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Human Hibachi
USA 2020
produced by Jennifer Wira, Danielle Bain, Jennifer Maldonado, Mary Clipp, Roger Clipp, John Campanile, Elizabeth Gaynor, Jeanette Pacifico, Andre Louis Jean, Robert Reihing, Leah Donaldson, Thelma O'Brien, Mario Cerrito (executive), Claude Ricciardi (executive), Dave Alemi (executive), Jeff Alpert (executive), Christina Krosche (executive) for Cerrito Productions
directed by Mario Cerrito
starring Elizabeth Gaynor, Carmine Giordano, Carley Harper, Sopheaktra Theng, Wataru Nishida, Andrew Hunsicker, Stafford Chavis, Jeff Alpert, John Campanile, K. Andrew Deffley, Zachary Pun Chung, Vince Filipelli, Kathryn Drewes, Jeanette Pacifico, Lauren O'Brien, Koichi Aoyama, Jami Robinson McHugh, Isabella Nishida, Charley Ross, Greg Paul, Frankie Matus, Anthony F. Cicali III, Dave Alemi, Thomas Monahan, Joe Bottino, Jexxa Ingham, Anne Buckwheat
written by Mario Cerrito, music by Andrew Mendolia
Human Hibachi
review by Mike Haberfelner
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It's Katie's (Elizabeth Gaynor) 30th birthday, and her boyfriend Reo
(Sopheaktra Theng) has made every effort to make this day special for her,
pretty much taking her out to brunch, to cocktails with their best friends
Brian (Carmine Giordano) and Meghan (Carley Harper), shopping for a dress
for the evening, and finally to dinner with their best friends Brian
(Carmine Giordano) and Meghan (Carley Harper) to the fancy Japanese
restaurant he works at. Things get slightly out of hands there as they've
all had a bit too much to drink and Brian gets a bit agitated, but with
the help of the restaurant owner and his boss, Jin (Wataru Nishida), Reo
has the situation under control in no time, sending Brian home, then
seeing to it that Katie, the most drunk of them all, can sleep it off
undisturbed. Thing is, Reo and Jin have ulterior motives, and soon the
girls find themselves all tied up - because while the restaurant isn't
doing that awesomely, there are always some rich fucks who would gladly
pay a fortune for tasting some human flesh ...
Even if this film is shot the found footage way, this is not a
movie that mistakes shaky cameras for suspense, but actually creates it
the old-fashioned way, meaning it gives away at the beginning just enough
to let the audience know there's something bad happening to Katie, to then
increase the tension by the minute by giving away hints but never the full
story - until about halfway in, when the film shifts from suspense piece
to biting (and very dark) social commentary, giving voice to its villains
- and their rather mundane conversations only make their deeds much more
sickening, and add to the film's macabre qualities. Now granted, this is
not a film for everybody, and even if it's not an outright comedy, a very
dark sense of humour sure helps, but for those inclined, it sure deserves
a watch!
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review © by Mike Haberfelner
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Robots and rats,
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