10/10
Ed Wood meets Luis Buñuel meets Rod Serling meets David Lynch
8 September 2008
Paul Bunnell's quirky 1994 short film (53 minutes), "That Little Monster" appears to be influenced in equal measure by Ed Wood, Luis Buñuel, Rod Serling and David Lynch, and served up with more than a little caustic, over-the-top, decidedly dark humor. Bunnell and his team succeed admirably in stirring a Lynch-like queasiness. Misty, expressionistic scenes are punctuated by seemingly unrelated (and unsettling) shots of doll parts, grotesque statuary and kitschy bric-a-brac. Selected scenes go on and on, testing the viewer's patience, tolerance for truly off-the-wall characters, and appetite for surrealism. Longtime genre buffs will either appreciate or repudiate a canny reconstruction of the "warning" issued by Edward Van Sloan in the prologue to the '31 "Frankenstein." Standing in for Van Sloan is an eerily-lit Forry Ackerman. In the accompanying commentary track, Bunnell points out that Ackerman's wife Wendayne had only recently passed away prior to the filming of his scene. Stranger still is the presence of Bob Hope -- yes THE Bob Hope. Not only does Hope turn up in a clip from his 1934 screen debut, "Going Spanish," he peppers the closing credits with one-liners shot in 1994 expressly for "That Little Monster!" A class act all the way!

The story concerns an exchange student who takes on a babysitting gig in a truly strange household. The mop-topped husband croons country western tunes, mom slathers on the mascara and blows obnoxiously huge bubble-gum bubbles, and the toddler, well, he's "That Little Monster," an aggressive, goo-gooing grotesque who makes Chucky seem well-behaved. Director Bunnell says in an interview that the film was originally conceived as an episode for a TV horror anthology. His story could easily have been told in half an hour. At 53 minutes, he's milking the surrealism a tad. But Bunnell is adept at synthesizing his influences and at ease indulging his twisted passions. Also a part of the DVD package is Bunnell's 1981 short, "The Visitant," which is arguably more intriguing, but certainly not as well executed.
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