Indie Film Review “The Yellow Balloon” Gooey “gore” and so much more bursts forth in a waggish horror spoof that struggles, shocks, and satisfies
WATCH THE TRAILER BELOW:
First, the Recap:
**Sigh** When it comes to certain choices in life that just don’t work in our favor, why doesn’t it seem we ever actually LEARN from the experience? Instead, do we not seem to discover ways to keep messing things up, doomed to repeat things that make is miserable? Then, when others finally come around us to make every attempt to lift us up, encourage us, lead us down a better path even….well, the road to a certain fiery place is paved with good intentions. And, sometimes, copious amounts of….helium???
Nasty events are afoot in the small isolated town of Autumn Falls. People are going missing, with only the most uncanny of evidence left behind, leaving locals baffled and scared. As a sinister presence descends on the burgh, a young woman named Mia (Justine Leverett), plus her friends Eli (Justin Jobe), Harper (Shelby Broadnax), and Travis (Robert Carrera), arrive to help the former get over a recent break-up. It doesn’t take long for this motley crew to encounter a horror whose escalating menace could, quite literally, blow up more than any of them could have expected!
Next, my Mind:
It’s undeniably nuts, completely bizarre, zanily hilarious, at times candidly unnerving, boldly irreverent, fully unapologetic, one hundred percent spoof-centric insanity created via wholehearted grass roots indie filmmaking that’s all on wacky, raw display thanks to the 91-minute feature from director/producer/editor Jason D. Morris, writer/producer Robert Carrera, alongside producers Shoni Alysse Cook and Matt Gatsos. This critic cannot find any more ways to state in cases like this where it is imperative you enter into viewing such an exercise of utter silliness with an open mind, level expectations, and the foundational understanding that every effort put forth to MAKE a film are ALL important realities to entertain here. Let’s just be frank, folks. This isn’t (figurative obviously!) Shakespeare or Spielberg we’re talking. This is passion, drive, and basic desire to manifest some joviality that JUST might bring a smile, and a little “ewwww!! NO!!” to your world.
Trust me, this IS precisely what you witness through a narrative that follows a group of young adults who end up entrapped and entangled by a maniacal circus ringmaster and his rubbery-skinned, lemony-hued minions on a mission to possess people and send them on killing sprees, even as those who choose to try and fight back handle their own rather conspicuous dysfunctional lives. If you want a genuine illustration of standard horror movie tropes, this is the one for you, though at least in the context presented, it’s purposeful and totally for laughs. Plenty of little “wink-wink, nod-nods” to classic horror films exist in my opinion, ranging from “It” to “Evil Dead 2”, to “Friday The 13th”, executed in such a manner so as to recognize these influences while appreciating what is being somewhat or directly “borrowed” from them for fueling the already off-the-wall premise, associated content, and grander tone/mood generated.
There’s harsh language aplenty, but truthfully, that is anticipated. It was more a couple of particular sequences involving things of a more graphic and sexual nature that stood out to me as going too far. I absolutely comprehend that even these moments are meant entirely for the guffaws, but for my own personal preferences, I could have done without it. Just realize there’s nothing hidden when those scenes occur. And you WILL know what I am referring to. Otherwise, the violence and other aspects of what is being mocked are so overtly over-the-top that you DO laugh at the ludicrousness of it all, which is exactly the kind of reactions a spoof is supposed to cause, and that IS most certainly delivered here in spades. Some of it is groan-worthy, some of it is just plain funny. You just have to take it all in stride.
I must give credit that the SFX are virtually ALL practical in nature (and likewise just CRAZY in their depictions!), and it really lends, dare I word it this way, a….charm???….to the proceedings, perhaps even aiding in creating the goofiness intended. There ARE actual thematic threads we can pull from, again mostly for hilarity, covering the wonder of experiencing shared gag reflexes, VCRs/VHS tapes, the fun of voices tainted by helium, childproof locks, and some other standard stereotypical attitudes, actions, and/or activities found in many a horror film all get screen time. The finale is in itself an ode to prototypical “hero” stands against the forces that have plagued the characters, but of course it WORKS here because it’s so hard to take it seriously….and you are NOT supposed to! I keep coming back around to that general idea, eh? Let’s face it, the film IS fun, uncomplicated, and just outright strange….but at least engaging enough to chuckle at.
