jeremy gillespie – Horror Ghouls

Father’s Day started as a fake grindhouse trailer (like Hobo with a Shotgun, Machete and Thanksgiving), produced by the once small independent film company Astron-6, based in Canada. In their early days, they made a bunch of silly short films through the lens of 80s and 90s nostalgia, and began experimenting with feature-length films with Manborg. Producers Lloyd Kaufman and Michael Herz from Troma got an eye for this creative ensemble from Mapleland and spat out a generous budget of $10,000 for them to make Father’s Day into a full movie. The main team behind Astron 6, Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski and Conor Sweeney wrote and directed it. And the result is, well, it’s a movie.

Father’s Day starts right off the bat with a deranged chubby homosexual rapist/cannibal/serial killer with the classic Jeffrey Dahmer glasses who is sawing bodyparts, ripping out guts and organs of fresh corpses, plays with sawed-off heads, French-style. This particular serial killer’s name is Chris Fuchman, and his way to, well, Fuckkmanize his prey is to hunt down and kill as many dads as possible on every Father’s Days after cumming into their crusty cornholes. Ugh. A vengeful vigilante named Ahab, wearing an eye-patch, a big nod to Thriller: A Cruel Picture (1973), hunts down Fuchman’s ass in some dark alley and declares Happy Father’s Day before he blows his head straight to Hell with a shotgun. The bad news is that he just shot and killed an innocent man he mistook for being Fuchman…or did he? Hmmm… Later we learn that Fuchman is assumed for being dead for thirty years. Huh…

Then we jump to the gay teen-prostitute boy, Twink, who’s in a police interrogation after he got caught with a fresh corpse in a motel room and being suspected of… being Chris Fuchman, aka The Father’s Day Killer. Something like that. After being released, his dad drives him home, who is soon to be assplayed, and burned alive by said killer in front of Twink. Twink gets approached by Father Sullivan, for whatever reason, where the amateur-acting kicks in. And a Catholic Priest played by a teen-looking altar boy is always believable. I guess Eric Roberts was unavailable. Anyway, Twink spits in Father Sullivan’s face and tells him to stay away. Who wouldn’t. Father Flynt, a blind old sentinel on his deathbed, tells about Ahab whom he raised after his dad was killed by Fuchman. The mother? Who knows. Ahab is the one and only man who can kill Fuchman, because…because. Father Sullivan travels far away to the middle of nowhere to drag Ahab out of exile and bring him back to Tromaville to hunt down Fuchman and end him once and for all.

Before going on the mission, he hooks up with his sister, Chelsea, whom he hasn’t seen in ages. She’s, of course, a go-go dancer and The Foxiest Bitch in the City. Sounds groovy. The plot and the direction here is a muddled mess, but it all boils down to Ahab, Chelsea and Twink joining forces. And I almost forgot to mention that Chelsea gets kidnapped by Fuchman. Maybe The Foxiest Bitch in the City cured his homosexuality. Brainfart. Father Sullivan, the boy priest, chimes in as we maybe also have a demon to deal with. Of course.

The film has, as mentioned, four writers and directors going crazy, and it shows. The gritty grindhouse filter/style switches on-and-off when it feels like it. The forced humor and jokes, mixed with amateur acting, falls mostly on its face. The film is a tonal mess as it jumps from Jörg Buttgereit territory with close-ups of tasteless penis mutilations to crazy talk about maple syrup. Welcome to Canada. The third act falls completely off the rails and looks more like a YouTube skit by Nostalgia Critic. It’s overall a fun watch though, with lots of entertaining moments, like a wild car chase where the actors do their own stunts. We have a soft-porn sex scene, colorful special effects (mostly old-school), gruesome kills, dick-eating, mutilation, necrophilia, cannibalism, exploding guts, head-smashing, lots of gore, demon possession and more unpredictable madness and surprises. Woof! We’re in Tromaville, that’s for sure, where Lloyd Kaufman makes a quick appearance as someone I won’t spoil. A crazy movie for a crazy Friday night to enjoy with sausage and knight cheese.

Writers and directors: Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski, Conor Sweeney
Country & year: Canada/USA, 2011
Actors: Adam Brooks, Matthew Kennedy, Conor Sweeney, Amy Groening, Garrett Hnatiuk, Brent Neal, Kevin Anderson, Meredith Sweeney, Zsuzsi, Lloyd Kaufman, Mackenzie Murdock, Billy Sadoo
IMDb: https://www.imdb.com/title/tt1727261/

Here we have one of the more grimmer throwback horror-80s movies which seemed to be made by accident, or followed by a witness to an accident to be more correct. You see – other than producing their own low-budget horror films, the creative guys Jeremy Gillespie and Steven Kostanski from Astron-6 (Father’s Day, Manborg, Psycho Goreman and more) have also worked on bigger Hollywood films such as It, and Scary Stories to Tell in The Dark with special effects and art designs. They also worked with one of the greatest; Guillermo del Toro and Jeremy Gillespie was working at Pinewood studios where del Toro was in pre-production of his magnum opus which never happened: At the Mountains of Madness. After the project crashed and burned due to the high budget costs and the fact that del Toro refused to add in a love story and a happy ending to the studio’s demand, Gillespie and Kostanski got inspired to make their own low-budget spin on the story. And with their obsession for the 80s and the old school of filmmaking, it was natural to make it as a throwback.

It’s around past midnight when the small town sheriff, Daniel Carter (Aaron Pole), picks up a wounded guy on a rural road and takes him to the local hospital. Here we also meet our small group of characters, among them a cute young pregnant woman who’s about to give birth. And let’s hope that nothing bad happens to her and the baby (ha-ha). To bring this John Doe to the hospital seemed to be a very bad idea as weird things started to happen, such as the lights flickering and the phone shutting down. From here, it gets messy pretty quickly around the hospital when one of the nurses gets shot by the sheriff after she stabs the eyes of one of the patients . The lights shut down and the hospital gets surrounded by a group of cloak/hazmat suit-wearing cultists who have no intention of letting anyone get out of the building. Some ancient supernatural forces have also seemed to awaken in the basement which transforms dead people into the most grotesque-looking mutants that has been put on film in modern time.

It’s valid to mention that this is not an Astron-6 production which focuses more on humor, as this one has a far more serious tone. The Void is also crowdfunded on Indiegogo with a raise of only 82,510 dollars (!), which seems like a box of molded breadcrumbs for an ambitious Lovecraftian project like this. Having that said, the film looks pretty damn good with overall solid, creative filmmaking with a long string of clear inspirations from 70s and 80s classics. We have the siege element from John Carpenter’s Assault on Precinct 13, the claustrophobic paranoia from The Thing, the morbid, grotesque madness from Stuart Gordon’s From Beyond and the cryptic vibe and atmosphere from Lucio Fulci’s The Beyond, to mention some – all blended into its own unique, beefy and tasteful love letter for us older gorehounds. A great soundtrack by Blitz//Berlin which also suits the grim retro style perfectly like a penis in vagina. Except for some very few visual effects, there is no CGI here, only the usage of gallons of fake blood and sticky, top-tier latex monsters that could be something straight from 1987.

Writers and directors: Jeremy Gillespie, Steven Kostanski
Country & year: Canada, 2016
Actors: Aaron Poole, Kenneth Welsh, Ellen Wong, Kathleen Munroe, Daniel Fathers, Mik Byskov, Art Hindle, Stephanie Belding, James Millington, Evan Stern, Grace Munro
IMDb: www.imdb.com/title/tt4255304/

Tag: jeremy gillespie

Father’s Day (2011)

The Void (2016)