When a gravely injured young woman (Mya Hudson’s Kiera) stumbles across his secluded desert home, a reclusive hermit (London May, the titular bastard) finds himself playing reluctant host. With a malicious Satanic cult in hot pursuit, Reed must defend himself, his homestead (including turtle) and his uninvited guest from wave after wave of violent attacks. Or he could just give Kiera up for sacrifice. What’s a bastard to do?
Erik Boccio’s gritty grindhouse delivers visceral action of the distinctly low-budget variety, recalling Craven’s The Hills Have Eyes and Carpenter’s Assault on Precinct 13. Which is to say that Night of the Bastard makes up for its technical shortcomings – the result of budgetary constraints – with crudely done gore, gonzo action and sick plot twists.
While the performances are understandably Indie-level, May nails the gruff bastardry required for the lead role. Night of the Bastard wouldn’t be much good without its bastard, and London May’s Reed is an enjoyably grumpy action antihero. Hudson, too, handles herself well against this barrage of violence and abuse. As the film’s villain, Hannah Pierce is enjoyably nutty, especially as the film enters its demented final phase and big revelations are made.
Night of the Bastard is a grimy, brutal take on the ‘70s action thriller. It wears its grindhouse influences on its sleeve, but delivers enough unique touches of its own to stand out from the crowd.
