Susannah O'Brien... One Vision At A Time

Interview With Independent Film Maker

Susannah O'Brien Ph.D

(June 2016)

Ballistic Blood Bullets, in association with The Geek Legion Of Doom, are delighted to have the opportunity to chat with independent film maker Susannah O’Brien. Writer, producer and director of such recent creative horror films as, Encounter (2015), Hallucinogen (2016) & The Doll (2016).


[PAUL] Welcome Susannah. Thank you for taking time out from your busy daily schedule to be with us today. Your movie output certainly seems to have a prolific purpose about it over the last couple of years. Was this how you envisaged it to be ?

[SUSANNAH] Hi, and thanks for interviewing me. You might want to fix my grammar, I refuse to use it ever since my dissertation lol, and my mom being my English teacher, it's my way of rebelling. These two years have been a shock to me actually moving to Los Angeles, making three movies, trying to find my niche, and where to fit in here. Losing my father to cancer I've had a tough two years, but when you can go to the theater and see your movie it's all worth it. 

Have horror films always been a passion of yours, or are there other favourite genre influences also that we might get to see in your future film making projects ?

My sister is actually the horror fanatic. I always hold my ears when I see horror films, it's all about the loud sound. It is really fun scaring people. She used to make haunted houses for me to go in when I was little, and scary masks. And we lived in a haunted house growing up, so that was scary. I always loved, Friday the 13th (1980) and Halloween's.

Before your career in film you actually qualified as a psychologist and became a counselor. This in itself must have been rewarding work, and also perhaps very useful to you now in character profiling actors for your films. How do your psychology skills assist in your film making processes ?

I counseled to help people look at life differently. I'm sure my degree helps me write faster. After you do a dissertation writing for a script seems easier, lol. I wish I could say it was my degree but all my creations and scripts are definitely from God. I think he creates, not me. I'm just a messenger. I am the biggest Christian in the world, and Jesus freak. I even had a ministry at one time to help people, and I think it's funny when people say my visions have to be from a dark place. All of my scripts have a hidden meaning or message. I feel like I'm a ghost buster ! I tell a story that needs to be told, and we can't enjoy the good without the horror, and if God created all things.
But we definitely do get haunted on set some, lol. The Hallucinogen entity is no joke, it haunted my nephew. He is in the beginning of the film. That's his true story, and when I wrote the script the ghost went away, so it's worth it. I think horror movies do bring up some funky energies that need to be cleared. Most sets get blessed by priests. So I just use my visions to write, and make movies, and I hope I am a good enough conduit. I think if I had the funding my scripts could be shown on film so much better. Most of my flaws are due to budget !

You experienced very real horror when death itself became an unwelcome bed fellow in your own personal life, but your faith in the higher being, at such a terribly traumatic time, had it seems a very profound affect upon your purpose to write screenplays. Do you recall the thought transition at that time which then enabled you to visualize a multitude of scripts ?

It was my worst hour, but I have had many. I had a tumor. I was sick at the Mayo clinic, but it was a job like experience. When the scripts came in I had recently lost everything. My grandpa, my dogs, my soul mate, and I was sitting on my porch and God came to me, and said be still and trust in the lord, and I think the scripts came to help me through that year.
All years are hard, it's life, nut the stories I wrote, that were shown to me in the vision, really helped me. Creating helps me, and I think God knew my dad was going to die, so he sent something to fulfill me. The stories I wrote and my work do that.
Encounter (2015) was a clear vision. A true story that happened to two people who were just married. The original vision took place in the 1960's, and I think this couple tragically died on a farm, and no one knew. And their story had to be told, to release their souls ! I was sad when I got the vision for Encounter. I felt what they felt.

Your creative movie making house, Sahara Vision Productions, seems itself prophetically born out from your personally quoted experience of having to cross the desert to reach Hollywood, and face your personal fears. Do you feel in having full creative control this has afforded you greater respect and opportunities to attract financing, and like minded creative individuals to work with that you can trust, in the otherwise infamously avarice minded industry ?

