Another interesting title arriving to Screambox, this should be a hit for the fans of WWE, gore enthusiasts and horror comedy lovers. While I’ve never followed wrestling and had to do my research, but now see how long the entertainment and athletics phenomenon has been in development (especially with its names and affiliations) – since 1953. Since then and with a number of power changes and lawsuits along the way, WWE has found its footing as a multimedia empire, and now, joins us in the horror genre for some back-breaking action. Director Daniel Turres, with aid from writer James Roberts, has styled this piece as an homage to the video era horror of the 80s and 90s, with a nod to the past and present cult popularity of wrestling. After a brief, bloody introduction, we begin in the tense study space where college student Phoebe (Joelle Farrow) is juggling three jobs and has a pertinent exam in less than 48 hours. Her friends ask her to join a study session that evening, but Phoebe is babysitting for a well-paying family. The group suggests her boyfriend, Tom (Shawn Roberts), cover for her… but we quickly see Tom might not be the most child friendly choice.
Built like a tank, Tom O’Bannon is currently in the ring, receiving but mostly dealing impressive, body throwing blows for a screaming crowd. Despite putting on a show, it seems O’Bannon can’t collect enough money, no matter how bad the beating was, dealing with another miniscule payout for a physically demanding win. With him drained and defeated back at the house, Phoebe rips off the bandage immediately by asking for Tom to cover her babysitting job. He’s not interested in the gig but after some chat and light emotional blackmail, he agrees. The day arrives and Tom travels to a lovely yet isolated little home. Gill Foster (Michael Therriault), the little girl’s father, greets him and immediately plays into Tom’s fears about the male babysitter perception, commenting on how odd it is and whether or not he’s a creep before finally inviting him in for shaky introductions, house rules and Grace’s schedule. Soon, the Fosters are off, and Tom begins his mission to try and bond with Grace, while outside it appears there’s someone already scoping out the house.
Bright, sociable, distracted, and funny, Grace (Maya Misaljevic) is already Tom’s worst nightmare as she rebuffs his attempts to engage. After going their separate ways Tom hears a strange noise: assuming its Grace, he checks on her and is dismissed (called a nerd actually), moving now to check out the rest of the house. Before he can find anything Grace interrupts, hungry, drawing Tom away from what might have been a good lead on who’s lurking. A pizza delivery gets to make Tom feel like a star again as the driver is a fan, but on his way out, the driver sees a stranger and decides to confront him. A fatal mistake, revealing that Grace and Tom are in the crosshairs of lethal, costumed killers.
Comedic, vicious, and outlandish, the genre mashup only gets stranger as we get past the serial killing masked wrestler. Referencing the times between landlines and screen time, this is a nice contrast of our current media-consuming tendencies compared to the simplicity of the past. Equal parts exciting and amusing, this horror comedy fires on all cylinders for its performances. Shawn Roberts is built like a beast, putting on the wrestling persona for fans and opponents as larger than life, while behind closed doors demonstrating empathy, anxiety, and all the feelings a strong man shouldn’t. His chemistry with Grace develops naturally and lovingly, making the pair one to root for in the face of mounting threats. Misaljevic puts on a tremendous child performance, apathetic and annoying at all the right times while still being a cooler ten-year-old than you were. The action for these two doesn’t take long to start, and soon you’ll be enjoying O’Bannon’s fighting skills against some deserving adversaries. Blending good old fashioned fisticuffs and some bloody, splattered, practical action (along with some scalding hot kitchen equipment and sometimes weaponized hand sanitizer), the assault on the house is entertaining and intense as the masked intruders encounter a major hitch in the babysitter.
Some aspects of recreating VHS, however, are unflattering, though I understand the tribute. Harsh lighting and threadbare costuming can sometimes highlight budget constraints, or make what was supposed to be campy look kitschy. During these moments, I try and remember this is an attempted recreation of our video shop days and that the costumes, masks and makeup of wrestlers is a staple and a theme throughout, no matter how it’s presented. As well, the film pivots, introducing various supernatural aspects that, while at times seem menacing, also sometimes feel somewhat misplaced or overplayed (a headless body putting up the middle finger, I’m not sure) compared to the realistic terror a home invasion movie delivers. This theme can sometimes feel drawn out, and similarly, some interactions and sequences, especially towards the surprising end, seem to slow. With the sheer amount of ridiculous splatter and the presentation of the invaders, I think this still could have been perfectly unnerving without the introduction of otherworldly powers.
This aside, with a rock-solid cast, effects to keep the gore hounds thrilled, and a comedic and edgy storyline, this is a successful horror comedy that grapples happily with a wild premise. Arriving to Screambox shortly, horror and wrestling fans can prepare to stream this wholly unique, bloodstained piece that pushes through the pain and keeps true to its inspirations.
Here for Blood hits theatres and Screambox on February 9th 2024.