Horror Comedy

A Really Nice Guy (Short)

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Sean believes he has seen the girl of his dreams – she just doesn’t know it yet. With the help of his friend, Milo, Sean makes a series of unfortunate attempts to connect with this dream girl. Yet from the dream girl’s perspective, Sean’s “romantic” gestures are anything but.

This unique film was co-written and directed by Christina Przada and Paul Hibbard. What makes A Really Nice Guy feel different is the fact that it feels like two completely different style films combined in one short. On the one hand the short is a goofy buddy comedy. It follows two men, one of whom happens to see the girl of his dreams while out and about. The friends hatch a plan to try to get the dream girl’s attention and ask her out on a date. Then there is an entirely different film from the dream girl’s perspective. A woman, weary from going on dates with losers and creeps, is just trying to go about her day. Then she notices two strange men following her.

There are multiple aspects of this short film that make it a compelling watch. The most obvious is the poignant plot. It not only shows the things women are forced to endure from men, but it also helps to convey to men how some of their “nice guy” behavior can be anything but nice to a woman. The difference between the two perspectives is shown through changes in acting style, tone, cinematography, etc. It begins by showing the man and woman both getting ready for the day in seemingly similar ways, but gradually the differences become much more apparent.

From the man’s perspective everything is just a bit goofier. The most obvious ways this is conveyed is the color palette and the performances. All of the colors are very bright and cheery. When it comes to the performances, they are slightly over-the-top, but it works with the formatting of the short. Clayton Bury (Safe and Happy, Confined) stars as the self-proclaimed “nice guy,” Sean. His best friend, Milo, is played by Pete Papavlasopoulos (The Blair Trump Project, Time of Death). Both men are equally misguided in their quest to get Sean’s dream girl and the performances from both Bury and Papavlasopoulos are ridiculous and goofy. Within the context of this film, this kind of performance works well to help tell the story of how the men are completely oblivious to how unsettling their behavior truly is. It also allows for some comedy to break up an otherwise very serious topic.

From the woman’s perspective, everything is different. The most immediate difference is in the look and feel of her perspective. Her point of view takes on a slightly more monochromatic look with a bit of a gritty edge to it. Carlie Lawrence (Supermen: World War) plays Courtney. What makes her performance especially interesting is how she conveys the things a woman will often go through in order to find the perfect man, only to grab the attention of the creeps, weirdos, stalkers, and men who claim to be “nice guys.” Lawrence also perfectly conveys how women have to always be alert when we are out just trying to go about our lives. This important part of daily life as a woman coupled with how Courtney’s POV is filmed allows for a lot of tension to be built. We as the viewer may know that she is not in any real danger, but it is easy to see why she would think she is.

A Really Nice Guy is a short film that manages to tell the same story from two completely opposing perspectives in very different styles. The way Przada and Hibbard blended the two together works very well to show the differences between how men and woman experience the dating scene. I believe this short also wisely uses humor to not only show those different points of view, but to also make the message being send more palatable. Guys don’t want to hear that their actions can be construed as creepy. Yet by adding some laughs into the mix, along with the more suspenseful aspects, the message becomes more palatable and less preachy. There are times when the humorous parts are a little too goofy, but overall the performances, style, and plot mesh together to create an enjoyable short film.

OVERALL RATING: 3.5/5

Nightmare Cinema

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One by one, people are drawn to a seemingly abandoned movie theater. As they take a seat in the empty rows the lights go down and the projectors starts up. What these people see on screen is their worst nightmares. Each person must face their fears. Then they must face the projectionist.

Horror fan-favorite Mick Garris (Hocus Pocus, Sleepwalkers) brought his latest Masters of Horror-like film, Nightmare Cinema, to the Portland Horror Film Festival. In this film, Garris brought together other well-known horror directors to create an anthology that touches on many different subgenres. The connecting plot is by Garris himself and revolves around characters from each segment being drawn to the old movie theater. Once inside, a creepy projectionist shows them their greatest fears on the big screen. From there the film goes into different segments, each with a very different look, feel, and tone.

