EXCLUSIVE Interview with "Trailer Park of Terror"'s Nichole Hiltz and Director Steven Goldmann

(Stevn Goldman, far left, and Nichole Hiltz, center, at the Philadelphia Film Festival for their film "Trailer Park of Terror").

At the 17th Philadelphia Film Festival I got the chance to chat with the director, Steven Goldmann, and star, Nichole Hiltz, of the upcoming humorous horror flick "Trailer Park of Terror".

Part of the Film Festival’s Danger After Dark (aka DAD) series, "Trailer Park of Terror" is a countrified entertaining thrill ride. Goldmann who’s directed hit music videos for stars like Bruce Springsteen, Shania Twain and Faith Hill, makes his second feature length film.

Nichole Hiltz plays the lead, Norma, a Southern Trailer Park killer. With numerous supporting roles on hit films and TV shows like the FX hit series, "The Riches" and is to star in the upcoming USA Network show, "In Plain Sight".

Based off of the popular comic book series that started in 2002, "Trailer Park of Terror" captures much of the comic’s essence.

Quite a leap from country music videos to comic book horror, Steven Goldmann was drawn to the film because, “After the Kelly Preston family film Broken Bridges and country music videos, my fear was that I was going to get pigeonholed. I didn’t pick music videos, they picked me. I wanted to take my career in a different direction.” He also added, “With this I was able to build something from the ground up and make it appeal to a wider audience.” Nichole Hiltz joined onto the project for most of the same reasons. In a role that would have most actresses’ running in the opposite direction, Nichole took the role of Norma saying, “I’m ballsy and not scared. Truthfully, at first, I didn’t want to take the role. It was risky and could have killed my career if it wasn’t done right. It was the teen Norma and her back-story, seeing where she came from, that really drew me in. The first draft was much darker and tragic. It is every actress’ dream to play a comic book character.”

Originally created as a horror anthology Goldmann said, “No one wanted an anthology. They have a history of not doing well. Exceptions are Tales from the Crypt and The Twilight Zone which had bigger followings. Trailer Park only has a cult following of 500,000 readers an issue.”

According to Goldmann the filming took a brief 18 days, “On the last four days I was rushing through it on a golf cart going through the three sets that we had running. I would never want to experience something like this again because I am a perfectionist. I wish I had more time on some things, but overall I am happy on how it turned out.”

Nichole also felt the stress being a lead actress, “There is a lot more pressure to carry a film. You either go for it or not. As they say there are no small parts and you have to commit to everything.” Hiltz also took a lot away from the production. “This is the first time I had to stick up for a role. Being cast as a female horror character is different and difficult in an almost all male cast. I had to put my foot down. Norma is my baby.”

Finally when I asked if they had plans for us to see more of Norma and friends in the future? “I have every intention,” says Steven Goldmann, “This is the first movie in a while that has memorable and marketable monsters.” Nichole Hiltz already seems up to the challenge of reprising the role, “I hope for a sequel. I will fight anyone who tries to take her away from me.”

For more on the comic and film "Trailer Park of Terror" visit www.trailerparkofterror.com

'Shutter' should click with horror fans

**1/2 out of ****

Does the thought of another foreign horror remake make you shudder? Well, fortunately there is "Shutter," one of the best in recent memory. The profitable Asian horror-remake phenomenon took off in 2002 with the wildly successful "The Ring" and "The Grudge," but has since crashed with this year's "One Missed Call" and "The Eye."

"Shutter" manages to standout with a complete, sensible and suspenseful storyline, which makes up for the lack of scares. What's the common everyday technology we should fear this time around? A camera. Produced by the makers of "The Ring" and "The Grudge," Rachael Taylor from "Transformers" plays the role of Jane Shaw, taking the place of Naomi Watts and Sarah Michelle Gellar as our blonde leading lady. The movie starts on Jane's wedding day as she and her husband, professional photographer Benjamin (Joshua Jackson) prepare for a quick move to Tokyo, where he is renewing his career with a company he worked at two years ago.

