Published on July 12th, 2017 | by Richard Gary



One of the weirdest, funniest horror comedies of last year, Steve Rudzinski is back with CarousHELL. You’ll never look at carousel horses the same again.


Steve Rudzinski is certainly not the most prolific of directors, but when he puts out a film, be it more serious (such as Everyone Must Die!, in 2012) or even hysterically absurd (e.g., Captain Z and the Terror of Leviathan, in 2014), the viewer is in for a quality show. The thing about absurdist humor is it can be really, incredibly stupid (anything by Seth Rogan, for example), or it can be way smarter than it appears to be (anything my Monty Python), sometimes by mocking the genre’s own familiar tropes. Fortunately, Rudzinski’s work falls on the side to the latter.

Here is the basic premise of this 70-minute Silver Spotlight release: a carousel’s wooden unicorn, Duke, becomes sentient (or “wakes up” as they call it here) after an obnoxious kid, Larry (Teague Shaw) wipes some snot on its snout and kicks it a few times. Of course, that means the kid must die. His insufferable “#hotbitch” (her words) sister, Laurie (Sé Marie) drags him to a party at her friend’s house, where all comers, likeable or not, are fodder for the unicorn from (possibly literally) hell.

The film is so goofy, and yet remains consistently hysterical. I’m not talking about a couple of scenes here and there, I mean straight through. But pay attention for all the references. While you really wanna punch out this little bratty kid and his big even brattier (is that even a word?!) sister, the people at the party are as much fun to watch as the arcing story. One of the running gags is a variation of the whole ‘Brony’ movement (male fans of My Little Pony, as in Bro/pony…yes, it’s a real thing), focused around…well, you should have figured that out by now.

We, the audience, hear Duke’s both inner (thought) and outer (oral) voice (Steve Rimpici), and his comments are as snide and pun filled as a certain red and green sweater-wearing dream killer. While there is little subtlety and a lot of profanity, and certainly no pity towards Duke, there are absolutely many reasons to laugh at both the wooden horse’s (I mean unicorn’s) words, and even – believe it or not – actions: his hiding scenes towards the end had me rolling.

As with many of Rudzinski’s films, there are self-referential moments to his previous releases, such as a bottle of Captain Z’s Totally Accurate Pirate Wine, or the off-hand mention of his Web series, SuperTask Force One. As for the gore, some of it is kinda (purposefully) cheesy, but man, there is a lot of it, and most of it look incredible for its budget. Duke seems to have access to any one of a number of deadly weapons, from throwing stars to machetes, which draws a very funny throwaway panicked line from the Pizza Boy (Rudzinski in a small yet pivotal role). I actually had to pause the film to laugh, as not to miss anything. Come to think of it, there was more than once I stop to rewind just a bit to either see or hear a bit again because it was (a) WTF, (b) so beautifully done, (c) to laugh, or (d) any combination. It should also be noted that there is a very large body count, so those into this kind of film should find that fun, as I did.

CarousHELL doesn’t answer a lot of question, which I think is fine (such as how this magic horse… I mean unicorn, came to be). This is the kind of film that you just say, “whatever,” and watch it for what it is, without any guilt. If you actually sat down to mull over it, there could be a lot of questions that need to be answered, but the genre overrides the need for queries.

One of the more bizarre characters is Cowboy Cool (PJ Gaynard), who not only swaggers in a John Wayne style, but never removes his huge, mascot mask covered head. He seems to have the only gun that can kill Duke (who is, I suppose, ironically and purposely branded after Wayne’s nickname?). I think my fave characters are, however, the icky siblings Pierre (Josh Miller) and Margot (Sarah Brunner), who have the worst French accents possible (it sounds more German, actually). They are just so obnoxious, playing on the Francophone stereotype.

Rudzinski is a bit of a meat and taters kinda director. You’re not going to see many weird artistic flairs, which personally I find can be really tiring, especially for this genre. He has a message, and he gets to it. That’s a large part of the appeal. He takes the micro-budget that he has and makes the most out of it. But at the same time, it doesn’t feel claustrophobic in that it’s not all shot in one place, but rather in some nice locations, including, yes, an amusement park.

Rudzinski tends to make a film or two every year for the past few years, but his quality has never dipped below extreme fun. His characters tend to be not necessarily the same high school stereotypes you usually find, and he goes through a lot of them. He also manages to find actors who are well suited for their roles (for example, Marie is just aces here).

Seriously, this comedy is worth a view on many levels for genre fans. Just don’t expect anything super deep (or super shallow), and enjoy the references as they fly by. Grab a bag of popcorn and have a blast.


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About the Author

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grew up watching and enjoying horror films, especially those made independently and on a micro-budget. Most of the movies he reviews play either at festivals or private screenings, rather than having a national theatrical run. Using his years of studying media theory, he looks at each one with a critical eye that goes beyond the superficial, as he believes they deserve the respect of such a viewer’s eye. He is open to receive links to your films at, and he promises to always keep an open mind and be honest.

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