Popcorn Frights 2024: ‘Video Vision’ Review
Stars: Shelley Valfer, Andrea Figliomeni, Christopher Bligh, Chrystal Peterson, Hunter Kohl | Written and Directed by Michael Turney
Video Vision used to be a video rental store back in the golden era of physical media. Now Rodney (Shelley Valfer; Because of Mika, A Cool Dark Place) and Kibby (Andrea Figliomeni; Magazine Dreams, Fire With Fire) struggle to keep it open, repairing old VHS decks and transferring tapes to digital.
As the film opens, Kibby has fielded calls from Creepy Phil (Christopher Bligh) about transferring footage of his old public access cable show to disc, from Gator (Chrystal Peterson; Lovely Thoughts, Myth of a Lasting Sympathy) who wants to convert some tapes of their father’s band, and dealt with the delivery of an extremely heavy, and odoriferous, VHS player with no return address. Being three months behind on the rent, they can’t afford to turn any customers down, even Creepy Phil.
Complications ensue when Gator turns out to be a trans man whom Kibby finds herself attracted to. Even more problems arise when she cuts her hand on the mysterious player, freeing the evil Dr. Analog (Hunter Kohl; Skye Hoshi: Anime Girl, Creeping Death) and causing her to see the world as if through an old camcorder and vomit up what looks like slime cover videotape.
Writer/director Michael Turney (Normal, The Portal) has made a film about two different transformations that operates on multiple levels. There’s a sci-fi/horror plot that reads like something you might have rented on VHS. There’s also a complicated and awkward love story, as the straight Kibby finds herself confused by her attraction to Gator. The two plot lines become more intertwined as Video Vision progresses and Dr. Analog begins to possess Kibby, causing her to unleash some nasty, transphobic attacks on Gator, who struggles to understand what’s going on. And wrapped around all of this is the idea of recognizing the past but not being afraid to let go of its grip on you. Be it old technologies or old ways of looking at ourselves and others.
Unfortunately, Video Vision suffers from some extremely tortured dialogue. I have to give Chrystal Peterson a lot of credit for delivering lines like “I’ve accepted that I’m male, maybe you should accept the fact that you’re turning into an obsolete entertainment device. All I know is that you’re making my dysmorphia feel normal.” without bursting into laughter. That may be the worst of it, but there are way too many stilted lines and on-the-nose exchanges throughout the film. Unfortunately, judging by the manifesto posted on the production company’s website, Turney is addicted to overblown and overdramatic verbiage, and it takes a toll on his film.
And that’s a shame because Video Vision has a lot going for it, the acting is solid and there are some impressive effects that, combined with some of the film’s themes, reminded me of Videodrome. There’s also some excellent cinematography from Collin Brazie (Blackout, All I Need). Most importantly, the plot, while a bit heavy-handed in its messaging, is interesting and delivers several creepy moments.
Video Vision ends up being an interesting film that doesn’t live up to its potential. I’ve read that it’s meant to be the first film in a trilogy, and the final scene certainly teases a sequel. If that is the case, hopefully Turney will get a co-writer for it, or at least somebody to give the dialogue a rewrite. Dr. Analog is too interesting a villain to let go after just one film.
*** 3/5
Video Vision is playing, appropriately enough, as part of Popcorn Fright’s Virtual Program and will make its UK debut at FrightFest on August 24th.
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