I don't know ! I love having creative control but it keeps you isolated. I would love the opportunity to work with more people, and get more funding, and have some exec look at my pitch book. And see my visions ! But I'm not going to wait around for Hollywood, so I just make them myself.

The inspired camera work & cinematography of David M. Brewer is evident to see in your film, Hallucinogen (2016), complimenting your own keen directors eye for framing scenes. How pleasing is it for you to be able to work with such talent, well respected for being involved with such recognized horror films as, Insidious (2010) ?

Working with Dave was a pleasure. I actually feel sorry for him working with me, lol. My stes are run very differently than a studio set. That was the first movie I had an Assistant Director on. lol. I really use the visions I see in my head to dictate a scene, and I am still learning to talk to dp's ( Director of photography), and story boarding is new to me. We didn't really have a shot list, I just told him my vision, and I know my weird style. We didn't get the coverage he wanted. We shot the movie in a record eight days, at ten hour days. But I sit with my editors and sound, and say where to cut, so I know when I have the shot I need, and how to edit around stuff.
It was a great learning experience for me. I am trying to adapt to the studio style of film sets, but people have to adapt to my eccentric way of shooting, using my vision.
So Dave was great. I use what I call a conduit on set, which happens to be my script editor, his name is Michael Phillip Edwards, and he can see my visions. So I would have him run around set and tell people what I see, and explain it in film language. It's just my style to stay in vision because I am sort of a psychic spiritual medium, so to speak. I live in two worlds, and I actually get orders from the other side, as creepy as that sounds, as what to film and where to edit.  

Your visualization in camera of the predominantly interior house shots from, Hallucinogen (2016) are simply, yet well dressed, with a great use of light shading to accentuate the moments of tension. This was reminiscent of the impressive style of the great Italian director Mario Bava in his horror films, and also Dario Argento, as well to certain degree Roger Corman. Are such renowned film makers or similar an influence upon your own style of film making ?

I think the only style I have is maybe, Hitchcock and M. Night Shyamalan. I can watch any of his movies and to show I see his vision, and where he gets it, and it's very similar. And as far as Alfred Hitchcock, my style is very 1950's and 1960's. I am a huge horror sci-fi geek from that time period. More so sci-fi ! I have box sets that I watch. Creature From The Black Lagoon (1954) is so scary and one of my favourite examples of horror meets sci-fi.
As far as lighting, I really love the orange glow, Encounter (2015) had. My dp for, The Doll (2016) Allister Conway, is a lighting genius, and The Doll (2016) looks like a French painting. He always jokes with me and says watch this movie, see the lighting, and I'm like no I don't want to, I want to see the acting and the story. Who cares if it looks good if there is bad acting, and no story !?, lol. So we are both right.

Which films and film makers have indeed been a memorable & influential part of the young Susannah O’Brien’s past right to this day ?

Since I was kind of indoctrinated into film making from my near death experience and visions I never said I want to be a film maker, that's what's so weird about my journey. So I can look at my style and say that vision reminds me of Alfred Hitchcock or M. Night Shyamalan, (and I hope I'm spelling his name right, lol), but I never really tried to be like anyone. I always did watch the Oscars growing up, and knew someday I will get one, which was always shown to me in visions too, so how I will get from horror to the Oscars I don't know. I just take it one vision at a time, and it got me across the desert, and my first movie theatrical release.

Were your parents aware that they had a budding film maker in the family, and encourage such pursuits, or was it envisioned that you were destined for that career in the field of psychology ?

I started out in the stock market, and then real estate. I loved building houses and buying real estate, and flipping them. That was my passion. And I did counseling as more to help people, and I was good at it. I hot my Ph.D for my mom. She has hers, but I never really cared for school. It was always easy for me. I was a self learner. But I was more of an entrepreneurial brain, so they had no idea. I think they and I always thought I would write books, and that I would have a book out first.

