★★★½
“Good girls go to hell. Bad girls come from there.”
It’s the first day as a pizza delivery gal for Samantha Craft (Griffith), and things aren’t going well, with no tips being received. When given the chance of a delivery to a rich neighbourhood, she pounces – only to find herself getting stiffed again. This time, she sneaks in to demand her gratuity, which drops her in the middle of a satanic ceremony overseen by coven head, Danica Ross (Romijn). They’re attempting to summon Baphonet, but have hit a snag. Their intended vessel, Danica’s daughter Judy (Modine), no longer qualifies as a virgin, so Sam’s presence is highly convenient. For Sam? Not so much. Though perhaps to her benefit, there’s a bit of a power struggle in the coven, with Gypsy (Myrin) fed up of playing the second satanic banana to Danica.
This is largely anchored by Romijn, from the moment we see her literally up to her elbows in a dead body, groping around for its soul. You might not realize how much she matters, until a moment where it looks like she has abruptly cashed in her chips. The sense of disappointment I felt was palpable, and it was a great relief to find this was a red herring. She hits just the right spot between coolness and insanity, and is a lot of fun to watch. Modine brings the moody teenager to the max, though you can see why finding out your mother intends to sacrifice you would make you a bit grumpy. She gets some deliciously foul-mouthed lines, such as, “They’re not going to stop until you’re strapped naked to a barbed-wire altar with the 15-foot beast of Gehenna and his double-pronged demon dong walking out of your cooch chute like it’s a revolving door of ground beef.” Towards more picturesque speech, as Reader’s Digest used to say.
In comparison to this mother-daughter pairing from (literally) hell, Sam is a little bland: likeable enough, yet needs a better character arc. The Sam we see at the end feels only slightly changed from the one being shaken down for a $5 “security deposit” by her boss at the beginning. Otherwise, it’s definitely a case of the bad girls also having more fun. There are nods toward social commentary: the war here is both class-related and generational i.e. boomer vs. millennial. Much the same goes for the gender depictions, where almost without exception, all the men are incompetent idiots. Yet this is all handled lightly enough to avoid being ham-handed, and any message remains subservient to the entertainment content, as it should.
Not skimping on the red stuff, it skews strongly towards practical rather than CGI, which is always laudable in my book. It builds towards a decent finale, even if not quite delivering the killer rabbit demon god for which I was hoping. There’s still enough here to make for a cheerfully bloody time, even beyond watching Romijn wipe the floor with her younger co-stars.
Dir: Chelsea Stardust
Star: Hayley Griffith, Rebecca Romijn, Ruby Modine, Arden Myrin