Hello again Brothers and Sisters of the Psychotronic Video World! Your old pal J.D. Malinger here again, reviewing a nifty little sci-fi-horror action thriller from the Land Down Under. Here’s what filmmaker Duncan Cunningham has to say about FORESIGHT KILLER INSTINCT:
Ipswich auteur collective “Cunningham Clan Entertainment” are excited to announce their debut feature film “Foresight: Killer Instinct”. This low budget all Australian action thriller is helmed by debut director Duncan Cunningham and promises the audience one wild and crazy ride.
Set in an alternate Ipswich, QLD, where rampant crime has left the police force under staffed and a community besieged; we follow the story of a young psychic as he locks horns with a corrupt detective.
Genre fans will be delighted by the film’s abundant offerings of blood, guns, drugs, explosions and all round unrelenting violence. See what happens when a haywire psychic uses his powers to hunt down and terminate the wicked, see what happens when a corrupt cop pulls out all the stops in a vain attempt at self protection and see what happens when Australian cinema is produced outside the government funding system.
Needless to say the film makers have undergone an epic journey to see Duncan’s vision grace the silver screen. Cast members Michael Edward Williams, Martin Cunningham, Trevor Dent and Duncan Cunningham himself all work hard to push exploitation writer Aaron Cassidy’s colloquial dialogue and action packed screenplay to its devastating climax.
Here’s the trailer:
I really dug this film. It’s a perfect showcase of what can be done with some elbow grease and ingenuity; a really solid little story that doesn’t skimp on blood, guts and profanity. According to Duncan Cunningham, the film contains 309 uses of the word “fuck,” ranking it as the 11th highest film by fuck-count. That’s more fucks then there are funnel-web spiders in the average Australian gas station men’s toilet.
Nobody gives a bad performance in this film – nobody. Everyone commits and really sells their part to the audience, which is more than I can say for most Hollywood releases I’ve seen lately.
I really enjoyed the way Glenn Parson’s psychic powers were handled; originally a psychometrist (that is, he can read the past through handling objects – or even touching corpses to determine the circumstances of their death), as the film progresses he demonstrates more and more in the way of precognitive abilities, though the film leaves it up to the viewer to determine the extent to which they are actually psychic visions versus being the hallucinatory products of an injured brain.
The visuals of the film are very attractive, with desaturated colors that suggest a world that the life’s been bled out of – mirroring the emotional life of the protagonist.
All in all, it’s as if the 2002 film MINORITY REPORT had starred Charles Bronson instead of Tom Cruise, had had its hypertrophied violence choreographed by Guy Ritchie, with Al Pacino serving as dialogue coach. And that’s not a bad thing.
See the film in full here.