Your faith and particularly your mother are clearly most important to you. In other written articles you have talked about just how grueling film productions have been, and that there is a very tangible aroma on set after long hours of shooting, to which apparently your dear mother assures you’ll get used to, with the added motherly advice to just use Febreze. What advice and reassurance do you find yourself giving to people around you during the working day ?

My editors and dp's prob want to murder me, lol. I just am always working, and try to get all of us to stay in vision for the project. If anything Allister Conway, my dp and editor, always keeps me going. He's like, don't give up !, and give me great advice.

Encounter (2015) was your debut feature film. How much of a proud parent releasing her baby to the world were you upon its release, and did you sneak into theaters to experience with an audience, and if so what was the reaction to the screening ?

I took my mom to see, Encounter (2015). It was so surreal to see it next to, Star Wars ( Star Wars The Force Awakens (2015). There is no experience like taking your mom to your own movie.
I was at AFM (American Film Market) before it sold, and snuck into a a screening, and some execs were in there. My assistant and I felt we couldn't leave or they would think we didn't like it, so we acted scared, and gasped, and it was really funny actually. I almost missed a meeting with Paramount over it.

Before feature films did you make any short experimental movies or write scripts for others that were then shot on camera in any shape or form ?

I didn't. I don't really see the point of shorts. It does leave me wanting to see more, but it's hard to sell them or get funding. I just say make a feature ! I didn't have any films or scripts prior to my visions.

It is refreshing to have another female film maker such as yourself breaking into the business with such cumulative success, particularly in the horror genre. Kathryn Bigelow for instance has done fantastically well, and of course herself given us the mercurial horror feature, Near Dark (1987). Do you feel that opportunities behind the camera, and roles in front of the camera are better for women today or as difficult & as stereotypical as ever !?

I have heard out here that female directors are in demand. It's like a rumor going around, so maybe it's easier to get the job now than before.

Your latest film, The Doll (2016) features You Tube celebrity Valeria Lukyanova. The Ukranian living Barbie Doll sensation is inspired casting and from the movie trailer looks to be perfect for the role. How did you come to cast Valeria in your film ?

I had a vision of Valeria before I knew she existed, and I have five Doll scripts. I kept seeing this perfect doll person in my visions, so I wrote them a year before I knew she existed, and one day my assistant was on You Tube and said, look it's your vision ! Valeria is very spiritual as well, and she thinks we were linked by the same spirit guide.

How was working with Valeria Luckyanova, and do you feel that she may have a potential future in the movie business ? Her unusual look would be potentially perfect for a reworking of the French chiller classic, Eyes Without A Face (1960).

Valeria was a true doll to work with. She worked long hard hours and days, and never complained. She was a natural for the part. She def has a future. She's in Mexico now and going to be in a lot of TV shows on Telemundo. She has a look and presence that is of a true star, so people will def see more of her. She attracts fans.

What can the growing fan base of Susannah O’Brien expect from you & your Sahara Vision Productions company in the future ?

I want to do more sci-fi. I really loved, Encounter (2015). I want to do dramas. I think my horrors are actually good dramas. I have more comedy scripts than horror, for the 'A' list comedian.
I think the film industry is changing, and I would like to take You Tube stars and put them in movies, and stream to a website that fans really want.
I really love sci-fi fans they are so loyal, and forever. So if I could mix sci-fi with horror, and make the fans happy, with the budget I have, that would be my goal. And those two Oscars I was promised in my vision would be nice :p

Is there a closing statement that you would like to share here with the readership and horror film community who support and follow you ?

I hope you enjoy my first three films. I am learning and I want to hear what the fans want, and make better movies. I want my fans to come home from work, and go to my future website and look forward to downloading my movies. So if you don't like these I will get better, lol.
It is super hard with a low budget, you can't please everyone. The visions are what they are, and sometimes I don't even know what they mean or why !?

