Dante’s Shadow of Sin 2021 123movies

Watch: Dante’s Shadow of Sin 2021 123movies, Full Movie Online – Dante (Dakota Ray) is a man haunted by his dark past and deviant desires. Due to mysterious circumstances, Dante is reunited with his estranged friend, Mahogany (Fred Epstein). Together, they converge upon their old vacation house-a place where several terrible events have taken place- to relive their past, and indulge in substances. However, it is immediately apparent that the atmosphere around them is becoming increasingly sinister and suffocating. As Dante reunifies with his inner darkness, and Mahogany’s ulterior motives are revealed- it becomes unequivocally clear that this reunion between the two of them will be there last one, and only one of them will make it out alive..
Plot: Dante’s Shadow of Sin-the eight film by Denver auteur filmmaker Dakota Ray, is a disturbing and hauntingly nihilistic nightmare embossed on to to film, chronicling one man’s cataclysmic decent into immortality.
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Ratings:

	7.2/10 Votes: 14
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 1 Popularity: 0.6 | TMDB

Reviews:

Another Dakota Ray Classic!!!
Yup thats right classic! Just like all Dakota Rays films before this is a pure gem of underground horror!! Well thats atleast what Dakota Ray will likely try to push the narrative of him being this amazingly brilliant, avant-garde champion of underground horror cinema. Which ofcourse he is not. This movie like all his others are proof of that. So boring that they feel Overly long, even though each one is a little more than a hour each. He’s always the main character that is super evil and always has a voice filter. Drab, blown out, filtered visuals. Terrible effects! And a script that sounds like a 13 year old who just discovered how to say bad words and is trying his hardest to sound evil and tough. Now for the positives in this movie I will say this may be the best Dakota Ray film. He actually has a narrative that is mostly easy to keep up with. And the cinematography is easily his best to date. I really got to say some shots are pretty well done. Giving a unnerving feeling through some scenes and showing some growth in his visual game. Besides that mostly the same boring crap he’a been doing for years. At this point if your reading this your either a fan of his, a guy like me who watches obscure films, a hater of Dakota Ray like me as well, or Dakota Ray himself. Either way you should already know how you feel about this movie before you even turn it on.

A Nightmare Brought to Twicthing, shambolic life
It’s a widely held belief that horror as a genre is enjoying a renaissance at the moment; and the staggering box-office numbers which juggernaut franchises like A Quiet Place, the Conjuring series and its spin-off Annabelle films, and the latest iteration of Stephen King’s It have all generated would seem to confirm this. TV has joined the party as well, with big hitters like Stranger Things, American Horror Story and The Haunting Of Hill House all enjoying huge critical and financial success; even everyone’s favourite possessed killer doll Chucky has had another turn at the wheel lately.

It could be argued however, that while at first glance the resurgence of horror in popularity is a good thing for us as fans, what we could actually be seeing is horror being diluted to a point where it is acceptable for a mainstream audience who care little for the storied history of the genre. Horror is no longer seen as something to horrify; it’s now delivered in a sanitised, bloodless format to make it palatable for viewers who are content to watch in between binges of FBoy Island and Cooking With Paris.

Instead of the visceral splatter shows of yore, the little amount of bloodletting allowed in current horror is delivered with a slick sheen of glossy, distracting CGI; and any psychological aspects of horror have been watered down to the point of non-existence or replaced with tedious jump scares. In an age where everyone is constantly scouring any source of entertainment for the latest thing to be offended by, in order to complain about it endlessly on social media to demonstrate to the world how virtuous and worthy they are, can horror even exist any more?

Thankfully there are still a few maverick film-makers out there – operating outside of the confines of the mainstream Hollywood system, it’s possible for these independents to create films that follow their own singular visions. One such director is the Denver-based auteur Dakota Ray, whose previous movies include American Scumbags, The Dark Days Of Demetrius and Sebastian’s Unholy Flesh. Ray’s latest release is titled Dante’s Shadow Of Sin – as with the bulk of Ray’s work he again takes responsibility for a staggering amount of duties, including the writing, cinematography, effects, sound and production; and this is all in addition to performing the lead role and directing the movie.

Ray’s eighth film follows the sordid exploits of the massively damaged individuals Dante (Ray) and Mahoganny (Ray’s stalwart co-star Fred Epstein). Dante’s Shadow Of Sin opens with the eponymous Dante indifferently burying a severed head while bathed in eerie blue-tinged moonlight, before receiving an unexpected message from estranged friend Mahoganny. The pair have not spoken for some time, owing to a falling out over a murder they were both involved with; however Mahoganny, having recently inherited his father’s estate, is keen to rekindle their friendship, whilst ingesting as many substances as humanly possible.

The pair meet at their old vacation spot, the ‘Boleskin House’ – a venue that holds significant memories for both of them. Once there they engage in ever-increasing acts of depravity – abusing alcohol (including Ray’s particular favourite Absinthe), drugs and sex. It quickly becomes that clear that both of these narcissistic monsters have ulterior motives, and that at least one of them will be lucky to leave the house alive.

The only other characters in the film make brief appearances (Maddison M. As Mahoganny’s unfortunate grandmother, and Sholeh Behesht as his bound-and-gagged sex slave); for the rest of the movie Ray and Epstein spar back and forth in a surreal, dreamlike nightmare state.

From watching Dante’s Shadow Of Sin it is plain to see that Ray has once again strengthened in stature as a film-maker. While the movie shares many of the characteristics of his previous work, such as a heavily filtered colour palette (in this case a stark, almost neon blue), heavy use of character voice-overs, thoroughly unlikeable protagonists and a punishing doom metal soundtrack, Sin is more cohesive as a whole; it feels like the sum of the parts his previous efforts have been leading up to.

The movie feels like a vacuum, devoid of air and light and any sense of humanity; the viewer experiences every ounce of despair and depravity that emanates from the protagonists. There is an incredible sense of visual style at play – the sinister colour scheme emphasises the forlorn backgrounds, while storm-ripped skies are tangibly threatening. Bizarre, off-kilter shots of objects and animals are intercut with footage of the two leads, providing a deeply unsettling sense of unease and tension; the whole movie gives a sense that absolutely nothing is off limits or too distasteful.

And once again the sound design is a crucial part of bringing Ray’s nightmare, Frankenstein-style, to twitching, shambolic life; droning ambient background noise keeps the viewer on edge while the brutal music hits like a hammer blow to the skull.

As with all of Ray’s previous films, Dante’s Shadow Of Sin will repulse far more viewers than it engages. Most film-makers would regard this as a big problem, but given that Ray is unencumbered by the need to impress studio suits I somehow doubt that he cares; anyone that is familiar with his work so far will lap his eighth effort up rapturously, and I suspect he won’t lose much sleep if any new viewers are offended by what’s on offer.

Ray is genuinely unique as a current film-maker, dealing exclusively as he does in amoral chaos and nightmares; at times his work invites comparison with David Lynch, as he shares an uncanny ability to imbue scenes that appear innocuous at first glance with a palpable sense of unease, menace and unpredictability. A part of me wishes that a studio would take a chance on Ray with a decent budget and the technical backup that would entail – but I suspect this would interfere with his guerilla method of film-making and perhaps water down what makes his work so vital. I think I prefer to wait and see what Ray will come up with next under his own steam; one thing is for certain, it will not be for the easily offended.

Other Information:

Original Language en
Runtime 1 hr 15 min (75 min) (USA)
Budget 50
Revenue 50
Status Released
Rated Not Rated
Genre Horror
Director Dakota Ray
Writer Dakota Ray
Actors Sholeh Behesht, Fred Epstein, Maddison M.
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio N/A
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A