The first is written and directed by Alejandro Brugués (Juan of the Dead, ABCs of Death) that starts out as an 80’s style slasher, but quickly turns into something else. Then the audience is shown the more horrific, if not darkly funny, side of plastic surgery directed by Joe Dante (Gremlins, The Howling). From there we get a more traditional demonic possession segment directed by Ryûhei Kitamura (Midnight Meat Train, Versus) that has an epic climax. Writer and director David Slade (Hard Candy, 30 Days of Night) takes on the fourth segment with a black and white Twilight Zone-like story about a woman who is struggling to keep hold of her sanity as she sees monsters all around her. Finally, Garris returns in the last segment in his heartwarming supernatural thriller about a boy in a hospital who can see the dead.

What makes this anthology work so well is that each chapter feels entirely unique and independent from one another. Yet, at the same time, the overarching story of the projectionist and his empty theater acts as a fantastic connector between each segment. The film also delivers a little something that every horror fan can enjoy. There are parts that are in the realm of horror-comedy, some of it is supernatural and eerie, and there are even some aspects that venture into the sci-fi side of things. I personally enjoyed each chapter of the film, but even if others don’t, there will at least be one segment that tickles their fancy.

There are a wide array of acting styles in Nightmare Cinema, and each of them is incredibly entertaining. Each actor does a great job of molding their performances to fit with the tone of the segment they are acting in. There are a few select performances that stand out. One of the most powerful performances comes from Elizabeth Reaser (The Haunting of Hill House, Ouija: Origin of Evil) in Slade’s chapter, “This Way to Egress.” Reaser plays Helen, a mother struggling to determine if the world she sees around her is real or all in her mind. She acts with her entire body, showing the depth of her tension and anxiety in a powerful way. A surprise performance can be seen in Brugués’ segment, “The Thing in the Woods,” in the form of Sarah Elizabeth Withers in her first feature film role as Samantha. What I love about Withers’ performance is how she perfectly captures the acting style of classic 80’s slasher final girls. While these two performances are my favorite, it is a difficult decision to make because everyone truly does a wonderful job.

With each segment of Nightmare Cinema being completely different, there is a wide variety of effects used. For the most part the various chapters utilize practical effects. This can be seen in everything from corpses, extreme plastic surgery, people with monstrous faces, and more. All of it is beautifully done and enhances the stories being told. CGI effects are used a bit more sparingly, aside from certain scenes in “The Thing in the Woods” segment. The CGI in that story can look a bit cheesy, but it is in keeping with the classic 80’s theme. It is clear that a lot of thought was put into each effect and how they could be used to add visual interest to each chapter.

Nightmare Cinema brings together horror greats to create a variety of chilling tales to appeal to every kind of horror fan. Each chapter is completely unique when compared to the others and each one is highly entertaining. There are shocks, laughs, scares, and everything in between. The various segments are filled with fantastic performances and amazing effects that only help to make each story all the more fun to watch. Mick Garris clearly knows how to gather the best directors to create brilliant works of horror. I hope Nightmare Cinema is just the first in what has the potential to be a fantastic anthology franchise.

OVERALL RATING: 9/10

Satanic Panic

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Sam is strapped for cash, so she takes a job delivering pizzas. After a terrible first day, she makes one last delivery to a rich part of town. After the customer stiffs her on the tip, she finds her way into the house and in the middle of a Satanic cult. Now they want her for their virgin sacrifice.

One of the most anticipated films of this year’s Portland Horror Film Festival is Satanic Panic. The film is directed by Chelsea Stardust (All That We Destroy, Seeing Green), who has been making quite a splash in the horror industry this year. The story came from both Ted Geoghegan (Mohawk, We Are Still Here) and Grady Hendrix (Mohawk), with Hendrix helming the script. I went into the film blind to the plot and actors, but it was impossible to escape all the buzz around this film. I had heard so many great things, and luckily the film did not disappoint.

