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NEAR DEATH
Produced by Joe Castro and Michael Kovacs
Directed by Joe Castro
Written by Daniel Benton
Edited by Steven J. Escobar
Director of Photography - Jeff LeroyPerrine Moore - June Rivera/Maria
Scott Lunsford - Billy Strand
Ali Willingham - Tammy Garrett
Brannon Gould - Harlan Montgomery
Carl Darchuck .... Willie Von BrahmI remember seeing a production still of Joe Castro directing a scene from his haunted house gorefest, NEAR DEATH, in Premier Magazine. The picture showed what appeared to be an actor ripping open his chest while part-time fx-man Castro cheered him on like a rabid junkie shooting up a Hiroshima-level high. For what it's worth, there's something I find reassuring about seeing a micro-budget director taking pride in his work and having a heckuva lot of fun doing it, especially seeing it in Premier.
As NEAR DEATH played out, I kept envisioning Castro making like that production still and going into junkie mode every 10 minutes on the set. More so than any other movie he's made, this one is a chance for Castro to cut loose, have some fun, and make with the ooze. Castro means to tickle your gag reflex with the sheer volume of slimy gore he packs into this movie. If that's your cup of tea, then NEAR DEATH is a splattacular dream come true for you die hard gorehounds.
But I'm not a gorehound. At least not in my old age. In this world of been-there-done-that horror, there has to be a solid story to keep me interested, especially lately since I seem to be getting burned out on the micro-budget scene. Enthusiasm doesn't make up for craftsmanship, but fortunately for Castro he has enough of a budget to hire professional actors, editors, videographers, and writers. While the mix doesn't always gel like it should, all involved give it the old college try.
The movie centers around a group of collegians attemping to unravel the mystery surrounding the death of a famous silent film era director, Willie Von Braum. The leader of the group, June Rivera, happens to look just like Maria, a servant with whom Von Braum was madly in love. His evil spirit is none to pleased to be stuck in a state of limbo within the confines of his old estate. Hot for teacher, Von Braum wants to get busy and bump supernatural uglies.
The old bird has just one problem, his cannibal wife and her horde of flesh-chomping pals. Willie was an occultist and while his spirit has moved on to the next plain, his followers are forever trapped in his home kept eternally young by devouring human flesh. Self-preservation clearly takes priority over patriarchal authority when rather than allowing Von Braum to get his mack on, the cannibalistic group would rather add a few more years of staying power courtesy of a McSpleen with Cheese and a double-order of intestines. Von Braum is none to pleased with his followers' reactions.
With the majority of the movie confined to the Von Braum estate, that Premier production still can be seen as a spoiler that reveals what happens when one of the faithful tries leaving the Von Braum estate, and it isn't a pretty. The poor guy's chest was one of many things to open up and drip. It provides a sense of grounding for that old "why don't white people just get the hell out" scenario.
I've only seen two other movies by Castro and I liked both more. NEAR DEATH possesses the same anarchy coursing through it's vain that made TERROR TOONS so enjoyable, but it could have benefitted from that self-mocking irony that made THE LEGEND OF THE CHUPACABRA his masterpiece. Perhaps CHUPACABRA's pseudo-documentary style could have helped hide some of the weaknesses in the script and acting, both often come across stilted at times.
Maybe Castro was having too much fun on the set, or worse, all the fun. At times it looks like he payed more attention to the effects than the other, more important, elements. He provides nice little touches, such as the cannibals' teeth and gums rotting black, something I seem to recall from The Discovery Channel, but the inner-fire that makes the performances come alive is missing. NEAR DEATH is an ambitious string of both visual, make-up, and computer effects, but it feels hollow inside. The movie could have used some heart and soul.