You might have some fun searching for the method to the madness that runs amok in the experimental thriller Rizzcotti. This WTF title is the feature-length debut of writer-director Luis Fernando Ferrer. Set in the city of electric lights, the story follows Jackson (Perry Sagliocco), who has been tracking, over four decades, a little die-cast toy ambulance known as The Siren. Whoever comes across it has a horrible misfortune fall upon them. It all started in the mid-1980s, when a reporter (Lynn Ines) discovered the carnage left in the little metal paramedic vehicle’s wake.
“…a little die-cast toy ambulance known as The Siren. Whoever comes across it has a horrible misfortune fall upon them.”
Now, in modern-day Los Angeles, Jackson is seeking out help for his obsession with the demonic toy. He hires a Craigslist therapist (Cie Allman), who listens to Jackson babble on about how this toy delivers death to those who encounter it. New to town, Tawney (Lyric Kingxe) is going to be the next to fall into the Siren’s area of contamination. This is because her roommate, Mara (Alessandra Martino), has an ancient family connection to the toy truck. Mara also demands that, on top of rent, Tawny must donate some of her blood to Mara. Meanwhile, a parade dancer (Narayana Nancy Urbach) gets ready to do her stuff while Tiger Kung Fu (Lady Lallaine Medina Reed) battles DJ Bella Nocturna (Olivia Graham) in the street. And the little toy ambulance rolls on, harkening doom to all that crosses its little toy path.
Rizzcotti is an absolute mess, but still manages to squeak by with a recommendation; let me explain. I was drawn to this movie because I thought the concept was nifty. It seemed like the perfect opportunity to do a zero-budget version of The Monkey. It would be hilarious to see a lot of people die because they got near a little toy ambulance. I was also drawn to the title, as it seemed to indicate this may be Italian, and I love Italian cinema. Turns out that it is a made-up nonsense word that sounds foreign but means nothing.
"…worth the time of the odd film adventurer looking for a raw trek into grade-Z decontextualization."