GenreBlast is one of those events I look forward to being able to cover every year. It’s a film festival that feels a lot like Christmas morning: that feeling of never knowing what you are going to get, waiting with expectation for each screening. This is a festival that embraces the straight up weird for the sake of the weird and bizarre. It’s a reminder that movies are art and that the artist needs to be able to explore however they see fit. This year’s GenreBlast ushered in the dirty dozen of feature films. Here are our thoughts on this year’s GenreBlast feature film selection.

Poundcake

Synopsis: A masked assailant wreaks havoc on the straight, white men of New York City as podcasters share their commentary on the events.

Final Thoughts: If you’ve listened to a few episodes of Abyss Gazing: A Horror Podcast, by now you know I’ve established that I quite enjoy films that have something to say. I adore films from this year like the underrated Clock that wraps its narrative around the fears of being a parent. Even on a lighter note, a movie like Joy Ride, addressing the mental health of understanding your roots and understanding your identity, and why these things are important. 

Onur Tukel’s Poundcake takes aim to address a multitude of things. This movie is addressing everything from racism, classism, the mistreatment of the LGBTQIA+ community and more. Honestly, I value the things this movie has to say but it feels too loud for the story it's actually telling. This story would be better be told on the scale of a six episode Netflix series rather than the 90 minutes we are left with here. I will say I genuinely do enjoy the way in which this movie is grounded. 

For the amount of many heavier, and often political, topics this movie addresses, it is surprisingly lighthearted in parts. Giving the audience a refreshing amount of comedy actually offsets some of the film’s more weighty themes. I feel like I write about comedy sometimes on this platform and discuss how difficult it can be to do the genre right, but when Poundcake swings for a laugh, it hits a home run every time. I actually think this movie doesn’t quite stick the landing on the horror side of things - the actual slasher elements feel forgotten for the most part, to make room for the commentary and comedy riddled throughout Tukel’s latest effort.

3/5

Love Will Tear Us Apart

Synopsis: A slasher that spans a decade to tell the story of possibly star crossed lovers.

Final Thoughts: It’s hard for me to believe that the same director who created Extraneous Matter, from last year’s GenreBlast, made this film. For context, Matter was essentially a live action hentai that began as a short and quickly grew into a feature. To this day, it is one of the strangest films I’ve ever come across. For his latest effort, Ken’ichi Ugana delivers a fresh spin on the slasher genre. I’m not going to lie, I'm kind of torn on this one, pun intended. I think there is a lot this movie does right; however, I think it does just as much wrong. 

The acting is solid across the board. The film takes place over three different time periods, the first one with our protagonists as children. Then we fast forward seven years, then another year, and finally two more years. Each time period feels like it’s establishing a different tone, and we never stay in the time period for each part. Some portions of the story are longer than others - which is kind of frustrating, to say the least. The first part of the film feels like a coming of age drama while the second part feels like an 80s slasher, and then the third part feels like a kung fu movie. 

The story still flows fairly smoothly, but the genre blending sacrifices elements like character development and even some of the horror elements. As a horror movie, this movie has some tremendous gags, one of which will probably go down as one of my favorites of the year. However, the slasher elements feel too spaced out for this to truly be called a genre piece. The character design is fairly cool though. Love Will Tear Us Apart does give way to some refreshing elements of the slasher genre, especially following the film’s climax and questionable ending. Overall, Love has a solid foundation but doesn’t always utilize it well. 

3/5

The Once And Future Smash

Synopsis: A mockumentary exploring the legacy of the unfinished film, End Zone 2. 

Final Thoughts: This movie feels incredibly surreal. I will address it in the next section but still to this day I am questioning the legitimacy of whether or not End Zone 2 is a real lost piece of cinema. The sheer fact alone that this mockumentary had me questioning my own reality speaks volumes about the quality of this film. Not only is it hilarious, it’s also a brilliant deconstruction of the early days of the slasher genre. Perhaps one of the smartest things about this movie is how it positions itself to be a general audience film. Not once does it feel niche or belittle its audience. Smash is one of those movies that uses insider information about the genre as an added bonus to make the jokes better without taking away from the outsider experience. 

This movie is also remarkably fearless. One could even argue that this film serves as a commentary on our current “requel” tread of the genre. Having a small core cast really helps this film land its character journey marks. Michael St. Michaels and Bill Weeden are exceptional as our leading men. St. Michaels is truly a character you hate to love and his redemption arc in the back end of the film is well done thanks in part to not only St. Michaels’ performance, but the direction of the writer-director duo of Sophia Cacciola and Michael J. Epstein. Weeden is downright hilarious in the film. Without a doubt, I would argue that not only is he the comic relief, he is the heart of the film. A.J. Cutler is also a performance worth mentioning. Cutler is ridiculously good in this movie. He’s not only hilarious but also creates a second heartbeat for this film.

