Xenobites

A full-length extension of one of the director's early short films, Xenobites is a stylish horror/action noir about a private dick (Icarus Van Calder, another one of Fredianelli's patented nihilist antiheros) who clashes with Asian mobsters and battles demonic law enforcers on the side. The feature is shot in atmospheric black & white with occasional moments of color, such as during the flashbacks and, most strikingly, the many welcome discharges of blood. In fact, I dare say this is some of the best blood and squib work of Fredianelli's prolific career so far. An overly dark scene here or there aside, the photography is quite good as well, professional even. And completing the technical package is Aaron Stielstra's superb synth music, giving the film a moody, Carpenteresque tone rarely found in contemporary cinema. Xenobites' plot is pretty original, though the somber story feels just a bit dry at times and takes a somewhat jarring, albeit stimulating, twist about halfway through, completely changing Van Calder's MO to a much more grand design. Dark themes of self and worldly disillusion fit themselves neatly into the proceedings, conveyed by the cast of dependable regulars and the wonderful addition of Henry Lee as the apathetic Yakuza boss badass. Finally, a Wild Dogs picture wouldn't be a Wild Dogs picture without its gritty violence and potent action, and this one delivers the goods. Beatings and bullets abound, swords cross, and real martial arts enter into one particularly brutal, glass-shattering fight scene. The athletic, stunt-filled foot chase is the best Fredianelli has ever put on celluloid and the elevator sequence, where a Xeno out for revenge is after Van Calder, rivals James Cameron's one in T2. Mighty impressive stuff for a low-budget movie.

I don't think Xenobites breaks much new ground for Fredianelli and company but, in numerous ways, it does pretty much perfect it. And still, it was nice to see a return to his roots, so to speak, with the material, giving it the much-deserved feature treatment. One can only hope he does the same with his infamous Higgy and Puffs saga.

Since SIN CITY came out a couple years ago a lot of films have jumped on the action-noir bandwagon. This one distinguishes itself with about twice as much violence as CITY while on a practically non-existent budget.

Earnest (if uneven) performances and rapid-fire editing try their damnedest but can't overcome a thoroughly uncompelling story focusing on another 1-dimensional antihero. While the backstory is potentially intriguing (the government unleashes undead demons to aid in law enforcement), it all boils down to an cliché-ridden overall narrative (rogue investigator versus Yakuza henchmen while out to find the MacGuffin VHS tape).

That said, the action scenes are very well-done and actually improve substantially as the film goes along. Just when you're about to doze off during the sluggish mid-section, a neat footchase erupts traversing rooftops, public store frontage, parking garages, hedgerows, etc. The film also pulls a few surprises later on - killing off a lot of characters when you don't expect it at all. Even one undeserving character dies particularly brutally via plastic bag suffocation... with a pt. blank shot in the face to add insult to injury.

Highlights include a Yakuza mass-murder scene rivaling the 1989 PUNISHER movie, the aforementioned footchase, a hilarious dream sequence, and some sporadically good gore.

Impressive for the budget, but the film would have benefited immeasurably from some tightening up, some set design, and some more dynamic lighting.