(2017) Horror Comedy (Cinedigm) Tom Arnold, Sean Astin, Jake Busey, Rhys Coiro, Leisha Hailey, Michael Horse, Danny Woodburn, Sydney Sweeney, Joy Llaye, Natasha Blasick, Michelle Campbell, Angelica Chitwood, Cameron Richardson, Nick Mason, Amber Martinez, Nic Novicki, Ewart Chin, David A. Lockhart, Camilla Jackson, Cortney Palm, Abigail Johns. Directed by Ron Carlson
Some movies should be seen in an art house, preferably one with a bar where you can hang out with fellow film buffs and discuss the nuances of the filmmaking you just witnessed – this isn’t one of those. Other movies should be seen in the local multiplexes with lots of popcorn and ice cold soda – this isn’t one of those either. No, this is the type of film that should be seen in a Times Square grindhouse circa 1979 – or in my case, the Jose Theater in downtown San Jose circa 1985.
Aging metal band Sonic Grave hasn’t gotten the memo that the 80s are long over. They’ve essentially made a career milking their one and only hit, a power ballad that now the band detests. They have been just hanging on through the machinations of their ruthless manager Danny (Arnold) but even he knows the band is fast approaching the end of the line. They have one shot at a comeback; a gig at a music festival in the California desert. No, not that one; the organizers of Coachella wouldn’t even take his calls. Instead, they’re going to “No-Chella,” a kind of Slamdance to the better-known festival’s Sundance
Danny knows they need to write some songs that will blow everyone away and get the band’s name known again so he takes the into the desert with a brief pit stop for some shrooms so that the band can get creative. They meet with Native American shaman Bigfoot (Horse) and his bodyguard Firecracker (Woodburn) who I must say has an impressive arsenal. Bigfoot is known for his variety of psychedelic mushrooms called The Moon but he has an even more potent fungus for sale – The Sun. He warns them that while under the influence they must not harm any living thing on the sacred grounds and that the mushrooms must be taken after sundown.
The rockers, being rockers and all, don’t listen and their train wreck of a bass player, Art (Astin) goes out to – um, relieve himself – and drowns a hapless ant in a stream of his own relief. The group, including shrieking singer Merrick (Busey), stoner guitar God Pager (Coiro) and level-headed drummer Stevie (Hailey) as well as two party girls Sam (Sweeney) and Lisa (Llaye) are attacked by ants that grow in size every time the hapless musicians kill one of them. Can these metalheads outwit the giant ants or will they become ant food?
This movie is actually a mash-up of a lot of different kinds of grindhouse films, from giant critter horror to stoner comedy to 80s music videos to psychedelic road trip. It never takes itself completely seriously but it doesn’t fail to deliver the goods either. That’s not to say there aren’t some missteps, but at least they are honestly come by. The movie declares it’s intentions from the very first scene in which a nubile hippie chick is chased through the desert by a gigantic ant. As she flees, she sheds her clothes and throws them in the general direction of the oncoming ant. I don’t know how much more grindhouse a film can get than that. Oddly enough, that is the last nudity seen in the film so arrive at the theater on time for those who are fans of the female form.
Arnold has made a career out of playing the same sort of guy pretty much in every role (which I suspect is pretty much the same guy that Tom Arnold actually is, although not as much of a schmuck). Most of the really funny lines in the movie are his and to his credit he gives it the same kind of effort that he gave in True Lies. That’s what you call a pro, right there.
The movie is filled with the kind of clichés that metal lovers have had to endure for years and I suppose some of them are earned, but there are plenty of people who play and love heavy metal who aren’t dumber than rocks and not all of them have fried their brains with sex, drugs and rock and roll, not necessarily in that order. Some of you fans of the music may find the portrayal of your kind to be wearisome, but I think (I may be wrong about this one) that it is meant in good spirit.
The mainly CGI special effects are cheesy as all get out and that may not necessarily be a bad thing. It at least keeps with the film’s oeuvre. While this isn’t going to break any records for originality, the filmmakers at least have the courage of their convictions and have crafted a pleasant and occasionally charming entertainment that wouldn’t feel out of place in Quentin Tarantino’s VHS collection (if ever a 21st century movie screamed for a VHS release it’s this one) and that’s pretty high praise in my book.
REASONS TO GO: The film is goofy and charming from the get-go.
REASONS TO STAY: The special effects are downright cheesy.
FAMILY VALUES: Where to begin? There’s plenty of violence and gore, a whole lot of drug use, a boatload of profanity, a few horrific images and some nudity.
TRIVIAL PURSUIT: Carlson’s last film was set in a cold climate. Not wanting to undergo that kind of hardship again, he deliberately wrote this film set in a warmer climate.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 1/27/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Colossal
FINAL RATING: 6.5/10
NEXT: How It Ends