Cross Bearer 2012 Review
Cross Bearer 2012
Directed by: Adam Ahlbrandt
Starring: Isaac Williams, Natalie Jean, Victoria DePaul
Review by Luisito Joaquín González
Being that a SLASH above is so genre focused, I guess that most of you that check us out weekly are collectors just like me. I mention this because I’m sure that you will understand when I talk about the desperation to uncover an obscure entry that you really want to see. You’ll have been through endless hours of searching on peculiar DVD sites, eBay and Amazon stores and every torrent portal that’s ever been listed on Google, and you’ll understand how much that raises expectations. Well even though it’s just over two years old, Cross Bearer has been the latest title that I’ve been hunting out for what seems like an eternity.
I first heard about it from Dead Girls co-director Steve Jarvis, who saw it at Shriekfest in November 2012. He gave it a, ‘bona fide, 14-carat, good housekeeping seal of approval’ and in general he knows a good slasher movie. It was soon listed on the IMDB with a 7.5 rating, which is an amazing score for such a picture. Shortly after, I found an incredibly positive review on the Horror Society website, which called it an, ‘extremely dark slasher film, full of grit and grime’. I was expecting it to be released straight away and I waited in anticipation, but only now, twenty-months later, have I managed to source a copy from Cologne, Germany.
It opens with a truly brilliant collage of shots of religious imagery and Audio snippets of fanatical preaching. Then we head to a seedy Pittsburgh apartment block where we meet a long haired religious nut with a beard who is spying on and recording a pimp and his hooker friends. As the story unravels, more characters are introduced including a sleazy strip club owner, a pair of lesbian strippers who are madly in love and a single mother who is a part-time drug courier. They all come together in a large rundown warehouse for a gore-tastic showdown with a hooded killer.
There’s some discrepancies on exactly how much was spent on the budget of Cross Bearer. Director Adam Ahlbrandt has stated as little as $3,500, but I would guess that it’s a whole lot more. The film really looks the business with it’s saturated colour and grainy images that capture the morbid tone. It also has an impressive soundtrack of songs that are professionally composed and produced. Add on top of that some excellent gore effects from Doug Sakmann that do not scrimp on costs whatsoever and you get a production that doesn’t look far off the same year’s Smiley. Bearer tramples the line between slasher and torture porn incredibly well and most of the on-screen killings are exceptionally brutal and visceral. Our butcher beats each victim to death mercilessly with a hammer and he only changes his MO on two occasions. In one of those, he uses the claw end of said hammer to rip out one victim’s tongue and in the other, he pours a bag of cocaine over an incapacitated girl until she froths at the mouth and chokes to death. I thought that was a pretty cool idea and even though we’ve seen something similar in Dead 7 from 2000, it was much slicker this time around
The film is made up of a mix of inspirations that are taken from the straight-ahead masked killer stalks teens stories of Halloween or Prom Night, whilst also digging deeper into the sadism of 70s titles like Three on a Meathook or Deranged. We also get some Scream era referential dialogue, with one character mentioning Friday the 13th part II, which I feel is of relevance to the choice of guise for the killer. Whilst it is not quite a burlap sack, the white ‘bed sheet’ headpiece is visually similar to Jason circa the second franchise installment, so I would include this amongst titles like Malevolence and Boogieman that went for a similar costume. Psychos in that kind of get-up have always been my favourites and when we see him stalking whilst spattered in blood, it does look exquisitely creepy.
In-between the kill scenes is time that’s spent with a group of seedy low-lives and it’s here that the film can’t maintain such quality. Firstly there is no central character for us to bond with, so there’s very little suspense in wanting to see anyone survive. We are given a bunch of drug addled strippers and pimps that don’t even marginally convince that they’re delinquents. Mind you, they shouldn’t need to, this is a horror film, not a ghetto flick. Because he has a cast that look about as gangster as Popeye, Ahlbrandt makes up for it by taking the level of exploitation so far in the first 10 minutes that it loses impact and becomes irritating. Every second minute we get another lurid sex or coke reference and it’s delivered so weakly that I was begging for some normal conversations. Such messages are conveyed more effectively with restraint and in the end it reminded me of one of those kids that wants to be a bad boy so he fabricates endless stories of debauchery that are simply unbelievable.
I also felt that it needed more stalking scenes to help sustain the atmosphere. The most that we usually got was a single shot of the boogeyman walking up to burst in on his intended targets and therefore there wasn’t really any tension. When we did finally get a chase sequence during the last 20 minutes, I thought it was darkly effective due to the antagonist’s loony-tune chants, like, “Come out harlot, I can smell you”. As I said, he looks intimidating in the backwoods get-up, but I think that showing him unmasked in the opening scenes was a bit of a blunder. It took away the anticipation of revealing the motives behind such aggression and therefore the fear factor was reduced.
It’s surprising for me that Cross Bearer hasn’t yet received the release that it deserves, because it is better than many of the other films that have come out recently. Its IMDB score has dropped to 3.7 at the last check and all that initial positivity has been replaced with much poorer reviews. I have it on good authority that a script for a second chapter already exists and it gives the assailant a sledgehammer upgrade. Unless this feature gets picked up for a better distribution deal soon though, I don’t think that we’ll ever see it. There are not many companies that will sponsor a sequel when the first film never really took off. There’s no denying that a great opportunity has been missed here, but I still think that you should give it a go. It’s far too good to be just one of those obscurities that people hunt out on portals in twenty-year’s time.
Killer Guise: √√√√
Final Girl: √