Review Category: DVD/Blu Ray

Werewolves! With a few honourable exceptions, the humble lycanthrope is a figure less seen on the screen than some of his more famous counterparts. Last year’s arresting WolfCop and the wonderful Late Phases did their part, but we’re still a long way away from the redemption of the werewolf.

Enter Justin Price’s Dark Moon Rising, a horror film which skews (much) younger than Late Phases and towards the more conventional than Wolfcop, but packs in plenty of werewolf action nevertheless. “At least grab a titty or something,” pleads one of the idiot young characters, setting the tone early for what is essentially a much shorter, more tolerable Hemlock Grove. With its dyed-black fingerless-glove-wearing (bright pink lemonade drinking) emo hero and mysterious curly smouldering heroine, it’s only a little gore that separates it from being at the same end of the horror spectrum as Twilight.

Which isn’t to say that there’s not some enjoyment to be had with it. In spite of its obvious lack of funds, the film looks great for what it is, splashing about a comic-book esque colour palette and making the most of its cartoon-like CGI. The special effects rarely convince, but always entertain. The whole film looks like the front cover of a no-name YA novel – probably also about werewolves.

Brightening up matters even more is the presence of Eric Roberts, his bad haircut and alcoholism channelling The Hunger Games’ Haymitch, only with a much worse script. No doubt his name will be plastered all over the DVD case, but he’s in it for all of five minutes. If you really must get your Straight-to-DVD Eric Roberts fix, you can do far worse than Dark Moon Rising.

Too gory for kids but too silly for adults, this purple fever dream will likely struggle to find its audience. With its batty visuals, Eurotrash dance music and dippy spirituality, Dark Moon Rising is one of the more interesting misfires of recent years. It’s barking mad.

Special Features: TBC

DARK MOON RISING / CERT: TBC / DIRECTOR & SCREENLPAY: JUSTIN PRICE / STARRING: STASI ESPER, CAMERON WHITE, KHU, JUSTIN PRICE / RELEASE DATE: TBC
 

For persons of a certain age, Hawk the Slayer will need no introduction. Released at a time when cinema was just warming up to the elaborate special effects of Star Wars and the like, Hawk’s simple visuals appear somewhat quaint now. Despite that, it’s still a fun romp worth revisiting.

The story follows the age-old struggle between good and evil, personified here by siblings Hawk (Terry) and Voltan (Palance). No prizes for guessing which is which, and it’s made perfectly clear in the opening moments as the latter kills their own father in an attempt to gain ultimate power. Vowing revenge, Hawk takes a moral path, and is the natural person to help out when a nun (TV regular Annette Crosbie) is taken hostage by his nasty brother.
Banding together a group, consisting of a giant (Carry On star Bresslaw), dwarf (Peter O’Farrell), an elf (Charleson) and a crusader whose hand was maimed by Voltan and subsequently removed to save his life by the nuns (William Morgan Sheppard). They are guided by a blind sorceress, played by Rocky Horror’s Patricia Quinn and cross many perils on their quest to save the nun and vanquish Voltan.

Sword and sorcery films never really took off the way they should have, and following the adaptations of Tolkien’s works that have come since, one would be expecting this slice of ‘80s fantasy to be a wooden bore, but there’s so much to enjoy in Hawk that it’s actually hard to knock it. Sure, it’s certainly ‘of the time’ and those who were young when it was released and saw it the first time around will certainly get a blast of nostalgia, but its timeless story ensures even the most demanding of viewers will be entertained. If not for that, then it can easily be viewed as a work of high camp, much in the same way Flash Gordon (1980) is revered today.

As scarred baddie Voltan, Palance hisses his way through every scene he’s in; he’s a truly compelling presence, his face half-hidden behind a medieval helmet not dissimilar to Mr Vader’s and twice as nasty. It’s also fun playing ‘spot the famous face’ throughout the rather star-studded cast.

If there’s anything that feels out of place when viewed today, it’s the techno-score by co-writer Harry Robertson (billed as Robinson, fact checkers!). Having been an accomplished musician and composer for several latter Hammer films, he certainly had good pedigree, but often the motifs here sound like outtakes from Jeff Wayne’s War of the Worlds and, while still exhilarating, are at odds with the visuals at times. It does, though add to the campness for those who wish to enjoy it that way.