Satanic Panic takes on a classic 80’s feel. The idea of “satanic panic” was prevalent in the 80’s, plus the film is equal parts gore and laughs. It plays perfectly into the idea that people are rich got that way by making a deal with the devil. The plot follows Sam, who is the sweetest, kindest, most innocent young woman without being annoying. The audience watches as her first day as a pizza delivery girl goes from bad, to worse, to deadly. The resulting chaos is a perfect mix of gore and humor as Sam tries to avoid becoming a virgin sacrifice. Despite her innocent nature, Sam has a knack for getting herself into trouble and then accidentally getting out of trouble in unexpected ways. Her interactions with the cult members are hilarious and the dynamics within the cult are even more hilarious. Watching as Sam tries to stay alive is highly entertaining and takes the audience down some unexpected paths.

I mentioned before that I went into this film blind, so I was shocked at the star power behind Satanic Panic. The film stars relative newcomer Hayley Griffith (Drew, All My Children) as Sam. She is probably the most sweet and innocent character I have ever seen in a horror film. Yet Griffith does a great job of showing Sam’s inner demons and her surprising ability to get out of dangerous situations. One of the most surprising appearances and performances in the film is from Rebecca Romijn (X-Men, Femme Fatale) as the cult leader, Danica. It’s great to see a female leading the cult, and Romijn is both fierce and hilarious in her role. In a smaller role as Danica’s husband, Jerry O’Connell (Piranha 3D, Stand By Me) makes an appearance as Samuel. His role may be smaller, but O’Connell’s performance is still memorable and brings the laughs. Finally, there is Ruby Modine (Shameless, Happy Death Day) as Danica and Samuel’s daughter, Judy. Judy probably has some of the best lines, and Modine’s deadpan delivery of her outrageous dialogue is sure to make her a crowd favorite. All of the strong female leads give the film a welcomed feminist edge. The entire cast from top to bottom is truly hysterical and had many opportunities to go over the top with their performances, but they straddled the line perfectly.

The film utilizes some fantastic visual effects that also feel reminiscent of the 80’s. Satanic Panic delivers quite a bit of carnage as the cult hunts down their virgin. It’s all very well done, although I wouldn’t necessarily say the guts and gore are realistic. Instead the filmmakers opted to stay with the 80’s feel and make the gore a bit more campy and bright red, which only adds to the humor of the film. There is even a running theme with the use of vibrant red between the gore and the outfits worn by the cult. It is a simple identifier to show the audience who is evil that packs a visual punch. On top of that the film has some gorgeous set design and even a bit of creepy creature design, making the film as stunning as it is funny.

Satanic Panic is a delightful gore-fest that delivers side-splitting laughs horror fans will absolutely adore. It further proves 2019 is becoming the year of Chelsea Stardust. The characters, the humor, the blood and guts, and the various twists and turns are perfectly balanced in this crowd-pleasing film. It is also the kind of film that is best seen on the big screen where you can laugh out loud along with the audience. You can still catch it on the big screen while Satanic Panic is still on it’s festival run, then it will be released in theaters and VOD on September 6th.

OVERALL RATING: 9.5/10

Book of Monsters

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When Sophie was little she thought she saw her mom get killed by a monster. Now, on the eve of her 18th birthday, Sophie and her friends are throwing a party. Her mom’s old monster book resurfaces only to be used by a mystery woman to conjure up some terrifying monsters to wreak havoc on the party guests. It’s up to Sophie and her friends to stop the monsters before they are unleashed on the world.

