'Killer Hangover' Review - First Draft

'The morning after the night before'. This is the tagline of the newly released short film titled Killer Hangover. Although the title and tagline instantly suggest a lack of innovation from the young team of film-makers, the narrative adopted in the ambitious piece transforms this well-worn genre into fresh canvas for the exploration of ideas on the silver screen. This is achieved through the team's enthusiasm to experiment with diverse influences, including Ratthe's short film sensation Lovefield and classic Hopkins' horror features.

In addition to the debutant director, Killer Hangover introduces the film world with fresh-faced actor, Jordan Oberdries, who plays the nameless young antagonist who wakes up to a smashed house, a splitting headache and stained carpets.... Oh, and the small issue of a dead girl on the kitchen floor. Immediately cast into stark panic, our subject anxiously seeks to not only piece together the fragmented events of last night but also protect himself from the ensuing condemnation that threatens to ensnare him at all points. However, the sting of the scorpion exists not in the safety of horror but in the creative narrative twist...

The piece hints at the team's potential, specifically in the technical aspects of film-making. One of the prominent appeals of the entire piece - even if only from a film-geek perspective - is Rory Harris' editing, with special care being taken to maximize the effect of each shot. The soundtrack is also skilfully crafted to supplement the visual aspect of the film, adding another stroke to the before-mentioned canvas.

However, though demonstrating a significant level of promise, Killer Hangover isn't without flaw. Oberdries' performance often lacks the ability to convince an audience, let alone instil the fear, anxiety and horror that the editing and soundtrack seek so desperately to establish. Although the rest of the piece seems to exude confidence and experience, the casting of Oberdries shows the team's Achilles heel - the ability to detect the right actor for the right role. In order to achieve the calibre of award-winning material this team is capable of, they must strive to overcome this weakness.

Despite this shortfall, Killer Hangover is a note-worthy experiment in the genre of horror by Neal and company, prompting the ability to produce a higher level of film in the future. As is expected for a first piece, it presents it's weakness in equal proportion to it's successes but, unlike the crowds of 'tried but failed' and 'maybe next time' films, Killer Hangover is a colourful Monet with the promise of a Picasso on the horizon. After all, a fresh canvas always seems to highlight the missed strokes more than those skillfully applied right?


Written by Marcus Pelham with proofing from Stephen Neal