Tag: home invasion

Hunt Her, Kill Her

  By

★★★
“Tabling the argument.”

This is fairly sparse, unfolding entirely in the single location of a furniture factory, over the course of a single night. The central character is Karen (Terrazzino), a single mother who has just taken on the job of a cleaner and overnight security guard at the premises, in order to provide for her young daughter, who is ill on the night Karen has to start work. These issues quickly pale into insignificance – though not irrelevance – when a group of masked men enter the building, looking to hunt down and kill her. With the doors chained from the outside and the phone lines cut, Karen is entirely on her own against the bigger and stronger, but fortunately not smarter, intruders.

That’s basically it, and this is definitely not one if you’re looking for complex themes or nuanced characters. It’s straightforward survival horror, with the first half closer to stalk ‘n’ slash territory, consisting mostly of Karen being chased around the labyrinthine building, hiding out and being discovered. Things do become more action-oriented the deeper we get into things. There is a certain element of fortune in the ways she defeats some of her opponents, although this is probably necessary given the size disparity, and there’s a chaotic messiness to them which is effective. The one which stands out is the death by toilet plunger (no, the other end), which is drawn out to the point where it becomes almost blackly humourous.

That said, I did still roll my eyes at some elements, most obviously when Karen disguises herself as one of the predators. It’s an unnecessary push of believability, which would have been best forgotten. On the other hand, it is nice that the damage isn’t all one way. By the time Karen gets down to the final assailant (Oakley), she’s certainly far from uninjured, and this only escalates during their battle. If you likely will not be surprised in the slightest by the identity of the last man standing, it brings a deeply personal edge to the fight, and in addition, certainly gives Karen additional motivation. The result is considerably more of a brawl than anything, neither party giving or receiving quarter, and using whatever is nearby to their advantage.

The scripting here is so bare-bones as to be positively anorexic. For example, the backstory for Karen is put over in a way which you could either call “tersely efficient” or “laughably negligible,” depending on how charitable you might be feeling. While I lean somewhat towards the former, I’d prefer it to have done so in order to get to the meat of the matter faster, in lieu of the extended game of Hide ‘n’ Seek which occupies the first half. However, the film makes good use of its setting, and once things kick off, there’s precious little slack there either. Terrazzino gives a better physical performance than a dramatic one, but given the circumstances, that’s probably the way you want it to skew.

Dir: Greg Swinson and Ryan Thiessen
Star: Natalie Terrazzino, JC Oakley III, Trevor Tucker, Hunter Tinney

Homestead

  By

★★★
“Home on the (gun-)range”

This one does take a while to reach the necessary threshold: probably only truly qualifies for the final twenty minutes or so, though it does talk a good game until that point. Also, it’s a decent enough combination of Western and home-invasion genres to that point, to pass muster. Nothing special, mind you. It just knows its limitations and is careful enough to work within them. It takes place in the Old West. whee Beth (Bernadette) and her twin children, Brian and Irene (Betsy) now live with her new husband, Robert (Krause). The trio appear to have escaped an abusive relationship, and it’s not long after a railroad surveyor pays a visit, before Irene is cheerfully telling him, she’s going t go back and killer her father some day.

Turns out she doesn’t have to wait that long to carve some notches on her gun-belt. Because the “surveyor” is actually the advance scout for a gang of outlaws. for Robert wasn’t exactly an angel in his previous life either. He was part of a gang led by Ezekiel (Scurlock) and absconded with their loot. This bit of treachery has finally caught up with him, an his old associates are now ready to make him cough up the location of what they consider their rightful, if ill-gotten gains. They arrive one night, taking the family hostage in an effort to use them against Robert. However, they’ve forgotten about Beth, who has clearly had enough of this male nonsense, and in particular. Irene, who embraces wholeheartedly the opportunity to get some practice in for her future paternal reunion.

As mentioned, we do have to take a detour before the distaff side of the family take centre-stage. Robert and Brian are more or less useless. The former’s efforts to negotiate with his former pals go about as well as you would expect, and Brian is just no good for anything, especially after getting shot in the leg. This is retaliation for his sister stabbing one of the outlaws in the foot: in hindsight, they would have been much better off shooting Irene, considering she is the one who causes them no end of trouble, the deeper we get into the movie.

