t-20&l=as2&o=1&a=6305972001″ style=”border: medium none ! important; margin: 0px ! important;” />’ but better than both.” I can get onboard with everything before the word “but.”
Pearry Teo’s gruesome horror indie is full of good ideas, but also a fractured, confusing narrative that fails to provide a solid framework for them to thrive. The story jumps between not only timelines, but three characters whose stories are interconnected.
There’s a guy who cares for his dead girlfriend, another who wants to save his handicapped brother from suicide, and a deaf bartender thirsty for revenge by being the dumped point of a love triangle. Their own personal hells are reached “ or something like that “ via a Ouija board-type thingie carved onto a dude’s torso. And don’t forget the dancing fat man in the pig mask. (Oh, the horrors of the dancing fat man in the pig mask …)
None of the above paragraph makes much sense, because neither does it in the context of the film as presented. Clearly, the best thing about “Necromentia” are its creature designs, also by Teo, which have franchise potential written all over them, but the flick can’t get by on look alone. “Rod Lott