Here Comes Hell
Tom Bailey, Timothy Renouf, Jessica Webber
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If you can imagine a ’50s B movie classic with the slapstick gore of Evil Dead, this is what Here Comes Hell delivers.
Screened at Sydney Film Festival, in the Freak Me Out program strand, Here Comes Hell is a genre mash-up debut feature effort from UK Director Jack McHenry and co-writer Alice Sidgwick. Having worked on music videos and short films before this, McHenry shows confidence in his style. His previous short film, Dungeon of Vampire Nazis showcases his crew’s filmmaking style and passion for cinema, which also shines through in Here Comes Hell.
Hell does a great job of capturing an early cinema aesthetic by paying homage to classic filmmakers like Alfred Hitchcock and William Castle. From the opening shot, the mood is set, when the audience is greeted by a man talking directly to camera and introducing the film. To top it off, it’s also filmed in black and white and presented in the boxed 4:3 format.
This film knows exactly what it is and uses all the classic tropes of ‘50s B movies while mashing it with other genre film styles. The actors crank their performances up to 11 and at no point are they, or the film, afraid to be cheesy. The accents are hammy and over the top, just like the performances. If you can imagine a ’50s B movie classic with the slapstick gore of Evil Dead, this is what Here Comes Hell delivers.
The plot is familiar and simple, an old haunted manor house with a group of young people playing around with the occult and opening up a gateway to hell. There are plenty of laughs and scares, as the guests have to put down their wine glasses and pick up weapons with every man (and woman) for themselves in a fight to make it out alive before dawn.
Even though the runtime is short, it does take what feels like a very long time to get into full swing. Like two completely different movies, for the first 35 minutes you’re watching a social drama and for the rest it’s a 1980s horror flick, complete with one liners and crash zooms. The film becomes more entertaining once the gates of hell have been opened but before that there isn’t enough to cling to; the film would have benefited from spending the first act fleshing out characters, and there are plot points that are hinted at but never fully explored, such as the intertwined past relationships between the guests.
Mixing practical and visual effects to achieve a look that is both pleasing to fans of genre and general audiences, the filmmakers have made their modest budget work, and the passion behind the project shows on screen.
With its cheesy dialogue, hammy accents and stereotypical characters, Here Comes Hell does everything short of wink directly to camera. It’s refreshing when a director knows the ins and outs of the genre he’s trying to recreate, and McHenry shows a lot of promise with his obvious love for cinema and knowledge of its clichés and techniques. Parody films usually have a paper-thin premise and a style that is not unique, but Here Comes Hell is thankfully one of the exceptions.