Eventually, for different reasons, Robert and Brian are no longer of significance, with first Beth and then Irene, finally getting the chance to show it was a fate mistake to overlook them. It’s a very good example of firearms as an equalizer. In a physical fight, they’d have no chance against men who are clearly much larger and more powerful. However, with a gun in their hand, and a steely resolve to use it in defense of their own survival, then strength is no longer a factor. How things unfold is mostly quite predictable, to be honest, yet is done with a reasonable amount of energy. and helped by performances which all feel like they are on the same page dramatically. All told, the ending justifies the means, I’d say.

Dir: Ehrland Hollingsworth
Star: Betsy Sligh, Jamie Bernadette, Brian Krause, Scot Scurlock

Fear The Night

  By

★★★
“Bows before bros.”

Director LaBute is best known around these parts for his ill-conceived remake of classic horror The Wicker Man, which is generally regarded as spectacularly bad,  and is probably best-known for spawning memes involving Nicolas Cage and bees. So expectations going into this were… not high, shall we say. On that basis, the three-star rating is something of a pleasant surprise, though most of the credit for this should got to its star, rather than the director. Tess (Q) is a veteran of the war in Iraq, who is struggling to reconnect to her two sisters. Rose is getting married, and is nice enough that Tess is willing to attend her bachelorette party at the family cabin, deep in the country. But Beth (Foster) is a straight-up bitch.

So Tess isn’t exactly having a good time. All the giggly gal-pals are not her idea of fun; between that and Beth’s sniping, Tess’s new-found sobriety is on thin ice. Such familial and mental health concerns are quickly rendered irrelevant, by the unexpected arrival of an arrow, right through the middle of one of the guests. Turns out a local group of drug dealers want inside the house, which up until the unexpected arrival of the bridal party, had been being used as a safe place to store their ill-gotten gains. All of a sudden, it’s less about cheeky appetizers, getting tipsy and male strippers, more like a no-holds barred fight to try and survive the night.

This isn’t exactly subtle: LaBute seems fairly obsessed with the battle between the sexes (something certainly an element of The Wicker Man), though here it’s more of an all-out war. Fortunately for the fairer sex: Tess is far and away the most competent of anyone here. This is established in an early, nice scene at a gas station where the women are being hassled by three locals. While Tess doesn’t exactly de-escalate the situation, it does a good job of establishing her background, and zero tolerance for anyone who disrespects her or the military. Of course, being Maggie Q, it’s no surprise when she can deliver, despite being severely outweighed by her opponents, in a crisp, crunchy manner that does not mess around.

Less effective are… Well, everyone else, to be honest. The villains, in particular, are a fairly mediocre bunch, who go down surprisingly easy, even when they end up going hand-to-hand with a bridesmaid rather than an annoyed veteran. For example, Mia (Crovatin) is chosen to try to make a break for a nearby house for help, having been a track athlete as school. When cornered by one of the men, the resulting bludgeoning is delivered from her end. Outside of their bows, the limited threat they present here definitely stops this from being all it can be, and the ending is more of a damp squid [on review, I’m letting that typo stand…] than Tess deserves to get. But Q is entertaining as ever, and helps overcome what sometimes feel like unnecessary attempts at social commentary.

Dir: Neil LaBute
Star: Maggie Q, Kat Foster, Travis Hammer, Gia Crovatin 

Stowaway

  By

★½
“Doesn’t hold water.”

I had quite forgotten that Rose was part of John Wick: Chapter 2 in 2017. That should have been a gilt-edged opportunity on which she could have built over the following years to become a top action actress. But she managed to squander the chance, getting herself fired from Batwoman, and then making a series of largely unimpressive vehicles, which came and went without any impact. Perhaps it’s a symptom of insanity, in the sense of repeating the same action, hoping for a different result, but we keep reviewing them here. The Doorman, Vanquish and now this, which is certainly not going to rejuvenate anything. Its sole point of note is more or less it being a home invasion movie, which is set on a ship.

The heroine is Bella (Rose), who gets a call out of the blue, informing her that her long-estranged father has died, and left her a boat. This isn’t any boat either. It’s a $10 million, ocean-going yacht, much to her astonishment. Taking advantage of it, she crashes out on it one night. The next morning, she awakens to find it heading out to sea, the craft having been hijacked by her late father’s former associate, Meeser (Grillo), and his two henchmen. They are intent on breaking into the safe on board, which they believe contains $80 million in gold. Bella’s presence on the boat is just as unexpected to them, as they are to her, and threatens to pose a major problem in their plan to crack the safe and scuttle the ship.

