Before we get into the “meat” of discussing one of the most provocative micro-budgeters I’ve seen in some time, let’s take care of a little bit of housekeeping first : thanks to the fine folks over at The Movie And Music Network , you, dear reader, are now able to watch any flick I review from their site either completely free (with commercials), or at an extremely low cost (if you choose to watch it without commercials). Plus, the deal’s retroactive, so even though I already reviewed Hate Crime , which is available via their “terror channel” , a couple of weeks back, they still hooked me up with a link whereby you can check it out — so, should you so desire, the link for that one is available right underneath the poster art reproduced above. . All in all not a bad deal, huh? These guys n’ gals are proving to be very “good peeps” to work with, indeed, so I humbly suggest you check out what they’ve got going on as they continue to build their online library.
And speaking of The Movie And Music Network, that’s where I came by today’s admittedly ugly, but also admittedly gripping, little number , director Michael Fredianelli’s 2009 shot-in-California-and-Arizona-but-supposedly-taking-place-in-Texas “modern exploitationer,” Blackface Killer — which, in true drive-in style, was also released under the alternate handle of The Minstrel Killer. I admit to not being terribly familiar with Fredianelli’s other work, but he’s obviously concocted a true labor of love (albeit a hateful one) here, as he basically hits every note in the exploitation playbook seamlessly and remorselessly, and furthermore manages to do so in a comfortable stride that never seems forced or phony. In short, this flick is the real deal — andapparently made for under $100,000, to boot.
Not that it’s for everyone, mind you : to call the subject matter “tasteless” would be an understatement in the extreme, given that our story here revolves around a racist cop named Tex Holland (played by the director himself, who also co-wrote the screenplay with David Brashear — is there anything this guy doesn’t do?) who’s struggling to come to terms with the fact that his wife, Carol (Vanessa Celso) cheated on him with a black guy at the very same time than he and “local yokel” sheriff Pike McGraw (Eric Andersen) have been tasked with finding a killer ( Michael Nose, listed in the credits only as “The Shape,” which is very plainly a nod to John Carpenter) who goes around in blackface, or “minstrel,” make-up, and is, for reasons unknown, meting out various forms of torture upon his seemingly random victims that were, sadly, fairly commonplace back in the days of slavery .
If you’re looking for reasons as to exactly why he’s doing this — or even hope to eventually find out who this sick (and sickening) character is — well, you’re watching the wrong movie. Adhering strictly to the ethos of the grindhouse, things aren’t very well thought-through here, and the main goal is just to shock and appall in the most crass and efficient manner possible — which, of course, this movie does, and when the idea of a killer in blackface starts to lose some of its nauseating power, Fredianelli isn’t afraid to stir the pot by mixing in overtly un-PC discussions of racial issues, or to throw a spanner into the works by assigning Holland (okay, himself) a new partner, Tyrell Jones (Anthony Spears) who’s not only black, but also clearly the only semi-competent cop working the case, or even change to change things up altogether , as when, in a lengthy digression, Holland (again, say it with me, himself) ends up at the mercy of a clan of inbred hillbilly cannibals.
Whew! That covers pretty much the entire checklist of items commonly found in sleazy regionally-lensed-and-distributed “B”-movies of years gone by, does it not? And that’s precisely what Blackface Killer is aiming to do — throw everything plus the kitchen sink at you, and dare you to keep on watching. I can’t blame you if you choose to opt out somewhere along the way, but if you stick it out, you’ll be offered one less-than-healthy reminder after another of exactly why you love these types of films — and why you hate yourself for doing so.
Obviously, I’d have to be downright certifiable to give this flick anything other than an extremely guarded recommendation — but if, like me, you enjoy pushing the limits of how much you can stand to see, and are able to appreciate heart-felt homages to a style of movie-making that’s long since gone by the wayside, then you can’t do much better than this. Also available on DVD (not that I can comment on the specifics of said release since I didn’t see it that way), Blackface Killer has beeen made freely available to readers of this site via our friends at The Movie And Music Network by following the link underneath the photo above, so please give it a go if you’re interested.. Which you certainly should be. Even if you shouldn’t be. And on that note, I’ll cut this off now before I stop making sense altogether — or is it already too late for that?