Creating a film that inspires a genuine sense of dread and tension, with a small cast and limited locations, is no easy task. There is no sure-fire recipe for success with this, but there are two components that are required if a film is to have even a remote chance of working. The first is a genuine sense of realism, regardless of how fanciful the story, and the second is characters you can truly connect to as human beings so you are invested in their struggle. It sounds simple yet it’s amazing how rarely it’s pulled off effectively. So, does director Corin Hardy (great name btw) manage to succeed with his Irish folktale inspired film, The Hallow? Well, let’s discuss.

The film centers around Adam (Joseph Mawle) a British scientist whose work with plant and fungal life requires him to move to a remote Irish village along with his wife Clare (Bojana Novakovic) and their baby son. Adam is initially dismissive of the locals’ warnings about the supernatural presence inhabiting the woods near their house, but before long finds himself and his family in a fight for survival with malevolent forces they can scarcely comprehend.

Right from the opening shots, this film does an excellent job transporting the viewer into the world of the story, through the gorgeous cinematography that showcases the emerald forest of Ireland in exquisite detail. As I previously mentioned, realism is an essential part of immersing the viewer in the experience and the rich, detailed image quality found in every shot is largely responsible for the excellent sense of realism that Hardy brings to the project. Of course, a quality image is only one piece of the puzzle but luckily the entire cast, down to the smallest role, is able to deliver top-notch performances that keep the viewer thoroughly engaged in the story as it unfolds.

Since the film itself is built on such a strong foundation, the scares have far more impact and I felt myself genuinely invested in the horrific ordeal the characters were facing. I am a firm believer that practical effects should be utilized over CGI whenever possible and this film is a shining example of how well that can work. Because of this, the creatures have a tangible, living quality to them that is far more menacing than the cartoony CGI abominations that pollute so many other films.

On top of all these other important attributes, this film has the most important of all, a tight, well-paced script that will keep you engaged and entertained throughout and makes you care about the characters without resorting to cheap, melodramatic dialogue. Overall, a great film that hits all the marks and will make you think twice the next time you want to take a walk in the woods.

Some films throw logic and reason right out the window and subscribe only to the bizarre new reality they have created. Films like that can be difficult to critique because the acting, continuity, special effects and even the plot itself are so askew that you can’t judge it’s success or failure by any standard measurement. As someone who loves unconventional, surreal cinema, I’ve seen a lot of films in this category and have found that they inevitably fall to one side of the quality spectrum or the other. Either a film succeeds wildly as an innovative, daring work of creative brilliance or it quickly becomes clear that the filmmaker has simply slapped together a bunch of nonsensical images without any meaning or intention. So, where does the utterly surreal insanity that is Hectic Knife fall on that scale? Well, let’s discuss.

The plot, such as it is, follows Hectic Knife (Peter Litvin), a knife wielding vigilante in a long blonde wig who has become completely frustrated and disenchanted with his brutal and relentless life of crime fighting. Things get even worse for Hectic when one of his only friends is murdered by the sinister Piggly Doctor (J.J. Brine), a super villain who seeks to dominate the world itself. But first he will need to get through a blonde maniac with a pair of knives in his belt and a score to settle.

Even though the summary sounds (mostly) like your standard anti-hero action flick it doesn’t even begin to describe the surreal madness that permeates every frame of this movie, and that’s what makes Hectic Knife work so incredibly well. Director Greg DeLiso commits so fully to the unhinged lunacy of the world he’s created, that the movie isn’t simply weird, it’s authentically surreal, nearly reaching Japanese Splatter Cinema levels of gleeful insanity. There are just so many little touches that keep the viewer unbalanced but utterly engrossed and curious to see what unpredictable direction the film will veer off into next.

