★★
“Plastic surgery disaster.”
Mildred Moyer (Chamberlain) has a problem, and it’s as plain as the nose on her face. Actually, it is the nose on her face, which would not look out of place – as one callous workmate points out – on a certain wooden boy of fairy-tale renown. Needless to say, her life has been made unpleasant by cruel comments from strangers and acquaintances. Finally, she has had enough and goes to a shady plastic surgeon to get it fixed. Unsurprisingly, this goes wrong – the fact her appointment is at 11 pm in the basement of a strip-club might have been a clue – and she is left horribly disfigured as a result. This drives her over the edge, and she vows savage revenge on all those who had wronged her.
There’s a really weird tone to this. You would think, given the subject matter, that it would be a dark movie, but Rhiness seems to be aiming more for humour as the over-arching atmosphere. Now, there’s obviously an overlap for horror and comedy, but it’s a cross-pollination of genres which is hard to pull off. The likes of Sam Raimi, Peter Jackson and Stuart Gordon can do it. Rhiness… not so much. Indeed, if you told me you didn’t find this either horrific or funny, that would feel like fair comment. Occasional moments do briefly achieve a solid foot in either camp, in my opinion. But not for long, and none manage to combine them effectively.
It is clear that the director is going for parodic excess in many elements: Mildred’s nose is so extreme as to be a clear indicator of that, and a lot of the performances go down similarly broad lines. Her ultimate nemesis, Blanche (Whelan), could not be a more broad depiction of a “mean girl” if she tried, and I strongly suspect she was, indeed, trying for that. But I felt the switch in Mildred from meek and milquetoast to mass-murdering psychopath felt sudden and forced. Perhaps it was having watched Joker the previous night, which took its time to bring the audience along on that transition, rather than just going “Hey, it’s time for her to go berserk.”
The killings are a mixed bag, and that’s being kind. Even allowing for the low-budget some of the effects are simply not good enough. Again, the deaths don’t generate much of anything on the viewer, only occasionally going sufficiently over the top to be amusing. However, Rhiness and team do deserve credit for keeping things simple: the goals here are not exactly lofty, and the lack of ambition and pretension is likely for the best. Chamberlain also helps to keep the project’s head above water, and even when the story isn’t doing enough to sustain your attention, her performance is quirky and engaging. But I can’t help thinking the whole project would have been better off deciding to be either a horror film or a comedy, and sticking with one or the other.
Dir: Brandon Rhiness
Star: Elizabeth Chamberlain, Julie Whelan, Hudsynn Grace Kennedy, Jaime Hill