Text © Richard Gary / Indie Horror Films,
2018
Images from the Internet
Hollow Creek (aka
Haunting in Hollow Creek)
Written, produced, directed by
Guisela Moro
Newfoundland
Films; First Edge Films;
Cinematic Motion Pictures; FilmRise; MVD Visual
Cinematic Motion Pictures; FilmRise; MVD Visual
116
minutes, 2016
I love it when I get to see a horror film
written and directed by a woman; in this case it’s Latina actor Guisela Moro. She
takes a number of different subgenres and mashes them into an expansive story
that lasts nearly two hours (usually a long time for an indie flick), which I
will now discuss without giving away too
many details, of course.
Steve Daron and Guisela Moro |
We are introduced to married horror writer
Blake Blackmore (dashing Steve Daron, who continually has a Sonny Crockett-type
5 o’clock shadow) and his mistress, Angelica (the lovely Moro), as they head
out to a cabin retreat in a not largely populated small town in rural West Virginia
(hillbilly genre). It seems some young boys have gone missing recently in the
area, but our protagonists are more focused on their work and – err – play.
But it’s very shortly into the story (which
is why, in part, I bring it up) that other supernatural happenings start to
crop up in the house (haunted house genre) that are somewhat subtle to them, but
are used well for jump scare type shock value to the audience. There is also
the bit about the trio of missing boys and the investigation into finding them
(“Criminal Minds”-type genre). They
all interplay together well into a comprehensive story with a touch of the
supernatural without being overwhelmed by it.
In the first act, the ghostly stuff is well
timed because in the beginning there are some dialogue-heavy moments of
exposition that drag a bit due to some forced language, such as the over use of
the endearing-babble word “babe.” But they are interrupted by those nice scares
that livens thing up quite a bit.
Earleen Carey and Alyn Damay |
The questions that arose for me were concerning
the film’s intentions. Is it a good
ghost or a bad ghost? Are the cops the good guys or the bad guys? The only two
things that are a given pretty much right from the onset is that Blake and
Angie are the side of light, and Leonard (Alyn Darnay) and Margaret Cunnings (Earleen Carey) are the in the dark region. As it’s given away quite early on (and even
in the trailer) that it’s the latter, rednecky farm couple who are behind the
kidnappings, But again, what are the reasons and intentions for the sinister duo to be carrying out what they are
doing? That is part of what kept my interest.
Here is the thing about small towns: they can
amazingly rally up behind you, or give a strong cold shoulder if you are (gabba gabba) not one of “them,” meaning
if they turn their back on you, it can be isolating. I’ve been through small
towns in West Virginia, and other than the Dixie flags a-flyin’, I got along
with everyone I met, even as a stranger, but if I had taken an action that was
disapproved of by the group by breaking a code
of honor, that situation might have turned into something else. When Angie suddenly
disappears, Blake gets a taste of this from the locals as he gets blamed for
her going poof! in the rainy night in
the court of public opinion, thanks to a sensationalist-driven local media (as
we were taught, “If it bleeds, it leads”).
When the second act starts, after Angie
vanishes from the town (but not from the story), is when the tale really starts
to build momentum. While the film centers on the kidnapping story as its core,
it manages to not overuse the ghost or hillbilly aspects of it; rather, Moro wisely
plies the other two as aspects of the whole
story, which actually helps make it stronger. Yeah, there are some gothic
cliché’s, such as a child’s baseball mysteriously and nosily dropping down the
stairs, which has been a standard ever since The Changeling in 1980; however, the orb is key to the story, so in
this case it’s not just a ghostly
announcement of presence.
Do I really need to say who this is? |
The big cameo, of course, is Burt Reynolds,
who shows up for one decent scene with Daron, and a brief one later on. Now,
Daron has announced that Reynolds is one of his acting idols, and the writing
credits state that Daron is “collaborating writer.” My guess is he wrote the
scene with Reynolds, which just consists of the two of them. I will further posit
that while the film was shot in West Virginia, the scene with the frail, then
80-year-old Bandit, was filmed in Florida where Reynolds lives. The second
scene just shows the back of the heads of the cops, so I’m guessing all his
scenes were added in after the principal shooting. I would say that it is a
cool thing.
The one big hole to me is that there is a
rifle hidden in the closet where Blake is staying. This makes no sense, as the
cops think he is responsible for Angie’s disappearance, wouldn’t they have
found the rifle in searching the house? It’s not like it was hidden somewhere,
it’s right on the shelf at the top of the closet. I’m just going to put it up
to a rookie writing mistake, and mosey on.
The cast is really strong here. Both Moro and
Daron carry their roles well, Carey plays woundedly cracked just a tad
overboard (though her character, well, actually is), and Darnay definitely
steals his scenes as the always seething patriarch of the kept clan. He has
this way of moving his mouth as a sign of annoyance (you can see it in the trailer)
that says so much about Leonard.
Once
past the initial “Hey, babe” scenes,
the film turns into a really taut, well-written thriller. Even if one edited
out all of the supernatural aspects, the tension would still be on high, and
that’s great. Having it in, though, is a boost as a way to take it to another
level to apprehension. Plus, the way the film was shot, with the effective
lighting (including being able to see the action at night) and slower editing,
brings a strong and satisfying end result. I look forward to seeing more of
Moro’s work as actor, writer and
director. Brava.
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