This gory monster comedy feels like a love letter to horror films of the 80’s. Written by Paul Butler (Nothing Man, The Creature Below) and directed by Stewart Sparke (The Creature Below), Book of Monsters brings campy fun with what appear to be nods to The Evil Dead films while also delivering an interesting and unique plot. The cold open of this film introduces the audience to a young Sophie as her mom reads her a bedtime story from a rather odd book filled with drawings of strange monsters. Sophie then witnesses a monster kill her mother, but of course no one believes her. This quickly sets the tone for the film while also establishing the main character, Sophie. As a teen she is a bit of an outsider; she has a couple close friends, is shy and quiet, and it quickly becomes apparent that she is interested in girls. Her birthday party is the catalyst for the carnage which ensues on the unsuspecting guests.

On the surface Book of Monsters is simply a splatterfest where people are killed left and right and the monsters are a bit on the cheesy side. There are also some odd choices in terms of character development, such as a mean girl who is a bit over-the-top in her mean ways and Sophie quickly goes from meek to warrior woman at the drop of a hat. While some of these aspects can take away from the film, I believe they ultimately have a purpose. It all goes back to paying homage to horror films of the 80’s. The book filled with monsters and spells is reminiscent of The Evil Dead, the monsters themselves can be a throwback to many older films, the mean girl reminded me of Judy from Sleepaway Camp, and Sophie herself is like most virginal final girls of that time who fight for survival. Even the cast, who are all supposed to be teenagers, look like they are between the age of 25-30 just like in 80’s films. What makes Book of Monsters stand out from other films that honor the films of the past is the mythology it creates. Not only are the monsters unique, but the filmmakers gradually build on Sophie’s connection to them in an interesting way that moves the plot forward while also giving plenty of opportunity to create a sequel (or even a prequel) with this mythology.

The performances are a bit of a mixed bag, some being very good and others being over the top. That being said, I believe the range of performances as a deliberate choice by the filmmakers to stay in-keeping with the 80’s nostalgia. Lyndsey Craine (The Creature Below) stars as Sophie. While her character arc is a bit abrupt, Craine’s performance as Sophie stays true to the character. She starts out very shy and sweet, but when her friends are in danger she turns into a monster killer. Craine is also the most believable as a teenager. Two actors who are not believable as teenagers are Michaela Longden (The Creature Below, Audax) as Mona and Anna Dawson (1921, The Creature Below) as Arya. Mona is one of Sophie’s best friends and a bit of a rebel. What I enjoy most about Longden’s performance is her ability to play multiple characters and the way she injects humor into her performance. Arya is the bully of the film. She is so over the top in how terrible she is to Sophie, and others, that Dawson’s performance also comes across as out there. This seems intentional as many of the bullies of 80’s films act quite similarly to Arya. No matter where the performances fall on a scale of good to not so great, it is still easy to see that the actors had fun making this film.

Between the monsters and the gore, it is impossible to ignore the effects in Book of Monsters. Remembering that this film is meant to be like a campy 80’s horror flick, the practical effects definitely pay homage to that era. The filmmakers wisely avoided using CGI. The heavy use of blood and severed body parts is both disgusting and humorous at the same time. When it comes to the monsters themselves, there are some interesting choices made. A couple of the creature designs rely heavily on cloaks to mask much of the body, allowing the SFX team to focus more on the faces of the monsters and the weapons or body parts they use to kill the teens. It can be a bit unfortunate looking at the monsters and realizing the bodies are mostly ignored in the design process, but it still fits with the low-budget 80’s aesthetic. There is one creature the team clearly took more time and money to create, and the design is very unique. The only creature design I don’t like is for the “djinn.” Instead of having a true monster look, the djinn looks more like a ghost from a J-horror film. This could potentially be another nod or homage to that subgenre of horror film, but it seems out of place with the rest of the 80’s style.

Book of Monsters certainly delivers on the monsters and gore with a classic 80’s aesthetic, while also giving audiences a fun and compelling story. The plot feels reminiscent of other films while still including new elements. The actors may not all deliver the best performances, but there is obviously a lot of heart and fun that went into the film. Book of Monsters certainly isn’t a film for everyone, but if you appreciate classic 80’s horror films with campy practical effects then this is the film for you. It is definitely a love-letter to the misfits and monster lovers.