It has been an absolute pleasure to have been afforded such a conducive all access pass to discuss your movie making passion with you Susannah. Thank you so very much, and every best wish for continued success to you.

May the Febreze be with you.

Ha Ha, thanks.



Interview by Paul Cooke 13th June 2016

Huge Thanks To The Following For Making This Possible:

Susannah O'Brien Ph.D

www.saharavisionsproductions.com
www.encountermovie.net

Leo at The Geek Legion Of Doom

https://www.youtube.com/user/GeekLegionOfDoom

Dario's Dracula Sucks ...

Dracula 3D

(2012 / Italy / France / Spain)

Director Dario Argento

With Thomas Kretschmann, Marta Gastini, Asia Argento,

Unax Ugalde, Miriam Giovanelli & Rutger Hauer

‘‘She was an angel. I am the monster !’’

Genre great Dario Argento returns to the Directors chair, this time seeking to infuse new blood

into the legend of, Dracula. A lot at stake then, with a later day career far fallen from the Giallo 

graces that placed him upon high.

Argento takes Dracula to a whole new dimension of terror. Not only in 3D, but also into the truly terrifying realm of over abundant, and poorly done CGI. Even Bela Lugosi would have had good cause to hide his face behind his cape at the dour effects that are applied here !. 

The stories premise is traditional Bram Stoker fare. Jonathan Harker is called into the employ of Count Dracula, to undertake the task to categorize his vast library. Within the confines of the counts castle’s domain, Harker falls victim to the entrapment of vampirism. His demise is swiftly inevitable, as is the arrival soon after of his wife Mina, to be by her husbands side. The true revealing purpose of Harker’s calling, by Dracula, to bring his beautiful wife to the region, for the blood sucking vampire to have her for his own. Mina’s countenance being the same as that of the one true love Dracula had, had centuries before. The smitten vampire convinced of Mina being the resurrected embodiment of his lover !. 

Dario Argento of old would have sunk his teeth into re-imaging the legend of Dracula. Relishing the prospect of enveloping his audience into an eye popping new way to literally splatter his eager patrons with gore and shocks aplenty, with the medium of 3D. Rather unfortunately though, this is the modern day shadow of the former maestro, as painful as that is actually to state !. Here the only pair of glasses that most watching will want to put on are those that come as a pair, with matching cane ! Dracula 3D is far from candy for the eyes, but more floss for a toothless lead, directed with neutered care for either performers or viewers !.

Incredibly poor in its updated translation, Dracula 3D actually relies heavily upon ripping scenes, and dialogue, from Universal’s Dracula 1932, Hammer’s Dracula 1958, and Francis Ford Coppola’s sterling remake from 1992. Even Unax Ugalde’s performance as Jonathan Harker looks more ‘Bill than Ted’ than Keanu Reeves’ ever did, and that too is far from ‘Excellent’ !. 

Thomas Kretschmann’s portrayal of Count Dracula here is as sterile as Doctor Kildare’s stethoscope. Bela Lugosi, Christopher Lee, and Gary Oldman all brought their own identity to the role of the literary blood sucker. Kretschmann gives a whole new meaning to lifeless performance. Ironic considering the role that he is playing, indeed !.

The film is not completely without its watchable moments, but they are few and far between. A few take notice gore scenes amongst the kills, and a quite entertaining scene in a tavern, where Dracula at last gets to display his bloody power to all who dare oppose him. Asia Argento displays her wares, and the star of the show, Rutger Hauer, appears in the final third act, as Abraham Van Helsing, to inject some life into the flagging proceedings. 