This really does the bare minimum in just about every area. The villains are the Leader, the Psycho and the Nice One, while the only surprising thing about Bella is that she finds someone willing to have a one-night stand on the boat [really, that crew cut does nothing for me]. We get far too much creeping around the boat, though when the heroine does go toe-to-toe with one of these ex-military guys, she’s inexplicably able almost to match them. Though I did laugh at her response when she’s asked where she learned to fight, spitting back “Prisoner Cell Block H,” a joke likely lost on most non-Australian viewers.

It all proceeds in an utterly predictable fashion. Show Bella a picture of your family? You’re dead. Call the coastguard? You get a visit from Capt. Oblivious. The contents of the safe come as a shock only to Meeser and company, and once you’ve seen the explosives intended to scuttle the ship, there are no prizes for guessing things will end in a poorly-rendered and thoroughly unconvincing CGI explosion. Even Grillo, one of the more reliable of B-movie bad guys, isn’t able to do anything to sail this vessel out of the doldrums in which it quickly is becalmed. It begins to look like Rose’s career may be irreparably holed below the waterline, and is certainly sinking fast. I think that’s probably enough nautical metaphors for the time being.

Dir: Declan Whitebloom
Star: Ruby Rose, Frank Grillo, Patrick Schwarzenegger, Luis Da Silva Jr.
a.k.a. The Yacht

Home-Sitters

  By

★★★
“Home not-so-sweet home”

June Williamson (Guillot) is an out-of-work actress, who just broke up with her boyfriend, Oliver (Vernet), and is behind on the rent to her creepy landlord. An unexpected lifeline arrives in the shape of a very well paid gig, house-sitting a large house, deep in the countryside. Things get annoying when Oliver and his asshole pal Marcel (Thevenoud) show up. They get worse when Oliver admits they had an accident on the way, and there’s a body in the car boot. A stare of “terrible” is reached when the body vanishes. And we reach peak awful, when the house comes under siege from Wolfströeme (Bary) and his heavily-armed gang of mercy, who are looking for…

Well, that’s the question, isn’t it? June doesn’t have a clue, yet Wolfströeme is very insistent she does. Fortunately, the house has some defensive systems, which help delay the inevitable. There’s also an underground section, with a firmly locked gate, which may be keeping everyone out… or keeping something in. It’s quite a lot for the film to handle in just 90 minutes, and doesn’t all get the exposition needed to work. To be fair though, it’s mostly a delivery system for the action, and there’s no shortage of this, in the second half at least. June leads the way here: Oliver is fairly useless (both as a boyfriend and as a fighter), and all you need to know about Marcel is, he’s wearing a T-shirt depicting Donald Trump as Rambo.

I do have to wonder why she is quite as competent as she appears. Are unemployed French actresses usually able to wield automatic weapons effectively, and go toe-to-toe with professional soldiers? I kept expecting an explanation for her skills to be forthcoming. Never showed up. Taking this as read though, it’s not badly-staged, without the frenetic editing style which I hate. Truth be told, there were times when this could perhaps have used quicker editing – probably the first time I’ve ever said that! – in order to punch up the impact and heighten the pace. There is also some underwhelming CGI blood that, for example, flies through the air without landing on anything. I’d be inclined not to have bothered with it at all.

I did like the ending, which has a glorious sense of the makers deciding they might as well go big or go home. It might not work for everyone, to put it mildly. Yet it did for me, in a way that’s hard to describe. The end credits then thank the likes of John Carpenter, John McTiernan and Tsui Hark, which made me wonder if the director had been rifling through my DVD collection. They finish by acknowledging the owner of the Chateau de Laye, where this was filmed, and justifiably so, as it’s almost an additional character. As an indie effort, the heart here is always apparent; for me, that goes a good way towards balancing the less effective elements.

Dir: Chris Rakotomamonjy
Star: Chloé Guillot, Francis Vernet, Boris Thevenoud, Bary
The film is now available to view on Tubi – depending on your region, perhaps!

Avarice

  By

★★★
“An arrow-ing experience.”

