Review: The Leech

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

The Leech
Directed by Eric Pennycoff
Doomcroak Pictures; Arrow Video
82 minutes, 2022
www.arrow-player.com.

This is a Holiday film (in this case Christmas) that will not make it to the Hallmark Channel. Supposedly, the holiday represents love and profits, but the New Testament is built on the Old Testament, which is filled with fire, brimstone, and a whole lot of violence. This release dips into the themes of both books.

The film also delves into other motifs, such as the power of charity for both good and evil, and (in my opinion), the absence of reality in faith-belief. If you are still reading, let us start this rolling.

Graham Skipper

The church run by Father David (Graham Skipper, who was also in 2019’s Aliens, Clowns and Geeks), is struggling to find parishioners, which in the real world is actually becoming a problem for local houses of worship outside of the mega churches and their fear mongering diatribes (yes, and profits). The “lack” is shown brilliantly in the opening shot of the church steps, with its snow unbroken by feet entering the building, while the good father is sermonizing.

This sermon actually is important because it sets up the whole concept of charity, and what it means to the priest. I will also note that it is interesting that the few parishioners are faceless in the dim light, and we see only their backs as they silently glide, ghost-like, out of the church without even acknowledging David. Holiday cheer is certainly not present. Less than four minutes in, and I am already impressed.

Jeremy Gardner

When he meets ramshackle Terry (Jeremy Gardner), David is put into a situation where he needs to live up to what he literally preaches, and tries to help Terry out, but they find out that Terry’s girlfriend, Lexi (dimpley Taylor Zaudtke) has thrown him out, leaving his clothes out on the lawn. David offers him to stay the night with him at his deceased mom’s home. Terry, with a bit of a Southern drawl, has absolutely no filters on what he says, and starts to take advantage of David right from the start (“Mind if I smoke?” Terry states as he lights up in the car, not waiting for a response, as an example). The visit is intended for one night, for him to reconnect with Lexi the next day. But the film’s title says otherwise.

Ironically, Terry’s long hair and beard are reminiscent of the classic Jesus image, but he is more inclined to cause some ruckus overturning tables in the temple than healing the sick. He is definitely a house pest more than a house guest, chain smoking (after being asked not to do so) and blasting his boom box in the middle of the night. You know the type. And when his equally repulsive ex-, Lexi, who has been evicted (surprise surprise) shows up, David is in quite the quandary, allowing these two losers and abusers to stay with him for the Holidays, out of charity. In this case, he probably should have called for back-up (Bishop? social services? police?) in some form.

Watching this unfolding is the church pianist, Rigo (Rigo Garay), who seems a bit overwhelmed by the two, which is understandable, especially after some racist comments by our good ole boy. If this couple even thought about voting, you know which side of the aisle they would choose.

Taylor Zaudtke

At some point, I was a bit pissed at David. He concedes too often and too easily. For example, he lets himself get involved in a drinking game, when he is not interested. Screw that. I have been to plenty of parties where they wanted me to drink (academics and wine are nearly synonymous), and as I do not drink (uninterested), I did not. David should have had that will of character.

There are so many (purposefully, I am assuming) cringy moments throughout the whole film, but especially by the things done and said by the couple from hell (pun intended). And yet, I have definitely met people who were like this, I just did not invite them into my life, or on the rare occasion, had to get them out of my spectrum.

There is a lot of sermonizing at the beginning as David struggles with the lack of funds due to lack of attendance at the church (the Catholic church is the richest religious organization in the world, but treats its poorer churches as dead weight and closes them; this is not a screed against the Catholic church, just a statement of fact; I am opposed to all religious financial organizations), and a good-hearted leaning toward helping his fellow humans especially during Yuletide, but that just makes what happens all the more intense. The sermonizing is less a proselytizing point, but a device to show David’s state of mind, and how far he will travel in his own path.

Of course, there comes a tipping point (after all, it is the third act of a psychological horror film), and David has been wrestling with the Angel (Jesus and Rigo) on one shoulder, and the Devil (Terry and Lexi) on the other. The escalation is obvious, and wonderous, making this a magical time of year, especially during a psychotic break from reality

My one complaint is that – and it is not very often – the image is really dark and hard to make out, such as after the “Never Have I Ever” game. I realize it symbolizes the darkness and toxicity that is brought on by Terry and Lexi on David’s spirit and belief system, but it nulls out because it is visually unclear.

The cast is small at four speaking parts, which is not surprising considering it was shot during the height of the Covid pandemic (you heard me), in Fort Wayne, Indiana. We do not get to see much of the town, as nearly everything takes place either in the church or David’s home, but the film is a spirited experience of psychological Holiday horror and breakdowns.

IMDB listing HERE