Dracula 3D isn’t even one of the so bad its good movies, unfortunately. If this was made by low budget film production studio, The Asylum, even their producers would ask for a rewrite and re-shoots !. Apply a humorous over dub and it is perfect late night fodder for Mystery Science Theatre 3000. Curiously though the film often has the look and feel of that of a porn film maker. So much so that with some inserted porn scene this could well work better as one of the many recent productions in the adult film market, as a Dracula XXX parody !. Whatever the case, this most definitely is not the second coming of Dario Argento !.  

Movie Rating: 4/10

Review by Paul Cooke / Source UK Pal Region 2 DVD

Dracula 3D (2012)
Director Dario Argento

With  Thomas Kretschmann, Marta Gastini, 

Asia Argento, Unax Ugalde & Rutger Hauer

National Health Warning At ...

Horror Hospital

(1973 / UK)

''The Operation is a Success ... When the Patient Dies''

When a movie starts with its villain of the piece sat in the back of his stately car, replete with its own driver and a subservient dwarf, who gives the order to chase down two bloodied and frightened young people desperately fleeing for their lives, you know that your in for a pre politically correct experience. When that villain is a ghoulishly cast Michael Gough as a Dr. Frankenstein like surgeon, revelling in every scene at his unreservedness in such a maniacal role, that experience is guaranteed to be heightened.

Any movie starting with a scene showing a diabolical double decapitation by means of a devilishly deviant design of lethal retractable blade, attached to the roof side of a speeding car and initiated into lateral position at the press of a button, is deserving in its place of memorable opening moments. Up there with those great Hammer Horror sequences where Van Helsing chases down Count Dracula, recounting the closure of the previous movie and spawning the start of a new chapter. A bloody action packed introduction then to the deliciously dark humoured delights that unfold in … Horror Hospital !.

Jason Jones (Robin Askwith) is in need of a short break from his hectic job in the music industry, and so decides to spend a few days at a health retreat. On route by train to the Southern coast of England he meets up with a pretty young woman named Judy Peters (Vanessa Shaw). By coincidence she too is travelling to the same retreat in order to see her auntie. When the two get off the train at their destination the platform is desolate, and the area seems overly quiet and tranquil. They are met by the station manager who gives them directions. When they trek off by foot the station manager telephones the health hospital, and with a sinister precognition informs them to expect another two !.

The wryly dark vein of smile inducing humour flows throughout proceedings, in an anarchic, unrestrained irreverence to British societies nonchalance during the early Seventies. Everything is over the top, including the seemingly quite often adlibbed acting, and infectious for it in making the movie far more palatable than had it been done overtly serious.

At Brittle House Manor, Dr. Christian Storm (Gough) experiments on the health resort guests, performing a lobotomy upon them that leaves each person completely, and mindlessly under his control. Left in a Zombie like state, emotionless and unable to feel pain they are pawns at the command of Dr. Storm. His mark left upon them with a grisly head scar, and a deathly white pallor to the skin.

Jason Jones and Judy Peters are ensnared into Dr. Storm’s macabre world, and each readied for the same procedure. With Judy due next upon the insane doctors operating table it is up to Jason, aided by another young man appearing on the scene in search of his girlfriend, to overcome the bizarrely garbed personal guards, kitted out in motorbike leathers and safety helmets at all times, and save Judy from Dr. Storm’s maniacal experimentations !.

It’s all good, bloody, schlock British made Seventies horror at its best. One of those rarities that gets more camp, and more enjoyable with age. Ending on a suitably gory high in similar fashion to how it began, and unravelling the horrible secret behind a deformed creature, only previously glimpsed throughout the movie.

Horror Hospital is highly deserving of your ‘patience’, and well worth checking into. Just be sure to get prescribed the full incisive cut of the film before undertaking such movie medication !.

Movie Rating: 6/10

Review by Paul Cooke / Source UK PAL Region 2 DVD

Horror Hospital (1973)

Director Antony Balch

With Michael Gough, Robin Askwith & Vanessa Shaw



Sign Up For The Death Corps ...