After developing his first photo-shoot assignment, all of the pictures appear ruined by orbs of an unknown light source. The same quirk materializes on pictures from their honeymoon and tourism shots. While Benjamin thinks it is a camera problem, Jane believes it's a supernatural event after seeing a ghostly young Japanese woman (Megumi Okina) suddenly appear and disappear throughout her day. As Ben becomes immersed in his work, Jane tries to figure out why she is having ghostly hallucinations. The photos are "spirit photos" according to Ben's assistant, Seiko (Maya Hazen), knowing this because her ex-boyfriend, Ritsuo (James Kyson Lee), coincidentally operates a magazine featuring "spirit photos." This is one of the big plot-turning coincidences that occur in "Shutter."Learning from Ritsuo that the photos are trying to communicate, Jane tries to figure out what that message is before it is too late. Benjamin begins to see the woman, and his friends Adam (John Henley) and Bruno (David Denman) also detect her, with knowledge of who she might be.

As the mysterious light in the photos becomes a clearer image and the sightings turn into violent physical attacks, the newlyweds must find a way to end the manifestations before death do they part.

"Shutter" has a solid story with fairly reasonable explanations. Still, why the photo ghost can also appear physically outside of the pictures is a head-scratcher.

The young actors play their parts with intrigue -- though "Dawson's Creek" star Joshua Jackson seems absent and uninvolved in most of his scenes. Taylor does an effective job for the majority of the film but is static at times. The supporting cast holds up the film but does nothing spectacular to improve upon it.

Staying true to scary Asian remakes, writer Luke Dawson keeps the same imagery of the original 2004 Thailand version, but tones the plot down. Masayuki Ochiai directs the film with style but forgets how to leave the audience spooked. Even at the feature-length run-time of 85 minutes, it seems to drag a bit.

"Shutter" certainly works as a thriller, but not as a horror flick mainly because the camera shies away from gory parts and scenes that are too frightening to maintain a PG-13 rating.

For thrills without shrills, "Shutter" will definitely click for you.

*** out of ****

Just when you thought it was safe to go back to New York City after Will Smith fought off the zombie-inducing virus in December's "I Am Legend," the Big Apple is in peril again in the new monster flick "Cloverfield."

"Cloverfield" took America by surprise as a trailer screened before the mega-hit "Transformers." From there it has turned into an Internet sensation that will meet most expectations.

Shot entirely with a hand-held camera, "Cloverfield's" bouncy thrill ride will divide audiences. While it is steadier than "The Blair Witch Project," the first film to find success with this technique, take heed of this warning: Don't sit in the first row.

The story: We are watching a government classified tape found in Cloverfield, the code name for what was Central Park. The story centers on Jason (Mike Vogel) and his girlfriend, Lily (Jessica Lucas), who are throwing a surprise party for Jason's brother Rob (Michael Stahl-David). Rob is moving to Japan for a new job.

At the party, Rob's best friend, Hud (T.J. Miller), is taping testimonials from Rob's friends, but seems to be giving most of the camera time to Marlena (Lizzy Caplan), who is on the way out to meet other friends. She doesn't quite make it, as the building they're in gets jolted while Manhattan comes under attack by a skyscraper-size monster.

It's a straightforward story, but confusion sets in as these terrorist-like events unfold. Instead of evacuating the city, Rob enlists the partygoers to scavenge through the mayhem with the hope of rescuing his former girlfriend, Beth (Odette Yustman), who cut the party short with her new beau, Travis (Ben Feldman).

As Hud continues to document the journey, we feel part of the hunt. We get glimpses of the monster throughout the film and can piece together that it looks like a reptile that walks on all fours with a tail large enough to whack down anything. For added terror, it spawns giant spider-like friends as well.

The cast of relatively unknown actors adds to the reality of the film. Add to the mix terrific special effects and the low $25 million budget is surprising.

"Cloverfield" definitely has the J.J. Abrams touch and will have viewers glued to the screen.

Drew Goddard wrote, or at least outlined, the screen play for the largely improvised film. Matt Reeves takes his second stab at directing after his 1996 comedy debut "The Pallbearer."

A unique thing about "Cloverfield" is that unlike "Legend" or other horror flicks, the scares produce themselves with the high-tense realism of the situations. One scene that will certainly produce shrieks is the one at the subway station.

"Cloverfield" also plays up some fears reminiscent of 9/11, with clouds of dust billowing down Manhattan streets and an eerie scene where skyscrapers are crumbling in the distance. Another great scene to look for is the head of the Statue of Liberty rolling down the busy streets of New York City.

