Natural Selection

When I first finished Natural Selection, or Monster Hunter, I didn't know what to think. The movie comes at you like a breeze, quick and without much of an impression.

The movie itself was not that interesting. A plot about serial killers and a couple of jokes.

What really bothered me was its side-plot, the one that involves David Carridine. I can't tell you much about it, but it's "interesting" The movie obviously had some vision, which I liked. It tried something new. But it just fell short. Way too many problems with me, which I can't tell you much about.

This movie is obviously one of those "you love it or hate it" kind of movies. So I hope you get the chance to see it to make up your mind.

I think that the best movies are those that evoke a gut level emotional response, whether it is disgust or laughter, and this one is right on target. In addition to a big grin, I left with the feeling of just going on a whirlwind ride through small town Texas, a witness to the absurdity and humor of real life so well captured by the talented writers and skillfully communicated by the actors. This movie is not for the politically correct anal-lizers, but best enjoyed by the regular person, the one who looks twice at a car wreck and the one who isn't afraid to find humor in the ugliness of this world. It offers the viewer a glimpse of the underbelly of mundane suburbia, a place where oddity is alive and well. Natural Selection moves adeptly between the disturbing tale of madness and murder and the documentary scenes that provide a sort of delightfully sick comic relief to the starkness of human nature's hideousness. The juxtaposition of disgust and humor made me constantly anticipate what would flash before me next. I loved being an observer of White Hills and its cast of characters, together bringing a sweeping view of the strangeness of humanity. From Bowen's brilliant and scary Willie, to his hilariously ignorant cousins, to the insanity of Carradine's Dehoven, to the pitifully funny, monkey collecting parents of one of Willie's victims and all the other eccentrics, I bounced between the reality of these lives well portrayed by the cast and brought up from the Texas dust by the writing of B.J. Burrow and Allen Odom, an up and coming team that promise more great work. This unique movie had the theater in its grasp, and never failed to hold me in this bizarre place. I enjoyed every engaging minute and was sad to see it end. I hope that everyone gets to take the ride through White Hills. It's a great trip!

A friend and I were invited to a special screening of 'Natural Selection' in Santa Monica this past June. As finicky spectators, we were both skeptical. We had an inkling of the film's storyline; but for the most part, we were uninitiated as to what might come to light or smolder to ash in a genre that is all too trite--a black comedy entwined with a serial killing ruse. Yet despite our snobbish prelude, by the end of the opening title sequence we were smiling. And by the end of the closing title sequence we were wildly entertained. The characters take some getting use to, all of which are satirically drawn, but once you get past introductions you realize you could be at a southern county fair and all is laughable. The film's strength is its lunacy and the direction of each preposterous circumstance. The writing is no stroke of genius, but in collaboration with the creative direction, performances, and a smart edit it is noteworthy. If 'Natural Selection' gets its audience it will be rocketed to cult film status and hence be a fusion of three genres--black comedy, serial killing ruse, and cult film. Check up and coming film festival listings or special screenings of 'Natural Selection'-- like me, you will be caught off guard and caught having a good time.

David Carradine (yes, the Kung Fu Carradine) plays a major role in this film, and, while he brings considerable talent to the cast -- perhaps the only talent -- much of the time he looks like an actor desperately seeking direction. I feel a little sorry for him. Carradine plays a maverick FBI agent who has gone a little haywire from brushing up against the madness of his serial killer quarry. He stays in a motel room lined with pages torn from a Bible -- a reference to The Omen in which a priest, driven mad by his quest for to confront and battle the Ultimate Evil, lives in a Bible page-lined cell. Carradine's delusional special agent sees his quarry going into a horrifically fast seizures, much like the terrifying spasms of the figures haunting the protagonist in Jacob's Ladder. There are, perhaps, hints of Pulp Fiction here and there as well. Yet these allusions are not enough to save the film -- if anything, they seem to be adolescent expressions of adulation rather than homage to the filmmaker's influences.

WARNING - CERTAIN PLOT LINES MAY BE REVEALED IN THESE COMMENTS.

A few weeks ago, I attended an advance screening of NATURAL SELECTION. As key grip on the picture, my comments may seem rather slanted, but I feel compelled to share a few thoughts. I shall make every attempt to be objective.

With a quirky, provocative script by BJ Burrow and Allen Odom as his foundation, Bristol has built a crafty film. Even though I was on the crew and watched the scenes as they were being shot, I shall have to watch the final cut several times before I catch all of the surprises that the film offers. It moves along at a brisk pace, and takes us on a wild ride.

In a nutshell, NATURAL SELECTION is a story of boy meets serial killer, boy copies serial killer, cop stalks serial killer, and all hell breaks loose in every conceivable direction.

NATURAL SELECTION wrung from me many different reactions as I watched the story unfold before me. A moment after laughing hysterically at one of the film's many moments of curious comedy, I would find myself jumping involuntarily at one of its startling little twists.

The story revolves around a faux TV documentary which follows a series of killings by Bowen's character, "Willie," and its impact on a small town.

The body of the film chronicles the changes that are inflicted upon the town and its people under the focus of the media.

One of the most compelling moments is a pivotal scene between Bowen and Carradine, in the seedy little motel where Carradine's character, an FBI agent gone over the edge, eventually meets his end. The dichotomy between these two actors - half brothers, incidentally - is palpable.

After the chilling scene in which Carradine's "Dehoven" character is brutally killed, actress Laura House whips us right back into laughter mode. As the motel's housekeeper, she basks in second-hand fame before the camera of the "documentary" crew and leaves the audience with the guilty pleasure of another good howl.

As Dehoven, Carradine demonstrates his skills as one of the great Hollywood journeymen. Throughout the film, I was torn between pity for Dehoven's delusional existence, and biting myself in the lip to keep from laughing at the poor guy's Oliver Hardy-like awkwardness as he shadows Willie. One moment the stammering nebbish, the obsessed predator the next, Dehoven is a joy to watch.

Known for years as "Ed," the young Indian filmmaker in "Northern Exposure," Darren Burrows turns in a riveting portrayal as a small-town guy, transformed by the media attention that the killings have brought to his little berg. He explodes from one emotion to another with chilling fluidity and, with Bowen, emotes both rail-gripping terror and side-busting laughter during their final confrontation.

The lynch pin of the cast is Detective Richards, played by Joe Unger. Richards is the gruff, jaded cop, numbed by a career full of murder investigations, and a downright snarling contempt of the media. With a matter-of-fact take on the situation, punctuated by several well-chosen expletives, we follow this tough-ass cop through the "documentary" and the body of the film as he pulls the story together.

The "TV documentary" is where cameos by such talent as Root, Balaban and Laura House really shine. These performances are beyond excellent as they lead us through the maze and deliver us to its unexpected exit. Root, in particular, is captivating as the father of one of Willie's victims. His turn before the camera is, at the same time, poignant and riotously funny.

The "MVP" of the NATURAL SELECTION production crew has to be Rhet W. Bear, the director of photography. This young cinematographer and his minimalist style gave director Bristol the ideal paint with which to create his witty picture of the Burrow/Odom screenplay.

Again, as one of the film's department heads, it is difficult to be as objective as I would like. Still, I have to say that the film has a bright future ahead of it. NATURAL SELECTION is haunting and hilarious at the same time. It is a complex film which provides a stimulating counterpart to many contemporary works.

I gauge a film by the number of times it would have been okay to skip out to the lobby for a nine-dollar hot dog. When you go see NATURAL SELECTION, I suggest that you eat first.

One thing's for sure. You'll never look at your mailbox the same way again!