I’m not 100% sure, but I suspect this may be the first film I’ve tagged as both in the “sport” and “home invasion” genres. It’s not a crossover you see every day. However, it is fair comment in this case, even if takes its own sweet time to get there. Kate Matthews (Alexy) has various bits of static in her life. Her husband, Ash (Ford), spends too much time at his Very Important job in high finance, rather than on their relationship. Daughter Susan is being a teenager. Kate just lost an archery tournament. Oh, and their house has been invaded by Reed (Nell) and her band of thugs, who are now intent on forcing Ash to transfer thirty million dollars into their offshore bank-accounts.

The early stages of this are more than a bit wobbly. We’re given no particular reason to side with Kate, whose issues seem very much of the type typically deserving the hashtag, #FirstWorldProblems. Having helped raise a teenage daughter myself, Susan’s behaviour is very much at the mild end. You have never truly parented, until you get a phone call in the middle of the night, telling you your offspring has been arrested. Slight sullenness isn’t cause for sympathy. On the other side of the coin, the villains seem to be hired for their muscles rather than their brains. More than once Kate is tied up and manages to free herself, which should surely be covered in Henching 1.0.1.

Reed is an honourable exception, being both competent and extremely ruthless: let’s just say, Kate’s family gatherings will not be the same size after this event. Once she begins to take charge, the movie shifts up a gear, and this is also around the point at which Kate’s pastime of choice begins to become relevant. To be clear, it does take about an hour for the first arrow to be fired in anger, and I was wondering, given the cover, whether this was going to be another case of archery teasing: all show and no bow. The final third does make an energetic attempt to make up for this earlier shortfall, and to quite satisfactory effect. Some of the subsequent pointy violence is rather effective.

This is especially the case when Kate, for justifiable reasons (again: think smaller family gatherings…) decides to take the fight to the invaders, and goes into the warehouse from which they are operating. While a bit contrived, this provides a fine location for a spot of stalk ‘n’ shoot, as she picks off the minions one at a time. If you’re hoping this is going eventually to lead to a battle between her and Reed, you will not be disappointed, and it goes to prove that a bow and arrow can be just as effective in close combat, if you are prepared to adapt. Mind you, I’d have dumped Ash’s sorry ass, since he proves to be less than useless. That’s just me though.

Dir: John V. Soto
Star: Gillian Alexy, Luke Ford, Alexandra Nell, Ryan Panizza

Terror on the Prairie

  By

★★★
“Prairie dog pest control.”

I keep hoping Carano will deliver an action film reaching the quality of her debut, Haywire. Results since then have been… well, let’s be charitable and call them uneven. The reasons for her departure from “traditional” Hollywood aren’t something I want to get into: but this, produced by conservative outlet The Daily Wire, does show the book isn’t closed on her yet. The Wire have put out a few films we’ve covered here, though again, the quality has been mixed: the last, Shut In, was not good. This is a similarly simple story, yet does a bit more with it. The pacing is too languid for my tastes, yet there were sufficient quirks to keep me adequately interested.

It takes place on the Montana plains, some years after the end of the Civil War, where Hattie McAllister (Carano) and her husband, Jeb (Cerrone), are trying to make a life for themselves and their two kids. Hattie has just about had enough, and wants to head back to her home-town of St. Louis. Before any decision can be made, life is interrupted by the arrival of a former Confederate officer, the Captain (Searcy), and his band of men. While he initially seems charming, the scalps tied to his saddle tell another story, and it’s quickly clear he has a specific agenda, rather than randomly passing through. With Jeb away in town, it’s up to Hattie to fend off the ensuing siege until her husband can return. Considering she is depicted as unable to kill a rattlesnake that entered their cabin, she’s going to need new-found resilience.

It’s a straightforward tale, brought down by too many unnecessary pauses: we really do not care what Jen is getting up to, for example. These derail the film’s reasonable efforts to build tension, bolstered by some surprisingly graphic gore (one throat-slitting in particular), and Searcy’s good performance as a thoroughly villainous antagonist, whose word can’t be trusted, despite his quoting of scripture. It might have made more sense to have Hattie depicted as competent and brave from the get-go. Instead, it leaves the Captain and his men seeming incompetent, although some of this is their initial reluctance to take her seriously, e.g. he addresses her 9-year-old son as the “man of the house.” 

