If I had a nickel for every trailer I’ve seen that featured a flaming vagina with teeth, I could put that singular nickel in the bank. Whatever I was originally expecting from the above Hellbenders trailer (courtesy of Dread Central), it was all immediately extinguished once Rage Against the Machine’s “Killing in the Name of” started blasting in the background. I’ve watched it three times now and still don’t know how to react.
A horror comedy from J.T. Petty (The Burrowers), who adapted the material from his own graphic novel, Hellbenders tells the story of the Augustine Interfaith Order of Hellbound Saints, a group of foul-mouthed, demon-exorcising Brooklyn ministers that meet their match when one of them gets possessed, and the entire world is in danger. But they don’t just throw holy water and wave crosses around; these ministers drag demons down to Hell, and must live awful lives in order to keep their souls just short of damnation. Sex, drugs and rock ‘n’ roll will save lives, people!
Admittedly, I was more blown away by the set design and overall aesthetic of the film rather than anything that was actually amusing. Dan Fogler (Take Me Home Tonight) is never going to do it for me, and he looks exactly like Dan Fogler. Clancy Brown (John Dies at the End), Clifton Collins Jr. (Parker), Andre Reyo (The Wire), Macon Blair and Robyn Rikoon, on the other hand, look like they’re going to bring equal amounts of insanity to what already looks like a screw-loose tale.
The film was shot entirely in digital 3D, and the trailer gives a good impression of just how well that could work, what with all the CGI fires and demon spirits, not to mention all the weapons being used. Maybe I’m just yearning for the days of anarchic horror movies that don’t give a shit, but with better 3D. I’m still not convinced this film will be any good, but I now know that nobody can say it didn’t attempt something different, even if it wears its influences on its booze-soaked sleeves.
Lionsgate just acquired the rights to the film, which was a 2012 Toronto International Film Festival entry, but no VOD or theatrical release dates have been set yet. Check out the sacrilegiously awesome poster for the film below.