Shock Waves

(1977 / USA)

‘‘The sea spits up what it can’t keep down’’

Nazi SS Zombie death troopers rise up from a watery grave to seek vengeance upon their creator. Programmed to kill, and created to overcome any terrain, in any condition or circumstance, these unyielding harbingers of devastation are the apocalyptic abominations of biblical prophecies. Enhanced evolutionary killing machines, these un-dead soldiers of war are the ultimate evocation of evil. They are the Führer’s Death Corps !.

Aberrations genetically designed in experimental laboratories at the end of World War II. Brought into being by the maniacal minds of Nazi SS scientists, instructed to create a super soldier. A remorseless killing machine in the image of man, but born from the manipulated DNA structure of reanimated human hosts.

The movie begins with a small private boat, captained by horror stalwart John Carradine, out on the ocean with a small compliment of crew and a handful of paying vacationers, including a very young and cute Brooke Adams. As night falls the boats occupants witness an unusual light array emanating from the ocean bead, explained away by the cranky old sea faring captain as a barometric anomaly. Later, into the sleeping hours, the boats night watchman and a sleepless Brooke Adams are startled by what appears to be a very large freighter ship bearing down upon them. Their small boat is hit, but the only trace of what caused the incident is a ghostly outline of a sunken wreck witnessed beneath the sea upon the next days dawn breaking.

With a damaged ships hull the occupants of the boat row ashore to a close by remote island in order to seek assistance. Mysteriously, the captain of the vessel has disappeared during the night. As the small party feel land beneath their feet, upon safely arriving upon the island, they are soon taken aback at the discovery of the captains lifeless body washed up upon the beach. John Carradine’s atypical movie cameo appearance, during this stage of his very long career, meets cessation with the death of his character with no apparent cause !?.

Right from the off Shock Waves ripples with atmosphere and a terrific sense of real tangibility, as if you are alongside the on screen characters experiencing what they are. Great credit to Director Ken Wiederhorn for bringing out sound performances from his ensemble of both seasoned actors, and fledgling stars of the future. His creativity in bringing the best from what is essentially a basic storyline, and delivering to his audience a finished product that refreshingly rewards well above expectations.

Peter Cushing appears on screen when the bedraggled island crashers arrive upon his doorstep. A run down old hacienda styled hotel that Cushing’s character, of a reclusive ex SS commander, resides in alone, living out the final days of a life that is clearly racked with memories of a past that haunts him.

Italian horror icon Lucio Fulci may well have been influenced by Shock Waves for his 1979 classic Zombie gore onslaught, Zombie Flesheaters. The gathered party of people, gathered in a run down haven upon a remote island, following boat trouble, is the very same scenario. Uncannily representative of the cult Euro directors memorable moments is when the first un-dead SS death corps officer rises up from his watery grave, and traverses across the ocean bed. Fulci added a shark attack to his underwater Zombie, but the general scene resemblance is most notable.

The visualisation of the German SS soldiers emerging up out of their watery grave is as memorable as that of the knights templar shuffling to the shore, after their ghostly galleon is raised to the bottom of the ocean after being engulfed by fire, in the Spanish horror classic Ghost Ships Of The Blind Dead (1974). An eerie image of the living dead, fatigued in full SS uniform, and oversized protective eye goggles adorning their countenance.

Seeking a way off the island, and pressing for answers as to the SS commanders past, the people from the boat are warned to stay away from the water, and to leave the island as soon as possible. Peter Cushing delivers a fine performance as a scarred former cog to the might of the Nazi wheels of war. He reveals his past and foretells of the impending attack upon them all by his creations. Describing them as the most vicious and blood thirsty of all of the SS divisions. His creations are a group of commandos designed specifically to acclimatise under water. The Death Corps are neither dead, nor alive, but somewhere in between. Towards the end of the second world war they were dropped into war zones and let loose upon the enemy, and anyone that was unfortunate enough to cross their path. With the war lost the SS commander sent his ship, and its cargo of Death Corps soldiers, to a watery grave at the bottom of the ocean. Now time has turned the tide and his progenies have reawakened from their watery internment, and their killer programming has not altered !.