Network’s Blu-ray release presents the film well, far from the old VHS releases we grew up with, and not betraying the inventive special effects to any detrimental degree. The film is supplemented by an array of vintage footage. Mostly interview rushes from contemporary TV shows, the highlight is surely an on-set report from ITV kid’s show Clapperboard, in which Chris Kelly chats to cast and crew, and shows modern TV film programmes how it should be done (we’re looking at you, Ms Winkleman!) What does come across from this footage is how wry Palance was; he clearly enjoyed being there, but certainly didn’t enjoy being interviewed!

A brilliant release of a piece of British film history, with a sequel in the works, there’s no better time to catch up with Hawk and have a rollicking fun time.

HAWK THE SLAYER / CERT: 12 / DIRECTOR: TERRY MARCEL / SCREENPLAY: TERRY MARCEL, HARRY ROBERTSON / STARRING: JOHN TERRY, JACK PALANCE, BERNARD BRESSLAW, RAY CHARLESON, SHANE BRIANT, HARRY ANDREWS / RELEASE DATE: OUT NOW

The well-worn Frankenstein tale is given a modern twist for the digital age in Billy Senese’s debut feature Closer to God. Desperate to clone a human, for reasons never fully explained, Victor (Jeremy Childs) ignores the lessons of previous experiments in the pursuit of his goal. Inevitably the past catches up with him.

Senese’s film is bleak; very, very bleak. From the washed out grey hues of the colour palette to the disingenuous motives of the protagonists, this is not a film with even a hint of light and joy. There are few if any characters that emerge with any hope of redemption as each one hides a secret of some description, some less clear than others perhaps, but every performance comes with a troubled, haunted look permanently etched across the brow.

The central premise of genetic control is certainly an interesting one, but Senese doesn’t really offer anything new on the subject. At times, mainly due to the amount of faux news footage used to add exposition and advance the narrative, the whole thing feels too much like a documentary or dramatic reconstruction. The dialogue, which is as clinical as the surgeon’s scrubs, adds to this notion as nothing feels at all natural, with an air of stunted discomfort present in many of the exchanges.

Where Senese does impress, without being entirely successful, is in his Lynchian ambitions with regard to atmosphere. There is a heady weight of portent as Victor tries to ignore the growing menace that is his previous experiment; a boy called Ethan who suffers from serious deformity and uncontrollable bouts of rage. The return and subsequent revenge of the “monster” is predictable but you still feel the oppressiveness of the growing tension, and the violence when it comes is both shocking and brutal.

Whether intentional or not, the anti-cloning message in Closer to God is clear but it is secondary to what is an intense thriller with some genuinely horrific and creepy moments. That it is too close to the Frankenstein story is somewhat to its detriment (irate villagers brandishing iPhones instead of pitchforks anyone?) as there is enough chilling menace in the story to have avoided the unnecessary and unhelpful comparison. Closer to God is an impressive debut that promises much from the writer and director if you can get past that bleakness. After watching you will certainly crave something distinctly fluffier… or perhaps a stiff drink or two.

Special Features: TBC

CLOSER TO GOD / CERT: TBC / DIRECTOR & SCREENPLAY: BILLY SENESE / STARRING: JEREMY CHILDS, SHELEAN NEWMAN, SHANNON HOPPE, DAVID ALFORD / RELEASE DATE: VOD OUT NOW
 

The Changing of Ben Moore (which has somewhat bizarrely lost its definite article for the UK release) is an ultra-low budget Canadian entry in the found footage cycle, dealing with an eponymous character who has taken to sleepwalking and may or may not be possessed by the Devil.

At least that’s what the filmmakers would want you to take from what’s presented. The truth is a little short on ambiguity and altogether lacking in any attempt at either explanation or motive, and the most you can really take from it is a reasonable performance from Umberto Celisano.

Ben Moore is an orphan living in his otherwise empty aunt’s house, and whose adoptive brother Derick (Corey Beaulieu) chooses to record Ben’s descent into somnambulism on his video camera, overseen by Ben’s disapproving girlfriend Sara (Shannen Melissa). Over the course of the film’s 80 or so minutes, we see various incidents in which Ben shambles around the house after dark, often spewing up black bile or finding himself covered in blood. Meanwhile, Ben’s dog Milo disappears and later turns up eviscerated, and the neighbour from three doors down is discovered in waste ground at the rear of the property, having been torn in half.

