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HIT AND RUN
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Reviewed by: Zombie Boy

Directed by: Enda McCallion

Starring:
Laura Breckenridge
Kevin Corrigan
Christopher Shand

Movie:  
star star star star
Extras:  
star star star star
Overall:  
star star star star
What's it about
In a twist on the urban legend, the guy that the girl hits with her car and brings home to her garage gets a lot more proactive with his dissatisfaction over the situation.
Is it good movie?
Mary attempts to be responsible during spring break, leaving the bar against the wishes of her friends and her boyfriend. She is not exactly drunk, but not exactly sober, so when she hits a bump in the road, it is not until well after she is home and relaxing that she figures out that that bump was actually a person. Said person still being attached to her Jeepís front bumper. Does she help him? Of course not. She freaks out when he wakes up and grabs onto her ankle, at which point she brains him with a golf club. The next logical step, of course, is to go and bury him and confess to her annoying boyfriend. And wouldnít you know it, the damned dude just wonít stay dead, and for some reason blames her for the whole thing. Crazy.

From a story standpoint, the whole gig revolves around the premise that Mary is just too stupid to live. She is happily tooling down the road singing along to Modest Mouse (already a strong violation of taste, imo) and has no earthly idea that she has struck and impaled a living human being onto her bumper. Then she walks right by him on the way into her house, and nope, still not twigging on it. And when she does find out, she hits him. Hard. Then dumps the body. I guess these things are feasible, most college-aged Americans are pretty stone-dumb. But as a viewer, arenít I supposed to care about the protagonist? And as far as the antagonist goes, since when does bi-polar disorder make someone at turns suicidal and homicidal? Answers: I didnít, and it doesnít.

From a filmmaking standpoint, the opening subjective camera angle is interesting, even if it cribs from Scott Speigel (himself cribbing from Sam Raimi). But similar subjective angles keep cropping up at weird times during the film. After a long stretch of attempts at creating mood and tension, it is all instantly deflated by the self-conscious decision to view the action in a bathroom scene from inside the toilet bowl. In fact, a lot of the crazy camera angles and extreme lighting (some scenes are starkly red, while others are bathed in an eldritch green) give the movie a strong Creepshow feel (particularly, of course, Thanks for the Ride, Lady). It all adds up to a hectic and confusing movie, with no characters to care about enough to sit through it, especially the ridiculous, funny in a bad way conclusion.
Video / Audio
Video: Widescreen, 2.35:1.

Audio: Dolby Digital, with optional English and Spanish subtitles.

Looks good and sounds good, no complaints there.
The Extras
Nada. Screener.
Last Call
The upsetting thing about this film is that it starts out decent. Unfortunately, it gets goofy when it should get serious, and by the end you will be so exasperated by the nonsensical proceedings that you will not be upset when the credits rolls.
ARROW IN THE HEAD'S RATING SYSTEM
star star star star I'D BUTCHER MY FAMILY TO SEE THIS AGAIN
star star star HANG ME BUT I DUG IT A LOT
star star AN OK WAY TO KILL TWO HOURS
star JUST SLING AN ARROW IN MY HEAD AND LET ME DIE IN PEACE

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