Continuing my pledge to spotlight the creative forces behind next week's release of the promisingly-raunchy Barely Legal, here's another inmate profile, though shrouded in a tad bit of mystery. Naomi Selfman, the scribe behind this impending laugh-riot, has written half a dozen films for The Asylum, yet there's virtually no information about her online. This picture is the best I could find, and I only found that when out of frustration I Googled "mystery woman." Could be that "Naomi Selfman" is a pen name for another writer, or it could be that Ms. Selfman is just a digitally private person? Either way, the only purported sighting of her is said to come in the making-of featurette for her first script for The Asylum, the horror film Evil Eyes, but I didn't have immediate access to that when I wrote this.
Whoever she is, Ms. Selfman has time and again illustrated her ability to work across genres - be it horror, comedy, sci-fi or creature features - and turn in compelling, convincing, empathetic and exciting stories every time out.
After Evil Eyes, Ms. Selfman took a four-year hiatus from screenwriting before contributing the story for the Faith Films epic 2012: Doomsday. Since then, it's been full-steam ahead for Ms. Selfman, writing five scripts in two years: the other raucous sex comedies 18 Year-Old Virgin and #1 Cheerleader Camp, the two biggest creature features of the last year, Mega Shark vs. Crocosaurus and Mega Python vs. Gatoroid, and of course, Barely Legal.
I've got a lot of favorites when it comes to The Asylum - that should be annoying obvious by now - and the work of Ms. Selfman is among them. As a writer (A Haunting in Salem, out 10/4/11), I'm envious of her versatility; as an Asylum freak, I'm excited every time her name pops up.
Get excited with me next Tuesday, when Barely Legal pops up on DVD.
This film marks a pair of big debuts: not only is it the first film directed by Mark Atkins (Battle of Los Angeles, Haunting of Winchester House, Halloween Night, etc.), it is also the first film written by Naomi Selfman (Mega Python vs. Gatoroid, #1 Cheerleader Camp, upcoming Barely Legal).
And as debut go, on both accounts, Evil Eyes is a good showcase of two burgeoning talents destined for B-movie greatness.
When a screenwriter (Adam Baldwin, "Firefly") is hired by an ominous producer (Udo Kier, Andy Warhol's Dracula and Frankenstein, Suspiria, Ace Ventura: Pet Detective) to write a film about a real-life slaughtered family, things get fer-reaky when the grisly murders he scripts begin to happen in the real world.
I was surprised to find this film much more cerebral than I expected. That's not a slam or anything, I just expected a high-octane relentless assault of gore and violence, and what I got was a suspensefully-paced intellectual thriller with supernatural undertones.
Adam Baldwin as the screenwriter was his usual gruff, gritty, and unapologetically-independent self. And just as this attitude made him a formidable space mercenary, it is also an appropriate balance of brashness and swagger for a big-time Hollywood screenwriter (I don't actually know any to verify this, but I trust what the movies tell me about the people who make them.).
As for Udo Kier, what can I say about this true cinematic treasure that hasn't been said a million times before? I don't know what it is - his creepiness, his charm, his thick accent, the copious amounts of turtlenecks he wears - but there's something about this guy that have always liked; he's like a European Steve Buscemi. Here he inhabits the role of producer as militantly fragile, commanding but not in command, if that makes any sense whatsoever. He might be a little stiff in scenes, but his mere presence makes a scene foreboding, so, mission accomplished.
Rounding out the cast is a Ms. Jennifer Gates as AB's long-time GF. This was Ms. Gates first film as well (and in fact one of only two features she's been in), but she never came across as a rookie to me, holding her own in scenes with the more accomplished actors. She played the part as diligently doting but never docile; she was sweet, demure, dangerously devoted and overall endearing.
In a nutshell, then, I found this one to be an great concept - a kind of In The Mouth of Madness Asylum-style - that builds its suspense well, is always thrilling while not resorting to the cheap and easy scares, and is definitely a smarter-than-average-axe-murderer-movie. The film is subtle, restrained and savvy, in script and direction. Add some truly inventive kills and well-developed characters and the result is an above-average thriller. If it was my studio, I would have given Atkins and Selfman copious work as well; these two are true All-Stars.
What else can I say? Let's see...there are shades, in my opinion, of Lost Highway, to the point the word "Lynchian" is even in the script, and it totally works in this surreal, cerebral, non-linear-yet-frightening-cohesive film.
There are hidden gems in the Asylum's catalog, and I fell as though I may have just discovered the brightest one.
Continuing my pledge to spotlight the creative forces behind next week's release of Mega Shark vs. Crocosaurus, here's another inmate profile, though shrouded in a tad bit of mystery. Naomi Selfman, the scribe behind this impending classic, has written half a dozen films for The Asylum, yet there's virtually no information about her online. This picture is the best I could find, and I only found that when out of frustration I Googled "mystery woman." Could be that "Naomi Selfman" is a pen name for another writer, or it could be that Ms. Selfman is just a digitally private person? Either way, the only purported sighting of her is said to come in the making-of featurette for her first script for The Asylum, the horror film Evil Eyes, but I didn't have immediate access to that when I wrote this.
Whoever she is, Ms. Selfman has time and again illustrated her ability to work across genres - be it horror, comedy, sci-fi or creature features - and turn in compelling, convincing, empathetic and exciting stories every time out. After Evil Eyes, Ms. Selfman took a four-year hiatus from screenwriting before contributing the story for the Faith Films epic 2012: Doomsday. Since then, it's been full-steam ahead for Ms. Selfman, writing four scripts in half as many years: the raucous sex comedies 18 Year-Old Virgin and #1 Cheerleader Camp, and, most noteworthy and the reason we're here, now, Mega Shark vs. Crocosaurus. As though this last job wasn't esteemed enough, Ms. Selfman also wrote the screenplay for the equally-anticipated Mega Python vs. Gatoroid.
So what does this mystery woman mean to MSvC? Well, if nothing else, it means at least this time out the jokes will hit. There were a lot of comic lobs set up in the first one, but, let's face it, very few of them scored. Whatever she's done with the script, the fact that she was shortly thereafter picked to pen The Asylum's other marquee attraction of the next year (MPvG), means the partners have great faith in her ability to deliver an action-packed, thrilling, amusing and entertaining creature feature. And their faith's good enough for mine.
Check out Ms. Selfman's script bring the goods ONE WEEK FROM TODAY!!! That's right only seven more days stand between the world and Mega Shark vs. Crocosaurus. Come back here for my review this Friday, then come back again next Wednesday, the day after MSvC's release, for THE BIGGEST, MOST EXCITING POST IN COMMITTED's HISTORY!!! For real.