Even in the lowest of low budget movies, it is incumbent upon the work’s creators to fashion a believable premise populated by credible characters and with realistic consequences to the incidents portrayed, none of which happens here. Instead, what occurs in the house appears entirely isolated from the outside world, in spite of a number of cameo appearances from various friends, relatives and official figures – including a dreadfully badly-staged news item in which the reporter introduces her piece with the announcement that it’s “9am in the morning”. None of the rather anodyne events depicted seem to penetrate the behaviour of the house’s occupants, with talk of a trip to the doctor and a visit from an apparent exorcist (possibly the least convincing performance ever committed to camera) coming and going with no real effect. Ultimately Ben’s progress into possession is never explored, explained or even exhibited with any sense of conviction.

In the end, characters appear and disappear (generally without any sense of loss, often thanks to the woodenness of the performances) until the film climaxes with one final, ultimately fatal attack – as betrayed by the nature of the movie’s introduction. And that’s it.

If writer/director Jason Mills had drawn an investigatory narrative with some clues to Ben’s condition, or if the plot had suggested even the most basic possibilities, the film might have been able to build a sense of reason behind what we witness. Unfortunately, it is entirely lacking in that department, and worth watching only for its likeable central performance.

Special Features: None

THE CHANGING OF BEN MOORE / CERT: TBC / DIRECTOR & SCREENPLAY: JASON MILLS / STARRING: UMBERTO CELISANO, SHANNEN MELISSA, COREY BEAULIEU, BRUCE NOVAKOWSKI / RELEASE DATE: TBC

 

A grindhouse-style revenge thriller, Revenge Is Her Middle Name is about Kat, a drug-addicted prostitute who has hit rock bottom. In a desperate attempt to turn her life around, she orchestrates a heist, hoping to nab herself enough money to leave her messed-up life behind and start a family of her own. When things spiral out of control, she is faced with a sadistic drug-dealing pimp named Mutton Chop, who is hell-bent on vengeance and orders a brutal attack on her which results in her getting gang-raped by her assailants. With nothing left but vengeance, she plans to exact it on her attackers, even if it means becoming as murderous as them.

This is sort of a quasi-homage to the bygone age of sleazy, nasty grindhouse exploitation films like Last House on the Left, yet also making this sort of a revenge thriller where the abused female exacts revenge on her male abusers. Yet unfortunately, Revenge Is Her Middle Name fails to achieve on both those levels, and ends being really sleazy and nasty and not in a good self-referential kind of way. In fact, it all just ends up being an unpleasant experience. It’s definitely true that Last House on the Left was a grindhouse film that was nasty, raggedy and unpleasant, yet it was an important film because of the time period it opened and that it had a very powerful message at the heart of it about how violence begets violence.

This film sort has that same message, except that it seems that the violence, gore, nudity and grossness was just there for the sake of shock value and to crank up the yuck factor, not to mention the fact that it’s gender politics are all over the place and that’s understating it. They try and go for the degrading visuals that has become acquainted with the grindhouse genre and has been replicated in grindhouse-homages since then, like Planet Terror, but here it just ends up looking boring, tedious and generally unappealing. The performances are incredibly wooden, and there is just little to no connection with the main character of Kat, who we’re meant to sympathise with, yet is completely a horrible person and there’s zero sympathy to have with her character whatsoever.

It’s like as if writer/director Anthony Matthews has no idea what he’s dealing with in terms of the subject matter he’s approaching, and it all just ends up looking like leery, sleazy, unpleasant exploitative frivolity and not in a good way. Shouldn’t we be putting all our adolescent exploitation/grindhouse memories behind us and just move on?

Special Features: TBC

REVENGE IS HER MIDDLE NAME / CERT: TBC / DIRECTOR & SCREENPLAY: ANTHONY MATTHEWS / STARRING: LISSA BRENNAN, DOUGLASS BELL, PAULA BELLIN, MICHAEL TODD SCHNEIDER / RELEASE DATE: TBC
 

On the one hand: one of the greatest horror films of all time (if not the greatest, depending on who you ask – and most definitely, if you ask me). On the other: some of the worst horror films of all time. To use the word ‘massacre’ in the title of your horror film comes with some baggage on both ends of the spectrum, then.

