Absolute Evil

It was a great surprise to see ABSOLUTE EVIL at the Berlin Film Festival. At first I had reservations, because I did not like Lommel's recent horror flicks. But with this thrilling and inspiring film noir he returns to the formidable strength of his earlier works like BOOGEYMAN and TENDERNESS OF THE WOLVES. I overheard people at the festival in Berlin comparing it to Quentin Tarentino's work, some even suggested it was a rip-off, but I totally disagree. ABSOLUTE EVIL is one of the most entertaining films I have seen in a long time, but you need to have brains and be able to speak English fluently in order to enjoy this film. It is not a dumb horror flick. The story is about love, forgiveness, redemption and revenge. And David Carradine as aging gang leader is a special treat. When the film is released, try to watch the original version. Highly recommendable!

German film director Ulli Lommel dedicates this abortive flick to his mentor, the well-regarded Rainer Werner Fassbinder. Though Fassbinder is probably turning somersaults in his grave at the idea of being associated with this cinematic tripe, the dedication is instructive in knowing where Lommel's head is at. Lommel, who has operated out of the US for decades, continually tries to gain some recognition in his own country as a genuine auteur. But the Germans think he is a joke. ABSOLUTE EVIL absolutely will not help his reputation, either, which has bottomed out after he aggressively directed a rash of poor horror movies, such as KILLER NURSE, DUNGEON GIRL, THE TOMB, and GREEN RIVER KILLER.

ABSOLUTE EVIL is the work of an artist who has no original ideas and so imitates what he believes will sell -- a bit of horror here, a bit of western "homage" there, and other bits and pieces of ideas from other movies. The film, which looks like every other Lommel movie and is shot on a camcorder -- is a junker of a movie that ka-clumps along in tiresome fashion, made with the conviction of people who possibly had a large mortgage to pay off. The movie may attract you because of David Carradine's presence in an undistinguished cameo role.

In this revenge story, a young woman chases down the killers of her car mechanic father with the help of a boyfriend, who may have helped the killers.

Lommel also wrote the banal dialog that is painfully under-rehearsed by the actors, and prior to its screening at the Berlin festival, he touted this production as more substantial than the progressively awful wave started in 2004 with ZODIAC KILLER. However, even with a little extra money in the budget, Lommel defaults to his trademark poor camera-work, one-take direction, terrible acting, slow pacing, and disjointed editing. In the style of all Lommel films, footage is repeated ad naseum and to the point of distraction. Worse of all, he gets a lousy performance out of Carradine! What a sad waste this is.

"I only want you to love me" is the title of a Fassbinder movie. Ulli Lommel, who once was Fassbinder's partner in many movies, seems to have adapted this slogan for his main characters.

Whether it's his cult hit "Tenderness of the Wolves" (1973) or his bizarre serial killer series with Lionsgate in the U.S., all his main characters seem to scream the same desire.

In "Absolute Evil" David Carradine, who plays the angry leader of the 17th Street gang, yearns for love, but doesn't know how to give it. The film is an homage to all film noires, all suspense thrillers, especially from the 1940s. The story moves along like a cool spider web, slowly but steadily grabbing you by the tail and sucking you up in its horrific universe of revenge, torture, redemption and murder.

It's one of the best indie low-budget films I have seen in years. How the hell can I get my hands on a DVD? Who's releasing this gem?

Absolute Evil is Carradine's best film since Kill Bill. And that is strange, because Absolute Evil is very much along the lines of Tarentino's narrative. The good becomes the bad and the bad turns good. Evil is a complex force in this fascinating twist of film noir and horror film and suspense thriller. The film itself is a love declaration to the horror genre, and pumps new life in it. And Ulli Lommel, who also wrote and directed, is terrific as the Private Eye that tortures a killer. The film is short and sweet. 80 minutes of inspired suspense, and a total departure from Lommel's previous low-budget true-crime horror flicks.

This is simply a beautiful film to watch. The characters are all believable and the story is true love equates redemption. David Carradine is spectacular and I left the film wanting more of him. The 2 leads, unknowns, will not remain unknown for long. The chemistry between the two was palpable. Caroyn Neff,lovely and petulant at times works her favor upon Rusty Joiner and I actually wondered if these two were an item. There is a "montgomery Cliff" type of sadness that Joiner brings to the genre and I actually felt as though I needed to embrace him...He is easy on the eyes in a Brad Pitt way, as well. Ulli Lommel's cameo sets the record straight that the man still has it. I'd love to see him star in a film. There is a screen presence that is stellar. He plays an aging hit-man with conviction and just a hint of tongue in cheek attitude. I will certainly buy this film when released, but I am hoping to see it again on the big screen here in the U.S. Anyone who his loved and lost cannot help but identify with this film.