Sometimes a film is best described by a way of a childish question. What do you get if you cross found footage genre troupes, with a teen movie making project that is a zombie horror mash up with prostitutes? Well that you would get STOKER HILLS Enter film school students Ryan (David Gridley), Erica (Steffani Brass) and Jake (Vince Hill-Bedford ). They are excited about their new venture, a zom – com – sex worker film called STREET WALKER. Now STOKER HILLS is the sort of place that welcomes you to its pleasent hills and various nocturnal enjoyments without many distresses. So the first night of shooting on a local desert road that is quiet and cold, should be uneventful. But as we know with this sort of pitch and with this sort of film, it will obviously not.  Enter an unexpected John. He seems a bit over eager and failing to notice the hidden film crew, attacks Erica, driving off with her hanging from the window.

We can now expect a chase, some shoddy camera work, silly set up and pay offs and the like. We get most of that. As Erica is kidnapped, the two boys chase after her. Sensible move maybe. However these two arent capable and become lost. Then to add insult to injury, they become the prey of the kidnapper. As we expect, this means a chase through the dark, in a bunch of oddly peopled places and with ludicrous plotting. The story however becomes layered when two detectives are on the case, having wondered what the hell happened to the group after finding the footage of the incident. So we have missing kids, two detectives and a stalking murder machine, with super human abilities. 101 films have released this on digital, where it will do well. IT comes off of the back of Benjamin Louis (the films director) previous film STATES EVIDENCE, which is better as a coherent mass.The core viewership, will love the films maniac purposeful energy. The more cinematically minded, will be irrated by the sometimes bubbling irrational manner that the film has. Where everything happens and nothing is logically explained.


Arrives on digital 28 March

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