Freshly pensioned prison guard Roman (Costas Mandylor) assembles a bunch of
pea-brained violent idiots (among them Gianni Capaldi and featuring a pleasantly
short appearance of Vinnie Jones) for a brilliant plan: kidnap Nika (Elena
Mirela), the daughter of one of the richest gangsters alive, from the stately
mansion she resides in and press her Dad into paying a ransom of forty million
dollars. Whatever could go wrong?
Well, for starters, while casing out said stately mansion, our protagonists
somehow managed to overlook that with every sunrise, the mansion is
automatically sealed off from the outside by practically indestructible blackout
shutters. As it happens, that’s exactly the time of day when the kidnapping is
going down, so the idiots find themselves locked in with their supposed victim.
Of course, who exactly is going to be whose victim here might just become a
pressing question when trapped in a mansion among whose other features include a
freezer room full of human body parts, another room with 28 babies, and crazy
naked people crawling through sewer tunnels.
I don’t write this sort of thing lightly or often anymore, but I have no idea
what I just watched. What starts out as one of these generally insufferable
would-be Tarantino movies, just with really abysmal dialogue, quickly turns into
the weirdest horror comedy I’ve seen in quite some time. Director and writer
Alberto Sciamma’s sense of humour is deeply peculiar, and if you’re like me, it
might not make you laugh, but it sure as hell will get your eyebrows up into the
stratosphere. I most certainly won’t forget that moment when Mandylor starts
walking around in a golden full plate armour any time soon. Then there’s the
Viagra torture scene, and…well, most everything that’s going on in the film’s
second half is pure weirdness gold.
Much of the film, and not just its sense of humour, is utterly inexplicable,
not because the elements it consists of are terribly original but because the
way Sciamma uses them is so off. The film is clearly following a very individual
vision, fuelled by old exploitation movies, and an unironic weirdness that may
not be funny (though it might very well be) but that sure as hell did
interesting things to my brain while I watched it. Apart from that, Blood
Trap is also really nice to look at and stylishly directed, which of course
makes the grotesqueness of its contents all the more potent.
So, I certainly do not have any idea what it is all about, but I highly
approve of Blood Trap.