On the trail of her missing sister, Charlotte enlists the help of Wayne, an ex-Marine and alcoholic, to infiltrate the Church of One Accord – a community of snake-handlers who risk their lives seeking salvation in the Holy Ghost.
Holy Ghost People, the latest genre film from Mitchell Altieri, one half of “The Butcher Brothers” (The Hamiltons, its sequel The Thompsons, as well as April Fool’s Day and The Violent Kind) has been picked up for distribution by XLrator Media, who will handle the film in all North American territories.
I liked the film, having caught it at SXSW, but I’m hoping they take this chance to tweak some of the elements that didn’t quite work (they had literally just finished that version of the film hours before the SXSW deadline).
Starring Emma Greenwell, Brendan McCarthy, Joe Egender, Cameron Richardson and Roger Aaron Brown, the film begins on the trail of her missing sister, Charlotte enlists the help of Wayne, an ex-Marine and alcoholic, to infiltrate the Church of One Accord – a community of snake-handlers who risk their lives seeking salvation in the Holy Ghost. It World Premiered at the SXSW Film Festival in Austin, Texas.
Like so many films at SXSW, I walked into Holy Ghost People utterly blind and not knowing at all what to expect. For the majority of the film’s running time I was handsomely rewarded – this is a well shot piece of work with an intriguing premise and several amazing performances. I was really digging this tale, steeped in the world of Appalachian snake-handling churches, as a sort of Martha Marcy May Marlene meets The Vanishing hybrid. It shows a remarkable restraint and the aesthetic is authentic enough to make you feel like you’re actually in this world. Unfortunately, a series of questionable decisions towards the end of the film diminished some of my goodwill.
Holy Ghost People starts out intriguingly when drifting alcoholic Wayne [Brendan McCarthy] wakes up, bloodied and hungover, on his couch. In the shower is a beautiful stranger Charlotte [Emma Greenwell - whose soulful determination is one of the film's biggest assets] who, once she emerges, makes damn sure he’s going to pay her back for saving his ass in a bar fight a few hours ago. The favor she requests? To accompany her to “The Church Of One Accord” – a religious cult compound atop a remote Appalachian mountain – in search of her sister who disappeared there.
The film has a poetic, lyrical voice-over that feels a little out of place here, but otherwise it’s smooth (and occasionally exhilarating) sailing for sometime after this. Director Mitchell Altieri does a nice job of not only establishing the geography of the compound, but making it feel lived in and real. You can almost smell the place and the faux peacefulness its selling. It also doesn’t hurt that Joe Egender (who also co-wrote and produced the film) turns in a truly electrifying* performance as Brother Billy, the enigmatic leader of the compound.
Sadly, the film shifts gears for its last act in a manner that feels out of character for the film we’ve come to know and enjoy for the past hour or so. It’s not that Holy Ghost People goes totally off the rails, but it teeters dangerously close. Wayne gets into some righteous shotgun justice that distracts us from the resolution of the film’s central mystery. And the voiceover, which once alternated between engaging and irksome, veers into complete irrelevance – telling us things as we’re watching them happen without deepening the context. I’m not a stickler about narration, in fact I feel like I welcome it more than most of my fellow critics. But it has to be done right and here the poetic Terrence Malick vibe they’re going for just muddies the tone of the film. If Altieri wants to play with this sort of thing, he should save it for a different movie and cut the vast majority of it out of this one entirely.
Overall, I’d recommend Holy Ghost People with a few reservations. At the screening I attended, they mentioned that this cut was only 6 days old and they were still toying with it. If they could lose most of the narration and trim some of the incongruous action during the film’s climax, those reservations would diminish greatly.
*I rarely use the word “electrifying” out of a fear of sounding like Peter Travers, but I feel it’s appropriate here.
The indie feature from the directors of The Hamiltons, the producers of Halloween and Texas Chainsaw Massacre, and producers Michael Ferris Gibson and Jeremy Platt, revolves around a group of young bikers who find themselves tormented by mysterious and gory goings-on in a secluded farmhouse.
One night at a secluded farmhouse deep in the Northern California woods, a small group of hardened young bikers and their girlfriends are tormented when one of the girls becomes savagely possessed and a gang of “Rockabillies” seemingly from the 1950′s descends upon them to collect what is growing inside her.
Each April Fool’s Day, fabulously wealthy young Desiree Cartier (Cole) hosts the most killer coming-out parties at her to-die-for southern mansion. And this social event is never complete without one of her patented pranks. But when this year’s joke turns deadly, Desiree, her brother Blaine (Henderson) and five of their friends all become the targets of a twisted killer who begins hunting them down one by one in this chilling tale of seduction, betrayal and revenge.
The Hamilton’s seem to be an ordinary American family, living in a small town in Northern California and dealing with the problems of everyday life. They’ve also been recently adjusting to the untimely death of their parents, but since have moved on. David Hamilton, the oldest, has taken it upon his shoulders to pick up the responsibility for the orphaned family. Twins, Wendell and Darlene are darker than the other two siblings and have become more conniving in the past few months. The youngest and most sensitive of the family is francis. Francis recently found an old video camera his parents owned, using it to work on a school project about his family. It’s through Francis’s eyes that we soon get to know the Hamilton’s and realize that there are much more disturbing elements lurking below their surface of “ordinary.”