Oddball Film Report: DRACULA A.D.2015

   It's a given among horror movie fans that vampires have lost a lot of their stock in recent decades. From figures of evil corruption, vampires have become power-trip fantasy figures for troubled teens. In recent years, they've become outright romantic figures targeted at pre-teen girls. For the classic cinemanaut, however, vampires are monsters. 

    The last really great vampire movie (not to say there haven't been a handful of decent ones produced since) was a product of the 80's. FRIGHT NIGHT (not to be confused with 60's monster movie NIGHT FRIGHT) was the tale of a teenage boy convinced that his new neighbor was one of the undead, and enlisted the help of has-been horror-star-turned-television-horror-host Peter Vincent (the last great role of acting legend Roddy McDowell) to put the monster back in his grave. An affectionate homage to the classic vampire movies of Universal and Hammer, the film retains a huge cult following to this day. (A less spectacular sequel followed, and in recent years was subject to a typically miss-judged remake.)

   For decades now, fans have been lamenting the fact that the genre has seemingly been taken over completely by brooding teens and erotic "horror" novelists. The occasional stab at a more fearsome interpretation has been, at best, weak tea.

   If Hollywood isn't going to provide a decent vampire movie, however, Joshua Kennedy will. In fact, he has already. Though available only as a YouTube feature, DRACULA A.D.2015 is easily the best vampire movie since FRIGHT NIGHT. It's because of this internet availability that I at first neglected reviewing the film. I've since decided, though, that any publicity the picture can get, it should get.

   Mr. Kennedy's vampire movie is, in whole, an original work. It is, however, composed of parts from various Hammer favorites, and in fact even uses the music from those earlier pictures. The stock music cues, in addition to some wonderful location photography, gives the picture a nice professional sheen. (Unfortunately, it's also what keeps the film making any money for it's creator. On the other hand, it's about the best pitch reel a director could ask for.) 

   As the title would indicate, this is basically Kennedy's version of DRACULA A.D.1972, and it hugs that film's basic plot rather closely. Rather than a tired re-tread, however, the film uses it's foundation as a springboard to a modern adventure which is surprisingly fresh. If it falls short, it's mostly in it's reliance on re-creating scenes and dialog from earlier Hammer episodes (which, given the target fanbase, could be considered a point in it's favor). The picture works best when it isn't directly quoting from an earlier flick, although the assembled parts are stitched together quite nicely.

   The story concerns the relationship between the learned Professor Fordyce and his young sister, Jennifer. Jennifer has been living in the States for the last two years, and is now attending New York's Pace University. Prof. Fordyce has just been brought onto the University staff as a theology teacher.

    The opening of the film concerns the discovery of slaughtered female student, and during his introductory lecture, Fordyce is questioned about this. Seemingly a cult murder, it indicates something horrifying is about to happen. The students fail to notice -or outright ignore- this omen and some of Jennifer's friends convince her to attend a seance held by their councilor -the creepy Miss Stensgaard. 

   Stensgaard is a disciple of Dracula, and plots to return the Count to the world of the living. Jennifer is central to her, and Dracula's, plan, but manages to avoid being a direct participant in the unholy ritual. Though the bulk of the kids make tracks when the scene turns weird, blood is spilled and Dracula is soon walking the streets of New York. 

   As Jennifer's friends begin turning up dead, Fordyce starts to realize the terrible evil that has been unleashed....

   Oddly, the overall feel of the film has more of an 80's vibe than one might think, possibly due to the number of urban monster movies that decade produced.

   Again, while mostly built from parts of earlier Dracula movies, the resultant feature is quite fresh. The young characters are largely more likable than the rebellious hipsters found in the 70's version, and the sibling aspect of Fordyce and Jennifer makes for a more interesting relationship than the more parental set up of DRACULA A.D.1972. Rather than two points of view hopelessly out of phase, these characters have a more mutual respect for each other. That really aids in the dramatic appeal once things become hairy.

    Dracula stalks the streets of New York, seeking Jennifer to be his latest bride. This potentially thread-bare concept instead has a certain vitality. And fortunately for Jennifer, and the world, Fordyce just happens to be on hand -he being the only human being on the planet who knows what he's facing! Miss Stensgaard has obviously waited for his arrival before resurrecting Dracula. 

