Inbred

A fantastic experience of violence and pitch black humour, Inbred is distinctly British and distinctly Alex Chandon. It has been ten years since Chandon directed Cradle Of Fear, and the nightmarish quality of that 2001 cult favourite has been retained in Inbred and fortified with a more consistent cast and superior production values.

The director’s latest offering to the horror genre pitches a group of troubled teens and their youth workers against a freak show ensemble of murderous villagers in rural Yorkshire. A trip to the local pub on their first night introduces the locals and sounds the warning that all might not be well – and are those really pork scratchings? From here fortune swiftly plummets for the unfortunate gang as they are exposed to bizarre and sadistic local customs which would make the inhabitants of “Summer Isle” seem welcoming.

The acting in Inbred is solid throughout, and the cast had clearly been selected to give the correct feel for a film which is designed to function as an effective horror movie (which it does) whilst not asking its audience to take it too seriously. Jo Hartley and James Doherty as the group leaders perform particularly well together: he the overly liberal youth worker trying to relate to the kids but failing miserably, and she the harder-nosed realist who coaxes tentative friendships from them. Their dynamic aided the younger actor’s interactions and provided humour and characters which were easy to identify with.

It was interesting to see a quintessentially American horror subgenre (out-of-towners entering the isolated domain of murderous hillbillies; see Wrong Turn et al) transposed into the English countryside. It was done well and took the correct tone to avoid the potential pitfalls: principally the scale of the landscape and likely proximity to civilisation, which could have been problematic. The humour allowed the viewer to suspend disbelief further than in a straight piece, but it was never allowed to become a slapstick farce – the balance was well struck.

As with Cradle Of Fear the physical effects were extremely well executed. True horror aficionados love practical effects, and with a plethora of gore including slit throats and blown-up heads, genre fans will find themselves roaring with approval once the action gets started. If CGI was used, it was done so sparingly and effectively.

Inbred does not simply provide the set-up and then unleash horrors upon its victims; instead a surreal community and its unique brand of underground entertainment is fleshed out before the carnage begins. If you’ve ever been to a tiny, isolated, village and wondered “what do they do for fun here?” – Inbred takes that thought and then brutally murders it in front of a cheering crowd by way of an answer.

Gratifyingly, directorial courage was not lost at the conclusion of Inbred. The violent attrition between the opposite sides of the rural divide was bloody and fun. The ending satisfyingly concluded the film in the tone it deserved – you wouldn’t expect all the protagonists walking off into the sunset together, but neither are we ambushed with an Eden Lake style buzz kill. Again the tone and balance were well crafted.

Sometimes the success and failure of a movie is not entirely down to the filmmakers, but the audience too. Watching Inbred for an in-depth exposition on rural life in modern Yorkshire would be a bit like watching Carry On Doctor for an insight into the workings of the NHS in the 1960’s. With grass roots horror at its black heart and a sick sense of humour, Inbred entertains from start to finish and will put an evil smile on your face. Hopefully Alex Chandon won’t leave horror fans waiting another decade before returning to the director’s chair.

Unreleased Poster For “INBRED” – World Premier at Frightfest 2011.

The World Premier of British horror director ALEX CHANDON’s new movie INBRED will be taking place at the famous London Empire Theatre during this months Frightfest 2011. The screening is taking place at 18:30 on August 29th 2011, and has so far sold more seats than any other film.

Ahead of this, Alex has sent us an as-yet unreleased poster for HORROR ADDICTS to see before anyone else. Enjoy!

HORROR ADDICTS will be attending the Premier, and will let you know if INBRED is as good as it looks!

Cradle Of Fear

The first thing you need to know about Alex Chandon’s 2001 low-budget horror is that it has many imperfections – however like any treasured possession these can, and should, be overlooked. What lies beneath the odd shortcoming is a dark and twisted tale guaranteed to churn the stomach and shred the nerves. Let’s get the negatives out of the way and forgotten about from the start…

The acting is good in places but a bit wooden in others, however it is never terrible and certainly never bad enough to spoil a scene and take the viewer out of their immersion in the film. The texture of the film takes a bit of getting used to; the way it is shot looks from time to time like a cheap commercial – as do a few of the sets. Finally there is one piece of very ill-advised CGI that never fails to raise a smile, such is its cheapness. However none of these issues matter and the film has a sense that it is aware of its failings and doesn’t care. It knows where its strengths lie and sticks to those. With that out of the way, on with the important stuff:

Cradle Of Fear oozes with enthusiasm for horror. It is clearly made by people who love the genre and are not afraid to push the boundaries; in fact there is an obvious relish for doing so. The film consists of four separate vignettes which are tied together by a central story line concerning an incarcerated serial killer and cannibal, called Kemper, and his desire for vengeance on those involved with his murder trial and subsequent imprisonment. He does so using the rites of black magic from his cell in a lunatic asylum and the service of his supernaturally murderous son, known as The Man, played by Dani Filth of goth-metal band Cradle Of Filth.