From the small things like the living room couch that’s inexplicably vertical, the deliberately strange and repetitive dialogue, a character stopping in the middle of a fight to do a stand-up comedy routine complete with a laugh track, this entire experience feels like a stream of consciousness dream that only kinda obeys the laws of reality. One of my favorite scenes is when this black and white movie pulls out to reveal a random couple in full color watching and disparaging it. They in turn have their own scene that is just as intensely bizarre and violent as the rest of the film, but otherwise serves no purpose but to add yet another level of insanity to the experience.

In a film full of strange and surprising scenes, by far the most surprising of all, is how effectively funny it is, and I don’t mean in an unintentional The Room kind of way, either. Hectic Knife knows exactly what it’s doing and it’s fucking hilarious! This is not something I say lightly, as I am rarely amused by the antics in most films that are attempting to be funny, but the humor in this was so goddamn absurd and unpredictable that it had me laughing out loud the entire way through.

Of course, this film is what it is, and while the ride is an incredibly enjoyable surreal trip, there isn’t anything here that’s going to shatter your reality with its depth and significance. Still, I could go on for pages about the multitude of wonderfully strange touches in this movie, but truly there is no way to do them justice on the page, and this is one experience that has to be taken firsthand. This film is certainly not for everyone and definitely not something that mainstream movie goers are going to be able to appreciate. But for those of us who want to strap in for a unique experience of creative insanity, get the fuck in line for this one because Hectic Knife has “underground cult classic” written all over it.

When a horror movie has a holiday-themed premise, especially holidays other than Halloween, that’s often a sign that the audience is in for a campy ride that is going to play up the novelty to extreme proportions. Of course, that’s not always the case and some notable exceptions include the well-crafted, emotionally developed slasher Silent Night, Deadly Night as well as the incredibly creative and bizarre Rare Exports. Today, I discuss whether or not Once Upon a Time at Christmas falls into the category of holiday classics or if it’s just another poorly crafted product that falls apart almost immediately.

The story is set in the small town of Woodbridge New York where a maniacal couple in Santa suits (Simon Phillips) and (Sayla de Goede) begin a murderous rampage a few weeks before Christmas. Now it’s up to the local sheriff (Barry Kennedy) and a group of high school students to try and find out the reason for the killings and stop them before it’s too late.

When judging whether or not a film works, you really have to take into account what the director was going for in the first place. Clearly, in this instance, this is a film that’s intended as a fun holiday slasher, so judging it in terms of it’s realism isn’t a fair assessment. But even when viewed through that lens, there are some significant issues that prevent this from succeeding.

I don’t require a lot from a campy slasher to be entertained, but if you are going to ask me to sit through a silly premise with flat, generic characters that only exist to be slaughtered, then you at least need to bring the fucking blood. There are a lot of kills in OUaTaC, but for some baffling reason, director Paul Tanter takes a very timid approach to the violence. Even though numerous people are axe murdered, burned alive, or dispatched in other brutal ways, most of the violence occurs off camera or with very little blood. When the blood splatter does come, the film commits the egregious sin of using cheap CGI in place of a simple practical effect.

These kinds of half-measures are indicative of the film’s general approach to any remotely edgy content. This is perhaps best exemplified in the strip club scene that features zero nudity. Why even have it in there? I honestly don’t understand these half-hearted attempts at adult content that stop short of anything even slightly provocative. Why not just bleep out the fucking swears too, while you’re at it?

These issues of self-censorship wouldn’t be glaring if the overall film had a more solid foundation. Unfortunately, with so much cringe-worthy dialogue and uninspired characters, the film doesn’t really have a leg to stand on. Even for a slasher, the Claus’ near supernatural ability to appear wherever they need to is pushed to utterly absurd levels, and when the primary concept is finally revealed, it’s so goddamn silly that you’ll want to stab your eyes out with a candy cane.

It’s not all bad though, from a technical standpoint the film is well-crafted and some of the characters do put in solid performances, the sheriff and his deputy among them. The Claus’ also clearly get it and commit to their scenery chewing mayhem with the kind of unhinged enthusiasm that perfectly fits the tone of the film. And that’s the thing, there is fun to be had here and I wish there was a re-cut version that leaned into the gruesome madness instead of shying away from it. Had that version existed I would have wholeheartedly recommended it as a fun Xmas slasher, but as it is, this feels like the film equivalent of unwrapping a pair of socks on Christmas morning.