   On the surface of this, it appears she hopes Fordyce will be dead early on, thus eliminating Dracula's one real obstacle. On the other hand, Stensgaard badgers Dracula into giving her his special power. Likely she hopes to have the drop on Frodyce after he has been able to kill Dracula, leaving herself the remaining vampire. Unfortunately for her, she is first captured and introduced to the business end of a stake and hammer. 

   The film is filled with wonderful moments. Dracula's resurrection scene is marvelous, as is the reformed monster's first appearance atop a stairwell. A major plus is the film's use of rich color and real locations. As noted, these settings combine with the classic Hammer cues to create true professional sheen. New York, and Pace, become as much characters in the film as Fordyce and Dracula. 

   By and large, the cast is very solid. A different set of faces from those seen in Kennedy's Texas-shot features, his East coast cast is none the less distinctive. The majority of them have a very good feel for realistic reactions, even those played mostly to comical effect. Though a straight horror piece, the film does serve up some wonderful comedic moments. Very good timing with this group. 

    Joshua throws himself into the part of Terence Fordyce, obviously relishing every line and making the most of his moment to pay tribute to Peter Cushing. His sister Kat plays sister Jennifer, sweet every-girl swept into a parade of horrors. Particularly good are support male leads Cody Alvord and Jake Williams. As Ingrid Stensgaard, Bessie Nellis perfectly captures the feel of a recent transplant from Europe -one harboring a dark secret.

   "Xander Pretorius" plays Dracula, and he's the best cinematic vampire in a very long time. Obviously meant to evoke Christopher Lee, he has the required size, deep voice, and physical presence. He looks a lot like Jack Palance's Dracula, with a touch of Casper Van Dien in the face (with lighter hair, which nicely calls to mind David Peel in THE BRIDES OF DRACULA). Also important, he's a solid actor, convincingly selling the idea that he's been around the block a time or two. Given the actor's age, this is no small matter. I can only hope he gets to play the role again.

   I must put in a special mention for Traci Thomas, one of Josh's regulars. In a colorful character part -that of a domestic named Gerda, Miss Thomas is reliably hysterical. She really needs a sitcom. 

   Another note-worthy cast member is none other than Caroline Munro, who offers up a brief audio performance!

    Among the film's finer set-pieces is when Jennifer falls into Dracula's clutches. Entering an apartment and expecting to find her boyfriend, she instead finds one of her girlfriends has joined the legion of the damned. Flanked between this friend and the suddenly-appearing Miss Stensgaard, Jennifer is helpless as Dracula enters the hallway. In what may be the film's single best shot, the vampire women push Jennifer forward and melt into the shadows behind her.

    The film tries to pay homage to all of the Hammer Dracula films, and by extension some of the Universals. Janitor Thorley Ripper* manages to evoke both Michael Ripper and Dwight Frye, as his discovery of the first victim drives him into a fit of insanity which grows into dependence on his new master. (*Renfield-style cackling aside, a comparatively subdued performance from Jeremy Kreuzer, earlier seen as the mad bomber aboard AIRLINE '79 and as Andy Warhol in THE VESUVIOUS XPERIMENT.) 

   Stensgaard's ploy of becoming a vampire is borrowed from A.D.1972, but with it's female twist actually echoes SON OF DRACULA. One scene is a copy of a sequence from DRACULA, PRINCE OF DARKNESS, in which Fordyce and some helpers stake a female vampire. Oddly, with it's modern setting, this more echoes the sadly under-seen 50's adventure THE RETURN OF DRACULA. 

    Of course, it's not all remembrances of vampires past. One of the film's creepiest moments happens when the newly-undead Miss Stensgaard appears outside the curtains of a showering girl student. We've seen this kind of scene before, but the shared gender adds to the successfully uncomfortable feel of the scene. An invasion of privacy to the ultimate extent. (Although, this could be considered a nod to THE VAMPIRE LOVERS.)

    If Anything falls flat, it's the climax. At the start of it, Kennedy stages an incredibly exciting chase/fight between Fordyce and Dracula that moves down into the subways of New York. The momentary struggle aboard a subway car is dynamite stuff. Back topside, Fordyce chases Dracula back to his secret lair to re-create the ending of HORROR OF DRACULA. 

   During the chase, however, is a poorly-judged re-creation of the coach scene from DRACULA HAS RISEN FROM THE GRAVE, complete with fast-motion footage. One can easily appreciate the effort that went into filming this sequence, but the horses involved are obviously only trotters. Looking past that, there's the fact that Christopher Lee looked ridiculous in Benny Hill Vision way back in '68. It seems so out of place here that it completely undercuts the otherwise dynamic sequence. (Sorry, Josh, but I have to be honest!) Admittedly, this sequence plays better in repeat viewings, though one still wishes footage of the sped-up, ever so casually trotting horses had been cut or altered in editing. 

