Alyce

What is this movie about? It's about a chick who goes crazy. Or---who was not right in the head in the first place and circumstances pushed her over the edge.

The first part of the movie has Alyce and her best friend Carroll out on the street late at night. They're both drunk having a public heart-to-heart. Why? After meeting up with her boyfriend earlier at a bar, Carroll found out her boyfriend Vince is cheating on her. Later, they arrive at Alyce's place and consider making out (sorry guys, that went nowhere). Then Carroll suggest that they go out and get drugs. This they do. Later Carroll winds up in a hospital. All of this eats up about 20 mins of the movie. The next part is about how Alyce copes with her sense of guilt. She's a nervous wreck and seeing things. The movie seemed like a ghost story at this point to me. To help her cope, Alyce goes back to the same drug dealer she and Carroll went to earlier to buy drugs. Her behavior gets even weirder.

The movie is about a hour and a half. By the last half hour Alyce has totally flipped and the movie doesn't appear to be a ghost story anymore but about a psycho bitch. The ending is so over-the-top in terms of the story and violence, that it becomes a kind of "horror comedy" whereas earlier it seemed like a serious offbeat psychological thriller. Finally, all I can say about this movie is that it's a curious mix of style and content. Subject matter includes: drugs, drunkenness, masturbation, necrophilia, rough sex, butchery (only the last item was explicit). As far as the style goes, it seemed light at first (where's this thing going?), then serious (Damn!), then both light and serious (Huh?) Love, Boloxxi.

Alyce is a strange kind of flick. It isn't that easy to say what kind of genre this really is. It starts as a normal flick that changes into a ghost story to turn into a mobster kind of story and finally in pure horror.

Jay Lee, the director already made a few horrors like The Slaughter (2006) and the much more known Zombie Strippers! (2008). So he clearly knew his stuff. But this time the flick doesn't start immediately with horror. The first 20 minutes you really get to know the two main characters, Alyce (Jade Dornfield) and her best friend Caroll ( Tamara Feldman as seen in Hatchet). But Alyce is the ice queen and doesn't like what she is seeing. After becoming very dark she pushes her best friend off the wall by accident. Thinking she's death she informs the police what happened with a lie. But then the police tells her her best friend isn't death. From there on Alyce becomes paranoid (the ghost part) and do needs drugs like she used to take with Caroll. While taking drugs she's really losing her mind and goes berserk. Once that happens this flick turns into a pure gory horror. And by that I mean that it isn't for the easy offended or the squeamish. Gore hounds will love the last part of Alyce. But by going over the top with the gory parts it even comes close to comedy. The way Alyce reacts is sometimes a bit funny.

On part of the gore the effects used are sublime. It really becomes messy. And just have a look at the faces being hurt, it really looks like the real stuff. Sadly by being a slow starter and dropping a bit down in the middle of the flick I can't say that I recommend it to the gorehounds. They just have to watch the final.

Jade Dornfeld did an excellent job here. She's really believable. I must say that I loved this more then Zombie Strippers! because you keep watching and really want to know what is going on with Alyce. But the problem is that the distribution of Alyce wasn't that good. It was out on the shelves for a while but didn't had any promo in specialized mags and nowadays it is almost unfindable in the shops but do search it on the web. It's worth your money. This was a big surprise for a horror buff like me.

Gore 4/5 Nudity 1/5 Effects 4/5 Story 3/5 Comedy 1/5

Decent thriller w little dark comedy .Lead charac ter does a great job as a obsessed friend who goes off the rails.

I'm not gonna compare this in terms of significance with a movie by Polanski or how good/bad it is side by side to it. But there is something in there that reminded me of that one particular movie. Better to aim high, than just copying anyone I guess. The movie of course will be repulsive too. It might not turn out the way you expect it too. As other reviewers have stated, it does change pace a few times. But in my estimation it does work quite nicely.

Since I didn't read anything about the story before I watched this (as always), I was pleasantly surprised that the movie was not as simple as the cover would suggest (at least the German cover). The insanity that ensued is not without flaws and it is a bit explicit (in terms of violence), but for a low budget movie, this is really well made and acted

With a cursory acknowledgment of the Lewis Carrol tale, Alyce is as much an entry-level clerical answer to the Fortune 500 American Psycho (2000), as it is a morbid odyssey of self discov- uh, make that self-destruction. Like a high-speed bullet train to Hell, Alyce Kills is novel, slick, and exciting, but it doesn't take us where we want to go.