OVERALL RATING: 6.5/10

Dead Ant

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80’s metal band Sonic Grave is trying to make its big comeback. In a desperate attempt to write a brand new hit song, the band buys some special peyote called “the Sun” and heads out to Joshua Tree in hopes of getting inspired. There is just one catch to the drug: the band can do no harm to a living thing while on the Sun, otherwise there will be dire consequences. Of course, they do not heed the warning.

Writer and director Ron Carlson (All American Christmas Carol) shows he knows how to bring the rock and the laughs in Dead Ant. The film manages to successfully make fun of and pay homage to 80’s glam rock at the same time. These guys are washed up, but they can’t seem to accept it. They are so desperate to make a big comeback they resort to taking drugs in the middle of nowhere, hoping the psychedelic visions will lead to their next hit song. The band definitely fulfills the stereotype of a once famous glam rock band that is trying to relive the glory days; the outfits, the hair, the makeup, the drugs and alcohol use, the hook-ups. The addition of a horror element, in the form of ever-growing giant killer ants, adds to the humor of the film. There is a combination of mysticism with the “do no harm” condition of doing the special drug and creature feature as the band members are hunted down by giant ants. They start out on the small side, but as the film progresses the ants get bigger and bigger. Turning a creature that is generally looked at as small and harmless and turning it into a massive killing machine is a nice comedic touch.

A lot of what makes this film so enjoyable is the performances. Each actor gives a memorable performance in their own way and they all are able to make the audience laugh. One of my favorite performances comes from Jake Busey (The Frighteners, Starship Troopers) as the lead singer, Merrick. Merrick looks a lot like a Bret Michaels impersonator, and he is all about the rock and roll lifestyle. Busey truly commits to the role and ends up delivering some of the most hilarious lines. The band’s guitarist, Pager, is played by Rhys Coiro (Entourage, Straw Dogs). Pager is the most desperate to regain fame, and that leads to some very funny hijinks as music remains the focus even as the ants are on the attack. One of my favorite performances comes from Leisha Hailey (Fertile Ground, The L Word) as the band’s drummer, Stevie. She comes across as the most grounded and the most intelligent of the group. Stevie doesn’t take shit from anyone and Hailey brings some sass to the character. Honorable mention goes to Michael Horse (Twin Peaks), Danny Woodbury (Mirror Mirror), Sean Astin (The Goonies), and Tom Arnold (True Lies).

There are definitely some low-budget style effects in Dead Ant, but they don’t detract from the film at all. If anything they might add a bit of charm to the indie B-movie plot. The ants are all created with CGI. The filmmakers had an understandably low budget to create these big bugs, but the CGI looks no better or worse than many of the films shown on the Syfy Channel. The practical effects are slightly less successful. Although they are used sparingly, there is one effect in the climax of the film that is very cheesy looking. This may have been an intentional choice as the scene is also very comical, but it is hard not to cringe at it. When it comes to the band members, the costume design is spot on for what you would imagine a glam metal band would wear. Each actor also wears a wig to enhance the look of their characters. Although, the wig worn by Astin is absolutely atrocious and is very distracting every time he is on screen.

Dead Ant is a somewhat cheesy, but delightfully funny film that shows a has-been band pitted against giant killer ants. Carlson does a great job of showing his love for 80’s glam metal, while also making fun of the band members as they attempt to make their comeback. He is great at conveying that duality, the same way he is able to combine comedy and horror into one film. The performances are surprisingly entertaining and the big name actors who appear are even more surprising. The effects aren’t particularly amazing, but they are good enough to keep me entertained. Dead Ant is definitely campy and satirical, resulting in a fun popcorn flick that captures the spirit of 80’s horror/music in a modern day film.