   In the end, a worthy inheritor of the once-great name of Dracula. The vampire movie fans have been waiting 30 years to see is finally here. And it's only on YouTube. Check it out, and while you're over there you can take a look at AIRLINE '79, which features much of the same cast.

A quick Kat sketch

20 questions with Joshua Kennedy

It's a Gooey Life: The Joshua Kennedy interview

   When New Alpha released the opus of a 16 year old Texan named Joshua Kennedy, the company found itself with a hot property. The back-yard spoof ATTACK OF THE OCTOPUS PEOPLE took off to become one of the company's best-selling independent contemporary releases. Almost overnight, the young writer-director-actor-etc became a noted name in the field of under-budget science fiction fun, and the film was immediately nominated for a Rondo Award. And it was obvious why. Despite his lack of budget, and a pool of locals for actors, ATTACK OF THE OCTOPUS PEOPLE displayed an understanding and affection for it's material almost completely absent from larger budget attempts to do the similar.

   New Alpha eagerly took the chance to distribute subsequent Kennedy features, and the double feature of THE MENACE WITH FIVE ARMS and CURSE OF THE INSECT WOMAN was again nominated for a Rondo. Cranking out at least one new movie each year since ATTACK OF THE OCTOPUS PEOPLE, Josh continues to grow in his skills, and his films advance by leaps and bounds. What he has achieved with no budget, makes his friends like me anxious to see what he'll accomplish with a budget. Josh recently allowed me to interview him, shortly following the completion of his most recent opus, SLAVE GIRLS ON THE MOON. (At the time of this posting, Mr. Kennedy is found working on a second 2014 release, AIRLINE '79!) The result of that interview is seen below....

Thanks for sitting down for this interview, Josh(ua).
   Sure thing; Thank YOU. To quote Peter Cushing in “Captain Clegg”: “There is nothing I like better than talking about myself…” Haha.

1)Let's start with your background. Tell us a little about yourself and how you got interested in making movies.
   Well, my name is Joshua Kennedy, of the House of Kennedy: David and Ana, and sister Kathleen. I am 20 years old, born and raised in Edinburg, Texas and currently studying film in NYC.
   I cant say there is a moment I can look back on and immediately think that was the Eureka moment where I wanted to do film but I do remember wanting to be a marine biologist for the longest time, but that slowly transformed into: Instead of researching cephalopods… why not make movies about them?!

2) What was your first complete film?
   The first movie I ever made was IT CAME FROM THE BATHROOM when I was five-years old. It was about a man who fell into the world’s biggest toilet and through some radioactive-exposure-transformation turned into a giant rubber-bouncing ball that proceeded to destroy the nearby town. Of course, this was all done on the floor of my bathroom with my miniature plastic toy soldiers and my model Alamo toy…

3) ATTACK OF THE OCTOPUS PEOPLE (or, AOTOP, as it's affectionately known, was your first released feature. Reportedly, it's done very well for the distributor, New Alpha, and was even nominated for a Rondo Award. Tell us how you developed that project.
    It was one Christmas where I just had a string of absolutely atrocious films that I watched back-to-back. Now, usually during my couch potato marathons there are a few bad ones interspersed with the good ones I watch… but this particular time it was just a sledgehammer to the head of really bad movies. I then dreamt up a film that I would LOVE to watch, and decided to make it myself so I COULD watch it! Luckily, I had so many friends who were absolutely willing to help with the project, and in the end, they and every family member available in Texas ended up being my cast!

4) I imagine you were pleased by the film's warm reception. What was it like to hear you'd been nominated for an award?
   Oh, I was on top of the world and extremely honored.

5) You followed up AOTOP with the somewhat less spoofy CURSE OF THE INSECT WOMAN. What can you tell us about the development and production of that film?
   I was “The Fly” from RETURN OF THE FLY for Halloween that previous year and was dying to do something with that mask. The script ended up being a lot darker than I wanted at the time, and I was never fully happy with the final product. It was also done very last minute, and I was up until 2am the night before the premiere editing it. Looking back now, though, I think it holds up the best out of everything that I’ve done.