4/5

End Zone 2

Synopsis: A deformed killer returns after 15 years for revenge

Final Thoughts: This movie genuinely feels like a lost piece of film. That’s not to say that something like this doesn’t exist: look at The Amusement Park, considered a lost George A. Romero movie that Shudder found and restored. As I mentioned in the section above with The Once and Future Smash, this genuinely feels like a film out of time. I’m still questioning my reality following my viewing of it. End Zone 2 is exactly what they promoted in Smash and so it feels hard to truly judge a film that was purposefully made to feel unfinished. 

I will say this movie excels with its technical merits. The cinematography, the lighting, and the costuming completely capture the essence of the early 70s. The way this movie is paced feels like a film that would be found in the low budget section of 80s horror, and that’s not a complaint. There’s just not a ton of things to sink your teeth into here. The character design for Smash Mouth is beautifully grotesque. If I had any complaints about this movie, it would be not enough screen time with the killer. His scenes are gems within the film. Overall, End Zone 2 works well as a companion piece but has a hard time finding its feet as a solo act, which I think was more or less the intention of this movie regardless.

3/5

Fat Fleshy Fingers

Synopsis: An anthology film about a sex toy that takes off your mind once you play with it. 

Final Thoughts: Imagine taking the basis of It Follows but retune its narrative to the tone of Scary Movie. That’s your basic experience with Fat Fleshy Fingers. Anthologies are hard to land as it is. Throwing sex toys into the blend makes for some mixed results. Honestly, the film is extremely experimental. This is probably one of the only films on this list that people will either really love or hate; there will be no gray area for this polarizing film. I feel like it's the experimental approach that really allows this film to carve out a new identity among genre films for this year. 

The portions of this anthology blend extraordinarily well together, which is often a problem I’ve observed with anthologies. The transition portions always feel like the hardest phase. However, that’s far from an issue here for Fat Fleshy Fingers. The movie blends a myriad of genres together in a bite sized package. The portions range from Lynchian animation to straight up comedy to some brutal horror there in the middle. It’s a gnarly little film that will thrill the midnight crowd but will most likely alienate anyone outside of that crowd.

3.5 / 5

Crypto Shadows

Synopsis: A young girl removes herself from society following a traumatic experience and stumbles on something monumental that makes her question reality.

Final Thoughts: Let me just start off by saying that science fiction is not normally a genre that I’m terribly fond of. There are of course the few diamonds in the rough like Alien, Area 51, 1974: The Possession of Altair, and Interstellar, just to name a few. Every so often there comes a film that surprises me and makes me reevaluate my stance on the science fiction genre. Enter Crypto Shadows by co-writer and director, James Fox. Fox, along with his co-writer Amy Kay DuBoff, manages to make a subtle approach to the sci-fi genre. Rather than telling your traditional genre piece, Crypto Shadows is a character study that thrives thanks to its stand out performance from Mikayla Iverson.

Shadows is one of those films where the audience is spending time with one singular character. Yes, the character interacts with other characters within the universe, but Iverson is the only performer we spend time with face to face. This movie doesn’t work without Iverson. Her performance is nothing short of exceptional. It’s gripping, heartbreaking, and manages to draw audiences to the edge of their seats. An equal thing of note is how Fox manages to make the camera flow alongside Iverson to double down on how tense the film gets. The film’s score by Arhynn Descy is also worth mentioning. The film does have a few plot points that unfortunately don’t feel like they see completion, and it does drag on occasionally, but Crypto Shadows is a strong science fiction film nonetheless.

3.5/5 

Livescreamers

Synopsis: A Let’s Play where the streamers die at the hands of a video game.

Final Thoughts: Maybe I'm the wrong person to be talking about a film like Livescreamers. I'm the furthest thing from a gamer. Video game playthroughs, or Let's Plays, is a culture I don't quite understand. That's the reason why Michelle Iannantuono's sequel to her 2020 thriller might be the biggest surprise for me at this year’s GenreBlast. Not only would I dare say this has been the festival's best feature this year but also one of the best genre pieces we've gotten this year. Livescreamers will no doubt go down as one of this year's hidden gems. 

The ensemble cast that Iannantuono manages to craft here is incredible. I feel like I can't even single out one particular performance. They are all well done. Each performance is riveting, sometimes surprising, and oddly funny in certain parts of the film. Out of every film on this list, this feels like the hardest to contain my thoughts. Iannantuono manages to craft a story that takes something familiar and manages to deliver a multitude of social commentaries on subjects ranging from corporate greed, pedophilia, prejudice, and more. Even with the heavy subject matter, it feels like a natural extension of the narrative. Iannantuono and her cast manage to bring these subjects to light in a powerful yet thought provoking way. 

4.5/5

Cryptids

Synopsis: An anthology film that explores different types of monsters through radio station call-ins.

Final Thoughts: Joe Bob Briggs was a little bit before my time. Even now as an adult, I’ve only caught The Last Drive-In a handful of times. Briggs happens to be the anchor for the anthology film Cryptids. To be honest, he might be the best part. Every once in a while I come across films that I’m just neutral on. Cryptids is a rarity for me in that regard. Perhaps the thing I appreciate most about this movie is the sheer fact that the directors of these segments are going after deep cut monsters. 

