We Summon the Darkness – Review

Directed by Marc Meyers

USA/ 2019/ 91 mins

Rating: 2 out of 5.

Satanists get a bit of a bad reputation, don’t they? Whether it’s John Carpenter’s hideously underappreciated Prince of Darkness, or the more recent The Blackcoat’s Daughter, the blurring of humanity and its association with the Devil is as ancient a narrative tool as possible. Then there were the slasher films of the late seventies through to the early nineties, a genre which gluttoned itself with zealous-religious killers. Marrying the two together made just about as much sense as it does now, as We Summon the Darkness begins with news reports of satanic cultists slaughtering innocents across eighties America, just as three young women embark on their road trip to the biggest ’80s metalhead gig around.

Unfortunately for our lead, Alexandra Daddario once more showcases her inscrutable taste in film choices. It’s by far the most cohesive performance in the film, principally for how out-there Daddario pushes the character, plunging headfirst into the eighties schlockfest of video nasties and cultist slasher flicks. Continuing this, Daddario’s co-stars Maddie Hasson and Amy Forsyth are giving tremendous energy to the film – Forsyth as a young runaway, who turns to the girls for support, brings an unexpected dynamic to the film. The imbalance between performances occurs with the men, where attempts are made at gender reversal and a comment on the ‘lamb to slaughter’ nature of women in preceding slasher films. The execution fails to convey this naturally, stemming from the meek direction, flimsy writing, and vacant performances. While the women can capitalise on their antagonism, the guys just aren’t bringing anything memorable to the table.

This gender reversal is almost well-constructed, exhibiting an otherwise unexpected depth. Placing the men as powerless, now-stripped pieces of gaze material to be massacred is a clever aspect to take, but the film doesn’t run with the concept for long. The revelation that a patriarchal cultist is manipulating these young women removes the agency they have, going against what has been set up.  While the notion of a female killer is far from original, the trio had potential as a unique force, particularly in the droning era of post-modern slashers where remakes from the golden ’80s era are cycling the motions. There’s a small, niche territory of genuine pieces which distort the conventions such as The Guest orIt Follows, and We Summon the Darkness had the promise to join these and reclaim the genre from television, which seems to have taken up the mantle. 

Giving Marc Meyers credit, We Summon the Darkness superficially achieves what it sets out to in capturing a distinctly cult/slasher flair. Ridiculous, and borrowing heavily from more engaging films, We Summon the Darkness drapes itself in attempted pastiche but fails to cover itself in much bloodshed. For a script that has glints of wickedness, it plays it remarkably safe. The threat posed to the trio is almost immediately doused by the inadequacies of the cultists, whose ineptitude and inexperience, while a plot point, serves little in the way of horror. An inexperienced killer should be terrifying, their motivations clouded, but instead, it strips any power from the points the film is attempting to make.

Beneath the slasher homages and incessant borrowing from the horror library, We Summon the Darkness wastes rich potential as it falls victim to its execution. Leaning on the angle of nostalgia, suffering from tedious performances, and a substantial lack of terror means any attempts at a neo-slasher going for the throat of misogyny is all but put to rest by Meyers’ inability to brandish these weapons effectively.

We Summon the Darkness is available on Video-On-Demand Now

Review originally published for The Wee Review:https://theweereview.com/review/we-summon-the-darkness/

Hitch Hike to Hell

Written by John Buckley

Directed by Irvine Berwick

Ah, the exploitation genre of cinema. A bounty of films which attempt success, or creativity, through touchy, niche or even lurid events and narratives. They often range from B-movie schlock to the entertaining and even impressive in design, to the downright absurdly offensive in how little hindsight the filmmakers take into consideration. Then there are these middle-ground ones; the attempted video nasties which can’t even get their hands dirty.

Borrowing heavily, chiefly from the master of suspense Alfred Hitchcock, and of course, notorious pieces of rape-revenge and hitchhiking sub-genres (The Last House on the Left, The Hitch-HikerIrvin Berwick and John Buckley had an image for Hitchhike to Hell, an exploitative movie depicting the rape and murder of women who run away from home. Guising it with the ‘moral’ compass circulating in America at the time, of young girls leaving conservative (even abusive) homes and finding themselves assaulted by men on the highways.

After his sister flees the family home, devastating his mother, Howard cannot comprehend why anyone would choose to run away from home and ‘hurt’ their parents. This includes those leaving genuine life-threatening, abusive homes, and in the film’s most teeth-gritting scene, a fourteen-year-old runaway. Working as a laundromat deliveryman, Howard begins a life of picking up hitchhikers, and ‘punishing’ them for their cruel actions.

Arrow Film’s dedication to re-releasing films is a triumph, with successes in bringing treasures to the public and breathing fresh life into undead classics. Here though, they’ve managed an impressive feat – producing a 30-minute documentary extra and further piece, Road to Nowhere: Hitchhiking Culture Goes to Hell by Alexandra Heller-Nicholas which far exceed the film in terms of production, intent and even lampoon Buckley’s flaccid attempt at concealing his bias towards women.

Even more staggering is that while Harold’s overall performance redeems paint drying, the writing behind this Bates-light character contains relative decency with a slow, categorical depiction of a suffocating mother-son relationship, at least substantially for films of this ilk. Robert Gribbin’s Howard, who flips so frequently from good Samaritan to serial killer in the mere mention of family problems encroaches on ludicrous in depiction. Whereas the amateur performances from the women he abducts make for an unsettling realness to the crimes, Gribbin’s ‘turmoil’ at his actions and his love for his ‘Mamma’ feels hollow. By no means, in-depth, or even redemptive, Berwick’s direction at least seems to attempt multiple dimensions to the narrative, with Russel Johnson turning in the only decent performance as Captain J.W. Shaw.

Hitchhike to Hell fails to delve into the depravity others within the genre submerge themselves. Is this a positive? Not necessarily. While it means we thankfully abstain from morose depictions of sexual violence, it trivialises the matter with how little care is taken. The depictions of rape, set to hideously inappropriate music, become comedic in poor acting and tone, and this isn’t A Clockwork Orange, these score choices are not the decisions made for shock or atmospheric tone, there’s just no thought process here at all. 

Hitchhike to Hell tries capitalising on the exploitation genre it so desperately wants to be a part of but fails to be, and in failure brands itself as even worse a film by its inability to go that extra mile, to be creative or obscene. It commits a cardinal sin of any exploitation film – it’s dull – and for all the things of which it could have been guilty, this is perhaps the worst. While Arrow has once more released a well-maintained cut of the film, keeping the scratches, grit and grime of the film’s footage, it’s one of the video ‘nasties’ which should have been left at the roadside.

Available on Blu-ray now.

Review originally published for The Wee Review: https://theweereview.com/review/hitch-hike-to-hell/