Written by John Edward Betancourt Caution: This article contains some spoilers for the motion picture, ‘Climate of the Hunter’. What’s truly amazing about the horror industry in 2020, is that its current popularity has finally given it the respect it is due. To the point where horror stories in every visual medium, are finally receiving proper funding on a consistent basis, and they are now filled to the brim with A-list talent in front of and behind the camera and that has led to some impressive storytelling for certain. The kind that is as polished as any other visual medium out there. But while that has led to slick production values and big-time stories that everyone can enjoy, reaching this particular level of popularity is not without its drawbacks. Because back in the day, when horror was nothing more than a VHS darling and shunned by major audiences, horror filmmakers were eager to push the envelope storytelling wise and try new things with the medium, because why not? Which led to an artistic era of horror for a time, one where the visuals felt akin to an art house film and were complete with all kinds of fascinating gore and strange twists and turns. But while horror has stepped away from this more experimental style of storytelling in order to please and terrify the masses, there are some filmmakers out there that are eager to explore the potential of horror stories that defy the norms and recently, this reviewer had the opportunity to enjoy a scary story in that vein in Climate of the Hunter. Now in this particular film, we are whisked away to the mountains to meet a trio of individuals named Wesley and Elizabeth and Alma. And these old and flirtatious friends have come here to get away from the ills of the world and to refocus their lives. For Alma is in a tough place mentally and emotionally and Wesley is dealing with the internal and external fallout of committing his wife to a psychiatric institute. But while it is wonderful for these individuals to simply escape the spoils of everyday life, old feelings and concerns about the future and Wesley’s true identity make this a tense weekend at best. Because Alma believes that something is quite off about Wesley, in fact… she’s concerned that his time abroad and his marital strife has motivated him to do something quite drastic and join the ranks of the vampire, and if that is indeed the case, then she will stop at nothing to end the second life of this bloodsucker in order to keep her flawed family, safe. So, what is truly fascinating about this film, is that co-writer/director Mickey Reece opted to go all out in paying homage to the more experimental era of horror… by outright recreating it. Because this movie looks and feels as though it was made in 1975 and that is no small feat. But Mister Reece takes us back in time in a smooth and organic manner and the wonder of this homage doesn’t end with its breathtaking visuals. For the overall plot is designed to also plunge us into the heart an art-house horror film from the 70s and Reece succeeds in recreating that as well. Courtesy of some captivating interactions between some supremely quirky characters and all of this makes for an engrossing experience. One that also offers up quite the mystery, since we are never quite clear as to whether or not Wesley is in fact, a vampire. But while the homages to the 70s are quite delightful and unique in their own right, the underlying themes in this story and its exploration of the human condition are what allows for it to stand out. Because this movie does take the time to spotlight some real-world horrors that aren’t explored all that often in this genre, such as the ravages of time and mental illness. Something that the film accomplishes by putting the shock that accompanies growing older on full display. Since our main characters are stunned over what time has done to their bodies and their minds and their souls, and their reflections do a fine job of reminding us of the terror that comes about when we ponder upon our eventual end and the horror that also comes forth from watching our loved ones lose control of mental faculties. And placing all of that into the framework of this story, allows for some powerful moments to take place. The kind that leave you with more questions than answers. Which may seem like a disservice to the audience, but that is something that is in line with the film’s overall design. Since a great deal of those art house horror flicks from the 1970s preferred to leave certain aspects of their finales ambiguous and well, in the end, all of these elements meld together to create an absolutely unique and downright brilliant horror film. One that offers up a powerful sense of dread and hopelessness, but not in the traditional sense in the slightest. Since those emotions appear here courtesy of regret and fear and all of the traits, we spend a lifetime trying to abandon and well, that definitely makes this horror flick a must-see. In part so that newer fans can be introduced to an era of the genre that was far more experimental than it is today, but also to enjoy a powerful story about the horrors of time and how they are in fact… inescapable.
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