Hellbender

On it's surface, it's a decent supernatural "coming of age" story of a young girl, raised in isolation by her doting mother, who slowly learns of her true nature. It's a slow burn, with steadily increased tension as the pacing ramps up to a suitably bloody and chilling close. Extremely nice camera work and visuals and decent acting, even with some fairly clunky dialog. The soundtrack - with songs performed by the characters - are impressively good for the genre. But the real standout aspect of this film is that the three female leads and one secondary male character are an actual family: The father, John Adams, wife Toby Poser, and daughters Zelda and Lulu Adams. John, Toby and Zelda are listed as writers/directors. John composed the songs which apparently Zelda and Toby performed (though I'm not certain on that part, it could have been dubbed). This is a real family effort, and they are to be admired for it. I can only imagine what fun this crew has making these movies, and hope they continue. They have a real knack for the genre, and are a lot of fun to watch.

For years you've been taught one thing from your mother, that your condition means you can't be around others, you've been hidden far away, a two girl band you like to play, in the woods where you've behaved and been no bother. As you grow older you sense changes happening, you make some friends and they seem really interesting, until they make you twist and squirm, after swallowing a worm, then life becomes a bit more challenging (and rewarding depending on your perspective).

Well made and well performed, as Izzy discovers all is not what she had been led to believe and new opportunities are opened to her once she changes her diet.

Well this was certainly something else.

I was not familiar with the 2021 horror movie "Hellbender" from writers John Adams, Zelda Adams and Toby Poser before now in 2022, as I had the opportunity to sit down and watch it. So I wasn't sure what I was in for here, and thus I had no expectations.

What drew me in to watch "Hellbender" was the fact that the movie had a nice title and also the fact that it was a horror movie that I hadn't yet seen.

And color me impressed. While "Hellbender" certainly is not a movie that will be likely to please everyone in the audience, then I must say that I was genuinely entertained by the movie. I like the bizarre atmosphere and strange storyline that drew the movie, and it was certainly a welcomed step away from the mainstream horror movies.

While "Hellbender" is labeled as a horror movie, this is not the type of horror that will scare you or is throwing one jump scare at you again and again, nay, it is a more deep and profound type of horror. You know, where the horror is brooding underneath the surface, hinting at something grander and way more malign than we ever get to experience in the movie. And it worked, because directors John Adams, Zelda Adams and Toby Poser brought the movie to life in a very fulfilling and enjoyable manner, where we as the audience are taken along for a ride of the occult, obscure, bizarre and disturbing.

There is not a huge cast ensemble in "Hellbender", but the actresses and actors in the movie were so phenomenally well-cast for their roles and characters, and put on great performances in bringing the characters and story to life on the screen. Especially Zelda Adams (playing Izzy) and Toby Poser (playing Mother) were exceptionally great in the leading roles.

Visually then "Hellbender" is not your typical horror movie. There is not an abundance of special effects and CGI in this movie, but the special effects are there, and it is all about presentation and getting it to showcase what it needs to do. And the special effects certainly do that in "Hellbender". And that is definitely a thing that works well in favor of the movie.

While "Hellbender" is not a crowd-pleaser, this is a movie that will find appeal with some viewers and disdain with others. But if you enjoy supernatural horror that is story-driven and brooding in atmosphere, then you most certainly should give "Hellbender" a chance.

My rating of "Hellbender" lands on a six out of ten stars.

An indie movie made by a family, which held my interest throughout. Well shot at some places, not so much at others, but overall it looks much better than most small production horror movies you may come across. This was not the amateur hour I've come to expect from similar films. Surprisingly enough, the acting was probably the best part of it. Also enjoyed the music, which was kinda edgy, but just enough. Added a lot of character to the film.

Don't expect a great movie, or even a good one, but it certainly exceeded my expectations and was good for what it was.

That is a weird film.

Funnily, it looks like a rough sketch of something bigger to come, but that would never exist - a bigger feature film, or a series, something that would offer the space needed to develop the ideas the creative crew (all members of the same family it seems) only touch on during the brief moment of the movie.

The framework is very simple: it's the story of two outcasts lost in a space and a time they don't fit in. Graphically, the film is a joyride, really: many are the good, inventive ideas of cinema, great are often the way the camera moves, the pace, the editing, the settings.

Yet, Hellbender's plot is then full of holes.

The center of the film, the relationship between mother and daughter, is interesting, thanks also to the two actresses whose simple, almost blank acting contributes a lot to the alchemical mystery. However, it's also very fustrating to be given so little clues. The screenplay invite us viewers to share for a brief moment their geographical as well as cultural isolation, but without telling us too much. So ethereal and vaguely suggested are the whys and wherefores that in the end these two figures escape us completely - which might also be a good thing as it deepens even more their out-of-place, otherworldly idiosyncrasies. Fustration can be intellectually and emotionally fruitful, it's always a matter of balance between what is showed, what is hidden, what is intelligible, what stays puzzling.

And puzzling Hellbender is. The film could be compared to a tapestry, but the spotlight would only be focused on a couple of pieces of fabric; of the rest you'll know nothing; it lies in the shade only to materialise briefly in some occasional suggestive scenes one can take a glimpse of in the course of the story; these snipets of an aborted, more ambitious work are quite thrilling, really, but in the context of this very film as an object, that's only what they are: flourishes to drool over, never completely daring enter the heart the tale to make its pulse more vivid.

This reluctance to reveal the whole of the tapestry is really too bad. I don't disaprove ellipsis: it's fuel for the imagination, but Hellbender uses them in excess. I hope one day I'll eventually see these vain teasers give birth to that greater, more complete narrative thread they're calling for.