Reviews: Hillbilly Horror Show (Vol. 1); The Legend of the Hillbilly Butcher

Text © Richard Gary / Indie Horror Films, 2014
Images from the Internet

I put these two reviews together because… hell, if you can’t tell why, then yer dummer than a a mitten-wearin’ redneck at shoe-tying contest.

 

The Legend of the Hillbilly Butcher
Co-written, filmed and directed by Joaquin Montalvan
Sledgehammer Films
Whacked Movies
99 minutes, 2012 / 2014
www.sledgehammerfilms.com
www.legendofthehillbillybutcher.com
www.mvdvisual.com

Most of the time when the world “Hillbilly” appears in the title, the film may be fun, but it tends to be a bit on the silly side, especially in this genre. For example, there’s Hillbilly’s in Haunted House (1967), Cannibal Hillbillies (2003), and Hicky: The Hillbilly Vampire (2014). This one, however, is very serious, despite a few moments of mirth that peek through.

We are introduced to the titular Carl Henry Jessup in a wraparound by a granddad telling this “based on a true story” tale to his three gran’chillrin. It should come as no surprise that the favorite food of Jessup (Paul Respass, d. 2014) is “long pig,” aka human flesh. After all, as someone says to him in the film more than one, “Your bloodline is cursed, Carl Henry.”

To be served on a plate, all you need to do is be someone he doesn’t know and show up on his property, poachers, or if they just piss him off, such as date-rape the woman who is his half-sister.

The main part of the story has a retro 1970s-‘80s grainy, washed out look with pock marks and scratches, reminding me a bit of part of the classic slasher Mother’s Day (1980). As we look deeper into the mind and thoughts of Jessup (which we hear in an overdub), there are flashes of arty camerawork and editing that elevates this to more than just a typical slash a burn (or cook) slice-em-up.

Early on, we meet the zaftig Rae Lynn (Theresa Holly), Carl Henry’s deep blue eyed neighbor and half-sister who cooks for Jessup. Whether she knows what (or who) she is cooking is unclear for a while. On some level, Jessup loves her, but not as much as his moonshine or his “daddy’s special” gravy. She’s also the only one who can stand up to him without fear. And it’s pretty obvious that she has a much deeper hankering for him, but he’s “kin.” Instead, she takes a shine on their dumb-as-a-stump moocher friend, Billy Wayne (Chris Shumway).

Poor Carl Henry really misses his Momma and evil Papa, and is willing to sell his soul to bring them back “alive and in the flesh.” Even though he recants his wish, is that possible, and how much of it is “real” or in his mind? What about the drunk ‘billy roaming around throughout the story (played by the director), and how does he fit into the story? Of course, secrets are going to be revealed and violence will ensue.

The gore is aplenty and looks great, though the blood is occasionally too gooey. I’ll forgive that since everything else looks so good (e.g., real pig intestines were used). The editing is superb, and the throw-back look works well.

Part of what makes this enjoyable is that Montalvan gets such good performances out of his actors. There is the occasionally moment of woodiness, but mostly they manage of embody the characters, or more accurately, let the characters embody them. The three main leads are especially strong. Paul has Carl Henry go from raging to befuddled to scared (about making his pact), to nostalgic and annoyed in the wink of an eye without being confusing or seeming to give conflicting messages. Shumway has his way with being creepy in a very subtle manner. Theresa is also well versed in creating mood without saying a word. The scene at the table where Billy Wayne asks her out, you see her face go from flattered to “what the hell am I thinking” to sad as she looks longingly at Carl in an entirely natural and fluid way that is a joy to watch.

Even without the supernatural aspects, this would be a good film. That being said, it does add a touch that makes it differ from most backwoods slitters. In fact, this low-budget exercise was more enjoyable to me than the more popular Jug Face (2013), another backwater bloodbath with a mystical message. In other words, this was even better than I expected. Thanks!

