“Hell Hole” hails from the filmmaking family behind “Hellbender” and centers on an American-led fracking crew that uncovers a living French soldier frozen in time from a Napoleonic campaign, whose body hosts a parasitic monster.
John Carpenter’s 1982 sci-fi horror classic, “The Thing,” has left an indelible mark on the genre. Its themes of paranoia and isolation have influenced a generation of filmmakers, leading to numerous homages over the years. From “Harbinger Down” to “The Void” to one of my favorite homages, Robert Rodriguez’s “The Faculty,” and even Quentin Tarantino’s works, the DNA of “The Thing” can be seen in many modern horror movies. However, not all of these homages successfully capture the essence of Carpenter’s masterpiece.
A prime example of this is “Hell Hole.” While it wears its inspiration on its sleeve, the movie ultimately feels like a lazy retread of “The Thing” rather than a genuine tribute. The story follows an American-led fracking crew in Serbia who uncover a dormant, parasitic monster deep in the frozen wilderness. As the creature awakens and begins to terrorize the crew, the film’s potential for tension and horror is squandered by subpar writing, acting, and special effects.
One of the few unique aspects of “Hell Hole” is its take on the possession concept. Unlike “The Thing,” where victims are assimilated and replicated unaware, here the hosts are fully cognizant of the monster inside them, adding an element of psychological horror. However, this intriguing idea is not enough to elevate the overall quality of the film.
The movie’s biggest misstep is its failure to develop its characters. Rather than taking the time to make the audience care about who lives and dies, the filmmakers instead rely on simplistic moral dichotomies, leaving no room for nuance or complexity. This black-and-white approach to characterization undercuts any potential for genuine suspense or emotional investment.
The film’s visuals also leave much to be desired. While the practical effects are occasionally effective, the overreliance on CGI is glaringly apparent and pulls the viewer out of the experience. The image of tentacles emerging from a person’s nose, mouth, and eyes could have been terrifying, but the cartoonish rendering instead elicits unintentional laughs.
Perhaps the biggest disappointment of “Hell Hole” is its wasted potential. The remote Serbian setting, far from civilization, could have been the perfect backdrop for a chilling horror story. Instead, the uninspired filmmaking makes for a viewing experience that is more frustrating than frightening.
In conclusion, while “Hell Hole” may have had the makings of a good film, its poor execution prevents it from being anything more than a pale imitation of its obvious inspiration. For fans of “The Thing,” there are far better homages out there that capture the true spirit of Carpenter’s classic.
Streaming on Shudder Friday, August 23rd
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