reviewed by John Chandler
Director: Steven Kostanski
Premiere Date: Jan 22, 2021
In some mutant alternate universe could Psycho Goreman be considered family friendly entertainment?
You know, like E.T.? Maybe? Sorta?
The latest spectacle by Canadian makeup artist-turned-filmmaker Steven Kostanski, (see also 2016’s cosmic-horror blood bath The Void), Psycho Goreman is indeed the story of a family, but they’re not a very friendly bunch.
More like the Dysfunctional Family Circus, as conceived by a Spielberg gone mad.
Greg (Adam Brooks) is one of the worst fathers ever committed to celluloid. A lazy, resentful nitwit, he’s married to Susan (Alexis Kara Hancey), the primary breadwinner, who does her best to keep the clan operational.
Daughter Mimi (Nita-Josee Hanna) is a hotheaded Narcissist, and calls all the shots in this house. Her long-suffering brother Luke (Owen Myre) is an occasional co-conspirator, but more often than not, an easily bullied opponent.
The balance of power is further tipped in Mimi’s favor when Luke finds an ancient amulet that contains an evil warlord monster (Matthew Ninaber), imprisoned several millennia beforehand for trying to conquer the galaxy.
Luke discovers the artifact while digging his own grave. Mimi reminds him that he lost their most recent game of Crazy Ball, so he gets buried alive.
Side Note: Crazy Ball is an unfathomable form of prison ball, and it is the most sacred game in Mimi and Luke’s world, as well as their primary activity. And rules are rules.
Since Mimi’s the boss, she takes ownership of the talisman and thus controls the most powerful being in existence.
“Do you have a name, monster man?” Mimi asks.
“My enemies sometimes refer to me as the archduke of nightmares,” the giant says, in a basso profundo arch-villain voice.
“Well, that sucks! Never mind, we can workshop this.” The kids dub him Psycho Goreman (or PG), after seeing him dismember a street gang.
Psycho Goreman writer-director Kostanski artfully creates hilarious rubberized havoc in the style of Japan’s Tokosatsu movement, better known as Campy Superhero Versus Monster TV Shows (e.g., Ultraman, Mighty Morphin Power Rangers) that dates all the way back to the middle 20th century.
Just like those wacky cats over at Troma Films (Toxic Avenger etc.), Kostanski loves blood, guts, and monster suits, but the action never degenerates into pure schlock, delighting our higher senses as well our lizard brains.
As PG faces off against a barrage of interstellar assassins and demigods that want him out of the picture, we see an evil soulless creature learn just a little bit about love and human compassion. This observation applies principally to Mimi, but also to PG, who comes to appreciate terrestrial pleasures like magazines, hunky boys, and television from his prepubescent captors.
Sprinkled into all the frenetic mayhem is a sneaky anti-moralist message, one that’s the exact opposite of heroic, as Mimi decides that all the responsibility and power is kind of a pain. Eventually, she gives PG his freedom so he can continue his mission to destroy the universe.
Except for the part Mimi and her family live in. A deal is a deal, after all.
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