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Storm Warning
[Blu-ray]
Blu-ray ALL - Australia - Umbrella Entertainment Review written by and copyright: James-Masaki Ryan (1st July 2025). |
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The Film
 "Storm Warning" (2007) Rob (played by Robert Taylor) decides to take his wife Pia (played by Nadia Farès) on a short trip by motorboat for fishing and sailing. But during their trip through the mangroves, a storm comes in and they are forced to disembark on a nearby island. They find an old decrepit house and decide to enter to take shelter and find a phone for help. They are confronted by brothers Brett (played by Mathew Wilkinson) and Jimmy (played by David Lyons) who are concerned about the couple breaking into their home. The brothers are less than respectful toward the stranded couple as they taunt and harass them constantly, but there is a much bigger issue at home. They do not want their father Poppy (played by John Brumpton) getting involved, as he is not going to tolerate the intrusion and the mess that was caused… Director Jamie Blanks studied film and worked in productions in his native Australia, but his feature film directorial debut was in Hollywood, for the hit horror feature “Urban Legend” (1998), after being approached by producers from his short film work. “Valentine” (2001) was his follow-up feature, which was another hit in the same genre. His third feature “Storm Warning” was an unusual step in the opposite direction. Many directors start their career in independent local work which leads them towards the big budget and glitzy world of Hollywood. For Blanks, he started big in Hollywood but never got to make a local independent feature. He went back to Australia, worked with a small cast and crew for a horror film that was closer to the genre works that inspired him to become a filmmaker in the first place. The script that was offered was in fact not a new script, but one that was initially written a few decades prior, by screenwriter Everett De Roche, the American-Australian writer that was known for numerous cult Australian features, such as “Patrick” (1978), “Road Games” (1981), and “Razorback” (1984). The story of a couple that end up stranded at a house with a creepy family is one that has been old numerous times, though it was 1974's “The Texas Chain Saw Massacre” that put the urban legend (unintentionally referencing Blank’s first feature) into new light. While “Storm Warning” has its similarities, it is quite a different film with its tone and its visuals, but does the modern Australian rural horror still have relevance in the creepy rural home genre? One point that is interesting is that “Storm Warning” does not have a young couple at the center, but rather a slightly older married couple, with the husband in his forties and the wife in her thirties. Blanks said that after working with Robert Taylor on the unmade science fiction film "Phage" in the 2000s before its abandonment, he knew he wanted to work with him on this independent horror project as the lead. For the wife, the original idea was to have her as a non-Australian, though it was not originally written to be a French woman. There is a key scene in which the couple are able to communicate plans through her native tongue without the creepy family understanding what was said, but it was also to have her as an outsiders’ perspective for international audiences. While the two leads are great actors, the story doesn’t quite justify that they have to be an older age. It seems like the story would have worked for a couple in their twenties and nothing sticks out that says that they are an older couple. Even the reveal that she is two months pregnant is a detail that would have worked with, or may have worked better with a younger couple. There was praise about casting slightly older actors for the roles, but the script should have created something more to showcase that. As for the three family members that terrorize the couple, the older Brett is brutish and leading while the younger Jimmy is one following orders and laughing hysterically through the ordeal. Their relationship and their characters are a bit stereotypical for the genre with rural bogans, or in Hollywood productions as the backwoods redneck characters. Their speech and their habits are vulgar and are a world away from Rob who is a lawyer, creating a lot of conflict that is difficult to settle, as if they were speaking an entirely different language. Wilkinson and Lyons do a good job as the brothers, and are extremely unlikeable figures throughout, giving discomfort for every scene they are in. While it is enough to give them hate, there is a slight moment in which the younger Jimmy is almost swayed into a different direction, showing that there is torment towards him from his brother and father as well. The character of Poppy might at first seem like one that would put the two sons in place because of his authority figure, and there is a reason that the sons are fearing him. Brumpton does a good job as the father, who is quick to give slaps to his sons and beat them down if they do not obey them, and he also has his ways of controlling the stranded guests as well. They are hard to like, and have character, but nothing too out of the ordinary in terms of stereotypes in the genre. The house itself is a character of its own and is a true highlight of the production. The constructed set looks like the props have been there for years without anyone cleaning, from stacked dirty dishes to the sex doll on the sofa, it’s disturbing to think anyone lived there at all. The production team did an excellent job crafting the set and making it look dated and unsafe with the amount of dark detail found throughout on the limited budget. While the story was written in the 1980s, the film doesn’t seem to be taking place in the 1980s. The only hint that it is in the 2000s is the car that the couple drive in the opening sequence. But later it is shown that neither of them carried a mobile phone with them, and the rural house has no phone or hints of modern technology. 