"Cloverfield" is a refreshing look at monster films and a reminder of Hollywood's originality. Next time, let's hope the director remembers to bring a tripod along for a smoother ride.

Definitely miss this 'Call'

* out ****

"One Missed Call" is the first film of 2008, but starts the year off with the wrong number.

Shannyn Sossamon ("Dirt," "Moonlight") gives an uninspiring performance as the fearless heroine, Beth Raymond, in a role that we've seen in horror films time after time.

The plot is simple: Beth's friends are all dying around her in tragic accidents after receiving a cell phone call. When her friends hear their missed call's voicemail, it is the sound of their death. The call is listed two days later at the exact time of their death sent from the cell phone of a person that died before them.

In the 48-hour doomsday waiting period, Beth's friends tell her how they start hallucinating, seeing insects crawling about and decomposed faces as a reminder of their end of days. When found dead they all have a red hard candy found in their mouths.

The cops don't believe Beth's claims, since after the deaths the messages are erased.

Police officer Jack Andrews (Edward Burns), our second hero, assists Beth after his own sister becomes a victim of the cursed call.

When Beth gets her own fatal call, however, she and Jack spelunk through eerie buildings and investigate through newspaper and police archives to find the origin of the voicemails and a way to save Beth before anyone else gets the killer call.

"One Missed Call" is dull and boring, failing to provide at least one genuine moment of fear. It also follows the patterns of similar themed films such as fellow Japanese remakes "Pulse" and "Dark Water" (both not much better). "Call" also raises many questions. Why listen to the message if you know the outcome? This question never dawns upon Beth and her friends. Instead the movie continues with their destiny, which leaves the characters and audience not very surprised with what happens next.

Since they can't cancel their phone plan (through Boost Mobile, the only company that lent its name and product), they do destroy their phones, but this doesn't seem to stop the vengeful spirit.

Giving the best performance of the film is the usually reliable Burns, who sleepwalks through his part as Jack.

This is the first American film for French director Eric Valette, whose directing style is either formulaic or got lost in translation with the common close shot angles for chilling jump scenes that got more of a laugh than a yelp. Screenwriter Andrew Klavan ("Don't Say a Word") has some good ideas but seems to have forgotten the elements of common sense and an ending.

The best moment of the film happens during the first few minutes when victim number one meets her fate by the ghoul, but seconds later the ghost reappears and takes the life of her cat.

This is when the cracks start to show -- did the cat also receive a voicemail?

With failed attempts for the film trying to explain itself, especially the connection between the characters and the curse, "One Missed Call" is definitely one to hang up on.

A Bloody Good Show

** out of ****

Premiering on Broadway in 1979, Stephen Sondheim's macabre musical "Sweeney Todd: The Demon Barber of Fleet Street" (adapted from Christopher Bond's play of the same name), makes it to the big screen 28 years later -- just in time for Christmas.

Directed by Tim Burton, Johnny Depp plays the title role in his sixth collaboration with the director and fifth collaboration with female lead Helena Bonham Carter.

Revolving around the themes of revenge, murder, poverty and cannibalism, this sure isn't "Mamma Mia!"

Set in a dreary 18th century London, "Sweeney Todd" tells the infamous story of Benjamin Barker (Depp), a barber, wrongfully accused and sent away by Judge Turpin (Alan Rickman) with the help of his sailor friend, Beadle Barnford (Timothy Spall). Turpin's motive is to get to Barker's wife Lucy (Laura Michelle Kelly) for whom he longingly covets.

Returning 15 years later to London with the alias Sweeney Todd, Barker hopes to be reunited with his wife and daughter and to seek out revenge on Turpin and Barnford.

Sweeney Todd opens his barber shop above Mrs. Lovett's (Bonham Carter) Meat Pie Shop, which she sings about in "The Worst Pies in London." Lovett and Todd partner in a heinous relationship. Upstairs, Todd slits the throats of his customers, while downstairs she'll fillet their meat into her pies. Sweeney lures his customers with a guarantee of "the closest shave you'll ever know."

Being sidetracked from his main goal and with the body count piling up, Todd is driven to exact revenge with nothing to stop him in this dark musical.

While with most films you wish the second half could have been as good as the first, the opposite holds true for "Sweeney Todd."

