that manage to feel a little more dull and restrictive. The film is also a bit more loosely plotted and while that's fine, the movie does seem to drag a bit towards the end and might have benefited from slightly faster pacing and a shorter running time. In conclusion, give this decidedly indie movie a watch. It is FRANKLY quite hilarious.

Blood Relative (2017)

Bloody Revenge Thriller

[7/10 · 6 October 2017]

BLOOD RELATIVE is an above average Wild Dogs crime thriller with good helpings of action and suspense. In particular, it gets a lot of bang for its buck with memorable action sequences sprinkled throughout. Plenty of blank rounds are dispensed, cars smashed, and bloody squibs discharged. Also on display in the action department are a bevy of bare knuckled martial arts scuffles choreographed by John Ozuna (who co-stars in the movie alongside lead Jeremy Koerner) and a memorable scene involving a tough as nails Koerner wielding a claw hammer.

BLOOD RELATIVE also excels when it comes to the variety of locations and memorable faces it employs. Highlights included gorgeously photographed shots of downtown San Francisco in the movie's tense (and mostly dialogue free) opening, a superb foot chase through graffitied urban ruins, a mafia run bar, tattoo parlor, fight gym, and more. Liz Clare (who could easily pass for Bettie Page!) shines as Koerner's on screen sister who finds herself in trouble when her tattoo artist boyfriend gets called on to fill in as a mafia hit-man. Koerner performs well, but he appears more comfortable and natural in the movie in full-on badass mode as opposed to his scenes working as a guidance counselor or playing a father figure to his kid sister in Clare. In a way that's kind of the point though and necessary as you learn more and more about his character. It's easy to gather John Ozuna is more of a martial arts expert than he is actor, but he fares well here for someone one can assume is fairly new to the acting game. James Allen Brewer and David Cordoni (HARD PROFIT) are great in roles as mob underbosses, while Joseph Camilleri makes for a fine kingpin (who happens to be given the funny character eccentricity of being a horrible wannabe lounge singer who can't stop belting tunes).

Look out for a twist ending that will no doubt have you thinking after the end credits have rolled. While it might seem to defy logic initially, it's a fun way to get the viewer putting the pieces together and writing their own epilogue. Seems to have been director Fredianelli's intent and not a mean spirited "@#$%* with audiences" moment. It's all in the subtext. In conclusion, BLOOD RELATIVE comes recommended. Not Fredianelli's best work, but still solid. Much superior to the filmmaker's crime thriller from last year HARD PROFIT.

The Redemption of Vincent Young (2017)

Few Redeeming Values...

[6/10 · 29 June 2017]

Despite a strong start, VINCENT YOUNG is largely a misfire for Wild Dogs Productions. The movie shares many of the same traits we've seen in previous dark comedies from director Fredianelli, but instead of scoring again with a similar formula and characters, the results are mostly sterile. The movie doesn't manage to go anywhere particularly interesting by film's end and doesn't have enough stand out scenes to justify its brand of what amounts to mostly nihilism for nihilism's sake. Sure there's humor, but most of the film's comedic beats are inane and focus on bodily functions.

Let's talk about what the movie does get right though. The aforementioned opening act is a lot of fun. It's a prologue set in 1989 with all the fun art direction touches you'd expect to see for the time period. We get some fun insights into the lead character and his twin brother's childhood. The movie then jumps forward to the present with a blitzkrieg montage featuring the twins. Some nice production values are shown off including a Hawaii location and a hilarious shot involving multiple hookers and mountains of cocaine. The movie utilizes a fun video game motif that begins in the flashback and carries over to the rest of the movie. The retro 8-bit music and titles add some nice flavor along with some clever parallel editing that uses the game play on screen to illustrate a key point in the plot. There's also a nod to YouTube's The Angry Video Game Nerd later in the movie with Fredianelli providing his own AVGN inspired shtick that surpasses even the Nerd's own review of TEENAGE MUTANT NINJA TURTLES for the Nintendo Entertainment System. While this is all well and good, it's unfortunate so much of the movie hinges on including so much unlicensed intellectual property. While the film does have other problems related to watchability, it's a shame it set itself up to probably end up reaching no further than becoming a YouTube upload itself because of this.

Another strong point worth mentioning about the movie is its cast. Everyone performs at the top of their game with Fredianelli (his funniest moment involving him clad as Santa Claus with game controller in hand and pillow-enhanced belly obscuring half of his face) proving capable once again of making the viewer feel sympathetic to an otherwise unsympathetic main character. The supporting players also stand out particularly well and are headlined with a group of actresses that are as charismatic as they are pretty (despite being largely the butt of the movie's bodily waste based humor). Though granted little screen time, an almost unrecognizable James Allen Brewer manages to outshine everyone as a grubby, homeless man with booze induced slurred speech.