OVERALL RATING: 6.5/10

Happy Death Day 2U

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Tree thought she had broken the loop that forced her to relive the same day (and her death) over and over again. She thought she had defeated her killer. Yet that brief happiness is interrupted when a series of events throw her into another time loop. This time it’s different. She will not only have to keep dying and reliving the same day, but now she will also have to make an impossible decision that could change the rest of her life.

Writer and director Christopher Landon (Happy Death Day, Paranormal Activity 3) is at it again with this sci-fi/horror/slasher/comedy mashup. This sequel picks up almost immediately where the first film left off. Poor Tree didn’t even get a full day to enjoy being out of her time loop. Not only does she get stuck in a time loop again, but she is accidentally thrown into an entirely different timeline. It’s up to Tree and her friends, none of whom remember her, to stop the loop. The more difficult decision is whether she will stay in this timeline or go back to her own.

The first film was more of a straightforward slasher-comedy, while this film incorporates even more genres. The most obvious and most important addition is the sci-fi element. In Happy Death Day the film focused on figuring out who the baby face killer was, but in Happy Death Day 2U the focus is on stopping the loop by more scientific means. While some fans of the first film may be disappointed by this change, I think it is brilliant. In a film franchise where the entire premise has to do with reliving the same day over and over, it is important to keep the story fresh so audiences don’t feel like they are watching the same film for the second time in a row. The shift to the sci-fi aspect allows the filmmakers to focus on a new set of characters and a new set of problems. Without giving too much away, this change allowed the film to have an emotional depth that wasn’t present in the first film. Not only do we get to know Tree and other vital characters on a deeper level, but we also watch as Tree is faced with an impossible decision. It tugs at the heartstrings, while still giving plenty of opportunity for humor in the form of Tree’s many deaths and horror in the form of the baby face killer (albeit less horror and baby face than we saw in the previous film).

As a result of the change in tone with the sequel, the performances in Happy Death Day 2U are also much more emotionally driven. Jessica Rothe (Happy Death Day, Forever My Girl) is absolutely dazzling as Tree. What makes Rothe such a joy to watch is how well she balances humor with the more heartfelt moments. She is really hilarious, especially with her reaction to reliving the same day and her many deaths, but this film allows the audience to see a side of Tree we haven’t seen before. Tree is a character I would love to see more of, and Rothe is perfect in the role. Israel Broussard (Happy Death Day, To All the Boys I’ve Loved Before) is also enjoyable to watch as Carter. There is something about Broussard and his portrayal of Carter that is instantly endearing and lovable, and his chemistry with Rothe is fantastic. Honorable mention goes to two actors who bring a lot of comedic relief to the film and their roles: Phi Vu (Happy Death Day, Logan) as Ryan and Rachel Matthews (Happy Death Day) as Danielle.

This PG-13 franchise does a really good job of conveying gore without actually showing anything graphic. With each time Tree dies, the death happens just out of sight or the audience isn’t shown the exact moment of her death, but we see when she wakes up and restarts the day. For example, when Tree dies from electrocution, she wakes up when the day restarts to her hair standing up on end. In another scene Tree plummets to her death. We hear the splat and see others react to the carnage, but it happens just out of frame. This method allows Happy Death Day 2U to have a lot of death to appease older audiences while still keeping a low MPAA rating so more moviegoers can enjoy the film.

Happy Death Day 2U has all the fun of the first film while also incorporating new genres and more depth. Considering this is now one of two films that involves reliving the same day on repeat, the filmmakers manage to keep the plot fresh by adding new danger, new twists, and new drama. There will likely be some moviegoers who will not enjoy the subtle genre changes from the first film, but I for one think these changes are a brilliant way to breathe new life to the story. It makes me interested to see what could be done with a third film, and Rothe’s performance makes me want to see much more of Tree. This entertaining and emotionally driven genre-bending flick is one you can even watch with your non-horror loving friends and family.

