Review: Creature from the Hillbilly Lagoon

Text © Richard Gary / Indie Horror Films, 2016

Images from the Internet

Creature from the Hillbilly Lagoon (aka Seepage!)

Directed and edited by Richard Griffin

Scorpio Films Releasing

90 minutes / 2005

The film can be seen HERE. 

There are so many genres and subgenres that it is interesting to look at them over time. For example, there was and is plenty of Hillbilly stuff, especially in the 1970s. Hell, even Opie (aka Ron Howard) started by directing in that field (for Roger Corman) with Grand Theft Auto (1977); and Burt Reynold’s whole beginning oeuvre was steeped in it.

Redneck horror is also a sub-subgenre, with the likes of Redneck Zombies (1989), Bloodsucking Redneck Vampires (2004), I Spit Chew on Your Grave (2008), The Legend of the Hillbilly Butcher, and the short-film compilation The Hillbilly Horror Show, Vol. 1 (2014), to name just a small amount.

But there is also a horny human-like fish-monster subgenre as well, with the likes of Creature from the Black Lagoon (1954, for which this film is named), The Horror of Party Beach (1964), and Humanoids from the Deep (1980; remade in 1996). Yes, I’ve seen nearly every one of those I’ve mentioned in the last two paragraphs, I’m proud to say.

                                                                                          

Most of the films I’ve cited, with rare exceptions, are either comedies or unintentionally funny in a campy way (e.g., Humanoids…). But beyond humorous, they tend to be outrageously so, because if you mock someone’s culture, such as the white Deep South, you better make it obvious that it is poking an elbow rather than pointing a finger, if you want to keep your audience (commented on, somewhat, in the 2014 Bigfoot film, Stomping Ground). This is in the same way that films like Car Wash (1976) or Beauty Shop (2005) are presented, with over-the-top stereotypical characters that are broad enough that many can identify with and mock, rather than are being mocked directly (again, socially commented on in Spike Lee’s 2000 social commentary, Bamboozled).

But I suppose that I should start talking about the film at hand, shouldn’t I? Despite it being filmed in Connecticut (except for a coda scene in Rhode Island), director Richard Griffin tackles the Redneck/Horny Man-Fish genres by wisely combining them into an outrageous and profane comedy Seth Rogan would probably kill to be able to do adequately (he would fail, though still attract an audience for some reason). The acting is wooden, as usually is in backwoods low-comedy style, but nowhere near as forceful and purposefully as it is in his last film, Seven Dorms of Death (2016). Considering the decade-plus time difference of release, it’s interesting to compare them, but I’m jumping ahead of myself.

Hillbillies gone huntin'

In a bayou area of the Deep South, the trope of spilling toxic chemicals (e.g., 2007’s Wasting Away [aka Ahh!! Zombies!] and 2011’s Exit 101) into the water is used to produce a hybrid human-fish (that is, man-into-fish, not fish-into-man, or in today’s terminology, perhaps M2F[ish]). This brings four factions contentiously colliding together: (a) a group of young science students who are doing tests on the water (yet still skinny-dip in it); (b) a gaggle of rednecks (two are named Bubba and Cooter) out huntin’, (c) the hitmen from a pharma company responsible for the dumping who are trying to keep it all contained by trying to kill everyone involved (as a reference point, there is The Crazies, both in 1973 and 2010); and (d) the mutant/mutating fish people who have a hunger for human flesh, of course.

There is certainly a – er – certain level a cheesiness present, such as there always seems to be some fog around as people are skulking about, even in a basement. Also, a hillneck (redbilly?) gal in classic daisy dukes and a red checkered Italian restaurant tablecloth design top tied in front falls for a mutant-to-be, a student ends up being an escapee from the evil corporation, and there are hair curlers, beers, and white hazmat suits, along with nudity and lots of decent gore, giving an overall nice scaly shine.

The creatures are definitely a guy(s) in rubber suits – and considering you never see more than one of the monsters at a time, I guessing the same suit – but actually it looks pretty decent for its budget, and I was impressed by them. Truthfully, it looks better than many I’ve seen on shoots with a much larger financial backing.

If you’re not used to these kinds of films, the dialogue may sound a bit, well, stupid, but if you listen carefully with heavy dose of humor, it’s hysterical. For example, when one character sees the dead body of someone he knows, he yells, “Fuck me sideways! Noooooo!” There are also a lot of racial and ethnic comments, and including pointed towards the LGBTQQ+ demographic. This is, however, meant more to shine on the fallibilities of those who are homophobic rather than promoting it.

It’s interesting to see one of Richard Griffin’s earliest releases (which I haven’t seen many) and compare them with his latest (of which I have viewed a few). In this one, it was before he had his revolving company of actors and crew that show up in many/most of the later works. No Michael Thurber, no Sarah Nicklin or Michael Reed, and especially no cinematography by Jill Poisson. His later works have a “look” that this one does not. That’s not to say this film doesn’t look great, because it does, it’s just… different. Good different.

Over the years, there is more confidence built into a final product, and this one is definitely a growth work. What I mean by that is as one learns a craft, one gets better at it (one would hope), and not just in directorial skill, but in fashioning one’s own style and look. On one hand, I think I would say that this looks like a beginning film (it was his fourth) that one learns what’s possible and how to do things more efficiently and effectively. That being said, even with that, it’s actually above most early works of some bigger names (so far). I mean, compare Tarantino’s Reservoir Dogs (1993) with The H8ful Eight (2016), or Cronenberg’s Rabid (1977) with Eastern Promises (2007). The viewer can see the skill set growth comparing them. The spark is definitely there, as it is here, but the early films have a certain clunkiness to them compared to their more advanced counterparts. There is certainly a clunky, amateurishness to this one, but it definitely has that umph that would make Griffin so good at what he does.

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.