I confess, I felt a little worried, a few minutes into this indie movie from Dustin Mills Productions. The film had sat unwatched for months on my shelf, something of a treat for when I needed a new fix of Mills' trademark celluloid insanity. However, as time ticked away, I had a moment of trepidation. Had the infant terrible misjudged the content, the pace or the mood? The fixed camera and long monologue seemed flat in comparison with the start of his previous productions.
Such doubts were soon forgotten, brushed aside as the script, direction and performances clicked safely into second gear. The opening scenes of Snuffet are a precursor to the cloth bound carnage that follows. They act merely as an introduction, to position the viewer in a world where puppets are walking, talking, living beings. It's a slow burn, a contrast to the kaleidoscope of cruelty which will soon be unveiled.
From being relaxed and blasé about the content, I was soon perched on the edge of my seat, finger poised above the "stop" button of the remote. Yes, this is one of those films where you don't want to be surprised by somebody walking in on you. You know exactly what I mean. "You're seeing this out of context," is not going to wash when your wife / partner / mother-in- law walks in and sees the stark naked Giggles Mouthworthy (Allison Egan) copulating enthusiastically with a well endowed puppet, accompanied by the king of all sleazy adult soundtracks. My gods, this puppet guy has rhythm in his hips and lust blazing in his ickle button eyes. He could teach a human being a thing or two.
Ahem, back to the review. Mills directs the movie with a straight poker face and the actors clearly trust his judgement. In lesser hands, this could be a mess of ideas and genre. However, Snuffet is the noughties version of Man Bites Dog. There are uncomfortable scenes of protracted puppet abuse, violation and, ultimately, death. Perhaps the most disturbing scenes are those of infanticide and home invasion. Whilst the victims may resemble Bert and Ernie, their pleas for mercy are all too human.
The ending is sublime, a minor stroke of genius, and I genuinely hope there's a volume two somewhere in the pipeline. Mills always saves something up his sleeve for the final act and this is no exception.
8 out of 10. While it doesn't hit the heights of Her Name Was Torment or Kill That Bitch, Snuffet is a brave and unique addition to what is already an amazing, colourful and kinky library of bizarre delights from this outrageously talented filmmaker. Easter Casket's lovely Janet Jay makes a welcome return to this studio, delivering a memorable performance as the "mad as a box of frogs", Melissa Schweine. Fittingly, Schweine wears a purple pig mask that compliments her wardrobe and her name. Allison Egan and Brandon Salkil are as reliable as always. Whilst they're familiar faces (probably not the right expression as they're masked in some productions), they always hone their performances for each tale. A Dustin Mills film is a little like a Carry On production, you know who you're likely to see on screen but the subject matter is going to be different each time. Snuffet is, then, Carry On Aftermath or Carry On Killing.
This is really very, very good. Unexpected, unpredictable and bloody good fun. Miss it at your peril. If you don't like this movie, you've less heart than a butchered puppet. I dearly have my fingers crossed for a Part 2 (Silence of the Hands?) but Mills is the master of surprises and has little need to repeat himself.
Such doubts were soon forgotten, brushed aside as the script, direction and performances clicked safely into second gear. The opening scenes of Snuffet are a precursor to the cloth bound carnage that follows. They act merely as an introduction, to position the viewer in a world where puppets are walking, talking, living beings. It's a slow burn, a contrast to the kaleidoscope of cruelty which will soon be unveiled.
From being relaxed and blasé about the content, I was soon perched on the edge of my seat, finger poised above the "stop" button of the remote. Yes, this is one of those films where you don't want to be surprised by somebody walking in on you. You know exactly what I mean. "You're seeing this out of context," is not going to wash when your wife / partner / mother-in- law walks in and sees the stark naked Giggles Mouthworthy (Allison Egan) copulating enthusiastically with a well endowed puppet, accompanied by the king of all sleazy adult soundtracks. My gods, this puppet guy has rhythm in his hips and lust blazing in his ickle button eyes. He could teach a human being a thing or two.
Ahem, back to the review. Mills directs the movie with a straight poker face and the actors clearly trust his judgement. In lesser hands, this could be a mess of ideas and genre. However, Snuffet is the noughties version of Man Bites Dog. There are uncomfortable scenes of protracted puppet abuse, violation and, ultimately, death. Perhaps the most disturbing scenes are those of infanticide and home invasion. Whilst the victims may resemble Bert and Ernie, their pleas for mercy are all too human.
The ending is sublime, a minor stroke of genius, and I genuinely hope there's a volume two somewhere in the pipeline. Mills always saves something up his sleeve for the final act and this is no exception.
8 out of 10. While it doesn't hit the heights of Her Name Was Torment or Kill That Bitch, Snuffet is a brave and unique addition to what is already an amazing, colourful and kinky library of bizarre delights from this outrageously talented filmmaker. Easter Casket's lovely Janet Jay makes a welcome return to this studio, delivering a memorable performance as the "mad as a box of frogs", Melissa Schweine. Fittingly, Schweine wears a purple pig mask that compliments her wardrobe and her name. Allison Egan and Brandon Salkil are as reliable as always. Whilst they're familiar faces (probably not the right expression as they're masked in some productions), they always hone their performances for each tale. A Dustin Mills film is a little like a Carry On production, you know who you're likely to see on screen but the subject matter is going to be different each time. Snuffet is, then, Carry On Aftermath or Carry On Killing.
This is really very, very good. Unexpected, unpredictable and bloody good fun. Miss it at your peril. If you don't like this movie, you've less heart than a butchered puppet. I dearly have my fingers crossed for a Part 2 (Silence of the Hands?) but Mills is the master of surprises and has little need to repeat himself.