As it stands, VINCENT YOUNG has some good ingredients, but never makes much of an impression as a cohesive narrative film. With what it does have going for it, it's too bad the sum of the movie's parts couldn't yield a more satisfying and funny movie.

Strange Rituals (2017)

Old Shool Voodoo Zombies

[8/10 · 20 April 2017]

Michael Fredianelli's STRANGE RITUALS is a tightly paced, straightforward zombie movie. It goes back to the roots of zombie stories and brings revenge and Voodoo curses into play as the cause of the zombie rise. The movie's atmosphere is dark and dismal with lots of rain, nighttime sequences, and unlit interiors. Like most zombie movies, it's centered around a small group of characters who find themselves in the midst of a zombie attack and fight to survive. The protagonists are fun to watch with lead character Jeanne (played by Lara Jean Mummert) being as believable and easy to relate to as she is adorable. She's joined by her everyman boyfriend Dave (Paul Spadaro) and brother Curtis (Jeremy Koerner) who brings a little light heartedness into the mix as a smart allecky, snarky, almost Bruce Campbell type. Supporting characters are also memorable with Skipper Elekwachi as a Voodoo priest (complete with Baron Semedi like makeup and garb), Mike Dinsmore (once again playing a creepy redneck), Michael Nose (as a nerdy urban explorer), and Laura Warner and Bryan Wilks as rowdy partyer types.

STRANGE RITUALS doesn't bring anything particularly new to the genre, but if you're a fan of its type, it delivers the goods. While restrained in the gore department, the movie's special makeup effects (headed by Stephanie Hancock) are a highlight. There are more than a few grotesque faces that standout out among an impressive horde of zombie extras. The movie's synth soundtrack by Dakarius is well suited to the action and sounds like it came out of an 80s Italian zombie movie. No doubt an entertaining movie, STRANGE RITUALS is recommended for fans of old school zombie fright flicks.

The Enemy of My Enemy (2015)

Attack of the Clones

[6/10 · 24 December 2016]

THE ENEMY OF MY ENEMY came and went (even for a Wild Dogs Production) largely under the radar. It's understandable why. One man show (and nearly just one location) movies are a hard sell. In addition, the movie comes across more like an experimental film. It's reminiscent of some of the student work of a George Lucas or David Cronenberg with some David Lynch thrown in. It's a weird, trippy sci-fi tale spun around malevolent clones. The plot is kept thin and the movie relies on suspense, scares, and do-it-yourself sci-fi effects. In a way, it plays out a lot like Fredianelli's early short XENOBITES (a one man show that was later adapted into a fully fledged feature), but with the polish expected from a more seasoned feature filmmaker. Certainly some of the special effects are impressive. The robot psychologists the main character visits are the best realized and the standout among them is a glowing disembodied mask surrounded by orbs. We also get a wire frame CGI therapist that appears to be stock footage, but nevertheless makes for some effective usage. By in large, ENEMY is paced well enough and short enough in runtime to still make for an easy watch. However, there's something empty about it. We don't come off by film's end with the goods delivered in the standard movie watching sense. We feel more like we've watched Fredianelli play in his sandbox by film's end than watch an actual narrative feature. Would ENEMY have worked better if it were a short? Perhaps. With a stronger beginning and end and less of a meandering mid-section, the film could be more effective. Certainly some fat could be shaved off when we're asked to sit through opening and closing credits only to see one man responsible for everything. In, sum ENEMY is an interesting experiment with some fun ideas, but it's not exactly the most accessible or entertaining film you could seek out.

The Home Invaders (2016)

Fearsome Film Noir from the Fredianelli

[8/10 · 22 December 2016]

THE HOME INVADERS is a solid throwback to the film noir genre of the 40s and 50s. It's shot in black white, Academy Ratio, and is full of moody low-key lighting. Probably the most spot-on of all Fredianelli's period films, this movie is full of wonderful costumes, props, locations, and sets. Even more important, the casting is pitch-perfect and you've got actors that not only have the proper genre physicality, but also perform like real actors from the noir period. Jeremy Koerner (sporting a short back and sides haircut) gives a solid, nuanced performance as newly paroled safe-cracker Sid Avery. Ray Medved gives gravity to the role of bossman Frank Winters while the beautiful Maggie VandenBerghe shines as a classic femme fatale in the Veronica Lake tradition. Furthermore, Fredianelli himself shows up in a memorable supporting role sporting a Brooklyn accent as a hard-nosed henchman.