A good opening scene that grabs the viewers attention is very important for setting the tone of your film, especially in a horror movie. Conversely, when the opening of your film is so misguided that the audience is already rolling their eyes at minute one, you’re not off to a great start. Unfortunately, this is the case for Twelve Pole, which makes an incredibly lame attempt to be edgy by opening the film with a voice-over, warning the viewer about how graphic the movie is. Problem is, actual warnings like that aren’t a thing! Legitimately hardcore films don’t bother with such gimmicks, and for a film that doesn’t even qualify as Extreme Cinema, they’ve got some nerve pretending that a warning is required. Still, you can’t judge an entire film by a single misstep in the beginning, so let’s see how well the film itself holds up.

In a plot that can be best summed up as “Redneck Amityville Horror” a group of good ol’ boys purchase a dilapidated house in order to fix it up themselves and sell it for a profit. The fact that a violent crime had been previously committed on the property means that the house is a real steal, but naturally, it isn’t long before the cursed property starts affecting the men in strange and horrifying ways.

The first thing I have to say about this film is that at least everybody tries, which is not something to be taken for granted. Being that it’s a micro-budget film, the acting is bound to fall on the wrong side of realistic, but there is at least a sense that the cast is fully committing. I also appreciate that, while it may not be the most ground-breaking concept, at least it doesn’t take place in the fucking woods, and the story itself is something that is well suited to a single primary location and a small central cast.

There is certainly nothing wrong with a classic haunted house set-up, and the fact that certain characters start behaving in drastically different ways after being in the house too long, is a time-tested concept that is effectively unsettling. In fact, the overall concept is a very solid one, and basing a film around real-world anxieties, such as buying a house, is a smart, logical setting for a horror film. Unfortunately, Twelve Pole also makes some very illogical choices, such as having two of the characters spend the weekend in the abandoned house to guard it (!) until the locks are changed. That’s also not a thing! Why would you need to guard an abandoned house that sat there untouched for years and doesn’t even have any of your stuff in it yet?

There is one key area that this film does really deliver in though, and that is the gore. While this may not be an example of Extreme Cinema, there is no denying that it is plenty bloody. That, in and of itself, isn’t always a wholly positive trait in micro-budget films, but what sets Twelve Pole apart from many of it’s contemporaries is that it pulls off the effects very well. From a gloriously realistic hanging to ripped out throats, graphically broken limbs, barbwire strangling, disembowelments, and so much more, the uncompromising violence is by far the best part of this experience.

Since the gruesome parts of this movie are so well done and many of the scenes in between are weighed down with lackluster static shots and awkward, stilted dialogue, I honestly feel that this would be far better if it was trimmed down to a short film. At 20-30 minutes Twelve Pole could be a visceral, kick-ass ride that grabs the audience by the throat and gets right down to business. As it is, the good parts are there, but the lack of convincing characters and a less than compelling plot make it hard to justify waiting for them.

*Reviewer’s Note: After my review posted, I was contacted by the film’s director, Sam Hodge, who let me know that he will be removing the opening warning from the final version of the film, which I think will be a substantial improvement.

Establishing the proper tone for a film can be very difficult to get just right, especially when your film incorporates elements of black comedy as well as horror. When it works it can be a very entertaining blend of genres that properly balances both, and when it doesn’t, it quickly devolves into a confused mess that serves neither. Today we’ll see if Murder Made Easy is able to strike the right balance with its modern take on an Agatha Christie style murder mystery.

A year after her husband Neil’s death, Joan (Jessica Graham) and her good friend Michael (Christopher Soren Kelly) invite several of their friends over for dinner to discuss and remember Neil. Of course, as the title clearly suggests, there are far more nefarious elements at play here. That’s about as specific as I can get because with a film like this, twists and revelations are a big part of the central experience.

