There's good reason why I praise Joshua Kennedy as a filmmaker. As I indicated in my review of "The Return of Sherlock Holmes" (see March '17), Kennedy remembers--remembers the style and structure of movies of the past, and time and again, he recaptures their essence to an impeccable degree in each of his Gooey Film Productions.
Kennedy just released another marvelous example of his sterling skills (now present on YouTube) in his Pace University thesis project, "The Alpha Omega Man": a tribute to Boris Sagal's 1971 adaptation of Richard Matheson's "I Am Legend", about a "futuristic", vampire plague, or in this instance, a ghoulish, hippy-zombie sect that the dynamic hero, Robert Neville, seeks to destroy (and perhaps even cure).
Though "Omega Man" may not be the most faithful adaptation of Matheson's 1957 novel, it's considered among many (myself included) to be the most entertaining (and I guess, therefore, the best) version of the tale, from its Ron Grainer score to its astute inclusion of Charlton Heston.
Sagal's film has a memorable style, and because this style is so specialized, so iconic, it's ideal for spoofing, which is what writer/producer/director Kennedy does whenever the occasion arises, particularly through his gutsy, Heston impersonation. On the other hand, Kennedy's comedic flair never becomes nasty or snobbish, remaining respectably subtle and heartfelt throughout as he recaptures the moody, lonesome feel of the '71 original. He even allows Grainer's rousing score to saturate the atmosphere: a wise choice, indeed, that any "Omega Man" fan will surely savor.
The film also contains quality supporting performances, which includes Laura Laureano as Kennedy's spunky, leading lady (paying impressive homage to Rosalind Cash's legendary Lisa), along with Xander Pretorius; Nick Ries; Dexter John Scott; Traci Thomas; and good, ol' Femforce contributor, Mark Holmes in sturdy supporting roles. Kennedy's sister, Kat Kennedy, also empowers the action, giving a magnificent reinterpretation of Anthony Zerbe's Matthias, a ghoulish guru. Her performance comes across as steady, intellectual and creepy, adding an air of credibility to her interactions with not only Neville, but to those she rules.
What I always appreciated about the Sagal film was its emphasis on irony, which though prevalent in the other "I Am Legend" adaptations, rises higher in "Omega Man", accentuating the concept of Neville as a perceived monster among the actual monsters. Kennedy obviously understands this distinction and through a series of beautifully articulated scenes, emulates the idea that screenwriters John William and Joyce Corrington nailed so well decades past.
That Kennedy so expertly rekindled the original film's essence is just further proof of his talented sensibility. I can only image what he would do with a completely original, big-budget story in the '70s vein, for this film (like others he's produced) demonstrates his varied and masterful insight toward cinematic lore: the foundation upon which his greatness will assuredly expand.
I highly recommend fans of the original film to give this one a whirl, and even if one hasn't seen the Sagal movie, "Alpha Omega Man" is still worth a view: a guaranteed, slick, fast-paced hour of fulfillment by an extraordinary, up-and-coming filmmaker.
You can view "Alpha Omega Man" presently at...
https://www.youtube.com/watch?v=Pt3bdvtoVpE. Trust me, folks, you won't be disappointed.
Writer/Director/Producer Joshua Kennedy has done it again (see March '15: "From Earth Sand to Space Sand...Voyage to the Planet of Prehistoric Teenage Women"), and this time he's given us a rousing Hammer Horror tribute..."Dracula A.D. 2015"!!!
Filmed on location at NY's Pace University, this Gooey Film Production not only pays homage to the obvious "Dracula A.D. 1972", but offers a generous seasoning of "Taste the Blood of Drac" and "Horror of Drac", plus a smidgen of "Night Stalker" and "Count Yorga--Vampire". To nurture its Hammer ambiance, the film even shares the likes of Mike Vickers and James Bernard's mood-setting music and supplies impressive acting: something one isn't likely to find in most amateur productions. (Actually, for an "amateur" film, this one is pretty darn professional, with colorful cinematography and perfectly calculated humor and thrills.)
The plot unfolds just like "Drac '72", with an ascending jet-credits nod after an ominous prologue; also, Hammer character-name references are aplenty as the story builds (a sweet treat for those in-the-know).
Professor Terence Fordyce (Joshua Kennedy, deftly filling Peter Cushing's shoes) arrives at the university to lecture on the Count and is greeted by his lovely sister, Jennifer (Kat Kennedy). It just so happens that Jennifer's instructor, Ingrid Stensgaard (Bessie Nellis) is also quite the Drac connoisseur, as well as an unscrupulous supporter of the eternal fiend. Hosting the professor may not have been her best choice, in this regard, since he's well versed in supernatural detection and a recent death at the college insinuates a vampire attack.
Nonetheless, Stensgaard is appreciative of the professor's presence and elevates her devilish mood by tempting her students (in the good ol' Ralph Bates vein) to participate in a blood-splattered conjuring...if only for "a giggle". As should come as no surprise, the demonic experiment resurrects the "Prince of Darkness".
Dracula (Xander Pretorius, channeling Christopher Lee's towering air of menace) seizes the scene, manipulating, seducing and adopting a new disciple: custodian Thorley Ripper (Jeremy Kreuzer, who even tosses some Dwight Frye into his maddening performance). The Count's other disciples/victims also prove engaging and equally capture the Hammer flair: Cody Alvord as Andrew Carson; Hannah Rose Ammon as Caroline Monlaur; Clare Daniels as Gina Melly; Jake Williams as Joe Mitchum; and Madelyn Wiley as Diana Farmer; with the charming Caroline Munro gracing us with an audio cameo.
As the danger elevates, Fordyce's Van Helsing-like diligence leads him to a face-to-face encounter with the Count. The action then reaches fever pitch, leaping to a sweeping climax (charged by two clever, back-to-back chases) that will tingle the heart of any Hammer fan.
I enjoyed "Drac '15" so much that I initially wished it had lasted longer, but why pad perfection? Kennedy has created a tight, smooth entry, succeeding in capturing Hammer in a way that (dare I say it?) the studio's current incarnation hasn't yet accomplished. A boatload of credit must be given here, and I anxiously await Kennedy's next cinematic effort. Whatever it may ultimately be, I'm confident he'll once more nail the proverbial stake through the heart.
(Presently one can view "Dracula A.D. 2015" on YouTube and Facebook. Just search for it by title on either source.)
