‘Hell Fest’ is a Tense Slasher With Great Characters [The Overlook Motel]
Welcome to The Overlook Motel, a place where under-seen and unappreciated films are given their moment in the spotlight. I hope you enjoy your stay here and find the accommodations to be suitable. Now, please take a seat and make yourself comfortable, I have some misbehaving guests to ‘correct’.
In this installment of The Overlook Motel, I’m looking back on Gregory Plotkin’s 2018 tense horror thriller, Hell Fest. This briskly-paced slasher features a likable cast of characters, goopy special effects and an effective score.
The film sees a group of friends heading to a horror-themed carnival. While there, the pals plan to take part in an extreme haunt. But what the carefree chums don’t realize is that a deranged killer is stalking the grounds and dispatching unsuspecting victims left and right.
Hell Fest is just under 90 minutes in length and wastes no time getting to the good stuff. Almost immediately after arriving at the event, the pals find themselves in danger and things only escalate from there. Each new situation proves even more harrowing than the last, making the film a nerve-shredding viewing experience.
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An extreme haunt is a logical setting for a horror film. With the nightmarish stories that have surfaced about places like McKamey Manor, I am surprised that we don’t see more features with similar settings. Aside from this flick and Haunt, I can’t think of many other recent films set at a haunt. Plotkin takes full advantage of the film’s location and also demonstrates a keen sense of timing, throwing in well-placed jump scares that come when you’re least expecting.
Additionally, the effects are memorable and quite impressive, with most having been realized practically. Among the standout sequences, there is an eye-gouging scene that would make the late Lucio Fulci proud.
The film also benefits from a great score and excellent sound design. The scares are accentuated by crisp, clear, cacophonous sounds that make the accompanying imagery even more frightening.
As for the onscreen talent, Amy Forsyth does a terrific job in her turn as lead character, Natalie. Natalie is intelligent, resourceful, and brimming with final femme potential. She starts off a little shy and inward. But as she comes out of her shell, we see Natalie step up in major ways, including putting her life on the line for her pals.
Non-binary actor Bex Taylor-Klaus had a memorable role on the small screen Scream series and is equally (if not more) memorable in Hell Fest. Klaus’ character, Taylor, is an outspoken horror fan that, in some ways, reminds me of a mouthier version of Randy from Scream.
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In addition to a great core cast, the film also features a brief but memorable cameo from genre icon Tony Todd as a carnival barker. Todd’s low, raspy register is particularly effective here, as he warns attendees that they are approaching the entrance to Hell.
The film’s body count is a little lower than that of a typical slasher. But the tension is palpable from the get-go and the characters are surprisingly likable. These aren’t throwaway characters whose demise the audience is likely to root for. They are well-developed and relatable. And accordingly, I didn’t really want to see any of them meet their end.
Without giving too much away, the ending is pretty dark and leaves off with solid sequel potential. So, I hope audiences will have the chance to experience another round of Hell Fest one day. In the meantime, anyone that hasn’t seen the film can check it out on Netflix as of the publication of this post! If you opt to have a look, don’t forget to let us know your thoughts on Facebook, Twitter, or Instagram.
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