In a maneuver of delicate dance, the rendezvous of clinical upset has been pushed, unpadded and unrestrained to a divine sedative of cinematic congruence. The motion picture that defied the shrine of mountain X and manipulated its own story to an unbreaking point. The bloody marionettes left the stage like thankless children in harmonious conclusion. Jared Masters’ Magnum Opus. Frolic Pictures’ prettiest price tag yet, for a photoplay made in the 2010s era. If microwaves were cinemas, then molecules would have been riled up, in Ballet of Blood, the 9th feature film fathered by Hollywood’s unprecedented walking controversy, The Prince of Horror Erotica has perhaps graduated to a level of surrealism few films capture or cannibalize.
Sydney Raye portrays Nisa, the key character who slayed several sensitive souls, with psychotic and alluring drive. She charged into the performance with several doses of moving mental breakthroughs. Dallas Chandler is a white chocolate that doesn’t melt and is unavailable in gift baskets because she is pure and no one deserves her. Jacqueline Marie Alberto might as well lock herself up in the tallest tower of the biggest cinematic castle, with the deepest mote, because if any knight shall have her, or understand the complexity of the role she took on, would be a magical knight, indeed. The simplicity of fondness and stark-raving proprietary is the real-born Rubi Garcia. The sensation came from somewhere that must have had a climate suitable for evolving women into mystical golden souled sapphires with several alluring qualities that shall not be mentioned because it would be overly gloating phrases. Fantasy phantom Dawna Lee Heising concurred the role of Harmonia, the spirit of the lady in the music box, a captivating testimony to marketable fairies of future days and desires. Garrett Morosky graces the film with his abdominal mastery and cute characteristics of masculinity in all its forms, a ballerina so balanced in the art that even his dance teacher, Saul, played by Geo Sargent, couldn’t keep his hands off him.
Just because she values life doesn’t mean she won’t take it? Marla Martinez is the sound and sights that accurately describes theatrical phenomena. Julia Faye West is certainly the laborer of love and no less than extraordinary a person of profound magnificence. Kimberly Cohen is of a class all of her own, manifesting a light from within, she evokes an emotion from soon-to-be worldwide audiences that appreciate what is good. Robert Evans, the vintage human being that makes the movie even better. Cult icon Bouvier, better keep coming back for more, because she is finding fans all over the world with her avant-garde get-ups and Caribbean getaways are not as enjoyable as she is to watch on screen. The fabulously popular Mindy Robinson brings the glass house of cosmic radiation with her performance of Sylvie, the prima ballerina that doesn’t want to let anything end her career. And, the bird of prey, the peacock of porcelain milk thistle dream, Laura Amelia, the dance instructor who crusades through the motion picture like snow to a snow leopard, hair to a louse, teabag to a cup, or street meat to a late night Hollywood lush. Her beauty is energy and that energy powers the bulbs of shiny black plastic electronic worlds unknown.
Ballet of Blood is a story about unruly ballet dancers and their bloodlust for freedom within the grasp of death-defying arts and discipline.
Also appearing in this film are Georgie Borchardt, Harmony Meyer, Vera R. Taylor, Krystall Schott, Sky Patterson, Walter Hochbrueckner and Christopher Arias.
Produced by Julia Faye West, Sydney Raye, Vera R. Taylor, Walter Hochbrueckner, John Gonatos, Mikko Tervonen, Michael Anthony. Music by Anodica. Assistant producer: publicity division; Seth Metoyer. Art Direction by Ryan Henneman. Sound by Jean-Paul Inesta, stills by Mark Rakocy, script supervision by Jonathan Weichsel, script editing by H. Raven Rose. Written and directed by Jared Masters.
Expected Halloween 2015. Official trailer coming soon.