This film definitely does wear its theatrical influences proudly on it’s sleeve, even name-checking Mousetrap several times throughout. In fact, the experience of watching it was very reminiscent of watching a play, and with its heavy emphasis on dialogue and single location, this is a film that could very easily be adapted into a stage production. To be clear, this is not a negative, and the superb acting and engaging plot make use of the single location in the same manner that great theater productions do. 

Since theater itself, and in particular a specific production of Mousetrap, are integral to the plot, the centralized location actually works in service of the film to help establish the desired tone and feel. Director David Palamaro is clearly shooting for a specific aesthetic and is able to capture the look and feel of a classy murder mystery incredibly well. The use of music here is spot-on and the different elements of horror, thriller and black comedy are well balanced to create a cohesive experience. Well, mostly…

While I can see why the overall plot itself was structured the way it was, the very device of having sequential guests show up does make much of the general plot rather predictable, and even a bit repetitive. Fortunately, as more of the larger story is revealed most of the characters have enough substance and variety to keep the interactions entertaining throughout…..with the notable exception of Cricket (Emilia Richeson). While most of the other characters are represented as slightly heightened archetypes, Cricket is full-blown New Age stereotype and her segment is the film’s most overt (and misguided) attempt at comedy, and a clear low point in the overall film itself. Had she simply been rewritten as a slightly more realistic character, her segment would have worked far better.

Regardless, this is a very entertaining film overall that knows what it’s going for and embraces it wholeheartedly. Well acted and enjoyable to watch, this is one dinner party you won’t want to be late for.

Ahhh the woods, the go to, ready-made set that is the favorite location for countless indie horror films. I understand the practicality of using this as a primary location, but aspiring filmmakers would do well to keep this advice in mind before they start lugging their cameras into the wilderness: If you are going to set your teen-massacring film in the woods, as we’ve seen countless times before, you’d better bring your fucking A game and show us a very creative and interesting twist on the most tired premise in horror. Otherwise, don’t bother showing up. So, even though it’s utilizing the most played out concept in horror cinema does The Small Woman in Grey elevate itself above the masses with a quality script and innovative filmmaking? Well, let’s discuss.

The film centers around a group of teens who go into the woods to party. Coincidentally, they happen to run into a man who got separated from the rest of his broad daylight ghost hunting group (!) and is conveniently able to tell them all about the ghost that allegedly haunts the woods. Predictably, it’s not long before members of the group start dying mysteriously, and it’s up to the remaining survivors to try and figure out why before it’s too late.

So, clearly writer/director Andrew Sean Eltham-Byers wasn’t looking to break any new ground with the concept here. But, even a film about (yawn) teens partying in the woods until a mysterious stranger imparts plot exposition can still be worthwhile if the characters are well-crafted and compelling. Well, that’s unfortunately not the case here because while the characters aren’t the overt caricatures we sometimes see in these kinds of films, they are still completely insufferable and uninteresting. The fact that this is a micro-budget film means that the painfully amateur acting is somewhat forgivable….but the generic, plodding script is not.

Still, I’ve seen plenty of films that may not have had the most innovative plot but still managed to deliver a high level of entertainment value through well-crafted kills scenes. Sadly, this is where Eltham-Byers commits the most egregious cinematic sin and opts for bargain-basement CGI effects over practical ones. Shame! Shame! Shaaaaame! Seriously, this is a decision that I can’t even wrap my head around. I mean, even CGI effects on multi-million dollar productions often end up residing in the dreaded uncanny valley, but when your budget is next to nothing, the chance of pulling off convincing CGI is about the same. It’s a lot smarter move to scale back your set pieces to what you can effectively execute so you don’t end up with cartoony graphics that look like they were made on a home computer in the 90s.

