REVIEW: Nasty (2015)

- By @TheBlueTook

The Exorcist. No fucking about. Friedkin’s hammer blow of phallic crucifixes, wavering faith, demonic possession, foul language, spinning heads and guttural growls was how I began my horror journey, way back in the mid-to-late 80s. As I’ve explained in the past, there are a few factors responsible for thrusting me into this beautifully horrid world at the deep end and many gentler ways I could’ve been introduced. Thankfully, I unwittingly cut my teeth gawping at the crème de la crème and saw how horror could and should be.

While Regan and the gang may not fit seamlessly into the vague category of ‘Video Nasty’ (or, indeed, the 80s), my feelings during this baptism would probably mirror that of Doug’s – Prano Bailey-Bond’s lead in the excellent Nasty. Did I enjoy my initiation? Most certainly not. Did it feel wrong? Definitely (morally, by the way, not ‘official certificate’ wrong – who on earth ever gave a shit about that?!). Did it compel me to seek out cinema’s dirtiest, nastiest abominations and indulge some more? By the power of CHRIST it did! Curiosity is most powerful, horror is a calling, and, like me, Albie Marber’s character almost has no choice in the matter.

It’s 1982 and 12-year old Doug’s father has mysteriously disappeared. Searching for clues to his whereabouts, our young protagonist is drawn into the grainy, vivid world of VHS horror. The lucky little devil. Not only because I can put myself firmly into his shite 80’s shoes and know frame for frame what pre-digital delights await him, but also because the gritty, pounding realm director Prano Bailey-Bond recreates may be more incredible than the real thing.

15(ish)-minutes in duration, Nasty is a special treat in every sense. Notoriously difficult to get right, short films – especially the gruesome variety – have to work particularly hard to make us mentally invest and care. Although the theme here is essentially a celebration of an era many of us don’t want to see forgotten, it’s more than just cheap gimmick after cheap gimmick; it leaves its mark symbolically, pondering on the opinion that cinematic bloodshed and carnage will desensitise and devour even the most ‘normal’ of families. So, not only does it register on an intellectual level but it also aesthetically smashes it out of the park with its clever contrast of melancholic, meandering soap-opera-style narrative and brutal, distorted interludes – every second completely necessary. Its use of 16mm and Super 8mm evokes memories AND is an integral part in immersing and steering us towards its clever conclusion.

Inter-woven with a stunning score that ranges from gentle instrumental to head-frying, saturated electronic synth, Nasty is instantly one of my favourite films in a long while - its effectiveness at paying loving homage to some grand ol’ days (Evil Dad and Driller Thriller, anyone?) without ever feeling contrived (if you can appreciate its self-awareness), is a joy. The fact Prano has managed to make it fresh and exciting, too, is genius.

No, your mother sucks ‘them’ in Hell!

@TheBlueTook