HorRHIFFic 2026: ‘The Damnation’ Review

Stars: Norma-Sue Hill, Osawa Muskwa, Ryan Lunn, Derek Groulx, Alex Sobchuk, Ali Chappell, Sayla de Goede, Tim Denis, Zeus Fleming | Written by Christopher Darton | Directed by Christopher Darton, Sophie Godin

You know that feeling when a horror movie somehow beats the odds just by existing? That’s The Damnation. Born from a three-year production ordeal on a shoestring $32k budget – and a script that evolved after scrapping its original Dracula-inspired antagonist – Christopher Darton and Sophie Godin’s indie gothic bite packs a hell of a punch.

At first glance, this feels like your classic “creatures in the woods” setup: small Canadian towns, creepy monsters that gnaw people’s faces off, and a cast of underdogs who look like they’ve just walked out of a survivalist brewpub. But pretty soon you realise The Damnation isn’t just about sharp teeth and viscera; it’s about a community pushed to the margins, defending itself against forces both supernatural and societal.

Norma Sue Whitlow’s Sarah Blackice anchors the film with fierce grit; she’s the heart that keeps this charnel house from becoming a hollow grindhouse flick. Osawa Muskwa’s Birdie brings that prickly, unfiltered badass energy that indie horror thrives on, while Ryan Lunn’s talk-show-host-turned-monster-hunter Remi Gates delivers skewed comic relief without undercutting the stakes.

Speaking of Remi…  horror nerd alert! Instead of blowing the budget on big onscreen names, the film smartly folds veteran genre icons into the fabric of the story via vocal cameos as callers to Remi’s radio show. It’s a clever, cost-effective touch that rewards attentive fans and adds texture to the world without feeling gimmicky.

Visually, Tobe Darton’s cinematography punches well above the film’s financial weight. Windswept forests, desolate mines and isolated communities become atmospheric characters in their own right. Moments of oppressive quiet give way to bursts of splattery mayhem that are enthusiastic rather than excessive – lovingly committed to horror’s visceral traditions.

Where The Damnation really claws its way out of the pack is in its thematic bite. The monsters aren’t just there for body count; they’re woven into a broader allegory touching on environmental exploitation, systemic erasure and colonial indifference. It’s a layer that sneaks up on you. What begins as a scrappy creature feature gradually reveals deeper roots, and the shift feels organic rather than preachy.

Sure, some of the practical creature effects lean into rubber-mask territory, but on a $32,000 budget, that’s part of the charm. The film embraces its limitations rather than hiding from them. It isn’t polished like a studio tentpole; it’s polished in spirit. It wears its heart on its torn-and-bloody sleeve, and that sincerity carries it through any rough edges.

Considering its three-year production journey – halted, reworked and ultimately reshaped into something more culturally pointed – The Damnation stands as a testament to stubborn creative perseverance. It’s funny, grim, heartfelt, occasionally brutal and fiercely committed to telling a story that refuses to be ignored.

This is exactly the kind of horror movie that makes you glad indie filmmakers keep pushing boundaries with what little they have. You won’t just be entertained, you’ll find there’s more lurking beneath the surface long after the credits roll.

**** 4/5

The Damnation screened as part of this year’s Romford Horror Film Festival.