At which end does that leave The Redwood Massacre? It feels absurd to even mention The Redwood Massacre in the same breath as that other, more (most) famous massacre, but such is the weight of said baggage that Tobe Hooper’s classic is invoked nevertheless. While this low-budget homegrown feature isn’t even nearly in that ballpark, nor is it as bad as such rotten failures as The Texas Roadside Massacre or (shudders) The Bunnyman Massacre. Instead, it tells its own uninspired but effective story, doing just what it needs to pass muster without ever really surpassing that.

There are, sadly, exceptions which make the overall mundanity hurt even more – its murderous psychopath villain looks the part, rocking a burlap sack/dungarees combo that makes up for what it lacks in originality (how very early Jason Voorhees) with brutal effectiveness. Its torture-heavy scenes of gore and violence skew a little too much towards cruelty for the sake of cruelty to be enjoyed (for this viewer’s taste, anyway) but it is very well shot cruelty, all the same. There are even some smarts at play during the finale (which is said to have gone down a storm on the festival circuit) but not enough worth suffering through the terrible acting and script for.

Graced with some of the most irritating characters to ever get murdered on a screen – plus maybe the worst eyebrows ever seen in a horror film – it’s a film of very disparate highs and lows. What works does undeniably work, but what doesn’t really really doesn’t.

Special Features: None

THE REDWOOD MASSACRE / CERT: 18 / DIRECTOR & SCREENPLAY: DAVID RYAN KEITH / STARRING: MARK WOOD, LISA CAMERON, LISA LIVINGSTONE, REBECCA WILKIE / RELEASE DATE: JULY 27TH

Zombies have always been a bit of a boon to low-budget horror movies; they’re a cheap and simple way to scare the wits out of an audience without the need for complicated special effects or too much exposition. The problem is that they’re now so ubiquitous that a movie has to be rather clever and original to stand out from the mouldering horde of zombie features out there.

Its fortunate then, that Napoleonic monster movie Fallen Soldiers happens to be rather smart. The setting is rather interesting; it’s the 19th century and Britain is at war with the French. Anyone who’s seen an episode of Sharpe knows the score here; the French are the evil conniving baddies and the British are the plucky upstarts who are very good at over-the-top violence. In Fallen Soldiers, Napoleon’s forces have a sinister secret weapon, and it’s of the glassy-eyed shambling sort.

This is a costume and practical effects-heavy feature, and very much old school. There are a lot of low budget horror movies on the market and Fallen Soldiers has played it very smart with period props and careful use of its monsters. All the locations are fields, woodlands, camp fires and small enclosed spaces, giving a distinctive look to the piece that suits its setting.

Every penny can be seen on the screen, and the action scenes are tightly directed. Shortcuts have been avoided; instead a lot of work has gone into making each scene look strong, and though this is also a cost saving measure, it really does make the feature look good and gives the entire project a traditional horror movie vibe.

Of course, all the careful shots and choreography in the world would be for nothing if the acting was poor. Luckily, the main leads carry off the dialogue-heavy plot very well. The feature is framed as one person telling a story to a captive audience and, despite some over the top French accents, the main leads put in a strong performance.

Fallen Soldiers is a great low budget horror movie, with some strong talent and clever ideas. Nicely done, and we’d love to see what director Bill Thomas could do if he was actually given a budget.

Special Features: TBC

FALLEN SOLDIERS / CERT: 15 / DIRECTOR: BILL THOMAS / SCREENPLAY: BILL THOMAS, IAN THOMAS / STARRING: ROLAND BEARNE, ALEX BEVAN, EVE PEARSON / RELEASE DATE: JULY 27TH

 

Admire, if you will, the lovely and spooky cover of this half-baked British horror thriller. See the moody image of some ramshackle house in the middle of nowhere, surrounded by gravestones and with a bloody axe buried in a stump of wood. Then watch the film and wonder why not one of these things appears in the film which is, in fact, set in and around a mansion-like boarding school in the middle of the English countryside. This misleading practice is pretty much par for the course for the direct-to-DVD horror market and once again we’re promised a moodier and creepier film than the one we actually get when we press ‘play’.