As soon as the movie opens to graphically depict a disemboweled girl on a bed, the viewer is left in no doubt as to what they are about to let themselves in for. Herein lies Cradle Of Fears strongest card and why it is to be adored by lovers of true horror film-making: the special make-up effects are sensational. It is an irony that the film proves beyond a doubt why physical effects are scary and CGI effects are not. This is an ultra-gory film and is very violent, however it is also held together by a solid narrative and storyline with pacing delivered in a manner which is likely to engage those not usually predisposed to enjoying excessive gore.

The aforementioned gutless young lady provides the starting point of the first of the quartets of terror that Cradle Of Fear inflicts on its audience. Starring British B-Movie scream queen favorite Emily Booth as a beautiful goth out on a drug fueled night of clubbing, it quickly descends into terror involving demon rape, vile and genuinely frightening hallucinations and a conclusion that literally turns the stomach.

Next, two girls are introduced who intend to break into an elderly mans house and steal the money he keeps in a tin. Lessons are learned about the nature of greed, and how far some people are prepared to go for money. Bloody, violent lessons – naturally.

The next tale begins with a husband a wife snorting cocaine whilst speeding through the streets of London in an open-top sports car. When they run over and kill a tramp, they are relived that the car is not damaged and continue on their way home. After a bout of amputee sex (the husband is missing a leg) is ended prematurely by impotence, the distraught man goes about finding a corrupt doctor and brand new limb.

Finally Richard, an IT worker is introduced, who is obsessed with violent websites, and eventually stumbles on a difficult to access members-only site called The Sick Room. Here webcams can be viewed showing abducted individuals. The user can pay to select the criteria and level of abuse which is then enacted on the person onscreen. This becomes so compulsive, Richard loses his job, possessions and house until he decides to track down the operators of the website for some firsthand action.

The story of Kemper is entwined throughout these stories and the evil gothic presence of The Man is present in each. The film then proceeds towards its ending with more blood and guts until the screen is dripping red and few acts of violence imaginable have not been depicted.

The realism of the special make-up effects is what will turn horror addicts on and repulse all others in equal measure. During the course of the movie we see, amongst many other atrocities, disembowelment, razors slashed across a face, a broken bottle smashed into an eye socket and a leg hacked off. What separates this from run-of-the-mill physical horror is the skill with which it is executed. So brilliantly is each effect constructed the camera can linger for a long time, possibly too long, until the viewer is squirming in their seat and in some cases averting their gaze. This sense of realism is not avoided by the director either, if a limb is being severed with nothing but a knife – it takes a long time and is a messy job, with extra effort being required to get through the tough bone. Make no mistake, this film is horrific and where other films fail because the gore is too over-the-top to the point of humor – Cradle Of Fear manages to keep the mood repulsive and sinister.

The physical effects are not the only strength of this low budget shocker though. The whole atmosphere of the film is dark, gothic and ominous. Alex Chandon does not lose sight of the main plot point which is that Kemper is a baby murdering cannibal who uses black magic and the assistance of his demonic son (who is suitably clad in industrial goth fashion) to exact revenge on those he feels have wronged him. Large parts of the film feel like a very bad acid trip or a nightmare that only the most deranged of minds would be capable of conceiving. This leads to a very effective fluctuation between the heightened tension of fear and the powerful revulsion to the grotesque imagery.

If the viewer is able to overlook the obvious failings of Cradle Of Fear, and appreciate it for what it is, and for refusing to pretend to be something it is not, then the horror fan will be richly rewarded. More than most, this feels like a film for horror fans made by horror fans and it does not care if film-snobs and mainstream audiences hate it. It is a film with an uncompromising attitude, viewers with a similar nature will find it rewarding.

Written exclusively for Horror Addicts, and will subsequently appear on the author’s website:

www.transgressivecinema.com