Okay, this film has a lot of self-inflicted wounds but there were still some aspects that I did genuinely appreciate. For instance, it was refreshing to see a film where the primary romantic subplot involved a homosexual couple but was presented as casually as a heterosexual relationship, which was a nice, progressive touch. There are also a few times that the film was effectively creepy, but they were the all too infrequent times that Eltham-Byers opted for the subtler, less-is-more approach. Any scenes where the ghost was on full display in all her CGI glory were just awful, but the couple of times she was limited to a sinister voice and a shadow crossing the scene were (not surprisingly) far more effective.

Between the terrible pop music, worse special effects, lame script and unironic use of montages there isn’t really anything about this film to make it worth recommending. It is clear that everyone involved put a lot of effort into the production, but if Eltham-Byers had spent a little more time on the script and effects and a little less time on figuring out how to make text bubbles pop up on screen then perhaps it would’ve paid off with a better finished product.

When you think about the country of Turkey, ‘horror films’ probably isn’t the first thing that pops into your mind, but after the international success of Can Evrenol’s Baskin, that may be changing, at least a little. It certainly isn’t the first horror movie made in Turkey, but it is by far the most successful and just as A Serbian Film did in 2010, it puts an unexpected country into the international horror conversation. Based upon the 2013 short film of the same name, Baskin is a surreal and gruesome journey into a nightmarish world.

The central characters are a group of police officers who we first see hanging out in a small restaurant late at night, casually chatting about bestiality (!) and fucking trans hookers….like you do. After beating up the waiter and leaving, they receive a call for backup and head out to a decrepit house in the middle of nowhere, where they stumble upon a gruesome Satanic ritual and perhaps the gateway to Hell itself. Needless to say, shit starts to go south in a hurry.

The first thing that stands out about this film is how incredibly well shot it is. The cinematography is incredible by any standard but the fact that Evrenol was able to achieve such rich, gorgeous visuals in his first feature on a budget of only $350,000 is truly impressive. He also uses the surreal storyline to create some incredible set pieces such as the dream scene of Arda (Görkem Kasal) plunging into water and being rescued by giant hands. Most importantly though, the film is laden with grotesque imagery, genuinely unnerving set design, and gloriously brutal violence.

Beyond just the quality of the image itself, Evrenol also makes some smart stylistic choices that pay off very well. One of the most notable is the casting of visually striking character actors for some of the roles that give the film a surreal authenticity that you simply cannot replicate with latex. There are a few here, but the standout is, of course, the casting of Mehmet Cerrahoglu, who’s unique physical condition makes for one of the most memorable and interesting faces you will ever see on film.

The story itself is heavily imbued with dream logic and a surreal, almost Lynchian quality that gives the feeling of being trapped in a waking nightmare. Because of this, Baskin may require a few viewings to fully process it’s meaning but that’s okay because the twisted visuals and copious amounts of blood are entertaining enough to keep sick fucks (such as myself) coming back for more. Overall, a very interesting, unusual film that makes me excited to see what Evrenol (as well as Turkey as a whole) have in store for us in the future.

Sometimes the trailer for a film is so compelling and intriguing that you instantly know it’s a film you absolutely must see. For me, Raw was such a film and the dark, unusual, and clearly well-shot movie that was promised was one that I couldn’t wait to watch. Of course, a great trailer followed by months of waiting can certainly raise expectations for the film itself so the question is, did Raw live up to the hype and deliver on the high promise of the exquisitely made trailer? Well, lets discuss.

The story follows Justine (Garance Marillier), a young woman from a strict vegetarian family, who is going off to the veterinary school that her rebellious sister Alexia (Ella Rumpf ) already attends. After being forced into eating meat in an initiation ritual, Justine soon begins to have an insatiable craving for flesh that she struggles to control. That’s about all I want to reveal about the story because, truly one of the best things about it, is the shocking twists and unpredictable plot.

What’s instantly apparent when watching this film is just how incredibly well made it is. The cast, primarily consisting of young adult actors, is absolutely flawless and their strong, realistic performances are a huge part of what makes it successful. The lion’s share of the credit, however, belongs to writer/director Julia Ducournau, who’s brilliant script and assured direction, are responsible for creating a film that is visually stunning and thoroughly compelling.