A novel wrinkle is the director’s decision not to accompany the action with a musical score of any kind. It certainly keeps you in the moment, yet there is also reason why Ennio Morricone’s soundtrack is so key to Sergio Leone’s spaghetti Westerns being undisputed classics. The action, if generally restrained, is competent, and it’s probably for the best the film did not try to turn Hattie into some kind of Western MMA goddess. I did worry the return of Jeb was going to push his spouse off to the sidelines in the final reel; while it teetered on the edge for a while, the film pulled back. If not breaking any boundaries, this is worth a look, especially if you’re a fan of the genre.

Dir: Michael Polish
Star: Gina Carano, Nick Searcy, Donald Cerrone. Tyler Fischer

See For Me

  By

★★★
“Wait Until After Dark”

Yeah, as the above might suggest, this owes a rather large debt to Wait Until Dark, with its central theme of an attractive, blind protagonist threatened by home invaders. It is not the first to have gone down that road (see also In Darkness), and I must say, the concepts here are considerably more contrived. However, the film does just about enough to sell them, to make for an entertaining end product. The heroine Sophie (Davenport) was a promising skier until a degenerative eye condition ended her career, leaving her almost totally blind. Now, she’s rather grumpy, frequently berating her mother (Brown), and picking up occasional house-sitting gigs, engaging in small-scale larceny against her employers to fatten the paycheck. 

Her latest such position turns unpleasant when a trio of thugs, under the direction of Rico (Coates), enter the house, seeking a large stash of cash hidden behind a panel. They are as surprised by Sophie’s presence, as she is by theirs. You’d think this would be a quick, one-sided struggle. But Sophie has an ally, in the form of the titular app. It connects her with a seeing helper, typically for assistance with humdrum daily tasks, and the helper in this case is former army member Kelly (Kennedy). Between her military training and fondness for first-person shooters, she knows a thing or two about creeping stealthily around a house, and taking out enemy targets – skills she’s happy to use to assist Sophie. 

What’s at least somewhat interesting, is that Davenport is legally blind. This seems an ongoing trend. While it makes sense, considering Hollywood’s recent obsession with “authenticity” in things like gender identity, I’m always reminded of the famous story about Dustin Hoffman and Lawrence Olivier from Marathon Man – “Why don’t you just try acting?” It’s also notable that she’s not your typical heroine. Indeed, she arguably borders on the unlikable, between her abrasive attitude and petty thievery. Though some other reviews I’ve read suggest that severely weakens the film, I can’t say I minded too much. My bigger concern was a plot that teetered almost forever on the edge of implausibility, e.g. the way Sophie’s phone battery went from 20% to zero in a couple of minutes. While there was nothing utterly outrageous, all these micro-implausibilities added up over the course of proceedings. 

Within those constraints the film still had some successes. The best sequence probably had a police officer show up, with Sophie trying desperately to get the cop to go away. This screwed the tension level up considerably, with the officer insisting there was more going on than Sophie would admit. Thereafter, it does degenerate somewhat into lots of creeping around dark corridors. Or, at least, the level of dark corridors movies tend to have, which are just enough well-lit for a camera, and thus the audience. If the ending abandons the film’s titular concept, and probably provides the cherry of implausibility, the cake as a whole remains adequately edible. 

Dir: Randall Okita
Star: Skyler Davenport, Jessica Parker Kennedy, Kim Coates, Natalie Brown

Shut In

  By

★★
“Woman who talks through doors”

After Run Hide Fight, this is another film produced by political outlet The Daily Wire. This inevitably leads to reviews which are as much concerned with the leanings of the production company, which is annoying, albeit understandable. If the Huffington Post got into the movie business, I imagine the same thing would happen. But it also ignores the fact that you would have to look hard here, to find much indication of a political agenda. A considerably bigger issue is that it’s quite dull, with a heroine who spends much of the time living up to her apparent Native American name given above. Certainly, I hoped for more from this synopsis: “When a young mother is barricaded inside a pantry by her violent ex-boyfriend, she must use ingenuity to protect her two small children from escalating danger while finding an escape.”