6) For VOYAGE TO THE PLANET OF TEENAGE CAVEWOMEN, you graduated to color and scope photography. What did you think of the change? And what can you tell us about this as-yet un-released wonder?
   Well, it was the first major movie I shot with my new camera, so it was a welcome change from my $25 Target camera that shot AOTOP and COTIW. The final cut of the film (that has had about six different cuts) is a fun movie and I had one of the most cooperative casts ever: an entire bevy of beautiful cave-girls walking around in the desert barefoot, and two great co-stars wearing heavy army costumes in 115 degree weather. They were really swell.

7) What have you learned from the long journey in completing VTTPOTCW?
   The amount of versions that film has had is insane (going from 45 minutes, to 65 minutes, to 55 minutes, to 35 minutes) but it has been an extremely eye-opening experience which has made me realize that the cliché “show don’t tell” is so true. No one goes to see a movie called “Voyage to the Planet of Teenage Cavewomen” and wants to see scenes about people talking about a voyage to a planet of teenage cavewomen.

 
8) You followed up VTTPOTCW with the fun comedy MIRANDA GRACIA MEETS FRANKENSTEIN. This one was a character-driven comedy piece, and so stood apart from the previous films (in which most of humor came from the limitations of budget). What was filming that one like?
   MGMF had a smaller cast than my other films, and by some miracle everyone’s schedule lined up perfectly and we were able to shoot everything within two weeks so it was a welcome change from my other films where that seldom happened. That’s the thing that makes me stress out the most when making my films: Scheduling. 

 

9) I must take the hit for suggesting a song for use in MGMF which turned out to be copyrighted, which is the main reason for the film's hold-up in getting released. When it does see release, how do you think people will react to it?
   This is a good question. I feel it really captures the feel of a 1960’s made-for-TV “movie of the week”, but that is not everyone’s cup of tea… so we’ll just have to wait and see if it ever sees the light of day!

10) You did extensive location filming for VTTPOTCW. Did that have any impact on the construction of your next film, THE MENACE WITH FIVE ARMS? You again made use of the desert and included some location shooting in New York City. And what was the most enjoyable part of filming THE MENACE WITH FIVE ARMS?
   Interestingly enough, the entire film was originally set in NYC. I hadn’t a complete script ready until the middle of that semester, so each draft included less and less location filming until the very end, giving me a chance to film back home during the summer.
   Again, as with all of my films, I have been entirely blessed with absolutely wonderful friends and family that are so generous to donate their time to be in these films. It was a complete blast to work alongside my friend Ayssette Munoz who was extremely professional, and one of the best actresses that I’ve ever worked with.

 

11) For TMWFA, you shot in wide scope. What challenges/benefits did you find in going wide-screen?
   It was mostly inspired by THE LAST MAN ON EARTH and RETURN OF THE FLY actually. I think the main benefit was that it looks so cool! Only drawback in the long run is that it doesn’t translate well to smaller screens… but that’s the problem with ANY super widescreen film.

12) You must have been pleased when Alpha released a double feature disk pairing THE MENACE WITH FIVE ARMS with your much earlier CURSE OF THE INSECT WOMAN. This presented an interesting contrast allowing one to see how your skills as a film-maker have grown. (Since the writing of this question, said release was honored with Mr. Kennedy's second Rondo nomination!)
   Oh, yes. It’s also fun to see the actors that are in COTIW that return two years later to star in TMWFA and think back to the different experiences.

 
13) When you're not shooting a movie, you're mounting a stage production. Crowds have been increasingly impressed by your productions of shows like King Kong, The Ten Commandments, and 20,000 Leagues Under The Sea. Do you intend to continue this annual tradition? And what films would you most like to adapt for the stage?
   Oi, the great Summer Circuses, brain-child of my Dad which has been a tradition for 12 years. The basic premise is to bring students from all walks of life and put on a show with them in two weeks and perform it for the community. We’ve done Sweeney Todd, West Side Story, Man of La Mancha, Hamlet, Annie, and an adaptation of The Gorgon when I was eight! This summer we opted for an adaptation of the TV show The Gong Show with all sorts of Texas talent. As with all these circuses, it nearly killed me.


14) What's the creative process for starting a film? How do you decide what kind of a picture you want to make?
   Haha, this is a great question that I really don’t have an answer for. I guess all I can say is that for the most part any movie that I want to make, is a movie that I want to see as an audience member.