We’re at the clumsily-named but rambling Dhoultham School where six promising students from local schools for posh rich kids, as part of their military training, are instructed to spend the night patrolling the building and its grounds. Unfortunately the building is in the process of being infiltrated by two inept Home Alone-style burglars intent on snaffling some of the School’s secret artefacts and, just to make the night really special, there are supernatural doings afoot. 350 years earlier a bunch of kids from the school entered into a terrible pact with the devil to preserve the School from the ravages of the Black Death sweeping across the country. Typically, they’ve chosen tonight to resurrect themselves and a Satanic figure is stalking the corridors too, looking for payback…

Unhallowed Ground isn’t especially awful but it’s also not hugely accomplished. The whole set-up is doomed thanks to an unconvincing and fairly lifeless script with settles far too often for awkward and unsubtle expositionary bouts of info-dumping, seriously dodgy acting, deeply unsympathetic characters and, worst of all, horribly unscary scares. Ghouls pop up now again with silly glowing eyes like extras from a 1980s Duran Duran video and only the manifestation of the Devil with his cowl and beak-like proboscis looks even remotely alarming – but possibly for all the wrong reasons entirely.

By the final act, just as our interest is draining away through our boots (other footwear is available), the film tries to muster up a few surprises as a couple of the characters turn out to be not quite what we’ve been led to believe (don’t worry about spoilers – you really won’t care either way). Sadly it’s too little too late to save a film which has been mostly marking time and failing to deliver even the most simplistic scares or shocks. But despite its failings, it’s occasionally quite smartly directed and Burglar No 1 Will Thorp is an agreeable enough psychopath. It still seems quite likely that the film advertised on the cover would have been a better bet though…

Special Features: None

UNHALLOWED GROUND / CERT: 15 / DIRECTOR: RUSSELL ENGLAND / SCREENPLAY: PAUL RASCHID / STARRING: ANEET CHANA, MARCUS GRIFFITHS, POPPY DRAYTON, WILL THORP / RELEASE DATE: JULY 27TH

Bernard Quatermass was always a very unorthodox and unlikely science fiction hero. Yet in the 1950s this middle-aged boffin working for the British Rocket Group, usually dressed in a comfy sensible overcoat, enthralled and genuinely terrified a post-War British TV public in three legendary BBC TV serials which made science fiction a respectable and legitimate form of television entertainment.

Twenty years after his final appearance in Quatermass and the Pit in 1959, Bernard returned to British TV for one more adventure in 1979. But this was to be a very different Quatermass in a story which, although written in the late 1960s for a proposed fourth BBC serial, absolutely reflects the worries and concerns of a grim, industrial decade riven by strife, unemployment, austerity and a growing sense of public unrest and despair. TV dystopias have rarely been as unrelentingly bleak as Quatermass, a story which again pits Bernard, now long-since retired and living in splendid isolation is Scotland, against a hostile and ruthless alien intelligence.

Somewhere in the last quarter of the twentieth century, a melodramatic voiceover tells us at the beginning of the first episode, “the whole word seemed to sicken… as if some primal disorder was reasserting itself.” Civilisation, it seems, is hanging by a thread. Law and order has gone to pot, the UK is on its knees, its population disenfranchised, its rubble-strewn, decaying streets ruled by vicious machine-gun toting thugs and muggers and power-cuts are common place. Bernard Quatermass comes to London in search of his granddaughter who, he suspects, has fallen under the spell of the hippy-like Planet People who believe that their destiny lies in the stars and that they will be transported to a harmonious new world. Quatermass meets up with scientist Joe Capp (Simon MacCorkindale) who is monitoring strange anomalous space transmissions from his countryside radio telescope tracking station. But when hundreds of Planet People congregating at a nearby stone circle known as Ringstone Round are vaporised by a beam of light, Quatermass soon realises that the planet is again under attack from some mysterious alien force…

Time has been surprisingly kind to Quatermass – helped, of course, by this stunningly sharp new Blu-ray transfer courtesy of Network. The four episodes not only encapsulate the concerns of the time it was made, but many of them seem just as relevant today as society becomes increasingly fragmented and directionless. Quatermass himself is no longer the figure of authority he was in his glory days; now he’s old and tired and he finds himself bounced between various factions as reports of similar cullings take place around the world lead him to realise the true scale of the disaster facing Mankind. There are echoes of the Torchwood mini-series Children of Earth in a story where the aliens – we never learn who they are or where they come from – regard Earth as a protein food source and have intentions which are far from benevolent.