The mom in question is Jessica (Qualley, the daughter of Andie McDowell), a recovering drug addict who is preparing to get out of town, and start a new life with adorable little moppet, Lainey (VanDette), and her toddler, Mason. Unfortunately, her plans are derailed by a troublesome door, and the arrival of her skeevy ex-boyfriend and father of Lainey, Rob (Horowitz), who is still very much under the control of his meth habit. Dodgier still is his skeevier pal, Sammy (Gallo, making his return to features after close to a decade), who has a very poor reputation, to put it mildly. An argument with Rob leads to Jessica being nailed inside the pantry, with her two children outside, Rob storming off promising to return when she has learned her lesson. Worse follows, with Sammy sleazing his way back. As a storm erupts, he poses an unspeakable threat to Lainey, who now also has to take care of Mason, under Jessica’s increasingly fraught instruction.

Especially in the first half, this means a lot of Jessica shouting through a door, and Lainey whining “I am hungry/am scared/need the toilet” in repetitive order. It gets old very quickly. Even though Gallo certainly makes for a slimy villain, the reality is that the film has locked itself in a confined space, along with its lead character. Neither of them are going anywhere for about the first hour. Caruso attempts to ramp up the tension by having everything threatening happen out of sight of both his heroine and the audience, but I never felt particularly concerned. This is a case where it felt like we needed a more direct approach to the threat. There’s also a weird religious subtext, which is neither prominent enough to be significant or objectionable. So I was left wondering what the point of it was.

Things do pick up, at least somewhat, for the final reel, where things are allowed out of the closet. Had the script worked on that basis from the start, this might have had a chance. Instead, it’s the very definition of “too little, too late.”

Dir: D.J. Caruso
Star: Rainey Qualley, Jake Horowitz, Luciana VanDette, Vincent Gallo

The Assault

  By

★★★★
“Assault on Shelter 13”

This was a very pleasant surprise. I wasn’t expecting much from this, especially after seeing Wynorski’s name – let’s be honest, he is best known for bargain basement soft-port. That said, he does occasionally hit one out of the park, such as the sublime Deathstalker II. This is definitely one of his better entries, even if it is, by and large, a low-budget version of Assault on Precinct 13.

Lisa Wilks (Ryan) witnesses the murder of her boyfriend by mob boss Blade, but is too scared to testify. Stacie (Randall), a detective on the force. is told to take care of her, and when Lisa says she’s too scared to go home, takes her to an isolated women’s shelter run by Stacie’s sister, Cindy (Dobro). However, Blade is intent on making sure Lisa doesn’t change her mind and sends his minions to storm the shelter and terminate the threat. However, he reckons without the pluck and resilience of the residents, bolstered by Stacie, as well as ex-army maintenance man, Mike (McCoy).

This has its share of questionable moments. The firing of a good twenty bullets from a hand-gun without reloading would be one, and then’s there’s the supposed two-minute countdown to the climactic explosion, which takes closer to six minutes to happen [I know, because I rewound and timed it]. But there’s a breezy energy which I found highly enjoyable, and the characters, if briefly sketched, are effectively drawn. For example, Toni (co-writer Melissa Brasselle) plays a Latina with a grudge against Stacie, for putting her boyfriend in jail. Or there’s Sandahl Bergman from Conan the Barbarian, as a paranoid schizophrenic, convinced the government is out to get her.

These are simple traits, yet prove entirely usable for plot purposes. We don’t need or want much more than this – it’d only get in the way of the action. There’s certainly no shortage of that, with wave upon wave of faceless minions storming the house, as the inhabitants try to board it up and repel any who make it through their barricades. At points, it feels almost like Night of the Living Debbies, with the thugs playing the role of the zombies. This being a Wynorski movie, there is the contractually obligated strip-club scene. However, showing unexpected restraint to keep its PG-13 certificate, the employees go no further than their undies, and are even strippers necessary to the plot, as that’s where we first meet Stacie, working undercover to expose a protection scam.

You do have to take as read the casual approach for the authorities, the first hour spent dispatching a apparently procession of cop cars into the area, who then either fail to notice anything, or vanish off the grid – because they’ve been mown down. Blade’s tactics, too, seem a bit questionable, especially considering how out-gunned the women are. But as a PG-13 actioner, I found this thoroughly entertaining, moving relentlessly forward, and making the very most of its limited resources.

Dir: Jim Wynorski
Star: Stacie Randall, Matt McCoy, Carrie Dobro, Leslie Ryan