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Geoff (Graham Weldin) just hates his brother Richard (Andy Phinney), not only because he's better looking than him and more successful, but also because Richard lets him feel just that at every opportunity - and what's worse, they work together at a local news station, Richard as a correspondent and Geoff as his camera operator. But however much he might hate Richard, Geoff doesn't want him dead - and then he kills him in an honest accident while chopping wood. Sure, had he reported it to the police immediately, there probably wouldn't have been (m)any repercussions, but since it happened at the porch of their parents (George Cron, Nancy Ward), he just didn't have the heart to confront them with Richard's death, so while covering up for Richard's disappearance the best he can, he confides in his best friend Colin (Cameron Perry) - and somehow they end up with a cult of backwoods cultists who have so far only dabbled in the rituals of bringing the dead back to life and persuade their leader Clyde (Westan McNew) to try their skills on Richard ... and lo and behold, Richard does come back to the living, though somewhat changed. But hey, he does bring Geoff together with his dreamwoman, channel intern Jill (Alina O'Neill), who happens to like Geoff back. So things couldn't go better ... until Richard goes out on a datewith Tina (Rebecca Claborn) - and bites her to death. Geoff and Colin immediately drive her to Clyde to bring hre back, and again it works, but seeing Clyde's outfit and especially noticing the fact that he's in possession of the Necronomicon makes Richard - and in consequence also Tina - wonder what could be achieved if one uses their assets to serve the undead. And soon enough, they're on their path to open a door to another, evil dimension, and now it's up to Geoff, Colin and Jill - who turns out to be Clyde's daughter, long story - to prevent our undead villains from doing so ...

Above might sound a little silly, and despite all the well-placed H.P. Lovecraft allusions, yes, this film is silly - and the filmmakers were apparently well aware of this, because why else would they have their story interrupted by song-and-dance numbers ever so often or scenes be played for laughs rather than their shock value. And Eldritch USA fares good with this strategy, as despite all the silliness, the movie has a heart, has horror at its heart, and is just really darn funny. So unless musicals, horror or horror musicals aren't at all your thing, you'll more likely than not be greatly entertained by this film.

review © by Mike Haberfelner

 

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