Text © Richard Gary / Indie Horror Films, 2017
Images from the Internet
Badass Monster Killer
Written and directed by Darin Wood
TFO
Productions / Wildeye Releasing / MVD Video
96
minutes, 2015 / 2017
After watching this enjoyable spoof/nod to the exploitation
/ Blaxploitation / sexploitation genres, I had an interesting discussion with a
friend while I was trying to explain the basic premise to someone who (a) has
not seen the film, and (b) not really into the styles it’s based upon. He said
that if a film is purposefully
over-the-top, then it loses its association with others that are unintentionally so-bad-they’re-good. My
response was that it depends on the attitude of the secondary feature. If it is
trying too hard to the point of where
it becomes something else, and it becomes so-bad-its-bad, yes, I agree. This is
true of films like A Haunted House [2013],
or the likes of Vampires Suck [2010].
But there is a fine line where it works, such as Richard Griffin’s Seven Dorms of Death [2016], or this
one.
This picture is from the director whose last
release was The Planet of the Vampire
Women [2011], which was a nod to ‘50s sci-fi (e.g., Queen of Outer Space in 1958) mixed with ‘70s sex sci-fi (such as Spaced Out in 1979). Now, he’s delved a
bit deeper, and come up with a fine mashup that is both head scratching WTF? and laugh-out-loud Say What? As I proceed through the
review, I will delve a bit into its references.
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| Amelia Belle and Jawara Duncan |
His subject of investigation is a sect that wants
to bring back said Great Old Ones via weed that makes you susceptible to them
(a motif also used in Todd Sheet’s Dreaming
Purple Neon). Heading this group of miscreants is Reverend Dellamorte (Ryan
Cicak), a goateed white guy with a thick southern accent – fighting the black
guy…get it? – and wearing what I think is a full-length, sleeveless black leather
dress. Now, to be fair, his gang of goof-ups include Latinos and
African-Americans, so I’m not sure if my mind is interpreting more than I’m
seeing. Still, it works for me, even with that inconsistency.
The dialog is hysterical, and occasionally
repetitious, in a running gag form (Wood did a similar thing, also successfully,
in his previous film around the term “vampire”). The word diabolical, for
example, may be in every other sentence. Duncan is really good at spitting out
strings of script in an amusing way, making it not feel repetitive as much as
humorous. For example, every time he meets a woman who is in danger, he says to
her, “Take it easy baby, I’ve got everything under control. Listen ‘cause I’m
only gonna say this once: I work for a very top secret branch of the government
that exists to do battle with supernatural, diabolical forces that most people
don’t even know exist. Now, if you’re cool with that, later maybe you and me
can get it together, but right now I got business.” This inevitably leads to a
kiss between them before he fights whatever is the threat.
There is a lot of good writing and fine
Dolemite-like moments. For example, when some guy is in the street screaming
hysterically, Chevelle snarks to him, “What the fuck is the matter with you?
Hunh? I’m in there trying to come up with the plan of how to keep the Earth
from being enslaved by fucked up creatures from beyond and shit. How’s a
brother supposed to concentrate with you out here screaming like a bitch!?
Don’t make me beat yo ass!”
In case you’re wondering, I’m actually not giving
away too much because there are a lot
quotes that could be used as examples.
Another incorrect comparison, in my opinion, is to
the film Sin City [2005], since
nearly all of Badass is shot in green
screen (other than two solid sets), with all the buildings and other objects
leaning towards the center. This is more reminiscent of the work of Jimmy
ScreamerClauz. If I may digress for a sec, check out some of the signs in the background
for a laugh, such as Arkham Sam’s Liquors. So, back to the background art: I
can understand the comparison, but it doesn’t hold up for me. Sin City was like a comic book, while
this is more cartoon. Okay, another way to phrase it might be the latter is
more Wally Wood, while this is more Basil Worthington. Both films take place in
a world that couldn’t exist in real life, but SC went for more realism; BMK isn’t interested in any form of
reality, it’s nearly surrealistic.
Which brings me to the monsters. Each one looks
fake as can be, with cheesy digi-art or rubber limbs when they interact with
the actors. They also look silly, again like something from the mind of
Worthington. But in this context, they are fun to watch, like bad stop-motion.
I mean, they’re right up there with the creatures from The Giant Claw (1957) or From
Hell It Came (also ’57). In this completely produced and processed world, I
thought the monsters were smile-worthy rather than cringe-.
As for the music by Phillip Baldwin, it’s a nice
mix of funk and ‘70s porno chic-a-wah-wah,
but if you listen carefully, the lyrics are exactly matching what is happening
on the screen. It’s hysterical and incredibly well done.
One might expect – and one would be right – that
the acting is a tad over the top. And again, it works here. It’s not so broad
that it becomes as cartoonish as the backdrop, but it’s definitely what I call the
John-Lithgow-on-a-sitcom level. As I said, Duncan is perfect in the role, able
to handle both the smolder and the sass (and afro) to just the right tone for
the film. Sometimes Cicak is a bit too Snidely Whiplash, but I understand it. I
was almost expecting him to literally say, “Mwah-ha-ha!”
Most of the cast is female (not a complaint), though a majority seem to be strippers, hookers,
a crime boss named Lola Maldonado (Amelia Belle; Maldonado is also a surname
used in his previous film), and cops. For me, a standout was the Liz Clare, who
has done some strong work in other productions, as well.
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| The Army of Foxes |
The first extra is a 6:23 Deleted Scenes that were rightfully
taken out, though most of it is related to the infected pot theme that doesn’t
go anywhere in the story anyway. However, it is interesting to see the green
screen sets to realize how much work went into the background. This is followed
by a 14:40 onstage Q&A at a showing during the H.P. Lovecraft Film Festival.
It consists of a few of the crew, including Wood, and some of the cast,
specifically Duncan and Cicak. The sound is kinda fuzzy, seemingly recorded on
a cell phone, so it picks up the fuzz from ambient room echo. Still, the info
given is worth the listen. The last two extras are versions of the trailer.
I have no idea of H.P. Lovecraft had a sense of
humor, but if he did, he would have gotten a hoot outta this, especially the
battle of good vs. evil at the conclusion. How long this review is just an
indication of how much I enjoyed it.
