WATCH THE TRAILER HERE

First, the Recap:

It’s sometimes said someone has killer looks, a killer mind, a killer style. Other times, however, someone just might be simply a killer. Inner rage driving them to do the unthinkable to unfortunate victims who fall into their path, a predator without remorse or mercy. Yet, what happens if the tables are turned? Highly disturbed goth teen Crawford (Nicholas Trivisonno), known more frequently as just “Craw”, has issues and proclivities sending him down a seriously dark path of murder and morbid artwork based on his actions. Hunted yet never caught, hiding behind as “regular” a face and demeanor as would be possible given his circumstances, Craw continues his reign of terror.

Meanwhile, a local family comprised of a father, Richard (D. Duckie Rodriguez), his wife Sue (Lowrie Fawley), and his son Jeffrey (Blayze Hippensteel) have been tracking this elusive and macabre serial “artist” for some time, down to maps illustrating his kill sites based on police reports, all while trying to ascertain what Craw’s next move might be. Their rather–involved–interest in the killer’s motives and patterns soon lands them the break they’ve desired, and a single moment brings the family and Craw together face to face. But, even as Craw accepts the hospitality they offer, the unknown reasoning behind it becomes frightfully clear, and a killer is suddenly in over his head.

Next, my Mind:

Director/co-writer Shiva Rodriguez and co-writer/co-producer/actor D. Duckie Rodriguez very smartly utilize every moment of their 16-minute horror film’s runtime to excellent effect, blasting the viewer with both the sheer brutality of a serial killer’s activities and deranged mind while also illustrating the very calculating intelligence of his initially unknown pursuers, making them just as unhinged and creepy as he is, possibly even more so. It’s a study of blatant and obvious evil in Craw’s endeavors vs. the eerie calmness exuded by the family chasing him with their down home manner and innocent conversations that hide more sinister truths. The film, as expected, is graphically violent and unsettling, while certain aspects of the dialogue content-wise weren’t in this reviewer’s wheelhouse. But, there’s no denying the brilliance of the, forgive me, execution here that makes the kicker of an ironic finale hit full force, right into the viewer’s mind with, dare I say, an unanticipated sense of satisfaction, perhaps even a chuckle.

Trivisonno is quite convincing and solidly impactful as the anger-fueled, goth make-up wearing killer Craw, a boy seething with loathing towards those he’s chosen to victimize, dispatching them with malice, but then able to turn on the “charm” in order to entice his next prey into a trap, and therefore, their fate. But, watching that intensity turn to fear is priceless, and well enacted by Trivisonno at the apropos time. Rodriguez, Fawley, and Hippensteel as Craw’s peaceful, meticulously relentless pursuers work together so overtly well in creating a family that seems so normal on the surface, even with their apparent fascination with serial killers, and they way they interact in such a cohesive way, with logical and planned out unity of purpose, truly makes the viewer begin to wonder about the “Joneses”. The more we are immersed in their hunt for Craw, the more we realize something could be amiss, and the closing moments when Hippensteel’s Jeffrey confronts Craw is a stroke of genius in the casual fashion it all takes place within, just hinting at more shadowy ramifications.

Supporting turns are here as well from Alyson Ryskamp as teen victim Kathy, Kinsey Krutzler as Sarah, a rather precocious pre-teen who’s attitude might just lead to trouble, and Emre Orun as  Kathy’s naïve and cocky boyfriend Aaron. In total, with the horror genre overall still not being a favorite or preferred style for this reviewer, there are these moments like this where filmmakers have managed to elevate the proceedings with clever writing, engaging characters, and higher-order twists that push the effort above most standard fare.  As such, while still not for the faint of heart, “Coming Home” stands as a worthy entry to the horror short film platform, and should certainly have the appreciation of an audience who is pining for something fresh.

As always, this is all for your consideration and comment.  Until next time, thank you for reading!