2007 was the year the iPhone was introduced but mobile flip phones and other devices were widely available at that time. But then again, if they did have phones on them, the story would have not have moved into the direction that it went. There are instances of questionable acts by the characters, and there are times that audiences might want to yell at the screen as the couple are seemingly stuck in the house, but not particularly strapped or tied down. Things do make a shift when Rob injures his leg in an altercation and it brings Pia to the forefront to take care of things, and that is using objects in the home to their advantage. There is a deleted scene in which Pia is seen at her workplace and is adept at welding and crafting through machinery. She uses her skills to make traps and there are some gory ones, including a ripping and stretching of one’s face with hooks and wires. On first watch, it seems odd that she has this ability to make such a thing and plan accordingly, but it makes better sense with the additional scene. There are a few other gory moments included with slicing, stabbing, crushing and chomping to name a few, and the production goes all out in showing the gruesome gore, done almost entirely with practical effects. The production may have been shot digitally, though the effects were almost entirely done in camera, with only minor instances of digital effects, such as enhanced rain. The production was shot digitally, so there is a very crisp and sharp look to the production, with some adjustment to make it look slightly filmic. It almost looks too clean, showing off intricate details of the grimy sets, and also giving bright focus to the faces. While it doesn’t hinder the experience of the film, it doesn’t quite have the look of emphasizing shadows and darkness as it puts equal focus on the brighter spaces in the color palate. Cinematographer Karl von Moller does a good job with camera movement and visual detail, but it doesn't quite fit the tone as well as it should. In the new commentary recorded for this Blu-ray, it is praised that the film doesn’t have the “Netflix Look” of the bright and sharp color palate and focus that is the norm for many streaming productions of the 2020s, but it also doesn’t have the look of the films that inspired it. “Storm Warning” unfortunately has too many cliches attached. The stranded couple. The rural creepy family. The disturbing sexual content. The stormy night. A heroine that arises for vengeance. It seems like it wants to pay homage to many home invasion horror classics and the Ozploitation genre, but does not particularly have an edge to place it in the already crowded space. The film was produced independently and was first screened at the Fantasy Filmfest in Germany on July 27th, 2007. This was followed by festival screenings in the US, UK, Spain and elsewhere. The film did not receive a theatrical release anywhere, including Australia, and went straight to the home video market with DVD and Blu-ray releases. The film did receive on award for its makeup effects at Screamfest, but it did not any other critical recognition, with critics being mixed on the film as a whole. Following the film’s release, Blanks worked with filmmaker Mark Hartley on “Not Quite Hollywood: The Wild, Untold Story of Ozploitation!” (2008) as a participant as well as an editor. The documentary gave a new lease of life to many forgotten Australian genre films and reintroduced many to the world, each receiving a newfound appreciation. In addition, Blanks worked together with Everett De Roche again on a remake of the 1978 Ozploitation horror “Long Weekend” which was also titled "Lost Weekend" or "Nature's Grave" depending on the region, which unfortunately also received mixed notices especially in comparison to the classic original. “Storm Warning” is not particularly a lost classic, as it has its flaws and such, but it is still an entertaining gory horror film that will attract fans of the genre. It never received a Blu-ray release in its home country on its initial release, being DVD only. Eighteen years later, Umbrella Entertainment has given the film a Blu-ray release for the first time in Australia. Note this is a region ALL Blu-ray
Video
Umbrella Entertainment presents the film in the 1.78:1 aspect ratio in 1080p AVC MPEG-4. Shot in the HD format and post-production done in the HD realm, the transfer here is excellent. Colors and details are very sharp, there are no particular instances of compression or artifacts to be found, the image is framed correctly and there are no flaws to speak of. There is light faux grain for a filmic look though it is a digital production, which is to be expected. As stated, the production almost looks too clean and sharp, rather than having a gritty and grimy look with emphasis on shadows and lesser brights, but this is how it looked and in that sense the transfer here does a wonderful job presenting it in the HD format. Note this is the uncut unrated version with a runtime of 86:19. There was a cut US R-rated version removing about a minute of gory shots, but that is not the case here. It is in its full original form.
Audio
English DTS-HD Master Audio 5.1 English DTS-HD Master Audio 2.0 stereo There are lossless 5.1 and 2.0 stereo options available. The environmental sounds from the waves of the waters, the stormy rain all sound excellent with the surround channels kicking in nicely while keeping dialogue, effects, and music (which was composed by Blanks) well balanced. Sounds of slashes and splatter also come in nicely. Dialogue is always clear and easy to hear almost always coming from the center channel, and the eerie and unsettling score is also well played using the surrounding channels. Overall, an excellent use of 5.1 audio is presented here. There are optional English HoH subtitles in a white font for the main feature. They are well timed and easy to read. There is one moment when Pia speaks to Rob in French and that portion has burned-in English subtitles.