15) Has your time in New York changed much to your approach?
   I wouldn’t say so. If anything it has given me a sharper and keener eye on every aspect of film and theater. In that city, one is just thrown into this gigantic ocean of talent and culture and people that it is near-on impossible to not be affected by it.

16) Tell us about your most recent production, SLAVE GIRLS ON THE MOON (details must be kept in check for the time being).
   A friend called it “A Stanley Kubrick-directed Quentin Tarantino science fiction script”. It is much more action-packed and modern than anything I’ve done. It’s the first film completed entirely outside of Texas, with another bunch of beautiful and absolutely angelic actresses. It’s a fun film, it was almost too fun to make, and I’m very proud of it.

 

17) What types of films do you eventually plan to make? Which genres are you looking forward to tackling?
    I always say I want to make an adaptation of Richard III. For now, I am happy in the science-fiction, B-movie niche I have burrowed for myself but have been interested in doing a 1970’s disaster film. But if there’s a movie I’m dying to see that hasn’t been made, I’ll be looking for ways to make it.

18) Are there any Hollywood actors/producers/studios you would like to eventually work with?
    Gene Wilder, if he ever decides to make movies again.

19) You're pretty much a one-man production crew. You write, act, direct, storyboard, edit, act as technician and stagehand, produce, compose, and we can only imagine what else. What job do you enjoy best?
   I absolutely love editing. That’s the final stage where I can finally see what I wrote down so many months ago come to life. Ha, it’s a bit like being Doctor Frankenstein by sewing together these dead pieces of unrelated scenes and then creating a living thing and unleashing it onto the world.

20) What's next?
   Only time will tell. If I can continue to keep making movies I would be entirely content!

Ladies and Gentlemen, I am proud to announce an exclusive! First here, J.K. offers some details about his newest film....

   AIRLINE '79 is a project done for class at Pace University and is basically my experiment film; I'm trying things I haven't done before, most notably using studio lights and returning to the 4:3 aspect ratio. It's an homage (of course) to the AIRPORT films of the 70's and will have its world premiere January 3rd at Cine El Rey in Texas!

  
I'm certainly looking forward to seeing that! Thanks so much for your time, J.K.!

UPDATE! Feast your eyes on the inspired poster for AIRLINE '79!

 

It's Kat Kennedy's Birthday!

Oddball Film Report: THE MENACE WITH FIVE ARMS (2013)

   Josh Kennedy strikes again!

   Very recently, the town of Edinburg, Texas was treated to the premier of the newest Gooey film, THE MENACE WITH FIVE ARMS. J.K.'s earlier works tended toward whimsy. ATTACK OF THE OCTOPUS PEOPLE is a send-up of 50's monster movies, VOYAGE TO THE PLANET OF TEENAGE CAVEWOMEN a play on 60's Italian space operas, and MIRANDA GRACIA MEETS FRANKENSTEIN a fun poke at low budget film production itself. Each film gets slicker and slicker, so why not experiment a bit? Breaking from the previous number, THE MENACE WITH FIVE ARMS is a gritty drama built upon the 70's Nature Strikes Back genre.

   The film is more a character piece, and works incredibly well as such. For one thing, Josh did what I thought would be impossible! He took the threadbare and tiresome Battle of the Sexes ploy and actually made it work. The film is a great watch, and the scenes of our leads butting heads are just as pleasant to watch as those of our heroes working together.

   The Plot: Newly minted Sheriff Joe Kerwin is faced with a mystery in the usually quiet desert town of Santa Mira. The town's major water supply has been cut off with the sudden and mysterious collapse of the water tower. Joe finds the fallen tower void of moisture but littered with tiny bits of 'skin' he has sent to the city for analysis. Near the wreckage, he also happens onto a school girl who has been almost fatally drained of fluid. Exposure is ruled out as the girl has only been missing for an few hours. She is, however, in shock.

   In a later scene, the girl's doctor shows her a series of photos of animals. A sketch of a starfish sends the girl into panic and she snaps out of her shock. The shock broken, the characters go back to business as usual, which is a very real bit of scripting. Unfortunately, the girl doesn't tell anybody about the monster....

   As the townsfolk start to panic over their lack of fresh water, the 'skin' samples have gotten the attention of marine biologist Carla Joyce. Although discredited in the scientific community, Joyce figures the tissue to come from a prehistoric starfish and heads to Santa Mira to investigate further. Eventually, it becomes quite clear there is a monstrous starfish crawling around the desert looking for moisture, and human beings are the most handy source!

