Kevin Smith’s Red State might have been one of the most widely discussed movies in the horror community of the last couple of years and that even before it went into production. That can be attributed to the fact that we’ve got a well-known comedy director with a distinct style of his own promising to make a dead-serious horror movie to end all horror movies. That idea alone, as unbelievable as it sounds, is intriguing enough. Then Smith himself made sure that the movie’s title stuck around. The financing issues, a very controversial topic, guerrilla marketing and a roadshow self-distribution had the genre fans’ curiosity peaked as also evidenced by the sold-out showing at which I have seen this at the Fantasy Film Festival.
But there have also been justified doubts. Can the director of Clerks, Chasing Amy and Dogma really make a serious hard-as-nails horror movie? Let’s not forget that his only foray into non-comedy filmmaking has been Jersey Girl, a movie that even Kevin Smith admits is far from his best. Did he pull it off and reinvent the horror genre? Hardly, especially since it is difficult to classify it as a horror movie at all. It does have some genre elements, but the whole thing is so unconventional and contains so many shoot-outs that it just defies a simple genre attribution. However, Smith did make something special and unusual here and whole it is hardly comparable to the rest of his work, it is what it is – a well-crafted movie.
The plot sounds as simple as they get on paper. A trio of sex-hungry teens answer to an online sex invitation, only to end up in the clutches of a fundamentalist Christian sect, The Five Points Trinity Church which is basically just a thinly veiled representation of the Westboro Baptist Church. Its insane leader, Abin Cooper (played by Michael Parks) stands for Fred Phelps. He plans to execute the teens for their sins. So far terribly conventional. But that’s when the things really get started (and messy). Just when it seems like the movie would turn into the crazy Christians version of Hostel, John Goodman’s character, an ATF agent investigating the church shows up with his team and a prolonged shootout with the well-armed church members begins. If you think I have already spoiled too much, don’t worry. There’s plenty more to be seen and uncovered here.
It was very refreshing to see a director straying away from almost all genre conventions and simply not caring whether he produces a horror movie, an action movie or a political statement (which it is and it’s not just the Christian fundamentalists he attacks here – all sides are being critically looked at). Smith definitely had all the creative freedom he wanted here which was good because a major studio would have never allowed the film to take the shape it ended up taking. It’s mean-spirited, brutal, uncompromising and still funny. The latter sometimes presents itself as a problem, however. Especially in the first 20 minutes of the movie, during the film’s initial setup the Kevin Smith’s dialogue really shines through (as does the excessive usage of obscenities for a humorous effect). Considering most parts of the movie are free of Smith’s style, this somewhat stands out as a sore thumb. Don’t get me wrong, I enjoy most of Smith’s comedies, but this just didn’t fit here. That lapse aside, it is really solid filmmaking throughout and Smith has proven himself as a capable director outside of his favourite genre.
As far as the acting goes, Smith has assembled an impressive ensemble here with Melissa Leo, John Goodman, Kyle Gallner and Stephen Root. All turn in good performances, but it is clearly Michael Parks as the insanely evil religious leader Abin Cooper that stands out. Almost always a smile on his face he exudes menace. It’s definitely the performance of Parks’ career and unlikely ever to be topped, even though his initial monologue just goes on for a tad too long (but that’s a minor lapse on Smith’s part).
And there’s also the movie’s pretty clever ending that leaves you shaking your head in disbelief at first and laughing later on. No more shall be said on that.
