Willow, the adorable toddler in the apartment across from me, always seems to be in front of my door when I’m making a quick exit for work or the grocery store. She, breathlessly, will tell me about her adventures at her babysitter’s house or how her cat, always misbehaving, has stepped on her feet again. I’ll cluck, encouragingly or sympathetically (whatever the case may call for), and hurry on my way. If that is stalking, I’ll take it.
Traci, a woman breaking away from a violent relationship, in director-writer Chris Moore’s emotional Blessed Are the Children, though, finds herself, unfortunately, fixated upon by some violent, mask wearing strangers after her visit to a women’s clinic. These mysterious villains are soon obliterating the men in her life and are also putting Traci and her roommates, Mandy and Erin, in harm’s way, as well. Could these figures be tied in with Traci’s disapproving mother or is there something much more malevolent at work here?
Whatever the answers, Moore is to be highly commended for taking a series of social issues and placing them, firmly, in the context of the traditional slasher film. He delves into all the reasons that Traci (a finely modulated Kaley Ball) decides an abortion is the right decision for her and, with the effervescent help of actress Keni Bounds, he creates one of the strongest lesbian characters to ever benefit a genre film with Mandy. Fun, mothering and complex, she is the standout personality here.
Granted, it’s a fine line to walk in a film wallowing in violence and retribution. There is always the chance that certain viewers will assume that Moore is suggesting that Traci and Mandy deserve any bad tidings that come their way. But by the film’s end, one almost imagines that it is this duo, along with Arian Thigpen’s delightfully awkward Erin, that are the real “children” being referred to in the movie’s title, so lovingly are their quirks, foibles and devotion for each other explored.
Nicely, Moore also provides the expected bloodshed and several twists are sure to give audience members’ a nice sense of surprise, as well. One almost wishes the final act of the film was a bit tighter, but the penultimate moments of the movie are chillingly and haunting rendered, making this project, as a whole, an extremely memorable one. Most importantly, this fadeout also provides a prescient and poetic mediation on the current state of the world, one where hate and bigotry seem relentless and never-ending and we are all innocents in danger of losing not only are freedoms, but our very lives, as well.
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Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
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