Young, pert Alyce (Jade Dornfeld) toils away in a depressing corporate cubicle for a shrewish boss at a thankless job. After work she trudges home to her cramped apartment to freshen up before some much needed steam-venting at dingy nightclubs. It's not much of a life, but Alyce has her friend Danielle (Rena Owen), an alpha female who provides Alyce with a framework of guidance upon which follower Alyce proves to be reliant.

When Alyce and Danielle take the Generation X drug "ecstasy," Danielle sexually leads on Alyce. It comes out that Alyce has a crush on Danielle who then rejects her.

Is it an accident then when Alyce "accidentally" pushes her off the roof a short while later? It's not clear whether Alyce is vindictive and a little crazy, or merely reckless, and irresponsible. Danielle stands on the ledge, tempting fate, Alyce mock-pushes her. Alyce is playing a game and behaves as if she doesn't intend the result -Danielle's dive to the pavement. But Alyce definitely intends to make contact, and under the circumstances it's no surprise when Danielle plunges to her doom.

Despite that it led to tragedy, Alyce decides she likes ecstasy and trades sex for the drug from a repulsive dealer. Under the influence of the psychedelic, Alyce locks herself in her apartment for marathon-length trips during which she perpetually masturbates to violent videos. Conniving to obfuscate her complicity in Danielle's misfortune leads Alyce to take increasing risks until she pulls out all the stops. Traipsing across an urban landscape of bizarre characters, settings and situations, Alyce taunts the family of her victim, and eventually conspires bloody murder against those who annoy and inconvenience her.

Having now lost Danielle's boundary-defining structure, Alyce's fragile veneer of sanity falls away like an uncoupled caboose from a speeding express. Her locomotive throttle is wide open and there's no engineer in the cab. Alyce resolves to take charge of her own life, but her brand of self-assertive, feminist "empowerment" is to embark upon a self-indulgent journey of risky behavior. Yet it's more like a spree, and it degenerates into a maelstrom of self destruction, dragging those closest to her along for a hell-ride on her crazy train.

The theme of women scheming against men has been around at least since ancient Greece. From Aristophanes' Lysistrata, to the Biblical Eve convincing Adam to bite the proverbial apple, we've seen versions of the femme fatale in various literary incarnations through the ages. A few include Shakespeare's Lady Macbeth, and Cleopatra, Daniel Defoe's opportunistic Moll Flanders, Oliver Goldsmith's lighthearted, scheming, Katie Hardcastle in his 1773 play, She Stoops To Conquer, the conniving Matilda in Matthew Gregory's 1796 supernatural Gothic novel The Monk: A Romance, and the malevolent man-hater, Miss Havisham in Charles Dickens' Great Expectations.

Whereas these feminine plotters employed cunning and sexual manipulation to achieve their aims, their modern counterparts resort to brute force. The concept of the fairer sex outwitting men has evolved into the myth of womens' domination over men, and convoluted orchestrations have given way to the karate kicks and machine guns used by characters such as secret agent Emma Peel (Diana Rigg; Uma Thurman in the 1998 film version) in BBC's The Avengers, to Max Guevera (Jessica Alba) in TV's Dark Angel, and La Femme Nikita (Anne Parillaud; Bridget Fonda in the US remake). The latest trend has dark-psyched vixens engaging in just plain psychopathic killing sprees.

Alyce's quirky, but undeveloped character may be inspired by the leads in May (2002), and Neighbor (2009), two similar stories about loner hellcats who indulge their necrophilic and cannibalistic urges through acts of violence. Yet May (Angela Bettis), the film's namesake, commits her violence via a misguided search for an similarly misfit mate. In Neighbor, "The Girl," (America Olivo) thrill-kills for the sheer sadistic pleasure of it, making a living by robbing her victims and using their homes like motels.

Alyce however, lacks any sensible or even cognizant motivation at all. Her deeds defy logic, her methods are unsound, and Alyce's lack of planning is sure to bring her only more trouble. We're not sure if even she understands her actions. This makes her singularly one dimensional.

It's a profound disappointment, too. What's engrossing about Alyce's sexy character is not what she does, but the wry way she does it with her distinctively iconoclastic demeanor. It's not the revulsion inherent to her wanton acts of sex and violence that catches our attention, but the manner in which her smug, witty bearing holds out the promise of a satisfying payoff. We keep waiting to tumble into an epiphany of insight into her disturbed psyche, or at least some commentary about human nature or revenge. It never happens, and we're left feeling like the lone passenger on a runaway train with no destination in sight, and no emergency pull-cord to stop the projector.