[Film Review] Celluloid Screams Film Festival: The Leech (2022)

Eric Pennycoff’s The Leech delivers on fierce satire and wry dark comedy in this (mostly) three-way Christmas pot-boiler.

Synopsis: A devout priest welcomes a struggling couple into his house at Christmas time. What begins as a simple act of kindness quickly becomes the ultimate test of faith once the sanctity of his home is jeopardised.

I reviewed Eric Pennycoff’s Sadistic Intentions for Ghouls last year having unfortunately missed out on the film’s first run at FrightFest 2019. Sadistic Intentions was a great example of indie horror doing what indie horror does best in playing to strengths in terms of performances and claustrophobic settings. The Leech, although still relying on those same elements, feels like a bigger step forward - a director hitting their stride with committed performances providing the anchor for a transgressive and urgent story.

The real strength of The Leech is in how the film’s messaging builds almost discreetly in the background of attention-grabbing scenes. That thread of a particular kind of Christian hypocrisy, repression and control is ever-present but never dominates thanks to big, layered performances. There is dedication to providing laughs, even if many of those laughs come in the form of watch-between-your-fingers cringe. Ultimately, this makes the underlying anger of the film all the more potent. Graham Skipper is excellent as Father David, who, struggling with a dwindling congregation and little interaction with anyone other than church musician Rigo (Rigo Garay), takes pity on down-on-his-luck Terry (Jeremy Gardner). Terry has taken solace in the church following a rupture in his relationship with Lexi (Taylor Zaudtke) and, after being invited to stay with David immediately begins to test the boundaries.

There is an easiness in each performance that allows those blurred, overstepped boundaries to emerge seemingly organically, with Pennycoff turning up the weirdness bit-by-bit. The transformation of the initially soft, almost retro domestic space into a near-literal living hell is one that truly grips. As the film progresses, it invites you to side with each character, exposing their flaws. Yes, Terry and Lexi are nightmare house guests, but David’s quest to help them leaves much to be desired. This allows each performer the time and space to create a truly layered portrait that again, elevates this from a ‘message’ movie into something that holds up upon multiple rewatches and delivers on scenes of debauchery and a sadly all-too-relevant social commentary. The film is constantly on the cusp of turning from comedy to a nightmare and it rides that line expertly. As David’s perceptions are challenged the film plays with that sense of reality as the characters all attempt to assert their own needs.

Skipper’s Father David is the focal point to some degree, being the first character, we meet and one that drives the film’s initial internal voice. He is isolated, reaching out to his congregation in a series of mini sermons delivered via Facebook status updates, Skipper is able to capture both the meekness that comes with that kind of reserved presentation while gradually dialling up the intensity as he is forced to adapt to his new flock. Gardner is on typically great form, presenting Terry as bold on the surface, yet with a sense of vulnerability (or at least compliance) that becomes more apparent throughout). Last, but certainly not least, Taylor Zaudtke instantly makes an impression as Lexi - her enthusiasm and passion stand out against the two male characters and it is her arc that makes the film so compelling.

The Leech’s duality means that I can sell the film to you in two distinctly different ways. If you are looking for an urgent piece of filmmaking that captures the justified anger against ‘traditional values’ impacting on the rights of everyone, you will find that here. What you will also find, however, is one of the horniest Christmas films brought to the screen with an impeccable scene in which a game of ‘Never Have I Ever’ reaches some truly wild heights and you definitely cannot say that for any other film this year. 

After only two features, Eric Pennycoff has swiftly made a name for himself as a filmmaker skilled at bringing textured, thudding depictions of warped obsessions to the screen. Every horror fan should be adding The Leech to their Christmas wish lists.

The Leech played as part of Celluloid Screams 2022. The film is released on Arrow Player and blu ray on December 5th.

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