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First, the Recap:
Adrift on a sinking ship. Whether a literal or figurative, internal conundrum, it’s a circumstance no one wants to be involved with. With all sense of initial hope gone and only limited means that present themselves for being saved from drowning, it becomes a serious test of courage and audacity to face it–especially when it IS literal, only one “safety net” remains, and there are multiple people vying for it. Certainly not experiencing what they paid for, three men–Myers (David Schaal), Nada (Nicky Evans), and Burton (Geoff Breton)–find themselves the sole remaining persons on a singles cruise ship struck by ferocious storm at sea, which is now in process of sinking.
Huddled in the bowels of the ship, the three have since been caught up in a volatile, disturbing, self-created game of Buckaroo made up of random pieces of scrap located below deck. The prize–one chance of survival, for one person, via the one life jacket left. While all sit in the emotionally mercurial room, taunting each other and contemplating the possibilities that exist with their situation, they each flat out decline and/or dismiss the thought of murderous intent as the lights flicker and water begins to seep into the hold. Yet, even despite these denials, the dead body in the room with them which they attempt to act as if it isn’t there and a bloodied cleaver on the table speaks volumes of desperation and pending decisions.
Next, my Mind:
Intense, gritty, emotionally explosive, and overflowing with unpredictable, friction-fueled tension, yet darkly comedic in overall tone, writer/director James Kermack’s 16-minute project brings to mind classic 70’s/80’s-style thriller/horror offerings, delivering it all with a relentless and ruthless intent that lasts the entire film. Infusing themes of self-preservation, recollecting the past and its lingering effects, along with the potential brutality buried within our human nature when it comes to survival, the pacing is equally unabating, with crisp, smoothly shot cinematography that more than adequately reminds the viewers visually about the cost involved with these men’s erratic, harried state of mind and being.
It is with fantastically fanatical and fiery resolve that the excellent and accomplished ensemble cast here embraces their roles as men on the ever-diminishing edge of both sanity and literal existence. Schaal’s Myers, a Middle East war veteran whose more than evidently seen his fair share of death, becomes a serious candidate to be a killer. Schaal enacts this unhinged mentality with bravado and effective menace throughout. Evans’ Nada, apparently an officer on the ship, is the more clear, logical thinker, more than ready to call out either of the other two on comments or ideas that make no sense. Evans performs this to a “T”. Then, there is Breton’s Burton, a more sarcastic-minded individual who actually hides a deeper scar from his past than the others. Breton totally embodies this dichotomy in nature with earnest realism.
A supporting turn is offered by Warren Mahon, though some could argue his performance was a little, well, dead (watch the film, folks!). Overall, while the film was filled with more colorful language than this reviewer prefers, “Bucking Hell” is a solidly executed indie short film that more than does justice to the older movies/era it emulates while remaining unique enough in its own right to stand out among contemporary thrillers.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