It would be very easy to attempt to dismiss the acting as a whole, but for this critic, again it comes down to having a more even-handed and balanced perspective, because acting is NOT easy. Period. This ensemble cast does their total best to intentionally make their characters stand out IN deliberately doltish manner because, well, THAT is the POINT. Leverett’s jilted Mia is a portrait of confused, angry, hopeful, and at one point quite satisfied emotional volatility after suffering a humiliating break-up with someone she still may harbor feelings for, with her choices and encounters with the balloons more than adequately altering her outlook on everything as the events unfold. Carrera is a hoot as Travis, an utter buffoon really who comes along for the ride to be there for Mia, even as he makes tries at being a voice of reason as things begin to go sideways. Is he an oak or an oaf when it all comes to a head? Wait and see what shenanigans we ends up in!!
Broadnax’s Harper stands as the no-nonsense pillar of strength and “HECK no!!” energy of the four, all bravado and fire (as well as a wee bit of fawning over a certain supporting character! Watch and see!) as she must find the means to overcome the powerful draw of the yellow balloons and their master. Jobe is a (mirthfully to watch) ball of apprehension, fear, uncertainty, and gaming prowess via his character of Eli, the one who really has to find an inner power to even consider whether he can withstand the horrors happening around him. Â I am being a little more broad in my usually more detailed performance notes here only to culminate in stating that this primary foursome works so very well opposite each other, playing off the characters and their individual traits that forms a sum total of admittedly witty banter and interactions throughout the film. The acting is solid across the board and at least deserves notice.
Scott Somers arrives as a primary character as well, Vincent Vile, the evil circus ringmaster who brings about the town’s, and these four character’s, misfortunes through his evil plans and inflatable flaxen hoard, the members of which you REALLY don’t want to have…..explode…..on you! Somers does seem to relish being this character, as he plays it up with hammy glee that makes his ominous menace represented riotous to view. In similar, though on the opposite end of the good/evil spectrum from Somer’s Vile is Tony Sommers as Rusty, a rather spooky (but more flat out weird, frankly) “groundskeeper” at the site where the four protagonists are staying that ends up revealing he is much more than that! Again, this is absurdity personified, and Sommers, like Somers, hams it up in every scene he’s in, even when he’s trying be appear more “serious” (not really, but…).
Primary supporting roles come about from Timothy Waldron as Lisa, a local influencer, true crime podcast host, and Tik-Tok style video hound who might just find that digging into things isn’t the way to go, Leah Carrera is Amanda, Lisa’s seemingly long-suffering but loyal sidekick in the endeavors who might ALSO find herself (and her life!) at odds with what her “boss” ends up being confronted by, and Konnor Heredia as Seth, Mia’s ex-boyfriend whom ends up being dragged into the terror and believes it is a road to redemption with Mia….yeah, we’ll see. Additional supporting turns are made by Shoni Alysse Cook, David L. Minard, and “Buck”, whom more than utilizes “his” turn here as one of the main odes to a certain film referenced above which you will figure out once seeing it! Of course, there are the host of yellow balloons that take on….many forms….and have one “goo”-tastic good time over the course of the film’s goings on!
So, in total, “The Yellow Balloon” IS entertaining for what it is, definitively won’t be for everyone, and I could even see a more distinct “love it or hate it” mentality from viewers who choose to take it in. I think this is where I have to say as I did above….this IS indie cinema. This IS a more baseline effort that isn’t GOING to have the absolute polish in look or execution that an even minority higher budget indie will showcase. BUT….this is NOT a BAD thing, and doesn’t mean the film ISN’T worth absorbing, as I KNOW there WILL be fans of it out there. I wasn’t totally thrilled with it myself, but was not overtly disappointed in it either. It represents the core of fearless filmmaking….a simple willingness to make something and put it out there. THAT alone DOES deserve credit. Because being blunt, if you naysay it, I would dare you to do better with exactly what Morris & Co. had to work with. This ain’t easy, people.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