It’s utterly amazing that this is Ducournau’s debut feature because, the way she skillfully balances the elements of a coming-of-age drama that’s infused with horror, is nothing short of masterful. The story is not only very different from what I assumed it would be going in, but also remained unpredictable throughout and was certainly a far cry from what Hollywood would have done with the material. The twists in the story make for some surprisingly shocking moments and the subtext about discovering one’s sexuality (and the horrors that go with it) is expertly infused into the story.

The fact that Ducournau relied on real animals and practical effects over CGI adds to the overall realism and, while this is not an extremely bloody film overall, the gore effects that are present are pulled off perfectly. All in all, this is a film that actually does live up to the promise of it’s trailer and, although it’s not exactly a horror film, it’s a horrific and beautiful journey that is very much worth taking.

No matter the size of your film’s budget there are always challenges to face. Big studio pictures have nearly unlimited resources but the filmmakers must contend with meddling producers dumbing down their vision until it’s palatable to a wide enough audience. Conversely, indie filmmakers have the freedom to explore innovative ideas regardless of their marketability but face the challenge of attaining the resources to properly execute their vision. Despite this disparity, both indie and Hollywood films are fighting for the exact same prize, the limited time and attention of a finite number of viewers.

Considering the fact that there is no shortage of entertainment to spend our free time indulging in, why would anyone choose to watch films with inexperienced actors and homemade special effects over slick, high budget entertainment? Well, the reason you chose to overlook the rougher, DIY aspects of indie films is because they are the ones that push the creative boundaries and try daring new things that the high-budget films don’t have the balls to attempt. However, when an indie film simply tries to replicate the same generic experience of a Hollywood film, but with a fraction of the budget, you are left with a product that is truly the worst of both worlds. So, is Kudzu Zombie up to the immense challenge of not only overcoming its very modest budget but also being an innovative entry in Horror’s most over-saturated sub-genre? Well, let’s discuss.

The film tells the story of Lonnie (Timothy Haug) a crop duster who tries out an experimental new chemical at the behest of a pair of corporate scientists and, since this is a zombie film, you all know exactly how well that works out. Once the outbreak is in full swing most of the action takes place at the town’s music festival as Lonnie, his friends and the remaining uninfected must battle the hordes of the undead. There isn’t really much more to the plot than that, and that in and of itself is Kudzu’s biggest failing.

Now, let me be perfectly clear about this, if you are going to attempt to tread down one of the genre’s most well-worn paths, you absolutely must bring a serious amount of innovation to the table. Unfortunately, this film seems content with rehashing the same basic “group survival” plot we’ve seen countless times before and doesn’t even attempt to break new ground. It pays lip service to the invasive plant species the film is named after, but instead of using it as a launching point for a creative and original storyline, it is simply an arbitrary catalyst that results in a very by-the-numbers outbreak.

Okay, so even if a zombie film isn’t willing to go to far outside of the box, it should at least deliver solid, well defined characters and brutal, realistic gore. At this the film also fails, as it portrays generic, one-dimensional characters with melodramatic, cliched subplots that will only succeed in making you hate them more. There is quite a bit of blood but not much in the way of gory practical effects and the ones that are attempted stand out as fake and poorly executed. There is, however, a whole lot of bargain-basement CGI used for everything from the blood splatter, to the explosions to the cartoonish looking fire, which all seem designed to ensure there isn’t even the faintest suspension of disbelief on the part of the audience.

To be fair, in this mess of CGI blood splatter and poorly conceived characters, there are some moments that the filmmakers do pull off effectively. The part where the fire-breathing sideshow performer uses his talents as a weapon against the zombies is well conceived. Similarly, the plane propellers chopping zombies and the RPG being fired into the town are heavily reliant on CGI but still pretty cool to watch.