While it starts off slow, THE HOME INVADERS picks up steam and proves to be a highly suspenseful caper movie. Heist movie fans will recognize the rudiments of everything from RIFIFI to RESERVOIR DOGS in the movie's DNA and Fredianelli exploits these tropes to maximum effect. If there's a flaw to point out, it's that the first act isn't quite as immersive as the rest of the film. While there's some seamless blending of stock footage, a lack of extras (specifically absent from a courtroom location where we hear ambiance, but see no one save the leads) and look at the outside world detract from what otherwise seems like an indie with high production values. As the movie progresses however, things fire on all cylinders and we're treated to the tensest of heist sequences as well as a powerful shootout climax in a crowded night club. While the movie plays more like a film noir "greatest hits" album than something completely fresh, that's not necessarily a bad thing. THE HOME INVADERS delivers the goods and stands as one of Fredianelli's most polished efforts. A fine piece of independent filmmaking.

Gold Mountain (2016)

A Western in the Silent Comedic Tradition

[8/10 · 2 December 2016]

GOLD MOUNTAIN is a fun film. It's lean, simply plotted, and is full of colorful characters and comedic gags. If you're a fan of any of the masters of silent comedy (Keaton, Chaplin, etc.), you will no doubt find something to enjoy about this movie. With GOLD MOUNTAIN, director Michael Fredianelli does a solid job recreating the aesthetic and overall feel of a real silent movie. He shoots in the square framed "Academy Ratio", applies a sepia tint, and amps up the action with those blitzkrieg fast frame rates. Furthermore, Fredianelli does a great job replicating the era's astonishing achievements in visual effects while also having fun incorporating some of the cruder aspects of silent movie production. While it's worth saying that some of the jukeboxy music isn't as effective as the pure orchestration picks, GOLD MOUNTAIN's public domain music score is a natural fit. The costumes and makeup help to create a pretty good facsimile for a 1920s "reel" American Old West. In fact, the production values shine to the point that we actually get to see a legit old fashioned railway station with locomotives in action! Only nitpick on the wardrobe/prop department are the modern aviator eyeglasses one character wears which would have been out of place in the silent film era never mind the real Old West. Still, this particular character looks so appropriately goofy (and creepy) with them on that it can be overlooked. In sum, GOLD MOUNTAIN is a hell of a good time at the movies! It's a good example of the kind of quality product a small group of people can make with just a fistful of Dollars and a passion for cinema.

Hard Profit (2016)

Crime, Corruption, and Country Bumpkins

[7/10 · 26 November 2016]

With Fredianelli's HARD PROFIT, we get a southwestern US set crime thriller that reflects much of the climate following the 2008 recession. More than simply cops and gangsters, HARD PROFIT deals primarily with corporate greed and the nefarious business practices that ultimately end up screwing everyone involved. While the main concept behind the movie is compelling, HARD PROFIT is at best a mixed bag when executed. So let's break it down:

The Good: HARD PROFIT has a memorable aesthetic. We get dusty country roads, dark clouds, and outbursts of rainfall. These visual elements underscore the film's ominous, and seedy tone while Aaron Stielstra's haunting score heightens the suspense. Stielstra shows with this film (and a string of rural set Wild Dogs joints) that he can mix his signature synth with folky, acoustic sounds to great effect. Then come the performances. The movie is fronted by Josiah Frampton (THE RIVEN) who has proved to be a great leading man for Wild Dogs. He provides just the right mix of "everyman" while still exuding a powerful edge. Frequent Wild Dogs star Jeremy Koerner also headlines the cast and showcases his ability to play the villainous wild card characters we love to hate. Aaron Stielstra also proves memorable in an extended cameo as company founder Randolph Park. Park is mysterious and creepy and nearly steals the show. Another asset the film has are its action sequences. The film features two tense set pieces that are easily the movie's most powerful scenes. As the credits seem to indicate, these scenes were storyboarded by artist/writer David Lambert and it shows! They are expertly executed and staged and provide some much needed "oomph" at the end of the film.

The Bad: Scenes that should carry impact feel weightless as they are dropped almost as soon as they are brought up. For instance, we get such juicy occurrences as an affair the lead character is having or an undercover FBI agent that shows up snooping at his house while his wife is home alone. While scenes like these are not the driving forces behind the plot, it's weird to see them sprinkled about without much registering. Furthermore, the film suffers from having seemingly too many supporting characters. This is particularly apparent with some of the minor redneck characters that spout off stereotypical and clichéd dialog that seems completely inconsequential. Even though the film runs slightly over an hour and a half, it's midsection seems to drag the movie out as much time seems invested in corporate politics and dialog as well as a tendency to "tell" instead of "show." Lastly, the movie feels tonally inconsistent. Penned in part by Stielstra (best known for his action/comedies), HARD PROFIT is by in large played dead straight. However there are some weird moments throughout where quirky Stielstra-esque humor shows up and feels oddly out of place. Things like hammy line delivery and excessive stock footage (in a corporate training video starring Stielstra himself) are seemingly played for laughs.

All in all, HARD PROFIT is average Wild Dogs. It's not the caliber of SCARLET WORM, BLACKFACE KILLER, or HUNTER AND THE HUNTED, but has enough enjoyable elements to grant it a viewing.