Indie Film Review “Kate Hugo: Murder After Mayhem” A distinctively atypical approach to the post-societal format and whodunit with odes to multiple genres quietly but evidently in play
WATCH THE TRAILER BELOW:
First, the Recap:
In the wake of disaster, it remains hard enough to try and rebuild from the ashes. We perhaps realize that for all the good contentment provides, there is the ever-present reality of just how quickly things can change….and not always for the better. When then being forced to adapt to new actualities, made even harder when loss and the pain we carry is a part of it, how do we seek the road to peace again, if at all? What circumstances might it take?
In a post-apocalyptic time, frustrated and inwardly hurting federal agent Kate Hugo (Elizabeth von Isser) spends her time in Arizona covering a recent string of bank robberies. When events escalate resulting in the death of an affable and totally harmless bank teller Mike (Tony Eckstat), it is placed upon her and the local sheriff, Jack Ward (John Marrs) to investigate and determine precisely who had motivation to kill as well as why.
Next, my Mind:
When we usually hear the term “post-apocalyptic”, what usually comes to mind? Exactly…zombies, mutants, devolved humanity, dystopian atmospheres, or something akin to the game-now-TV show “Fallout”. That’s what the trends and/or popular culture tend to lean on, which hey, I won’t say it isn’t a formula that works….because it DOES. However, when approaching the concept of this kind of project as contained within the independent film arena, one does actually hope that there might be something at least a LITTLE different than SOP. Well, look no further than the new 105-minute feature film from director/producer Rich Goldstein and writer/producer Elizabeth von Isser, which chooses to take on said genre via a mix of drama, mild supernatural elements, modern western vibes to a degree, and, at its core….a murder mystery/whodunit, complete with a hard-boiled/disillusioned federal agent, gaggle of suspects, and “Knives Out” style deduction.
Trust me, this critic would not have placed, much less utilized, these kinds of aspects together necessarily. But again, is this not the pure definition of indie film’s content creators and the fearless, we-will-do-what-we-wish mentalities that make it all, for the most part, the (mostly) consistent bastion for fresh takes on so many “typical” formats, genres, and narratives? This time around, the world has been gravely impacted by a solar event which, IN standard fashion, has eliminated many, many, many, many lives around the globe. From here, the narrative really picks up five years later, focused on a beleaguered and emotionally damaged federal agent who gets drawn into investigating the murder of a beloved local while possibly discovering the inner liberation she’s needed for a long, long time.
I must convey that while the film is certainly pulling some general/loose influence from such mainstream efforts as “Knives Out”, “The Sixth Sense” and others, this IS independent cinema, and so don’t necessarily come in anticipating the level of grander quality those offered. I am not trying to be harsh in any respect, but just being honest in how I felt that the film does have its evident “rough edges” in execution. Not consistent enough for me to be distracted or wholly displeased, but there’s simply a baseline degree of lower budget “atmosphere” that did stand out more for me than perhaps usual. This said, the narrative IS engaging, and follows a nicely laid out path that does leave you in that “OH! I know who did it…oh, wait, is that too obvious?” territory, as a film of this nature should!
What gives the proceedings their ultimate benefit, interestingly enough and for this critic anyway, was the lessons in grief that lingers and what it might take for us to be confronted with our pain and actually FACE it, then realize the liberation from it we’ve required all along. THAT kind of messaging is highly imperative to me, especially in the current world atmosphere we find ourselves in, and so it IS this facet of things that actually gives this film a leg up in spite of whatever shortcomings it might possess overall. And this is the point where I DO give absolute credit for the EFFORTS made in presenting what we see as a viewer, ideally aiming to emphasize that character and story development is KING when it comes to indie films, and we DO get this throughout the film’s runtime. There were also instances when viewing when I felt the film MIGHT be dragging just a hair, but fleshing out the mystery is requisite, so I could let it slide as a whole.
And, similarly to another film I recently reviewed (“The Widow’s Ring”, COMPLETELY different genre, but I digress), the thematic elements here are more straightforward and not as plentiful as other efforts that I try to dig into. Here, this really is more for entertainment while still conveying messaging about the importance of mental wellbeing, loss, and coping that gives us some “meat” to chew in while in the midst of solving a crime. It works, and the finale speaks to these themes mainly and hence allows us to move ahead, yes with resolution to the story’s foundational crime, but in a surprisingly cathartic manner that I do hope ends up speaking to people who are struggling in that way. I never downplay film’s power to influence, and it is the independent realms that more than not offer the kind of accessible and worthy messages we DO need to hear. That is accomplished with this film, in my opinion.
An ensemble cast once more rules the day, starting with von Isser as the title character, Kate Hugo. A woman whose own personal life was more than just upended by the global catastrophe in question, Kate has since taken up a somewhat thankless job as a federal agent assigned to an area in Arizona where she invesigates any crimes that might occur. After being brought in on a local town’s murder case, it is apparent Karen still has her own ghosts to deal with, even while dealing with those (figuratively and, maybe, literally) of the folks she considers suspects. What she didn’t count on was how it all would cause her to reflect on the hurt and guilt she’s carried, how she’s been unsuccessful in coping with it, and how she could be freed from its grasp. It’s a solid performance von Isser puts forth.
Tony Eckstat is Michael Browne, a totally harmless and affable bank teller who could become the catalyst for Kate’s services to be employed, with Brown just endearing you to the character with ease thanks to his performance. Milena Saboya is Luz, a local tourist business owner who may or may not have secrets of her own, creating a character you could love to hate, performed wonderfully by Saboya. Sean Berube is Samson, the completely shady loan shark who owns more of the town than anyone wants to (or otherwise DOES) admit, yet is he really as bad as everyone believes? Berube is superb at playing these kinds of characters, and once more, he proves it here. Will Roberts is Mortimer Fenton, the town’s bank manager who has a prickly demeanor and seems more of a self-serving weasel than trustworthy. Yet, is it all an act? Fenton sells you on both possibilities with equal energy.
John Marrs plays Sheriff Jack Ward, representing local law and who more than has reservations, at first, about Kate’s moving in on his turf. Yet, might he not only change his mind about her, but become the kind of mutually shared confidant they BOTH need? It’s a very genuine, openhearted performance from Marrs. Aubyn Philabaum is Daphne Browne, Mike’s sister and resident psychic who has her supernaturally influenced visions and beliefs about what may have happened with her bother. Philabaum, like the others, plays it authentically and with believable purpose. Craig Hensley is Garrett, a farmer who has fallen on harder times during what has already BEEN stormy circumstances. But, is it motivation for murder? Hensley carries a well-portrayed “everyman” vibe that fits the character decently.
José L. Rodriguez is Jesús, Luz’ hardworking husband and business partner while also doing minor handyman jobs to try and aid the couple in surviving financially and otherwise. But, would his presence at the bank on a certain day be worrisome? Like Hensley, Rodriguez also brings a credible “everyman” demeanor to the events at hand. Diana M. Collins appears as Claudia, another bank teller who has had her own experiences being a victim of robbery at work and who may have insights Kate requires. An additional appearance is made by Amy Crater. So, in total, “Kate Hugo: Murder After Mayhem” stands up well as a credit to the genre it mainly seeks to emulate while giving us an escape from the typical stylings of post-apocalyptic-centered films usually bring to us. It’s a testimony to what indie filmmakers almost always deliver, the evidence of passion, heart, and doing everything they can with what they have to make a movie, and make it right.
STAR RATING (out of 5):
As always, this is for your consideration and comment. Until next time, thank you for reading!
