GODKILLER: WALK AMONG US
It takes some time to get used to the illustrated film effect. Essentially, we are just watching static comic-book panels on the screen where there are occasional elements within them that move or come with superimposed CGI effects. Plus of course an audio soundtrack that is narrated by various reasonably well-known B-list names. Dramatically though, this ends up being dull. Most of the comic-book panels are drawn in a sketchy way so there is not even much detail to the artwork to admire. That said, you end up eventually accepting the film for what it is and by the time of the climactic scenes with Tommy and Halfpipe trapped in the pit with the zombified prisoners advancing and he trying to get the trick of dematerialising his hand to reach through and open the door, the film ends up generating a reasonable degree of dramatic tension.
There are some undeniable positive aspects to the film. One of these is the writing and in particular Lance Henriksens magnificently burned-out noir-esque narration. The setting is essentially the same one that fills much Cyberpunk fiction albeit having been crosshatched with something like H.P. Lovecraft, suggesting a burned-out post-nuclear future that is also inhabited by mysterious god-like entities maybe a much darker version of Immortal (ad vitam) (2004). Matt Pizzolo gives the film a darkly perverse feel, in particular a scene where young Tommy is captured by the character known as Beezal (voiced by a perfectly throaty Lydia Lunch) who toys with him in a way that vies between surgery, seduction and loss of innocence. I really like Matt Pizzolos writing he has an evocative turn of phrase in the dialogue and frequently wanders off into thoughtfully challenging philosophical treatises. How could it be possible to dislike a film where the two prostitutes toss off lines like: Have you learned to weaponise your orgasms?
On the other hand, Matt Pizzolo has created this magnificent world and a backdrop that suggest so much happening, yet Godkiller: Walk Among Us remains dramatically inert. The film has a massive backdrop about gods, their coming to Earth, complex back-stories of the characters and who and what they are. However, all of this happens outside of the storys frame and you are only left guessing at clues within the film in trying to figure how everything fits together. The problem essentially feels like one is watching a multi-part series starting with one of the middle chapters. The story also comes to an abrupt halt what feels missing is any sense of dramatic conflict with the being known as Dragos.
Full film available online here:-