Review: Night of the Tommyknockers

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

Night of the Tommyknockers (aka Tommyknockers)
Directed by Michael Su
Mahal Empire; Mezek Films; FilmCore; Wildlife Command Center; Alien Donut Films; Gravitas Ventures
87 minutes, 2022
www.facebook.com/nightofthetommyknockers/ 
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Usually, the Western is its own genre. It is rare that it mixes with others, especially horror. That’s not to say it doesn’t happen. For example, there are some gruesome scenes in Bone Tomahawk (2015) and The Scarlet Worm (2011), or even mixing sci-fi in films like Cowboys & Aliens (2011) and if a bit of a stretch, but Valley of the Gwangi (1969).

Well, rare or not, this new release combines horror taking place in the western genre. So naturally, there are shoot-outs, bank robbers, miners, farming folk, and the like. And then there are the Tommyknockers. Urbandictonary.com defines them as “Miners who have been trapped in cave-ins and pound on the rocks for rescue. It is believed that the ghosts of these miners go on knocking in the mine shafts long after the victims have died.”

That makes sense, as the story begins with some miners finding gold in a shaft after using dynamite, and release a host of said ‘Knockers” on the town. The voracious creatures will eat anything that moves, from horses to humans. They kind of look like the creatures in The Descent (2005), only crouched over like the Universal Pictures’ wolfman of the 1940s, and covered in white fur. Once they are on the loose, the local town is invaded by them at nights.

Bill Victor Arucan, Richard Grieco, Wesley Cannon, Angela Clark

Walking into the mess looking for a bank to rob is the Dirk Gang, led by, well, anti-hero Dirk (Richard Grieco) doing his best poncho wearin’ Clint Eastwood impression, and including Lucky (Robert LaSardo), Maoma (Bill Victor Arucan, who has been in a lot of James Balsamo films of late), Clay (Wesley Cannon), and Betty (Angela Cole). They arrive at nightfall, where all the townfolk that remain are gathered together in the saloon (of course), with Marshal Steed (a gravel-voiced Tom Sizemore); yes, this is a strong cast.

This film is a bit different than the other Michael Su films I have seen as of late. Here, half way in, there is a few killings, but very little gore. There is much more exposition than I have seen, thereby additional dialogue. I am waiting for the savagery to begin in earnest.

By the third act, things pick up immensely. The previous Su films I have watched (and totally enjoyed; you can search my keywords by the director’s name) took a different formula, where the carnage was pretty consistent throughout the film, messing with the typical Act 1 through 3, as I have mentioned in a previous review, but here, it is more of a traditional style (though there are some decent attacks without much gore), culminating in an intestine chomping, neck biting, limb munching third act. Was it worth the wait? Sure!

Tom Sizemore (far right)

Grieco does fine as the strong, quiet type, and Sizemore seems stiff (both physically and vocally), though his acting is fine. Maybe him and Michael Madsen can move to the Screen Actors Retirement Home? It is time. LaSardo is almost the comic relief of the film, and does a smash up job (sometimes literally) as his character lives up to his name. The cast is well assembled, again with two strong women at the front. I really love that about Su, he always has don’t-take-no-shit women, here led by Cole and Jessica Morris, as a townie photographer.

There are some other noteworthy cameos from the B-film world that I was happy to see, such as Sheri Davis, podcaster Shawn C. Phillips, and especially Elissa Dowling, among others. And am I crazy, or did Arucan play two roles, including one of the miners?

There are some nice explosions here as in all Su’s films, and there is a slight sepia tone, which seems to be the “in” thing to do with gothic or western releases these days. The SFX seems to be practical and looks good. The one thing I noticed that I thought was weird is that while the last two acts take place during a single night, occasionally it looked like sunlight coming through the windows. Ahh, low budget filmmaking, though its look mostly manages to push past its budgetary envelope.

Be sure to watch the credits for additional fun.

IMDB listing HERE