Directed by Lance Weiler
Review by Dan Greene



Released by: Heretic Films
Year of release: 2006
Running time: 84 minutes
Rating: NR
Color Format: Color
Audio / Subtitles: English audio in Dolby Digital 5.1 and Dolby Digital 2.0, no subtitles.
Region Code: Region 1 NTSC
Aspect ratio: 1.78:1
16:9 enhanced: No
Special features: Director’s commentary; six behind-the-scenes featurettes; theatrical trailers; collector’s edition 8-page booklet with liner notes by screenwriter Steven Susco (THE GRUDGE).
Trailer Online: Yes

HEAD TRAUMA, the latest indie-horror mind-bender from director Lance Weiler (THE LAST BROADCAST), reminds us that the smaller and more intimate horror film is often the more likely to succeed at unnerving its audience. Films like ROSEMARY’S BABY, which seem steeped in the boredom and banality of everyday life, become all the more shocking when their genteel façade is ripped away, exposing the horrible truth—and true horror—gestating beneath.

Although HEAD TRAUMA begins with a startling, disorienting image (protagonist George Walker regaining consciousness, upside-down, in his wrecked car), the film immediately slams on the brakes, slowly rolling through the setup: George is a drifter, returning to town after a long absence to reclaim his grandmother’s house, which is slated for demolition. Once inside the house, George gets into a scuffle with a trespasser and ends up hitting his head, falling into unconsciousness. From then on, George suffers from headaches, hallucinations, and multi-layered nightmares, unable to distinguish reality from his own paranoid imagination. Is his grandmother’s house haunted? Was it occupied by black magic occultists or voodoo practitioners after her death? Why does George suffer from visions of a hanged girl and a hooded stalker? Can his neighbor Julian be trusted? Can George trust himself? By the film’s finale, most of these questions will be answered; there are a few minor loose ends, but these are easily overlooked amid the satisfying psychological horrors of HEAD TRAUMA.

Despite a few regrettable RINGU and GRUDGE moments (long-haired girl clawing her way across the floor; matted mass of hair bubbling up from the water), HEAD TRAUMA is a gritty, intense horror film that benefits from its limited budget and guerilla spirit. The actors are passionate, if a bit stiff and unnatural (think community theatre), and Weiler manages to pull some intense performances out of them—especially Vince Mola (as George), channeling a ticking time bomb. And no amount of Hollywood set decoration could simulate the kind of authentic creepiness that director Weiler milks from his found locations—most notably, a real-life abandoned house: grimy, cluttered, and littered with the remnants and residues of previous squatters. The utter lack of studio “slickness” only adds to the eerie vibe of the film.

This is not to say that the film is technically inferior. In fact, Sam Levy’s digital cinematography is surprisingly controlled and smooth—easily one of the film’s technical strong points. HEAD TRAUMA is another entry in the growing list of DV features shot with the Panasonic AG-DVX100 24p camcorder, and it looks great. If only the same could be said about the video transfer on this DVD. The shadows are dreadfully washed-out, casting a muddy grey haze over scenes that should be noted for their petrifying, choking darkness.

The DVD extras are kept short ‘n’ sweet, divided into easily digestible featurettes that run about five minutes a piece. In “Cast Interviews,” the actors detail how they prepared for their roles and praise Weiler for his ability to create so much with so little. “Blowing Up a Car” serves as a primer for the next generation of low-budget pyrotechnicians, while “Shooting in the House” emphasizes just how creepy the actual filming location was, in real life. “John Magdic and his Amazing Flying Machines” shows us how Weiler managed to get some impressive aerial shots on-the-cheap. The artwork used in the film—an integral part of the storyline—is the subject of “S.R. Bisette Discusses the Art of Head Trauma,” and finally, “Behind the Music of Head Trauma” provides a brief glimpse into the unique composition and recording of the musical score. Weiler’s audio commentary is crammed with every production factoid imaginable—pretty standard, but completely listenable. Theatrical trailers for HEAD TRAUMA and THE LAST BROADCAST are also included.

Apparently, there is an “alternate soundtrack” to HEAD TRAUMA available on Park The Van Records, which can be synced-up with the DVD (ala Pink Floyd’s DARK SIDE OF THE MOON and THE WIZARD OF OZ). I can’t vouch for the experience of watching the film with its alternate soundtrack, but it sounds like a cool gimmick.

Ultimately, HEAD TRAUMA creates an insular world with palpable characters and situations, unnerving the viewer with its slowly unraveling mystery and brief glimpses of horrific imagery, proving more effective and far more intriguing than most big-budget horror films (i.e. remakes) clogging up the cineplexes these days. Someone please give Lance Weiler a real budget and see what he can do!