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| Images Courtesy of CWM Entertainment and River's Ash Production |
Character. Character is the cornerstone of the horror
genre. If the viewer does not feel attachment to the victims, a violent
slasher can often (and does so regularly) become a parody of the brilliant and
lurid thrillers that inspired them. Christopher Wesley Moore's latest
feature film is an absolute triumph, and a perfect example of why characters
define the horror and not the other way around. It is an absolute joy not
only to see what the mad auteur and his faithful troupe of rogues have created
this time, but also to be reminded that true horror is often the realities of a
mundane life. Family, sexuality, and generational trauma are at the
forefront, as Moore takes his viewers into genre jumping territory with When
the Trash Man Knocks. Featuring lovingly crafted Carpenter
homages throughout, a brilliant ensemble, and a surprising amount of heart,
this may be Moore's best film yet.
During an annual Thanksgiving celebration, Caroline struggles with agoraphobia
while her son Justin struggles with addiction. As the two decide to
change their ways together as a family, a relentless killer, the one
responsible for their traumas, returns to finish what it began years in the past.
Moore's script is deeply personal. While his previous films have touched
on similar ideas, Trash Man focuses more on trauma and anxiety, and the price
of dealing with those concepts in unhealthy, even dangerous ways. Joanne
Robinson (Children of Sin) returns to Moore's work as Caroline, and her performance
is unforgettable, deftly combining humor, sorrow, and abject terror to present
Carolina as a broken husk of her former self, oblivious to her son's situation
and fixated on a killer that has not been seen for years. She is
supported by Moore who plays Justin, in what is easily his most vulnerable role
yet. Weaving between self-loathing, implacable rage, and tenderness is a
feat, and Moore does so with ease. His scenes with a would-be
boyfriend are fascinating, bouncing between cute and sexy to alarming and
heartbreaking, and while Joanne's struggle may be the focus, it is Justin's relationship that
is perhaps the most interesting, choosing to examine how a survivor attempts to
reassimilate into "polite society".
Rounding out the cast are Meredith Mohler, Cami Robebuck, Lewis Hines, and
Ana-Clair Henley. One of the best attributes of this effort is the lived
in, almost soiled feel of the world that Moore and his cast and crew have
created. There are holes in walls and stains on toilet seats while bedrooms and
showers house what you would expect, not what horror tropes usually give
you. These are real, flesh and blood humans, simply going about their
lives while a killer is cutting virtually everyone in its path to shreds.
Part allegory for unchecked trauma, part Michael Myers tribute (down to the
Luke Zwelsky's amazing synth score), these performances form the heart of the
picture and the result is a funny, tear inducing rumination on innocence lost
and the toll of endless bereavement.
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Roebuck teamed with Derek Robert Hull Bond on cinematography, and the marriage of their shills yields a world of familiarity where terror lurks on the edge of virtually every scene. Combining slick editing and odd angles, most of the blood and gore is implied, allowing the viewer's mind's eye to conjure their worst fears. This technique not only aids with the independent budgets that Moore works within, but also creates a sense of tension that almost never abates. Even in scenes of normal conversation, tight, uncomfortable closeups enhance the awkwardness that hangs over every social interaction, another telltale clue towards Moore's poweful thesis.
Coming soon to digital on demand, When the Trash Man Knocks is a harrowing film, showcasing everything that Moore and his team have learned from and improved upon. What could be mistaken as yet another Halloween clone quickly reveals itself to be a thought provoking, and ultimately melancholy rumination on grief and the crippling strength of victimization. Featuring some inventive and brutal kills and a group of refreshingly mundane performances, this is one of the best horror experiences of the year.
--Kyle Massey