OVERALL RATING: 8/10

(I saw the first film, but didn’t ever review it. If I did I would have also given it an 8/10)

Camp Death III in 2D!

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Camp Crystal Meph has developed a bit of a reputation. After a crazed woman going on a killing spree, then her murderous son returning to exact revenge, many have died on the property. When an overly-optimistic man decides to reopen the camp as a rehab center for mentally ill adults, it doesn’t take long for the body count to rise. Has the killer returned, or is there a copycat on the loose?

Camp Death III in 2D! is a horror comedy written and directed by Matt Frame (GGG: One Night Stab). It is an intentionally outlandish and campy spoof of Friday the 13th Part III in 3D. The film even begins in a similar fashion to the F13 films where the first few minutes recap the previous film, although in this case it is a film that doesn’t really exist. There are other similar plot points connecting Camp Death to the F13 films in fun and creative ways. That being said, this film is intentionally out there, campy with ridiculous effects and acting, and can be a bit abrasive at times. This is all on purpose. Some of the taglines for the film read “This movie is stupid,” “This movie is super stupid,” and “The most horrible movie ever made!” It clearly caters to a specific group of horror fans that not only enjoy the F13 franchise, but also loves the ridiculous, low-budget B-movie style the film has.

While it’s not the most horrible movie I’ve ever seen, despite what the taglines suggest, it definitely isn’t my cup of tea. I appreciated the nods it gave not only to F13, but other popular films as well. There is one scene specifically that I got a kick out of that is a hilarious nod to the Star Wars films. There is also a bit with a squirrel utilized in a few scenes throughout the film that I found very entertaining, and part of that is because of how ridiculous and low-budget it looks. There were times the jokes leaned a bit towards the offensive side. The laughs are centered around gross-out humor, sexual humor, and jokes that are aimed at the mentally ill campers. There are definitely people who will find these jokes funny, but it is not the kind of humor that I am entertained by.

This is the kind of film that is incredibly hard to accurately critique various elements. Acting is one of those elements. The performances in Camp Death III in 2D! are intentionally over the top, ludicrous, and just plain bad. If you take into consideration the fact that bad acting was the goal of the film, then in that respect the entire cast actually did a fantastic job. There is a lot of humorous overacting and some that is less humorous, but just as overacted. This also makes it more difficult for me to pinpoint any single performance because of how “bad” everyone was (even though that was the point). Instead I will throw nods to some of the performances I enjoyed watching even with the insanity. I will send shout outs to Dave Peniuk (The Coroner: I Speak For the Dead), Angela Galanopoulos (Michelle’s), and Katherine Alpen (Cubicle the Musical) for all being ridiculous yet still fun to watch.

As with the acting, the effects from Camp Death III in 2D! are incredibly hard to critique. The bizarre mash-up of CGI, practical effects, puppetry, green screen, close-up fisheye camera work, and interesting color choices will definitely grab your attention. The problem is that it might not grab your attention in a good way. Most of the effects are rather cringe-worthy in how poorly done they are, but as I’ve said multiple times in this review that low-budget look is intentional. Each of these different effects and tricks used have different levels of success. The scene I mentioned previously that relates to Star Wars is surprisingly well done. Most of the puppetry is also good for a laugh. This includes the scenes with the squirrel, which may have once just been a stuffed animal. Much of the CGI is hard to look at and even many of the practical effects are laughable, which is most likely on purpose.

There is definitely a subset of horror film fans who will get a lot of enjoyment out of Camp Death III in 2D! I simply was not one of those horror fans. The filmmakers are very successful in the sense that they created the outlandishly insane and cheesy film they set out to make. It ticks all the boxes for a low-budget B horror film, especially ones from the 80’s. I wouldn’t be surprised if this film eventually gained a cult following in the way that films like Troll 2 did over the years. Will I watch it again? Probably not, but it was definitely a memorable hour and 20 minutes.

OVERALL RATING: 2/10