Finally gaining momentum after a sleepy first act, the film maintains a high energy until the satisfying end.

Burton orchestrates the stylized, large-scale production, having the camera zoom up and down the streets of the gloomy London landscape to establish much of the film's mood in a way that is eye candy for the viewer. Many kudos go out to the cinematographer, set designers and costume and make-up departments. Most of the film looks black-and-white. Until, of course, the blood gushes out in Tarantino-like quantities, looking almost cartoonish, to create an outstanding visual effect.

Johnny Depp, looking similar to his "Edward Scissorhands" character (his first film with Burton), is magnificent as Sweeney Todd in an award-worthy performance. He displays a strong singing voice.

The big surprise is Bonham Carter with some of the best lines in the movie. Her voice is soft, elegant and tuneful, but can't overcome the comparisons to Angela Lansbury's performance on Broadway.

The supporting cast keeps the film afloat. One surprise is a small role played by Sacha Baron Cohen as a faux Italian shyster.

Barely a word not spoken in song, Sondheim's lyrics are clever and witty for the most part, but the lines played just for laughs fall flat.

While "Sweeney Todd" is a musical, it isn't one for the whole family.

Like Mrs. Lovett's meat pies, "Sweeney Todd" is an acquired taste.

Almost 'Legend'ary

*** out of ****

Is it me or does every film set in the future have some sort of apocalyptic theme to it?

In "I Am Legend," the desolation is set in not-so-far-off 2012. From the first few scenes of the movie it is not hard to tell that something huge has happened to New York City.

Will Smith stars as Robert Neville, the last man alive in a deserted Manhattan. Weeds are growing out of the streets, the Brooklyn Bridge is dilapidated, lions and other zoo animals are prowling about, but everything else lies still. Come nighttime, however, the streets are alive -- or to be more precise, undead.

How did this come about? We cut to one of many appropriately placed flashbacks. It is 2009. While things look normal, there are some alarming changes taking place -- gas hitting a bit south of $7 per gallon and a cure for cancer has been found. The miracle cure's side effects, however, are more than just a headache.

The people given the revolutionary cure develop a virus, eventually turning into creatures that look like zombies with hairless pasty-gray skin and dilated pupils. Their vampire-like characteristics include feeding on blood and burning in the light. These primitive and aggressive people are called "dark seekers." The virus is transmitted through the air and during attacks from the monsters.

Neville, a scientist who helped with the cure, leads the chaotic evacuation/quarantine for New York City, aka ground zero. Events go terribly awry when his wife and daughter die along with others as the unstoppable virus wipes out humanity.

Immune to the virus, Robert's only companion is his dog Samantha. Living in a barricaded safe house, Robert works hard to find a cure for the virus using his immune blood when he's not out searching for survivors. He also broadcasts signals on the radio alerting possible survivors about where to meet up with him.

Racing against the clock to find a cure, with the dark seekers waiting for him to make a fatal error, the supposed "last man on earth" may not be alone after all.

Based on the 1954 novel by Richard Matheson, "I Am Legend" is the third film incarnation. The first was 1964's "The Last Man on Earth," starring Vincent Price, followed in 1971 by "The Omega Man," starring Charlton Heston.

The opening special effects are impressive. Seeing a deserted, rundown New York City with wild animals racing between abandoned cars is a spectacle. Later scenes are dicey at best. The dark seekers are effective but look as if they belong in a video game rather than a big-budget sci-fi horror film.

As far as acting goes, the one person that gets the credit (and there really only is one person to give it to other than a loveable dog), is superstar Will Smith. Smith is brilliant and makes "Legend" captivating. Showing paranoia, fear, loneliness and the willingness to survive and strive for a cure, Smith captures the audience's hearts as the hero, but also as a villain for having taken part in the virus' creation.

This is the second feature film for music-video-directing star Francis Lawrence. His first film was the passable comic book adaptation of "Constantine." While "Legend" is an improvement (Lawrence shows that he can create effective atmosphere full of many heart-racing, seat-jumping scary moments that leave shivers), Lawrence still needs to work on covering plot holes.
Most of the questionable consequences of a disaster you can shrug off, but you can't help wondering how there's electricity with no generators.

Not quite legendary, "I Am Legend" does make a name for itself.