Lots of juicy extras are included. Yeah, three different versions of the trailer is great, and I say that without a whiff of sarcasm, but the centerpiece is the hour-long Making Of documentary titled “Gutting da Hillbilly Butcher.” Most of the cast is interviewed, including most of the crew, who discuss the aspects of their contribution to the project, as well as how it was working with the film as a whole. The director shines a light on many aspects including that part of the production was shot in his back yard in Pasadena (the rest in a busy nature preserve). Even some of the neighbors are talking heads here, a nice choice. However, it is S.E. Feinberg, who played the narrator of the wraparound that steals the show. I’m going to have that “Gimme that Long Pig” song stuck in my head for hours now.

Also, there is a 30-minute Internet interview with the director and two leads, on “The Horror Happens Radio Show” hosted by Jay K (www.horrorhappens6.wix.com/show). The cast is on camera via computer so you get to see their reactions and hear lots of stories. It’s a nice addition, especially with Paul (possibly the last piece of film of him) being beardless and looking quite different and non-menacing.

More than once during these extras, Montalvan mentions an earlier short film titled Razor Blade (2012), which is also included. It’s experimental, reminiscent of Luis Bunuel’s Un Chien Andalou (1929) in visuals and editing, and a bit of content. Montalvan definitely has an eye for the arty side of horror.

As for The Legend of the Hillbilly Butcher, stick around until after the credits, by the way…

 

 

Hillbilly Horror Show (Vol. 1)

Directed by Sharif Salama
Leomark Studios
Filthy Fingernails Productions
60 minutes, 2014
www.mvdvisual.com

When dealing with a horror anthology, I understand the need for a wraparound story, or some usually humorous and/or sexy host to present it. Think Rod Serling in Night Gallery, or Elvira. This collection of indie shorts is presented by three RV trailer trashees: backwards cap wearing and fully bearded everyman Bo, mumbling professor Cephus, and the “smo-kin” Daisy Duke/ripped tee-shirt clad Lulu. The box cover makes it look like it’s going to be lascivious, but this group is pretty PG, television ready rated stuff (even with the slight hint of stereotypical cousin incest).

Perhaps it’s because it’s the first hour-long version of this “Hee Haw meets Creepshow” (the PR description), but I didn’t find much personality with the trio here, as with, say, Ollie Joe Prader or Larry the Cable Guy’s crowd. Pretty harmless, though, but not as funny as the writers seem to think it is. Hopefully that will improve, especially with the hype and commercial attention this is getting, and I’ll hopefully be watching future episodes to find out. And I know there are at least two more in 2015.

The first story, “Franky and the Ant,” is a pretty solid crime/revenge tale that is well acted and written, though it borrows quite liberally from the film (not television version) Fargo (1996). It’s short and sweet. This is followed by an insane slasher piece called “Amused.” We watch a woman being chased through very The Shining type weather. I saw the ending coming early on, but it was still – er – amusing to watch. The actors all seemed committed. That’s part of why I love indie films.

An interesting piece of animation that cuts to the bone is “Doppelganger,” which is reminiscent of one of my idols, Ray Harryhausen. I found this one especially disappointing despite the excellent stop-motion photography.

Clearly the centerpiece is the final short, “The Nest.” We meet a mother and son that run a remote diner in farm country, who have a bit of a twisted relationship (no, not that kind). Known for their award winning honey, the duo is at odds with the local government man (a decent actor who is totally too young for the role) and rancher. The latter sets up a series of events that does not end well for nearly anyone. This is by far the best of the batch, and is well done from beginning to end, including some nice effects (though the gore level is at a minimum, which is actually true across the board in all the films). My only comment that could be taken negatively is to question why it is called “The Nest” and not “The Hive.”

I can certainly see it as a series and I would enjoy watching it, getting the opportunity to see some decent indie shorts. As with any anthology, there is a mixture of quality, and this is no exemption, but it is (in my humble opinion) a fun way to spend an hour.