August Underground Blu-ray Review
Written by Robert Gold
Blu-ray released by Unearthed Films
Directed by Fred Vogel
Written by Allen Peters and Fred Vogel
2001, 70 minutes, Not Rated
Released on August 15th, 2023
Starring:
Fred Vogel as the Killer (aka Peter Mountain)
Allen Peters as Man behind the camera
AnnMarie Reveruzzi as Girl in cellar
Review:
In the 1990s and early 2000s, underground shot-on-video horror movies saw something of a golden age. Advances in technology and the introduction of MiniDV tape-based features gave rise to a creative high-water mark in low-budget filmmaking. Few of these titles turned up at your local video store, but they could be found in catalogues, specialty magazines and at conventions. Coverage in publications like Rue Morgue and Film Threat kept fans informed of the latest promising young filmmakers and programming where these titles could be found.
In 2001, Fred Vogel co-wrote, directed and starred in the acclaimed August Underground, a film about a pair of degenerate sociopaths who kidnap, torture and murder people, usually – but not exclusively – attractive young women. Vogel’s film received strong word-of-mouth for its unflinching look at humanity’s dark side. Our antiheroes are always looking for a good time, whether it’s slam-dancing at a club, getting tattoos or kidnapping, humiliating and murdering innocent bystanders.
Inspired by a wide variety of edgy underground films ranging from Henry: Portrait of a Serial Killer to the Japanese Guinea Pig series, August Underground is an intense viewing experience that simply does not let up from its opening moments to the premature finale. Vogel throws viewers into the deep end right away as we are introduced to a killer keeping a woman (sans nipple) bound and bloodied in his basement and a corpse in his bathtub. He is joined by his unidentified friend operating a video camera. The story plays out through a string of home movie vignettes, accompanied by plenty of obnoxious laughter. Subtlety is not Vogel’s strong suit.
The problem, however, is the film never advances beyond one ugly scenario into the next. We are simply hit over the head with bad behavior by two jerks we are in no way supposed to find empathetic or relatable. This shortcoming is most obvious in the final moments when a potential victim escapes and a foot chase begins only to abruptly cut off and credits roll. The movie is only 70 minutes, but I believe the director could have stretched the material to a satisfying conclusion and reach the feature length minimum runtime of 75 minutes without breaking a sweat.
Vogel is an interesting guy who put this film together while teaching at Tom Savini’s make-up school outside Pittsburgh. The reported budget was under $2000 and he filled the cast with friends and family, including his brother, cousin and grandmother. As an actor, Vogel deserves credit for his level of commitment to this reprehensible character, carrying many a long, unbroken take as he terrorizes everyone around him. This is a dark, mean-spirited picture, but it surprisingly doesn’t revel in gory set-pieces. A stepchild to the popular torture-porn subgenre the mainstream studios were releasing at the time, Vogel spills a lot of blood but nothing anatomically correct.
August Underground has a devout following and while I am an ardent supporter of shot-on-video low-budget horror movies, this film never did much for me. I can appreciate the level of intensity the director is striving for, but he does so at the expense of character development, a comprehensive plot, clever writing and a satisfying conclusion. The film basks in its sadistic nature, which when done well can be entertaining, but in Vogel’s hands is merely tedious. It is a high bar getting audiences to root for two repugnant dirt bags, a bar the director fails to meet. He is a fine actor, carrying the majority of the picture by himself, but he needs a stronger script.
Video and Audio:
Presented in the original 1.33:1 aspect ratio, it is difficult to gauge picture quality as anything but ugly, deliberately so. Shot on video, the end product was duped down about five generations before release giving it a rough-around-the-edges quality adding to its gritty realism. The film looks good and terrible, just as it should, so star ratings will be on a sliding scale.
An LPCM 2.0 stereo track gets the job done without blowing you away. The film is presented as a series of home movies, so there is no real sense of bass or surround channel activity. Outside of attending a concert in a club, there is no music to speak of, but sound effects are simple and effective. There are no subtitles available on this release, nor should there be in keeping with the illusion.
Special Features:
Holy Toledo! This disc is loaded with special features, making it the definitive release. Up first we get no less than four audio commentary tracks, including a newly-recorded discussion between director Fred Vogel and Ultra-Violent Magazine’s Art Ettinger. The conversation is loaded with behind-the-scenes tales of how the project came together and is definitely worth checking out.
The next three commentaries are carried over from an earlier DVD release, starting with a solo track from Vogel, who shares much of the same information presented in the previous track, but remains interesting and informative.
Next, Vogel is joined by actors/co-producers Aaron LaBonte and Ben LaBonte, who played the twin brother murder victims in the film. Again, there is some overlap with the previous tracks, but this remains an entertaining listen.
The final commentary is something of a novelty, as we hear Vogel in character as the Killer discussing his handiwork, joined by a screaming female victim. The track is a nice touch, but the gimmick grows old almost immediately.
Fred Vogel appears in a brief video introduction to the film recorded for the fifth anniversary. (1 minute).
The original screener version of the movie is included for completists.
Vogel returns once again to answer the most frequently asked questions about the film in 10 Questions with Fred Vogel (12 minutes).
TOETAG Masterclass: From Storyboard to Screen (7 minutes) presents the original concept drawings paired with the finished footage.
Also on hand are two Zoom interviews with Vogel conducted by Dave Parker. The first (47 minutes) is a thoughtful look back at the film, although once again much of the information appears in the commentary tracks.
The second Parker interview (67 minutes) pairs Vogel with filmmaker and writer Mike Watt, who share even more stories about the film and its initial release.
As if two extended Zoom interviews with the director were not enough, a third is included, titled Revisiting Infamy: Severed Cinema Interviews Fred Vogel (39 minutes).
Hammer to the Head: A Closer Look at August Underground (67 minutes) is a three-part documentary on the making of the film. Up first we get interviews with Vogel, casting director John Wiziewski, actors (family members) Victoria Jones (grandma), brother Stephen Vogel and cousin Casey Eganey. Part two covers the shooting locations and part three takes a look at the effects with artists Aaron LaBonte and Jerami Cruise.
Parts two and three of the above documentary can be accessed individually in August Underground on Location and August Underground Behind the Brutality.
August Underground ‘Too Real for Comfort’: An Outsiders’ Perspective (102 minutes) is a feature-length self-congratulatory puff piece filled with gushing interviews featuring members of ToeTag Pictures’ staff and many contemporary members of the low-budget wave. Interviewees include filmmakers Nick Palumbo (Murder Set Pieces), Billy Hellfire (DUCK! The Carbine High Massacre), Andrew Kopp (Mutilation Man), writers Art Ettinger, Mike Watt, Amy Lynn Best, Jovanka Vuckovic (Rue Morgue Magazine), Gerry Chandler (Synapse Films), Joe Knetter (Splatbooks) and the always welcome Ken Kish (Cinema Wasteland).
A photo gallery slideshow (13 minutes) offers a collection of behind-the-scenes stills.
Trailers for the August Underground trilogy are included along with a web promo for this Blu-ray release.
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