Hell's Kitty (2018)
Directed by: Nicholas Tana
Written by: Nicholas Tana
Starring: Adrienne Barbeau, Ashley C. Williams, Barbara Nedeljakova, Courtney Gains, Dale Midkiff, Doug Jones, John Franklin, Kelli Maroni, Lynn Lowry, Michael Berryman
Hell’s Kitty is a movie adaptation of a web series and comic book, which on paper it looks like it could be good fun. What doesn’t sound good about a possessive, possessed cat that attacks anyone that tries to get affectionate with its owner? Whilst things start off quite amusing, the joke wears out extremely quickly. Hell’s Kitty is a no budget production that actually makes The Room look like highbrow art house. The in on the joke terrible acting, coupled with the awful sound mixing, make what could have been a half decent horror comedy, in to something barely watchable. It sounds like it was recorded in a biscuit tin. It’s a film comprised of bizarre situations and gory dream sequences. In fact there are a lot of dream sequences, some seem like they are there as a red herring for the main plot, some just because it’s an excuse for showing a bit more gore. These tend to be followed up by awkward social interactions, usually ended by the cat doing some scratching or maiming. This is made all the more worse by the terrible sound design, and bad ‘bad’ acting.
It’s full of cameos from stars of classic horror films such as Doug Jones, Michael Berryman and Adrienne Barbeau, but one can only assume that the producers had dirt on them. Either that, or it explains where all the budget went. The way the film is structured is quite reminiscent of the likes of Creepshow. It is as much as a man recounting a collection of tales of all the times his cat’s being a dick more than anything. But that’s where the similarities end. Creepshow is good, and this doesn’t have seaweed Ted Danson in it. Some films are so bad they are quite fun, and it feels like this is what they were aiming for with Hell’s Kitty, but it tries too hard and ultimately falls flat and only achieves the bad part. It does have quite an amusing opening theme however, and some of the ominous score is accompanied by some rhythmic meowing. It doesn’t get much better than that, which is a shame, as in the right hands this could have been something good, but instead turns out looking cheap and terrible.