The final third of the film is about survival against the re-emergent un-dead soldiers of death, and Peter Cushing’s time of atonement against his creations.

Shock Waves proves to be an effective horror that has not been diminished with the passing of time since its first release. A genuine cult piece that is deserving of being rediscovered by a modern audience. Refreshingly free of CGI, and needless excesses of blood and gore, yet simply and effectively resplendent in its consummate horror traditions.

Movie Rating: 7/10

Review by Paul Cooke / Source UK PAL Region 2 DVD

Shock Waves (1977)
Director Ken Wiederhorn

With Fred Buch, Brooke Adams, Peter Cushing,
Jack Davidson, Luke Halpin, D.J. Sidney,
Don Stout & John Carradine

Norwegian Wood Or Limp Horror ? ...

Fritt Vilt III

aka Cold Prey 3

(Norway/2010)

Luke warm prequel to the impressive original movie, and its equally thrilling sequel. The Fritt Vilt franchise sees the emotionless killing machines inception. Its tale of the young boy believed lost in the wilderness of the snow laden landscape in Jotunheimen, Norway, reveals what really happened, and then sets up the storyline leading into Fritt Vilt.

Ten years or so later we are introduced to six early twenty something’s taking a hiking trip to the Jotunheimen region during the Eighties. It is springtime and so getting to the closed down hotel resort setting for the first movies is easier, although the region is just as remote. The local police enforcer gives the group of friends a ride as far as he can in his land rover. He drops them off and promises to be at the same place to pick them up a couple of days later. Time enough for them to enjoy the benefits of outdoor living. It’s not too long, however, before they are dieing to get away from it !.

The killer is on the lose in the wooded region and there is nothing more agreeable than a bunch of young town folk meandering around acting stupid. Stalking, chasing and a heap of slashing and stabbings follow, all done in pretty graphic style. Picture Michael Myers let loose in natures back garden, even the wildlife begin to believe in Halloween !.

This is the third director in the series, and although it is accepted that there has to be a whole new cast, the characters and actors are not as accomplished as the very polished original. Although Fritt Vilt II also had a new director in Mats Stenberg, he pretty much stuck to the formula, so perfectly sculpted by Roar Uthaug directing Fritt Vilt, that the film had an almost seamless continuation. With Fritt Vilt III it all pretty much is formulaic stalk and slash, young people in peril territory. Enjoyable enough, but you just want the running duration to play through its obvious course as swiftly as possible. Knowing that the protagonist is not going to be bested, and that it is inevitable that everyone else will die, doesn’t leave much to keep suspense or surprise going for the viewer.

To its advantage the movie has the same green / brown hue to it that made the first two ventures look so very authentic. Adding credence to the fact that the movies are set twenty to thirty years ago, and delivering that feel of a slightly faded old style photograph. Perfect for the feel and texture of the movie. What is seriously undervalued here though is the effectiveness and importance the part of the snow white blanket scenario, and the ice cold conditions had to play in making parts one and two so very, very integral to the enjoy ability of the films.

Perhaps Fritt Vilt III is best then viewed first by anyone interested in seeing the series for the first time, but for those who have revelled in the delights of the originals this outing is a tame affair and is unlikely to be revisited by true followers of parts one and two. Buy Fritt Vilt, and Fritt Vilt II and treasure in your film collection, but rent and watch Fritt Vilt III if you really want to visualise the back story, which in truth is best left to the creepy imagination and inferences made in the original films. This third Cold Prey is far from the icing on the Norwegian movie landscape, and one you can a ‘fjord’ to miss !.

