MOLD

MOLD

(A.k.a. MOLD!)

MOLD is based in 1984 and opens with archive TV footage of Ronald Reagan addressing the American people, declaring a war on drugs.

This propels us straight to the Sonoran desert in Arizona. It's here that a group of scientists have been working on developing a mutant strain of mould capable of wiping out the enemy's food crops and drug plantations, in theory rendering them financially impotent.

Despite a mishap in the laboratories which demonstrates how deadly the mould is when it comes into contact with humans, a small group - a typically aggressive army Colonel (Edward X Young), his sergeant, snivelling congressman Stuart (James Murphy) and his sycophantic assistant Rhodes (Nicholas Russo) - are invited three days later to a presentation boasting of what this new type of "ecological warfare" can do.

Their host is the nervous Matthew (Rick Haymes), who fronts the scientific research even though the real work is performed by his younger colleagues Roger (Lawrence George) and Julia (Ardis Campbell). There's also a psychic on board for some reason, Dave (Chris Gentile). It turns out that he and Roger are rivals for the affections of Julia.

Overseeing the whole affair remotely via TV monitor is chief scientist Carter (David Pringle), who watches concerned as the group of potential investors are given a demonstration of what the mould does and then taken back to the laboratory to learn how it works. It's here that Stuart retires to the toilet to sneakily take cocaine, only for the viewer to be explicitly informed of the green mould beginning to spread on his cock.

Sure enough, once he returns to the main group Stuart starts to sweat profusely and raises true panic when his face begins oozing with green pus.

Deducing that the mould must've started to spread in the moist atmosphere of their bunker laboratory location, the scientists insist that the group has an obligation to stay on site and ensure the stuff doesn't spread.

It probably won't surprise readers to learn, however, that the mould does indeed spread - somewhat akin to an infection, one which can only be detected initially under ultra-violet rays. And so, the group must work together to protect themselves from those who have become infected, keep the air dry enough to prevent further spreading (put your cigar out, Colonel, or run the risk of triggering the sprinkler systems!), and place their faith in an as-yet untested 'controlling agent' that could either save them ... or kill them.

What few exterior scenes the film has are shot on Super 16mm and consequently possess a highly agreeable, grainy texture to them. Interiors, which account for at least 90% of the action, are shot on digital HD and in contrast look crisp and clean. They look attractive too, albeit in a different way. The HD approach does admittedly rob the film a little of its "80s throwback" allusions, but it's not a major sticking point.

Indeed, MOLD is an enjoyable riff on John Carpenter's THE THING (complete with a similar electronic score which occasionally even features the familiar pulsing heartbeat rhythm), taking in a confined location - this group can't leave at any point because a traitor amongst them has arranged for snipers to be waiting outside - and pitting them against an alien force that instils paranoia at regular junctures. Of course, as in THE THING, there is also much bickering within the group as they struggle to pull together under pressure.

Each cast member is likeable and performances are adequate throughout. There are a few tense moments which I felt worked better than the comedic ones. Alas, there is more of a focus on humour than there is suspense - the film would've been more successful, I feel, if that balance was reversed. Still, Young gets all the best one-liners and delivers them with authority.

In terms of FX, I was impressed by the way in which the film eschewed the need for CGI. Ambitiously, it takes the practical approach and delivers some old-school melting/ body morphing effects that have understandably drawn comparisons to the likes of THE STUFF and STREET TRASH. MOLD's not as gory as the latter, nor is it as successful in its satire as the former, but it does score points for wanting to be something other than torture porn or found footage bunkum. Other micro-budget filmmakers should take note.

To its detriment, the film does feel a tad slow in pace despite there being very little flab. I put this down to the limited locations used and the sometimes stilted screenplay. It also doesn't help that the FX don't really start to kick up a storm until roughly an hour into proceedings. Director Neil Meschino will no doubt overcome such flaws in future - he has the potential to become a significant genre director if he does.

One tip is to keep watching once the closing titles start. Not for the obligatory metal song that eventually plays over them, but for the few loose ends that are tied up in key scenes at this point.

Released by Wild Eye, this region free DVD presents MOLD uncut in its original aspect ratio of 1.78:1 and in anamorphic widescreen.

The picture quality is good: sharp, detailed and free from unsightly noise. Colours are strong and natural; blacks hold up well throughout.

English 2.0 audio is a solid proposition in the main, despite some uneven balance on infrequent occasion. This is most likely a by-product of how the audio was recorded on the film's set.

The disc opens to a static main menu page. From there, a static scene-selection menu allows access to the film via 4 chapters.

Extras begin with an entertaining audio commentary track from Meschino and director of photography Rob Fattorini. It starts with them popping open bottles of beer and continues much in that vein, in a light-hearted and chummy manner. However, there's still a lot of detail to be had from these two (most of the film was shot in a mechanic's shop, for example) - and their genuine enthusiasm for the end result is a pleasure to hear.

A 25-minute Making Of documentary is full of interesting behind-the-scenes footage and sound bites from Meschino. The editing is slick and brisk, ensuring this packs a lot of detail into its running time.

The film's original 85-second trailer is a snappy affair and is proffered here alongside trailers for DISCO EXORCIST, DROPPING EVIL, EXHUMED, TIGHT, THE STORY OF ROCK 'N' ROLL COMICS and NIGHT OF THE LIVING DEAD: RE-ANIMATED.

Lots of slime and a modicum of gore, all of the practical variety, are the order of the day in this 80s-style blend of comedy, paranoia and horror. It's clearly made on a low budget but MOLD is ambitious and clever enough to rise above the milieu. It's served well on Wild Eye's good-looking disc.

Review by Stuart Willis


 
Released by Wild Eye Releasing
Region 1
Not Rated
Extras :
see main review
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