Review: 2021’s ‘Sam and Mattie Make a Zombie Movie’
Before I even begin with the plot, I just want to say that SAMMAZM (no, that’s not an old incantation to summon Pazuzu) found my alley and went right up it. Like, right up that alley, my friends. I think I need surgery to get it out.
As you may know, I am a fan of campy, schlocky goodness. I drink it down deep and enjoy the burn, like a fine whiskey. So, their movie, with its boyish wish-fulfillment fantasies featuring zombies, babes, and riding sky-high ollies while yelling, “Later, bitches” isn’t my cup of tea. It IS my tea. And, sure, we’ll get into some of the flaws and my brain roll juice, of course, but I was ecstatic to watch this and it did not disappoint.
The Plot:
So, this is actually two movies. It is, in large part, a documentary and also the final film. So, let’s take them both as separate beasts.
The documentary is about real-life best friends, Sam Suchmann and Mattie Zufelt. They have been very close friends since childhood, often doing what every aspiring film-maker does with their friends – making crappy movies in the backyard. However, their dream went bigger than just those movies and they dreamed big – they wanted to make their own teen zombie movie. So, with the help of Sam’s brother, Jesse, they set out to do just that, while also learning a plethora of lessons along the way.
The movie portion is a wild ride that is part Andy Sedaris, Charles Band and Velocipastor. The story goes: the Smith brothers are born on the same day, literally as “brothers from a different mother”. And all is okay-doke until Satan shows up to be a massive dick. After being told to “grow up”, the devil kills the mothers and plots his revenge against the brothers.
Twenty years later, these dudes ROCK (like, literally, they’re in a band). They fight off bullies, are members of underground martial arts gyms, and are gifted with bionic powers to survive Satan’s zombie, demon, and zombie-demon hordes. It is a kaleidoscope of fake blood, Pauly D, and slow-mo action scenes that are cooler than you will ever be (no matter what your mom says).
Thoughts:
So many thoughts. So, so many.
First off, I love the “making of” process alongside the movie. For many aspiring indie film-makers it really shows the process of making it all work (including begging people for money and free work). It’s exhausting. It’s time-consuming. It is a labor of love. It’s not easy.
The dudes showed their dedication and commitment throughout the whole thing, even when things got tough and it would have been easier to just give up. I enjoyed the scenes when they would argue plot structure or nonsensical details that they wanted to be in their movie because it really is their movie.
Their chemistry and writing is fun and engaging. These are two seriously funny dudes, especially when you get them in a room together. And I’ll be honest, I was on Sam’s wavelength and vibes for most of the movie. His wit and self-deprecating humor is on point and I’m hoping to see more scripts from him and Mattie in the future.
There are a few problematic areas, however. The first being the cuts in the actual movie, to explain certain scenes, were incredibly abrupt and took me out of the momentum. It happens three times and after the first part being all documentary, and at that point, I just really wanted to watch the whole damn movie without any interruptions. I think those should have been added prior, just like the rest of the documentary and that would have been a better flow.
Also, I appreciated the “girl power” moment, but I would like more of that in their sequel…maybe a secret half-sister? I agreed with the director that there’s a fine line of wish-fulfillment and misogyny, and thankfully, they did pull back after consideration. To be honest, more time exploring their relationships would have been a great way to further engage the audience and to pad the time. We would get more of a sense of who these bionic warriors were and are, especially in relation to other people in their lives.
But on the other hand, one huge thing that thoroughly delighted me was the absolute paradigm shifts in the plot and how unaffected the characters were. There were times that they just didn’t give a fuuuuuck (pg-13 means I get one f-bomb, thanks). For example when Sam’s girlfriend was like, “I’ll break up with you if you don’t do what I say.” And his response was basically, “Yeah, okay. Whatever.”
There were quite a few scenes like that where their utter dismissal of another character when there’s usually some kind of emotional bond was hilarious. Same with one of my favorite scenes with Mattie and a zombie, where she’s crawling towards him and he just tells her, “I hate you” and then walks back into the house.
But the real story is about love, and I mean the real story behind SAM AND MATTIE MAKE A ZOMBIE MOVIE. It’s about love of the family we make and the family we’re born into. It’s about taking chances and taking risks. And about working towards (maybe impossible) dreams with the acceptance that the journey is so much more important than the end.
I really hope to see a sequel from these two and, even more so, I would love to see more scripts. These are incredibly funny writers with heart and cliché-breakers that are so refreshing in the horror genre. They manage to take the tropes of movies we all know and love, and then completely push them out of the way with a “later, bitches”. And we need more of that, especially in our camp movies, as camp never goes out of style and always needs fresh blood.
Brain Roll Juice:
Okay, I’m going to say the thing that stuck out to me and you can feel weird or hate me or whatever, but their movie, Spring Break Zombie Massacre, needed to be an R. That seemed like that was the vision of what these dudes wanted, but were strangely denied. In fact, multiple times during the documentary they were told, “No sex! No nudity!” And a part of me was like:
If these are adults, wanting to make a more adult movie…why not? In fact, sexuality and drinking was completely and utterly stripped away although they were college students portraying college students. Even a kiss seemed risque for this film and…that makes me a bit uncomfortable because it never explains why.
When our society is already squicked about sex in general, the conversation gets so much more complex because people with disabilities are sexual and desire intimacy (should be a ‘no duh’). They have sex lives and should have healthy sex lives. This fact doesn’t go away and isn’t erased just because people don’t want to talk about it. We need to advocate for their sexual health, awareness, and well-being; and, of course, listen to people with disabilities.
As the National Down Syndrome Society states, “Creating an environment conducive to healthy sexual expression must be considered in designing educational, vocational, social, recreational and residential programs. Positive sexual awareness can only develop through personal empowerment, self-esteem, understanding of social relationships and personal interaction/communication skills.”
Building this personal empowerment and identity is crucial because if there isn’t any education and awareness, it can lead to being taken advantage of. In fact, people with intellectual disabilities are sexually assaulted at a rate seven times higher than those without disabilities. And the National Down Syndrome Society explains that, too. And telling two adults, without any clear reasons, that they can’t show some titties or an after-sex scene in their own movie doesn’t seem empowering.
But I want to be crystal clear that I am just on the outside looking in, so I don’t know everything in the background of that discussion or in their lives. Maybe it was for budgeting reasons. Maybe for distribution reasons. I don’t know (it was never said why).
However, I just wanted to bring into focus something that stuck out to me as a viewer and I will admit that I’m hoping the sequel thinks about this. It’s clear the dudes wanna show their characters being as badass as possible and they want to be swimming in V. I would something more substantial for a female cast member and exploring the relationship with them (maybe even a girl comes between the brothers and Mattie is the “but I’m just in it for the V” type and Sam’s like, “no, dude, you have to be in it for the love” – just spitballing here).
Regardless, I’m sure with the creative ingenuity of Sam and Mattie, the two ideas could meet and make for a movie that the fans and the directors both want. Tag me in your next kick-starter, my dudes; I’ll gladly fork over the cash.
Bottomline:
If you love camp with a background into how films are made, but also something with some heart, you’ve found it, my dude.
(5 / 5)
And to that, I say:
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
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Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. 
(3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM4OTc2OA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM4OTc2OA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
