Directed by Gregory Plotkin
Starring – Bex Taylor-Klaus, Reign Edwards, Tony Todd
The Plot – A masked serial killer turns a horror themed amusement park into his own personal playground, terrorizing a group of friends while the rest of the patrons believe that it is all part of the show.
Rated R for horror violence, and adult language including some sexual references
– Captivating set designs. In capturing the imagination and detail associated with the haunted house attraction, Michael Perry dazzles us with limitless space opportunity and expressive decoration props to perfectly articulate the hostile surroundings. On top of this, the lighting features everything from a strobing effect to distract, to a variety of coloring to give each scene artistic merit. It’s a reminder that B-grade horror doesn’t always have to settle for limited accentuation within its world building.
– Purposeful jump scares? Anyone who knows me, knows I despise jump scares in horror films, but the ones in this film work because (after all) that is the gimmick associated with the setting. What I love is that the psychology behind the jump scares are more for the characters inside of the movie, and less as a tease for us watching at home. Because of such, the scares never feel timely or predictable to us because they are catering to just the world depicted inside of the screen, and not worrying about constantly breaking the fourth wall. It’s something I commend this film for greatly.
– Hard-R. Many mainstream films don’t receive the coveted R-rating anymore, mainly because they are seeking a wider age range in audience to fill their seats, but ‘Hell Fest’ whets our appetites repeatedly with an overabundance of gore that stems from some exceptionally creative kills. I challenged this film repeatedly to shy away from depicting where each devastating blow was headed, and never once did it succumb to the pressure of the standards of a flawed ratings system. There’s also great teasing and struggle leading up to them that increases the tension and urgency tenfold, and never allows the moment to evaporate with one quick blow. It chews up the scenery with repeated confidence, and this element gave this horror hound lots of satisfaction repeatedly.
– Consistency in pacing. ‘Hell Fest’ certainly isn’t a difficult watch by any stretch of the imagination. It’s an 84 minute movie that constantly keeps breezing through a barrage of ever-changing landscapes and pulse-racing atmosphere to keep the attention firmly planted on the screen. Never during the film was I ever bored or distant from what was transpiring, nor did I feel like the allowed time did a disservice to the story itself. It’s a great way to burn an hour-and-a-half off of your day.
– Bear McCreery’s almost operatic score. McCreery is someone who is quickly becoming one of my favorite composers in film, and his work in this film is more proof for the pudding. Bear’s amplified compositions ignore subtle nuance and instead instill a ranging vibrancy for the variety in environments. Yes, this is all happening under the roof of one location, but the many themes inside the park are given enough respect from Bear to keep their music marginally different, and without them ‘Hell Fest’ wouldn’t earn even a fraction of the elevated tension that it frequently earns.
– Convenient plot devices. One aspect that disappointed me and took away from my growing enjoyment of the film was in the many conveniences that Plotkin forces us to endure, which even for a horror film are a bit of a stretch. This is as popular of a park as you can imagine, yet there’s only our ensemble cast who we ever see interacting in these attractions. Yes, we are given exposition in the form of V.I.P passes, but never on any park on this planet would this angle work for a single day. There’s also an angle with the killer’s shoes that makes it conveniently easy throughout to pick him out whenever he is trying to hide or blend in. As well, the killer isn’t exactly as wise as the film paints him out to be. Several times he does himself a disservice by allowing a character an easy escape, or just plain out walks away from them after he strikes.
– Lack of characters/bad acting. The work from this cast is offensive even for a campy, B-grade horror film. Their over-the-top personalities and selfish instincts repeatedly rubbed me the wrong way, and made it easier for me to embrace the film’s antagonist to kill them off one-by-one. Much of this can be blamed on the total ignorance of backstory or exposition from the film, but the fresh-faced cast often make it unpleasant to spend even one moment with them. These are people who I myself would never spend one evening with in my personal life, so being forced to endure them without distraction is a test I often failed.
– As for the killer himself, there’s nothing remotely satisfying about his big reveal that makes the juice worth the squeeze. His arsenal in weaponry is quite bland, his costume is something that could be put together at Costco, and any wave of clarity or logic for his hatred of haunted houses is never further elaborated on. Without spoiling anything, there is a scene near the end of the movie that I think implies to paint that this guy is a regular human being like you or me, but that still doesn’t even attempt to piece together the motivation for such a sporadic hobby, and just kind of sends us home on an emptying wave of air that slowly omits itself from the momentum of this film.
– One and done. Cameos from legendary figures in horror films are certainly nothing new, but the way Tony Todd, A.K.A The Candyman, is shuffled on and off screen during this film is downright insulting. Todd is given relatively high billing for the film, and is reduced to nothing more than a one-off scene that leaves no lasting impact. When you have a name like Todd’s, you go all out, and for my money I could’ve used more background for his role as the host of this terrifying attraction.
– The film’s premise, while nothing original by the genre’s standards, really goes disappointingly unexplored. One could argue that this leaves room for future installments, but much of the creativity associated with dissecting what is real and what isn’t in the park is never further elaborated on, removing many opportunities for fake-out scares and mysticism for the setting that I felt this movie desperately needed. For my money, establishing a one-man killer early on only limits the potential of paranoia within its walls, and leaves a general underwhelming feeling going forward that kept the scares very rudimentary.