Pastor
Bramford (James Tupper) and his family move out of the city to the deceptively
peaceful town of Stull. Taking over from the retiring Pastor Kingsman (Clancy
Brown), the townsfolk welcome the newcomers with open arms (even taking over
from the removal team to help furnish the Bramford’s new home). Why even kindly
old Mrs Gordon (whose almost 95 you know) has made the family one of her famous
cakes – so good in fact that they “melt your tongue right off” pronounces Pastor
Kingsman. (Not quite...)
This
is the first offering from Slasher Film productions (co-owned by none other
than Slash of Guns N’ Roses), and it also marks the feature-film debut of
former storyboard artist Anthony Leonardi III. Despite their best intentions
however, I have to report that after viewing this debut, neither came claim to
come out of it smelling of roses (sorry).Quite why Tupper’s Pastor Bramford didn’t do his homework on the town of Stull before accepting the position is at best questionable. Surely a quick search on Google would have revealed all is not quite so rosy in this quiet little god-fearing community? And any congregation led by Clancy (‘Brother Justin’ in HBO’s CARNIVALE) Brown must have a dark secret at its heart. Clancy is (as is sadly so often the case) underused in the role of Pastor Kingsman, but then again so is Anne Heche as the wife of the good Pastor Bramford (real-life couple Heche and Tupper). For a film that clearly intends to be character driven, we’re not really given that much to work with for any of the characters. Older daughter Rebecca (Rebekah Brandes) is given several longueur scenes gazing longingly into the eyes of hunky farm-hand Noah (Ethan Peck, grandson of Gregory), who rather worryingly appears a dab hand at slitting the throats of sheep.
The cake in question is just one example of numerous plot holes and unexplained threads which are liberally sprinkled throughout the half-baked storyline. Having been told not to touch the cake till the family are gathered for their evening meal (because mum makes such a big thing of such things), nothing is then said later despite the fact the cake has been chucked into the garbage bin by sheep-slitter Noah.
Once the town’s dark, black tendril secret is eventually revealed (in largely uninspiring CGI form) all character credibility is sunk beneath the black ooze. A prime example being a scene where big-sis Rebecca and Noah are driving hell-for-leather away from a pursuer only for Rebecca to insist Noah stops the car in order to get out and debate the ethics of running away - in the middle of the street- thereby allowing the threat to gradually catch up with them.
I must
admit I did chuckle at the casual callousness of how big-sis leaves her young
brother behind not once but twice in the path of deadly peril – clearly a case
for welfare services methinks.
** (OUT OF 5*)
Paul Worts
This review was first published on the FrightFest website.
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