Hell Fire

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“A bastard love-child of Bitch Slap and The Evil Dead.”

hellfire2This is unashamedly and unrepentantly B-movie fodder, pitting four prostitutes against the Antichrist and each other. If you’re expecting anything else from a sleeve like that, more fool you. But for something made on a budget likely measured in thousands rather than millions, it punches way above its financial weight, and barely pauses in its savagery and energetically bad taste.

The four hookers decide to rob their pimp, hearing whispers that he’s plotting a big deal. Finding no money present, they kidnap the man he’s meeting and take him to a remote cabin to extract whatever value they can. Unfortunately, they’ve bitten off more than expected, as they are now holding the literal son of Satan hostage. He (Green) isn’t quite up on his powers yet, but can move objects, read minds and also turn the women’s darkest secrets into physical, demonic form. Though he can’t read the mind of Rosetta (Beretta), it turns out she’s enthusiastically on his side, in exchange for the usual, “selling your soul” type stuff. Turns out Mr A.C. was negotiating with their pimp to go kill the currently unborn son of God, which would give Lucifer a huge leg-up in the imminent war between heaven and hell. Only Justine (Marshall) stands between the Antichrist, his new ally, and… Well, it’s unlikely to be good for mankind.

Green seems to be aiming for a Charles Manson vibe, and does a good job there, even as he spends much of the film tied to a chair. This leaves the floor literally open for the women, and it’s them – particularly Marshall and Beretta – who deliver carnage that’s brutal, heads right for the jugular and doesn’t stop chewing until it reaches bone. Beretta, in particular, exudes “Zero fucks given” and, with her Antipodean twang, has something of a younger, pissed-off Zoe Bell about her [though Beretta is Australian, rather than a Kiwi]. Although credit to everyone involved here, as they go full-throttle into their roles, and their enthusiasm helps paper over occasional moments of weakness, probably most notably in its audio work, often low-fi at best.

Additionally, there is some cheating here: the “rules” by which the Antichrist has to operate, e.g. he can’t kill the son of God directly, exist purely for the film’s purpose, not out of any theological basis. However, I can only admire the way Fratto and his cast have taken a concept, twisted it into an appropriate form for their tastes, and then run with it, far beyond what I expected going in. Sure, you undeniably need a fondness for low-budget horror, in order to appreciate this in the slightest. I do, and having sat through my share of tedious offerings in that genre, have to say this is one of the best such efforts I’ve seen in a long while. Rarely have the words “bloody good time” been more appropriate.

Dir: Marc Fratto
Star: Katelyn Marie Marshall, J. Scott Green, Selene Beretta, Jennice Carter

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