Review: Fender Bender

(imdb.com)

There seems to be a large, vague abyss as to when horror fans are going to be getting a new slasher that they deserve. From the classics of the 80s to the revival in the mid-2000s, these horror movies that feature a humanoid killer are often panned by critics and loved by horror fanatics. Attempts by indie filmmakers have been somewhat bland at best and it does feel like a true to spirit slasher is never coming. Fender Bender doesn't satisfy that hopeful whim.


Following a girl stalked by the man she previously got in a fender bender with, Fender Bender begins with the best intentions before becoming a muddled mess. An opening sequence featuring the first victim of the killer, gives plenty of the chase so many fans are compelled to watch, but the scene is short. In fact, it's actually a shame the film's opening character; played by Cassidy Freeman (Longmire) isn't the center of the film. She's a far superior and believable actress then the teens that take over the screen. But, this isn't her film and her replacements are Makenzie Vega, who stars as Hillary, the quintessential final girl, and Dre Davis (Pretty Little Liars) and Kelsey Leos Montoya (The Guest) as her best friends, Rachel and Erik.


Fender Bender leaves a lot to yearn for. From some questionable character choices that would make even the silliest of slashers cringe to plot points worthy of a dumpster, this movie feels desperately lost. Hillary's parents are inexplicably difficult in a way that feels far too obstructive to be the film. They're voices sound kind and their willingness to give their daughter a cell phone despite having the viewer believe they're atypically controlling feels disjointed and thoughtless. It's a difficult balance that the film never real figures out how to tackle; these parents aren't loving, but strict - they're just awkwardly mean.


Just as the film begins to redeem its issues and setbacks caused by the angry parents plot point, it starts to fall apart all over again; entering an unsalvageable stage. When Hillary's two friends show up, it seems predictable but as if the film is picking itself up, preparing for a straightforward romp that would feel plain but enjoyable. Unfortunately, the too-close-for-comfort insurance woman Hillary spoke to immediately following the fender bender calls again, with some news. She calls so late at night to explain a ridiculous story that she would have never have told Hillary in any universe, real or otherwise. Even for a movie, this part is absolutely unwarranted and distractingly painful. It ruins the movie for every scene after it by removing the viewer from the experience. It's not comical or so-bad-it's-good, it's just bad. Story progression is important, but in this case, connecting the opening sequence with the ongoing of Hillary's survival feels unnecessary - especially when done so blatantly wrong.


For fans craving a slasher film in what seems to be an empty abyss in modern horror, they'll have to wait a little longer. While Fender Bender offers glimmers of hope and nostalgia, the movie's straightforward fashion is quickly destroyed by uncharacteristically off-putting parents, a soundtrack similar to that of a 90s-elementary school PSA and moments of outrageous absurdity. 3 out 10.

 

Review: Beyond the Gates

(imdb.com)

There's no shortage of 80s-inspired horror movies. These retro films utilize all of the iconography and cinematography of classics like Nightmare on Elm Street, but when effective, also take on their own form. Movies like The House of the Devil, capitalize on horror fans yearning of a time more recently exchanged for glossed over and bland craftsmanship. The recent addition to Netflix, Beyond the Gates, attempts to further this trend with varied success.

On one hand, Beyond the Gates is a terrific movie with some small scares and a plot that ties movies like Jumanji with films like The Ring. On the other hand, Beyond the Gates is either too long of a film, given its lack of action for the first hour, or too short of a film, given the universe that could easily be expanded into a series. Regardless, there is should be enough content to maintain interest, if not complete intrigue.

Beyond the Gates follows a pair of brothers whose search for their father leads them to a VHS board game with a sinister past. Far too immersive and ultimately deadly, the game soon takes a horrific turn with all the fog and lighting of the 80s leading the way. Beyond the Gates stars horror icon, Barbara Crampton (We Are Still Here) as Evelyn, the video game's narrator, Chase Williamson (SiREN) and Graham Skipper (The Mind's Eye) as estranged brothers, John and the straight-laced Gordon, and Brea Grant as Margot (Halloween II). The acting varies in strength, mostly settling for acceptable if not always great. Skipper seems unsure of how to play his character realistically, sometimes coming across as a caricature, but together all of the cast hold up.

Beyond the Gates exists in a universe that feels much larger than its result. Between confusing demon-ghost grab scenes and a random mystery store, there is definitely a larger story that could have been built to keep the mythology more clear. Frankly, if the film had spent less time on their character's backstories, these issues may have been easily supplemented, but it's hard to tell. It's never actually bad though, so the film's positives easily keep it up to par. The 80s inspiration is clear throughout and there are a few jump scares that are definitely worthwhile. Plus, the use of a VHS board game is entertainment enough to suffice.

Beyond the Gates begins as a movie that seems better suited for a short or a student film fest entry, but slowly becomes an entertaining throwback of a movie with plenty of original storytelling to offer. It's definitely short, which helps move things along, but it does feel like some opportunities are missed in its attempt to maximize on the climax. 6 out 10.