Extras
DISC ONE (Blu-ray) (1) Audio Commentary with director Jamie Blanks moderated by filmmaker Cameron Cairnes (2025) This new and exclusive commentary has Blanks discussing the film with Cameron Cairnes, who states this is his first audio commentary for a home media release if he doesn't include a live theatrical commentary he did for his film "Late Night with the Devil" not so long ago. Discussed are topics such as Blanks composing for his own film for the first time, the influence of Tobe Hooper's early horror films, the construction of the set, the subtle digital effects, the film's miniscule theatrical release, the look of the film and shooting in HD, as well as discussing about Blanks loving "Late Night with the Devil". It's a fair commentary though it doesn't give a lot of depth into the production, which is better told in the other commentary on this disc. in English Dolby Digital 2.0 without subtitles (2) Audio Commentary with director Jamie Blanks, screenwriter Everett DeRoche, executive producers Pete Ford and Mark Pennell, cinematographer Karl Von Moller, production designer Robby Perkins, and special effects artist Justin Dix (2007) This group commentary is a busy one with the crew. Discussed are about the script's lengthy time on the shelf before development, the locations, the fairly short production schedule, shooting in the HD format, details on the makeup and special effects used, changes from the original script and more. It's lively and has lots of information as well as laughs throughout. in English Dolby Digital 2.0 without subtitles "Storm Warning: Behind the Scenes" 2025 documentary (51:41) This compilation of footage shot on the set by assistant Simone Chin and Blanks has never before seen footage, including Blanks' four year old son Oliver wandering around the set and pointing at various things, casual conversations with the cast and crew, B-roll footage of numerous scenes and much more. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles Deleted Scene (3:01) Presented here is the original opening of the film, which introduces Pia being well versed in industrial gear which sets up the second half of the film, plus Rob's job as a lawyer. It was removed to have the film start on the road in the car for pacing. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles 2007 Cast Interviews (11:11) Presented here are interviews with the island family, with Lyons, Wilkinson, and Brumpton discussing the story, their characters, and the production. Each are interviewed separately with a black background after the production wrapped. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles "Behind the Scenes" featurette (6:10) Presented here is a vintage featurette that looks at B-roll footage of outdoor scenes in the rain, the practical effects work, and the make-up effects. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles "Silent Number" 1993 short film by Jamie Blanks (14:36) It is a stormy night, and Nicole (played by Bronwyn Jones) is scheduled to babysit for two young kids. While at the house, she receives strange calls from a scared young boy calling himself "Matthew" and also gets a knock from man (played by John Brumpton) who says he was in a car accident and needs to use the phone. The short was made by Blanks while during his final year studying at the Victorian College of the Arts. Shot on 16mm film and wonderfully using rain, dark shadows, and blue lighting as well as great cinematography by Karl von Moller, it is an accomplished work by Blanks as a student, who also wrote the screenplay and composed the eerie score. Eventually Brumpton and Von Muller would both work with Blanks again in "Storm Warning". Shot on 16mm, this transfer comes from a video master which is upscaled to HD. It looks fairly good for the most part but the colors and detail are showing standard definition looks with the lack of depth. There is a watermark for the university that plays in the bottom right corner of the screen, though it is quite small and not intrusive. The short has been embedded below, courtesy of VCA's YouTube channel. in 1080p AVC MPEG-4, in 1.85:1, in English Dolby Digital 2.0 without subtitles "Rough Justice" 1992 short film by Jamie Blanks (19:25) Pryor (played by Peter Costigan) and Macready (played by Damien Richardson) are prison bunkmates who plan an escape. Pryor has a parole hearing, and during that time Macready is planning to place himself in a coffin for transport with the help of prison guard Rankin (played by Dino Marnika). This prison drama (which does not have an IMDB entry at the moment) was Blanks' second short for university and his first shot on the 16mm film format. It is gritty and quite accomplished though it is obvious that a warehouse seems to be used for the prison set as one must remember it is a student film and their resources were limited. It is more in the thriller genre, quite different from Blanks' horror works and is a fairly fascinating piece. This is also upscaled to HD from a standard definition source. It looks and sounds fairly good, though the upscaling is noticeable on close inspection. in 1080p AVC MPEG-4, in 1.75:1, in English Dolby Digital 2.0 without subtitles Theatrical Trailer (1:56) The original Australian trailer is presented here. It has also been embedded below. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles Jamie Blanks Trailer Reel for "Urban Legend", "Valentine", "Storm Warning", "Long Weekend" (7:45) Presented here are two US trailers for his first two films and the Australian trailers for his later two films. They are all in very good condition, and note the "Storm Warning" trailer is identical to the one listed above. in 1080p AVC MPEG-4, in various ratios, in English Dolby Digital 2.0 without subtitles "Phage" 1997 concept trailer by Jamie Blanks (1:56) Blanks was attached to a science fiction feature titled "Phage" in 1997 from Twentieth Century Fox, and was given $8000 to create a proof of concept trailer showcasing what the film would be like. A six minute reel featuring action and gore that was similar in style to "Aliens" (1986) with a military troupe being terrorized by tentacled creatures. The film was never made and the only thing that remains is the short reel, which stars Robert Taylor as one of the soldiers. Because the original 6 minute version had copyrighted music, presented here is a 2 minute segment without the copyrighted music. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles "Maniac Kill Compile" montage of footage from amateur shorts by Jamie Blanks (1986-1988) (2:53) Blanks shot feature length slasher films on video in while in high school, with a trilogy entitled "Maniac" (with no relation to the 1980 film of the same name). Shot on videotape with friends and family with homemade gore effects and props, this is a montage of the creative kills scenes. The original sound is not played, but instead with uncredited new music. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles "Maniac Video Story Kill Sequence" scene from incomplete movie by Jamie Blanks (2:07) Presented here is a scene from Blanks' unfinished fourth film in the "Maniac" series, with the scene taking place in a video store. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles DISC TWO (Soundtrack CD) 1. Main Titles (2:21) 2. The Boat (1:47) 3. Mangrove Maze (5:27) 4. French Island (2:43) 5. Any Port in a Storm (7:02) 6. Hostile Hosts (9:36) 7. Quid Pro Quo (3:12) 8. Escape Attempt (2:24) 9. Waking Poppy (7:38) 10. Family Talk (4:34) 11. Trip Wire Trap (2:35) 12. Brett's Last Chance (2:40) 13. Hooked on a Ceiling (2:40) 14. Body Bag (2:24) 15. Pillow Talk (4:28) 16. Rape Escape (3:26) 17. Hell Breaks Loose (6:24) 18. End Title (3:34) A welcome surprise for this collector's edition is the original soundtrack album for the film, composed by Blanks. The soundtrack CD was first released by Howlin' Wolf Records in 2021 in the US and was then issued as a bonus disc with the Austrian Blu-ray release from Turbine Medien in 2023. This is the first time the soundtrack has been released on CD in Australia. The film was released on DVD, with each having some slightly differing extras included. On Blu-ray this was also the case. Note that this new Umbrella Entertainment release has the lengthiest extras, though the Austrian release does have one exclusive introduction by the director which has not been ported here.
Packaging
There are two editions available from Umbrella Entertainment. There is the standard edition in a keep case with reversible artwork. This only has the Blu-ray and not the soundtrack CD listed above. There is also a slipcover available exclusively at the Umbrella Webshop. There is also a Collector's Edition exclusively at the Umbrella Webshop limited to 300 copies. This has the Blu-ray and soundtrack CD plus: - A 48 page book with behind-the-scenes, experiences and art with essays - Slipcover - Custom artwork rigid case by Frantz Kantor - Classic poster artwork slipcover - 8 artcards - A3 reversible poster The discs are packaged in a standard keep case with a reversible cover, with the only difference being the MA15+ rating logos being removed. The book starts with a new essay by film critic Alexandria Heller-Nicholas entitled "Fucken Volvo: Storm Warning, Class and Australian Horror" which looks at the film and the themes of social divide. Next is "Filling in the Blanks" which is a text interview with Blanks conducted by John Harrison which has discussion about the film as well as Blanks' career and influences. There are some conceptual designs by artist Frantz Kantor for this edition's packaging included. Then there is "The Man Who Could Fly" on the life and career of Everett De Roche, written by his widow Christina De Roche. There are also numerous stills from the film included. The artcards have high quality stills printed on thick cards. The reversible poster has the keep case inlay's artwork on one side and the newly commissioned slipcase artwork on the other. The poster is folded and housed in the keep case, and the slipcover fits over the keep case. This is housed in the rigid slipcase which also holds the booklet and the artcards. The packaging states region B but is in fact region ALL. 
Overall
"Storm Warning" falls on too many cliches to keep things original, but still has some charm for being what it is. Umbrella Entertainment has done a fantastic job on this new edition, by bringing all the previously released extras and creating new ones as well as digging through the vaults for some never before seen material. The film might not be top tier, but this edition certainly gets high marks in quality. Standard Edition - Umbrella Webshop link Collector's Edition - Umbrella Webshop link
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