   Our heroes manage to track the creature into a local cave, but a drain pipe gives the creature direct access to New York city.....

Afterthoughts - 

   All the Kennedy touches are there: characters and places named after friends (even yours truly, in the mention of near-by Baker's Rock!), dialog borrowed from earlier films ("now the ocean knew the middle of a desert was a pretty silly place for it to be.."), in-gag references to previous Gooey films, a reference to THE TEN COMMANDMENTS, a shower scene, bikinis, and so forth. Filmed in super wide screen (Gooeyscope, according to the film's preview) and moody black and white, the film is a wonderful new wing on the ever expanding Kennedy library!

   This one is definitely an actor's film, and the roles reflect that. The characters are given considerable depth, and the acting itself is a treat. 

   Josh himself plays Sheriff Kerwin, a man trying to do his job despite no help from the townsfolk who feel he's at best a faint echo of the much-loved former Sheriff Dewey (who's sudden death has thrust Kerwin into a position of much greater authority and responsibility). I like that Kerwin must deal not only with mysterious disappearances and inexplicable events, but also such mundane matters as civil affairs like tourism. His spendthrift girlfriend of six months adds to his troubles when she takes up with an old flame and then uses it as leverage to get a commitment from Kerwin. This confrontation is a very effective scene.

   Dr. Joyce (Ayssette Munoz), meanwhile, is the sort of character that in lesser hands could have been quite annoying. A young female scientist in a male-dominated field, her previous printed theories have made her the subject of much mockery and shunning from the larger scientific community. This actually lends some weight to her quick-to-judge nature concerning men who she feels are condescending to her. As Kerwin discovers, that's just about any man in a position of authority! Her past has also made her very weary about confirming her conclusions regarding the starfish, something Kerwin reacts rather hotly to when he discovers she has known all along what's going on and hasn't told him.

   This particular scene may be my favorite. Kerwin is fully justified in his anger with Joyce, who's inaction has resulted in several needless deaths. Joyce tries to hold herself together by going back to the fire-brand righteousness that has always been her SOP, but Kerwin is having none of it and lays everything on the line in a way that Joyce can't ignore. Knowing she's lost but too proud to admit it even to herself, she storms out. This may be one of the best written and acted scenes I've seen in any film of recent vintage!

   Kat Kennedy, happily, makes an appearance as Kerwin's assistant Peggy. I love watching Josh and Kat play off of each other, and this is a fine part for Kat. For the most part, she's the loyal and affable sidekick to the boss, doing what she can to make his job a little easier. She has her weaknesses too, however. In a big scene, the starfish attacks a local get-together which is being held against Kerwin's direct orders. When he arrives on scene, he is surprised to find Peggy. She tries to bluff her way out of it by making up a story about why she's there, but then comes to grips with what she has done and breaks into tears. This razor fine turn from comedy to tragedy within a second is one of the film's real highlights.

   That's not to say the film is flawless, by any means. There are a few scenes that can be a tad confusing because of the back-drops chosen. Many of the characters look to be standing in front of a big black barn wall, but there are moments when it's obvious this is supposed to be the night sky (actually, this is probably Josh's nod to MISSILE TO THE MOON). In one scene, two characters are seated in a car. This is done in split-screen because the two actors were filmed in different locations! The effect actually works pretty good, and the delivery of the lines is very natural so you'd think the were on the same set. The only problem is that the background lighting is higher for one of the actors so the shot calls attention to itself. (These issues are not evident on all screens it seems, as the theatrical showing saw not a hint of this effect!)

   Most of the film is given a vague Outer Limits feel, with it's focus on strong performances and mystery. The final reel, however, set in New York, is almost surreal. Needless to say, I can't really go into detail because it's the climax of the picture!

   The dialog and mood are spot-on 70's drive-in much of the time, although some modern vernacular and automobile-action keeps it from being a period piece. The script is given to occasional fits of profanity, as is fitting the 70's films it seems to be duplicating, although with an eye for 50's CinemaScope. Josh himself (wearing a beard he'll be needing to play Captain Nemo in an upcoming stage production) resembles a young James Brolin, hightening the 70's vibe.

   Josh also manages that most difficult of things, an effective shock-jump scene! 

   This should act as a bit of a primer for a picture one hopes will be in official DVD release sooner than later. Running a full 90 minutes, Josh has reached the big features, and his presence is more than welcome. I can't wait to see what he does next!