One never knows what to expect when going into a movie blind, but it’s usually the sign of entertainment when a movie can indicate the tone in the first few minutes. Black Holler opens with a call back to 1959, when “Archeologist Robert [unintelligible because of the poor sound quality, but maybe it’s part of the vibe — a comment on independent films] … journeyed to the dark woods of Black Holler in the pursuit of a mystical, magical rock [laying groundwork for absurd humor in writing]. It was believed that whoever possessed this magic rock had control over all of the land [confirmation to expect a ridiculous comedy]; and its inhabitants, and that anyone who brought harm to the rock had harm brought to them [What? That’s not what happens!].” The title of the movie is scrawled with Cheez Whiz on a paper plate. The ’80s opening credits backed up by ’90s sitcom guitar riffs indicate the rest of the movie will take place in modern 1989.
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Setting the tone gave it promise, but aside from a few snickers, the comedy stumbled along like a cliche drunkard imitating a zombie with a bum knee. Let’s stay for the horror, shall we? It took a while to happen, but there’s no such thing as a low-budget horror film that doesn’t pay homage or reference a well-known favorite. The nod to the Friday the 13th scene where a young, drowned Jason Voorhees leaps from the water to grab Alice was surprisingly well done. Black Holler manages to poke fun at an array of the tropes you’ll find in horror, but it doesn’t stop there. No ’80s-’90s movie is complete without a cast of simplified archetypes. Viewers are swiftly introduced to the students and faculty of O’Fish Community College, home of the Fighting Fish. The stoner dude is a poor man’s Seth Rogen. Then there’s the awkward girl, the pyro, bully, bimbo, cheerleader, burnout couple, flamboyant bestie, and the closet gay kid, cleverly representing the nerd in this case. That’s only a few of the too-many-flavors in this Whitman’s Sampler. The heroine, LaQuita Johnson (Tamiko Robinson Steele) is one of the saving graces, and there are a few green actors who show potential enough to take a second look. Writers Heidi Ervin, Jason Berg (who is also the director), and Rachel Ward Heggen have a clear vision for what they are trying to do. Berg’s direction seemed to be missing something, as some successfully humorous moments dragged on too long. The actors appeared to be reaching for what worked in improv to fill the time. Thankfully, Black Holler was a mercifully short hour and twenty-six minutes.
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LaQuita interviews with Dean James Dean (Brad Edwards, one of the standouts) for enrollment in the “Archepology” class, presumably Archeology and Anthropology 101 in one. The class is set to leave on a camping trip to search for the aforementioned mystical, magical rock. I’d hoped LaQuita’s character would play up the trope, oft-referenced in comedy, of the Black character knowing how best to navigate a horror movie. It’s apparent that’s what’s supposed to happen, but instead she’s the butt of “darkness” humor once too often to not feel uncomfortable about watching. Still, though, Steele manages to keep an eye on the ball long enough to prove she has a sense of how she’s seen from behind the camera. Her presence and awareness come through in a way that hint at what could be in store for her career.
Berg’s appreciation for effectual editing was clear. Though not always executed to perfection, the cutaways to humor references were well planned. Juxtaposing a come-on play between a goofball and a flirtatious dingbat alongside the first kill, mimicking their script to choreograph her demise deserves an Emilio Estevez and Charlie Sheen golf clap. That formula was used less effectively in subsequent scenes, though the Family Guy-style call backs played nicely for Professor Thompson’s (Jesse Perry, another standout) shenanigans.
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Peppered throughout were flashbacks of young LaQuita (Basha Rush) and her life as an orphan whose parents were murdered. She’s fostered, and ultimately adopted by her Sensai (Justin Tarrents). He trains her in martial arts until Sensai Johnson introduces her to his new partner, who happens to teach her to box. Seemingly, the skills she learns from her two daddies will help her survive her trip to Black Holler.
Ultimately, Black Holler is a trip best saved for when you’re feeling giddy. It’s obvious that the film isn’t supposed to be a masterpiece. Poking fun at a genre is rarely the formula for an unexpected hit. But there are bits of rough diamonds among the rest of the grit you have to chew through to get to the good stuff. Something tells me that’s exactly what Jason Berg wanted, a conclusion punctuated by the cringe-laden rap performed by the cast at the end.
Black Holler is now available on Digital from Wild Eye Releasing.
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