Quatermass is wonderfully atmospheric stuff and Euston Films, who produced the series for ITV, made the most of their then-generous £1.25 million budget. Urban sequences look grubby and rundown, motorways are littered with abandoned cars and abandoned bodies and whilst it’s hardly an effects-driven piece, there’s something cold and chilling about the glowing beam of light which arcs down from the sky to turn the pitiful Planet People into dust. A sequence set in the now-demolished Wembley Stadium – and its terrible aftermath – is hauntingly realised and genuinely quite disturbing, the atmosphere turned green due to the sheer number of young people vaporised all across the world. John Mills invests Quatermass with a wonderful bewildered weariness and yet the old genius is never far from the surface and he retains the twinkling brilliance of his younger days when he finally assembles a team of scientists and works with them to suggest the only possible resolution to a dilemma threatening a battered Mankind. The finale is touching and dramatic as Quatermass saves the day one more time and, at last, there seems to be note of optimism for humanity amidst all the chaos and confusion.

Quatermass in 1979, as it was in the 1950s, is intelligent and thoughtful science-fiction for adults. It’s uncompromising – core characters are killed off dispassionately and apparently arbitrarily – and despite pacing issues which might leave a modern audience slightly restless it’s utterly gripping, immersive and, despite its provenance in the 1970s, surprisingly timeless if not timely. A slice of classic British genre television to cherish.

Special Features: Music only tracks for all four episodes / Episode recaps / Textless titles / Image gallery / Theatrical version restoration / Souvenir booklet

QUATERMASS / CERT: 15 / DIRECTOR: PIERS HAGGARD / SCREENPLAY: NIGEL KNEALE / STARRING: JOHN MILLS, SIMON MACCORKINDALE, MARGARET TYZACK, BARBARA KELLERMAN, BREWSTER MASON / RELEASE DATE: JULY 27TH

 

Somewhat like a rather gruesome cousin to Boogie Nights, Jimmy Weber’s striking and confident first feature takes a sideways approach to exposing the sordid underbelly of modern Hollywood, showing as it does so how nothing really changes. The angle Weber employs will not be easy to digest, however, and isn’t recommended for those not in possession of a strong stomach.

Meggie Maddock is Novella McClure, an aspiring actress whose aspirations have outstripped her accomplishments to the extent that she hasn’t had a job in three years. Settling into a rotating trap of failed auditions, late rent payments and alcoholic evenings out with her hairdresser friend Candice (Francis), Novella’s situation changes irrevocably when matters come to a head, causing her anxiety to spiral in a new, quite horrific direction.

Weber’s film is far more sensitive, amusing and incisive than the promotional materials might suggest, which is not to say that when we cut to the chase, the grisly stuff isn’t uncommonly grim. Novella’s angst manifests itself as a particularly severe blend of masochistic cannibalism, and Weber introduces this concept with enough subtlety and gives it enough screen time to evolve, that we already identify with Novella as her progressive self-harming begins. It’s to the credit of both actor and filmmaker that the character’s journey is so involving and so sympathetically presented, and it is perhaps the film’s biggest achievement that the scenes in which Novella gnaws at her own flesh aren’t considerably more alienating.

The reason for this might be the slightly dreamlike quality of the production, which allows Weber to create an already heightened sense of reality among the small cast of characters. As the film progresses, he introduces a number of escape routes for Novella – such as her relationship with Dr Simon (Make) – in every instance stifling her options, often in ironic and self-defeating ways, before they get a real chance to develop. The resolution is as shocking as it is inevitable.

Eat is not a film that will appeal to all tastes, however, and not simply for the obvious reason. Some of the characterisation leans a little too heavily towards caricature, and often the reactions to and consequences of events are left rather too open to interpretation for those who like their i’s crossed or their t’s dotted. There are on the other hand some lovely, low-key touches, such as the foreshadowing with landlady Eesha’s dog – and some less lovely (but blackly funny) moments, such as the canine’s post-credits appearance. Weber has also edited and scored the film, giving it a consistency of vision rare even among auteur filmmakers, and considering the restrictive budget he was working with, has produced what amounts to a minor masterpiece.

Compelling but niche.

Special Features: Trailer

EAT / CERT: 18 / DIRECTOR & SCREENPLAY: JIMMY WEBER / STARRING: MEGGIE MADDOCK, ALI FRANCIS, JEREMY MAKE, MARU GARCIA, DAKOTA PIKE / RELEASE DATE: JULY 27TH