Kevin Lindenmuth's Addicted to Murder 2
and Children of the Sky
 |
Tainted Blood |
| I have long been aware of Kevin Lindenmuth - thanks mainly to J.R Bookwalter’s old rag Alternative Cinema - which was, for this fan at least, the funniest and most enjoyable film magazine to ever have existed (but only when Bookwalter was still the editor - I lost interest when James Edwards flew the coop). I must admit to having never seen the original Addicted to Murder yet I had always wanted to. Alongside positive word of mouth from Bookwalter and his cronies, the film was also plastered on the cover to Samhain, and received great reviews from the likes of Fangoria and Shock Cinema. Soon, Kevin’s other work - such as the deliciously titled Vampires and Other Stereotypes and The Alien Agenda, were gaining notable column space in genre magazines the world over. Naturally as with the hype, which had greeted such previous ultra-low budgeted indie epics as Shatter Dead and Darkness, I was as intrigued as anyone... Sadly, I just could not find a copy of Addicted to Murder. Thus, the work of Kevin Lindenmuth remained frustratingly unobtainable. As a result, Addicted to Murder 2: Tainted Blood is my first taste of Kevin’s work. However, if this title is anything to go by then Mr Lindemuth can hold his head high in the knowledge that he has crafted a compelling, well acted and nicely scripted slice of vampire mayhem. Made in 1998, Addicted to Murder 2, begins in some woodland in Michigan with Joel (Mick McCleery) searching for someone called Rachael - a character from the first film. Joel is a serial killer, and also a vampire - which inevitably makes him a rather fucked up young man. McCleery plays Joel as a relatively subdued psychopath - the sort of guy you wouldn’t look twice at on the street, but who would just as soon slit your throat if he got you alone and then keep your decapitated head in the back of his car. McCleery is searching America for something - quite what is never made clear, but we begin to get quite intrigued by this lone madman and it’s fun to watch McCleery on screen (note - the acting in this movie is very good indeed). However, the most interesting characters in this movie are definitely the females. Sasha Graham, a Lindenmuth regular, lights up the screen as Angie - a vampire who lives in New York and who is always on the lookout for new brood. She meets a suitable protégé in the guise of pretty Tricia (Sarah Kippman), who is consequently bitten and becomes, initially, unwilling to kill in order to ‘feed’ herself. In an inventive twist, we learn that Tricia actually only had months to live after being diagnosed with an untreatable cancerous tumour. As a result, the only way for to continue to live was to accept Angie’s offer of vampirism. The female characters are presented as strong and domineering in this film, and they are well written to boot - a far cry from the pathetic busty bimbo characters that are often written for women in low budget, independent horror movies (c.f. the work of Todd Sheets). As a result of this, we feel some sympathy for Angie’s character and understand her situation. Understanding that Tricia is a reluctant vampire, Angie sends her infatuated understudy Jonathan out to monitor her and teach her the ways of a night crawler. Soon Tricia is a full-fledged bloodsucker, although it isn’t long before Jonathan’s casual lifestyle and attitude (something that evidently annoys Angie, as she sends a ‘hunter’ out to teach him a lesson) costs him his teeth - literally. If all of this sounds quite complex then that is because it is, and this is even before you take into consideration yet another sub plot, this time involving the ‘tainted blood’ of the film’s title. This ‘tainted blood’ is the responsibility of Angie’s sister who is turning those who are clearly not ready. Indeed, Lindenmuth emphasises early on in the film that one has certain responsibilities as a vampire, and it is something of a bizarre honour to be turned into one. By ignoring this, Angie’s sister is, perhaps unwittingly, threatening the secrecy of the entire sect. By the end of Addicted to Murder 2, you will probably feel as if you have watched a series of outrageous sub plots, finally drafted together for a fine, and unexpected, ending. This is, partly, what makes the film flow together so well. Of course, there are other positive aspects in here - for instance, the script has some really good lines. My favourite is when one of Tricia’s victims tries to defend herself with a crucifix, only to be met with the line: ‘Eat of my flesh, drink of my blood - what do you think he was?’ Blasphemous, of course, but in the context of the film it is a suitably wild line to include. Lindenmuth is clearly an ambitious chap - his film is full of flashbacks, which work well, and even a brief jaunt back in time to the South of France, circa 1230 AD (in a possible homage to Jean Rollin). Addicted to Murder is mostly set in 1992 (although a briefly seen poster for Kevin Costner’s 1998 flop The Postman almost gives this away), with the ending zipping us forward to 1996 with the apparent promise of a future episode (Part 3 has already been made and released!). My only wish is that Kevin had filmed more of this movie in black and white. The photography during the flashback scenes is crisp and appealing, adding a surreal beauty to the low budget proceedings and I imagine that Kevin could do a lot with a gothic story set in the 1800s with lavish black and white photography. I, for one, expect great things from his planned 35mm remake of the first Addicted to Murder, for this could well be the kickass vampire tale that you’ve all been waiting for... but in the meantime - check this one out! |
|
|
| I was sent Children of the Sky from Kevin Lindenmuth, as he plans to distribute it through his production house - Brimstone Pictures. Directed by Jeff Forsyth, this is another of those paranoia movies that tells of an alien abduction ala Communion. However, the film that Children of the Sky undoubtedly has the most in common with is Brian Yuzna’s unsettling The Progeny, which no doubt also pinched its creature design from Communion. The movie also nods its head, in respect I may add, to Spielberg’s Close Encounters of the Third Kind. However, above all else, Children of the Sky bears close scrutiny with the Yuzna film - from the impregnation of an innocent woman to the implementation of tracking devices in the brains of those who have had a ‘close encounter’. Where Children of the Sky begins to show some originality is towards its final act where the American government are revealed to be ‘in’ on the alien visits and are actively involved in experimenting on those who have made contact with other worldly visitors. Indeed, not only this, but the government actually has a pact with our alien cousins that allows them the right to utilise some human beings for reproductive purposes. Although this could result in genuine preposterousness, the director chooses to play Children of the Sky straight and for that he should be commended. The movie begins with a fully letterboxed scene of a child viewing a large Millennium Falcon type ship gliding through the sky. When the child grows up he finds himself haunted by visions of a woman giving birth to an alien. This woman, it turns out, is also the victim of an alien abduction - and before the end credits roll the two meet and, ultimately, learn about the cover up operation which is being utilised daily, throughout America, in order to keep alien visits under wraps... Blessed with a very good bunch of actors, and some inventive lighting effects to emphasise scenes of confusion and tension, the director of Children of the Sky crafts a relatively taught narrative, and the end result is certainly compulsive. Besides, one simply must admire anyone who even dares to attempt an Independence Day style spaceship invasion on this sort of budget! Although Children of the Sky would really have benefited with a wee bit more originality, I couldn’t help but enjoy the end product. As aforementioned, the performers play their parts well, the film’s mystery (although I saw it coming!) is nicely pulled off and the special effects are, considering the micro budget, quite well done. Moreover, the director never aims low in this movie, and there is a refreshing lack of spilt blood and gratuitous T and A. Anyhow, you simply can’t help but praise any film with a line such as: ‘Some things are better left explained - that’s why they call them mysteries’. |