Ranging from the Melonheads to Hopkinsville Goblins and more - this anthology film is fun for what it is. The film has decent acting. The creature effects are also done really well. The ending is fairly cliché considering it's a sci-fi genre piece. There are definitely things I appreciated about it but overall it feels more like it was made for a niche audience. Cryptids results in a mixed bag of goodies in the end. 

3/5

Murdercise

Synopsis: A serial killer stalks the production of an aerobics video.

Final Thoughts: As I mentioned in my interview with directors Paul Ragsdale and Angelica De Alba earlier this year, Murdercise was one of my most anticipated projects of this year. This movie did not disappoint. It is about as schlocky as they come, but that’s a part of the charm. The ensemble cast that Paul and Angie assemble here is easily one of the strongest we’ve seen in all of the genre this year. Perhaps one of the most refreshing aspects of Murdercise is how the directors approach the ensemble. Unlike other slashers with large casts, each character manages to stand out with unique personalities. 

It’s not just the cast but even the gags, or kills, of the movie. The slasher aspects are fun, surprising, and downright hilarious at times. That’s another surprising thing about Murdercise: how hilarious it really is. I mentioned earlier that this film has a schlock element to it and this is where the comedy lies. Murdercise is one of those movies that is self-aware and never takes itself too seriously, which really adds to its charm and comedic genius. This is without a doubt one of the best horror comedies we’ve gotten this year.

4/5

Forever Home

Synopsis: A couple move into a new house only to find out that it’s been haunted.

Final Thoughts: Haunted house stories feel like a dime a dozen. It takes something special to really stand out among the crowd. Unfortunately that thing is lacking from the horror comedy Forever Home. Haunted house movies always come with standard tropes that they all seem to follow. Home absolutely embraces these tropes. However, it equally feels like it’s trying to be a parody of the genre at the same time. Comedy is a hard genre to master. I genuinely think that Home has an audience but it felt like it tried so hard to hit the comedic notes. 

Don’t get me wrong, not all the comedic elements of this movie fall flat. There are a few times where I found myself laughing but it feels like the filmmakers intended for more than just a handful of times. The acting is decent. However, I think the saving grace of the film is the chemistry between the film’s leads Sammie Lideen and Drew Leatham. They have an exceptional relationship on screen, establishing the heart of the film. Where the comedy doesn’t work in its favor, this is a ghost story with heart. The ending to this movie is perhaps one of the most heartbreaking aspects and yet most satisfying parts of the storytelling. I just wish it came sooner than the film’s third act. Overall, Forever Home sets itself up to be for a niche audience, not offering much of anything else to its larger audience.

2 / 5

Project Eerie

Synopsis: A found footage film exploring lost government footage. 

Final Thoughts: If you’ve listened to our horror podcast for any length of time, you may know that I’m not really a fan of the found footage genre. With that said, Project Eerie is easily an exception to that. Eerie feels like The X-Files met The Blair Witch Project. As its title suggests, this is a refreshingly eerie movie. It creates its atmosphere ridiculously well. With each entry into its anthology style of storytelling, the tension builds with ease. Each of these filmmakers know how to tell an effective story. 

Sometimes the issues I have with anthologies is the connection of each story. That is not a problem here one bit, Eerie has one of the best anchors I’ve come across in recent memory, not only contributing to the larger narrative at hand but also leaving the viewer off with an ending that rivals Inception. Project Eerie is one of the more refreshing films we’ve gotten in the found footage genre. 

4 / 5

Guerrilla Dogs

Synopsis: Three men with a desire to play soldiers attempt to take a man hostage.

Final Thoughts: We recently covered 2001’s Captain Corelli's Mandolin on That’s High Praise: A Nicolas Cage Podcast. I established early on in that episode that I’m not the biggest fan of war movies. Maybe this portion of the features will be a little bit more preference over quality but Guerrilla Dogs just seems to fail at nearly everything it attempts to do during its 90 minute run time. The movie feels a take on The Three Stooges formula but with all the comedy somehow sucked out. I talked earlier with Poundcake about the difficulties of comedy - maybe it’s my sense of humor, or maybe it’s my disdain for the war film genre, but the characters here felt like they irked me more than anything. 

The comedy didn’t land here one bit. Dogs has these moments where you know there’s supposed to be a laugh and all I found was boredom. This movie absolutely runs way too long. Perhaps I wouldn’t be so harsh on this movie if it was made to be a 60-75 minute rather than a 90 minute movie, but the pacing drags because of its runtime, producing sequences that should have ended way sooner than they actually do. The acting falls flat, as nearly every performance in this movie feels overacted, even the moments where actors barely have any screen time. For as much as I didn't care for this movie, I can at least admit that it's consistent in tone. 

1 / 5