Ultimately, this is a failed effort, but not because the filmmakers lacked the resources to make a zombie outbreak film, it fails because every instinct the they had was wrong. They didn’t innovate when they should, used CGI when they shouldn’t, and insisted on bad jokes and melodrama in place of realistic character development. Discerning horror fans would be far better served spending an hour and a half re-watching zombie films that actually do innovate the concept of an undead outbreak like Wyrmwood or 28 Days Later than spending their precious free time on a story that’s been done to death.

Some movies are created with an emphasis of style over substance, a deliberate attempt by the filmmaker to craft a compelling and surreal world that does not adhere to a standard narrative format. Suspiria, Lost Highway and Beyond the Black Rainbow are just a few examples of when this artistic gamble really pays off and pulls viewers into a compelling, living nightmare that brings you along for the ride, even if it’s not always clear where that ride is taking you. Conversely, when not done properly a lack of narrative only succeeds in creating frustration and quickly bores the viewer with a series of meaningless images. So, where does a film with a hallucinatory, dream-like style like Night Kaleidoscope fall on the spectrum? Well, let’s discuss.

The plot (such as it is) centers around Fion (Patrick O’Brien) who uses his hereditary psychic abilities (along with the unknown mystical drug he smokes) to help solve crimes. His current case involves a vampire couple that are responsible for a series of murders in the city slums. He is soon joined by Isobel (Mariel McAllan) a mysterious young woman who seems to have a personal stake in wanting to defeat the vampire couple.

First of all, I want to acknowledge the style of this film and the fact that director Grant McPhee effectively uses a variety of techniques to create an authentically surreal, dream-like experience. Quick edits, single-color saturation scenes, deliberate out-of-focus shots and a purposely shaky handheld camera all work together to deliver a fluid sense of movement that is disorienting and nightmarish in the best possible way. The pulsating and ominous 80’s style synth score that’s underlaid throughout adds to the hallucinatory effect of the film and perfectly compliments the striking visual style.

However, one key aspect that separates this film from other surreal classics like those I previously mentioned is the fact that it doesn’t commit fully to the surreal tone it establishes. Swirling, disorienting montages are broken up by scenes with more standard structure and pacing. That’s not necessarily a bad strategy in general as you don’t want to burn out your viewer with images that risk becoming repetitive and meaningless, plus it can be a good time to communicate key plot information. But, in the case of Night Kaleidoscope, this is where it comes up short because unlike films where the whole plot is up to interpretation, this one has a pretty straightforward narrative, it’s just got some holes in it.

For instance, the fact that there is clearly meant to be a greater significance to the character of Isobel but it is never properly established in the plot. This leaves unanswered questions about her connection to the vampires that feel more like an oversight than a deliberate omission. Similarly, plot threads involving Fion’s employer who suddenly wants him off the case and his “psychic drug” supplier’s motivations are not properly fleshed out. This adds to an overall feeling of characters and plot points being introduced without the filmmakers having a clear understanding of how these elements work in the context of the story as a whole.

In general, the world the film creates is certainly strange. It’s a world where there don’t appear to be any mythic creatures other than the vampire couple but their existence is instantly and unquestioningly accepted. It’s a world where psychic detectives are commissioned by mysterious clients when a murder needs to be solved and actual police never appear regardless of the amount of bodies that pile up. In most cases, people in this world also seem very complacent when faced with the threat of death from the vampires but that fact does also lead to an interesting interpretation of this film as an allegory for drug use. Although, it remains unclear if that was the filmmakers’ intention as other aspects of the plot don’t necessarily support it.

Narrative issues aside, I really can’t overstate just how accomplished this film looks visually and the fact that it was made for the astoundingly low price tag of under $5,000 makes it all the more impressive. It also shows a tremendous amount of raw talent for visual flair on the part of McPhee who is a director that one would do well to keep an eye on. In the end this makes for an experience well worth having if you can let nagging concerns about plot melt away and embrace the mesmerizing surreal imagery. Indeed, this is the kind of film that is best when consumed late at night and slightly under the influence.