With a deceptively simple premise, Porno concerns the mostly teenaged (and repressed) religious employees toiling at a family-friendly cinema in a small American town who discover an ancient film reel and unwittingly release an old evil. The kids are portrayed with aplomb by largely unknown actors Robbie Tann, Katelyn Pearce, Evan Daves, Larry Saperstein, Jillian Mueller and Glen Stott. And they are randy Mormons, I believe. The religion is not made explicit, but the teens are forbidden to do drugs, alcohol, sex, porn and caffeine—ironically, all the mainstay coping mechanisms of the pandemic.
The presence of old evil allows for campy, nudity-filled temptation. The film itself allows for wide tribute to 1960’s and 1970’s witch horror fare. The setting calls to mind Ti West’s marvelous film, The Innkeepers. The cinematography, with longish takes, sweeps and pans, compels the viewer, proving that creativity can rise above budgetary limitations.
Director Keola Racela also gives us just enough to root for with some of the protagonists, namely supervisor Chaz (played by sassy and capable Jillian Mueller) and bestie, the clueless hunk Ricky (Glenn Stott) but the rest, while convincing and adept actors, are not entirely sympathetic as horn-dogs in heat. Robbie Tann as college-dropout projectionist Heavy Metal Jeff ("It's not heavy metal!" he repeatedly insists. "It's hardcore!") is particularly good, playing it as a sort of young, burnt-out, Edward Norton. And while these fresh faces may be unknown factors on the silver screen, this is a fun horror flick that is all about their visceral reaction, whether gore or nudity or incomprehensible art-house fare. Whether they are repulsed by what might be a demon, the gore or the sex is a matter of debate.
Kudos must go to writers Matt Black and Laurence
Vannicelli for positing that religious characters must confront the demonic. It's a terrific idea, opening up all sorts of venues to show what the characters are like through their actions instead of merely saying what they are like. It's the old adage of showing and not telling, which can sometimes apply to cinema as well as writing. Character beliefs colour their perceptions, but nobody is outright ridiculed. And, while they may all recoil or argue at the barest glimpse of sexiness, the characters are already predisposed to believe in absolute good and absolute evil, so they don't require much processing time.
I admire the idea, really.
(Editor's Note: Bit of spoiler-age in this para.)
The last act sort of falls down on itself, with a far-too simplistic resolution regarding the supernatural adversary, and a neat, wrapped-up-in-a-bow finale. There is a confusing trip through what appears to be a dimensional rift. Also, the portrayal of the demon is inconsistent and reminds one of the uneven portrayal of the S.T.D. monster in It Follows (a masterpiece, albeit flawed, which I have blogged already about here. But I digress). What is it with uneven portrayals of sex monsters, directors? But seriously—if not for the last act, this film would get five stars. As it stands, the flick lands at a solid three-point-eight out of five or seven-point-six out of ten, depending on your predilection for fractions.
(Ed. Note: Spoiler-age ends, here.)
Still, despite this unevenness and weak third act, the players themselves are a joy to watch. Their faces (and bodies) squirm; this is truly a low-rent film about facial reactions and young temptation. Think Peter Jackson’s Lord of the Rings "hobbitses" without the budget, mise-en-scene, or score. But the actors are, in the end (and beginning and middle, for that matter), simply marvelous. I laughed and cringed a lot. I am extremely curious what novice film director Keola Racela does next and where I will see these fun, capable actors.
The Really Repressed Mormon Scooby Gang: Larry Saperstein (Todd), Evan Davies (Abe), Jillian Mueller (Chaz), Robbie Tann (Heavy Metal Jeff), and Glenn Stott (Ricky).