 
Movie Rating: 5/10
 
Review Paul Cooke / Source PAL Region 2 DVD
 
Fritt Vilt III (2010)
 
Director Mikkel Brænne Sandemose
With Ida Marie Bakkerud, Kim S. Falck-Jørgensen,
Pål Stokka, Julie Rusti, Arthur Berning, Sterla Rui,
Endre Hellestveit, Terje Ranes & Nils Johnson

Xmas Fear From Finland ...

Rare Exports

(2010 Finland / Norway / France / Sweden)

‘‘The real Santa was a bit different, the Coca Cola Santa is a fraud’’

Jingle bells Santa smells, his body rotting away, Rudolph’s left and the elves bereft, since Santa got buried, along with his sleigh … but now he’s been dug up, and this Christmas ‘Yule’ all pay !.

A festive frivolity of fearsome Christmas chills from Finland as the legend of yore in the shape of the original Santa Claus returns. Old books tell of the terrible tales of Santa as a child beating ogre. A young boy named Pietan is sure that on the eve of Christmas day this terrible Santa is coming to town !.

A business man has a professional drill team excavating the Korvatunturi mountain in Finland. They drill down thirteen hundred feet and hit a sixty five foot thick embodiment of sawdust !. It is here that legend has it that the Saami people of Lapland centuries before created the biggest burial mound in the world. Imprisoned within the mountain burial mound it is said is this evil and original Santa Claus !.

Christmas eve, and in the valley afoot the mountain the local farmers prepare their annual round up of the indigenous reindeer. A major part of their continued resource to survive with the lifestyle they are dependant upon in the region. Disaster awaits them this day, however, as the valley beneath the mountain is strewn with the dead carcass’s of the reindeer !.

With their livelihood’s severely jeopardised by the discovery several of the locals traverse up the mountain to seek answers from the team of foreigners. What they discover is a derelict site, no sign of life at all, and one massive hole burrowing down deep within the mountain. Something was discovered, disturbed and released from its entombment !.

That very night Pietan’s father’s wolf pit trap claims an inquisitive catch. Early in the morning the impaled body of a still twitching spindly old bearded man is retrieved. With the help of a neighbour the man is watched over in the slaughter house barn of the farmer. Pietan believes that his father has captured Santa. The boy has also discovered that all of the towns children have mysteriously gone missing. Upon seeing Pietan the old man reacts curiously and visibly appears to be recuperating from his life threatening injuries. Whoever, or whatever this old man is becomes cause for great concern.

Pietan’s father, along with two friends manage to contact the business man and set up a trade for ‘Santa’ in payment for their combined losses with the slaughter of their reindeer herd. The exchange is set up, but it is within the hour before Christmas day itself, and what the anxious men have in their possession turns out to be not quite what they had expected after all, and the worst was about to befall them all !.

Time to measure whether they have been naughty or nice and come to fully realise just how many little helpers Santa actually has, particularly in his hour of need !.

All aboard then for a winters tale of terror. A fine slice of darkly delicious Finnish humour that is sure to ‘sleigh’ you. Big fun from an independent venture that stands more than a snowballs chance in hell at sitting atop the tree of film goodness. A wickedly wry take on the twisted tale of ye old Santa, torn straight from the stuff of childhood nightmares. The cinematography of the beautiful white snow laden environment is spectacular, and the stark landscape and insular people make the unleashing of a fearful apparition all the more believable. Very well rendered effects and a straight laced cast of real people more than compliment this accomplished feature. Santa’s entourage of elves never looked so evil.

Rounded up, and rounded off, come completion, the movie’s vein of deliciously dark humour spills on over into an aptly wry epilogue. A perfectly applicable manner for such Rare Exports to, ‘Finnish’.

Movie Rating: 7/10

Review by Paul Cooke

Rare Exports (2010)

Director Jalmari Helander
With Onni Tommila, Jorma Tommila, Tommi Korpela,
Rauno Juvonen, Per Christian Ellefsen,
Ilmari Järvenpää & Peeter Jakobi