★★★★☆
Brock Bodell makes his directorial debut with Hellcat, a horror/thriller that made its world premiere at the Fantasia International Film Festival before coming exclusively to Shudder this weekend.
The film follows Lena, a woman who wakes up in the back of a moving camper trailer with a bad infection. She has no idea where she is or how she got there. A voice over a loudspeaker tells her that she has been infected and they’re on the way to see a doctor—a specialist who is the only person with a chance of saving her life.
The film opens with fantastic cinematography from Andrew Duensing, which carries from the opening shot throughout the entire film and captures its tone.
Carefully and intentionally picking each shot is crucial when crafting a horror film, especially one crossed with a thriller, and Hellcat is a perfect example.
The majority of the film is shot entirely in the back of this camper, which limits many things. Camera angles and the integration of visuals are among the most affected. Duensing finds a way to utilize the small space with these insightful, crisp, and perfectly framed shots. Shots that not only enhance the visuals of the film, but its tone and pacing.
There is this fantastic shot where Lena tries to look out a little mail slot, and the camera pulls back into the darkness. As the hole gets smaller and smaller, the tension builds, crafting this intense moment. Bodell has a keen sense for creating tension and fear.
Bodell’s vision is what truly drives the film. Having a story take place in one room can be done, and done incredibly well. The original Saw is a perfect example. Fear and tension aren’t necessarily created with blood and guts. The most horrifying moments come from what we don’t see and/or can’t confirm. The Texas Chain Saw Massacre is another example.
The most horrifying moments come from what we don’t see and/or can’t confirm.
Bodell understands this concept, and understands it well. We see it firsthand in how he crafts the script. The script is written in such a way that there is limited information. Only as the film goes on do we learn a little more about the voice of the person driving the trailer.
While it’s a thrilling horror film, given the nature of how it’s crafted and its location choices, the film doubles down as a character narrative. It relies heavily on the characters’ likability to carry the film, crafting damaged characters who are slowly revealed through horrifying and chilling moments.
Those moments are amplified and intensified by a tremendously well-crafted score by Zak Engel that complements Duensing’s cinematography, adding that extra layer of emotional weight that grounds the film.
Bodell, who also edited the film, pieces it all together swiftly and smoothly. He has his finger on the pulse of the movie the entire time, right up until three-fourths of the way through the third act, when things take a turn for the worse.
As well-crafted and impeccably directed as the film is until this point, it feels as if Bodell didn’t know exactly how he should tie it up, put a bow on it, and send it on its way.
The last few minutes are the weakest of the film, without question. That ultimately hurts a film more than anything else. A slow start, a weak second act—these can be corrected and offset. The third act is the silent killer, for it’s the last thing the audience sees.
The third act is the silent killer, for it’s the last thing the audience sees.
Despite the sharp dip south the film takes, it’s still solid enough to sustain the blow and cross the finish line intact.
Dakota Gorman’s performance is outstanding. For the majority of the film, she is the only person on screen and is performing opposite a voice in the wall. Her character is the lifeline of the film.
Being the face of the film, she is the one carrying its weight. With no one to lean on or play off of, the fact that she never misses a beat is impeccable.
As much as the end of the third act doesn’t hold up compared to the rest of the film in terms of vision and execution, Bodell crafts a fantastic debut that is stylistic and smooth, utilizing every aspect from a technical standpoint to craft a thrilling and intense horror film.
Brock Bodell shows that he has a keen eye and vision and is a filmmaker to keep an eye out for. I, for one, am excited to see what he does next.
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