Red State
Dir. Kevin Smith
When three teenage friends answer an online invitation for sex, they are kidnapped by a sinister fundamentalist Christian group who plan on punishing them, Old Testament style, for their sexual ‘deviancy.’
The prospect of Kevin Smith addressing the extremes of fundamentalist Christianity through the conventions of horror cinema is, for this writer anyway, an utterly irresistible one. Smith already addressed the extremity of organised religion in Dogma, which, while rather plodding and uneven, was still an interesting departure for the director, famed for his lo-fi slacker-driven stories. While Red State may be a different beast entirely, it also sadly slides into unevenness as the plot eventually crumbles under weighty speeches and a limp, exposition-heavy finale. Differing from the usual religious horror, the threat in Red State comes not from Satan or the occult, but from fundamentalist God-fearers who believe their faith entitles them to carry out atrocities against humanity in the name of God. Inspired by the downright abhorrent, unsavoury and homophobic Westboro Baptist church, Smith’s film has so much promise, and while he does attempt to address heated topics such as the picketing of gay funerals by religious extremists and the indoctrination of the young into what is essentially a religious cult, his first foray into horror sadly runs out of ammunition before trundling into a half-hearted and underdeveloped slump. This could have been such a powerful film about the extremes of fundamentalist Christianity and an exploration of the frighteningly real attitudes of a dangerous minority. Instead it just unravels to deliver increasing disappointment.
It is essentially a film of two parts. The first is a genuinely taut and distressing horror narrative inspired by religious extremism and filtered through torture porn aesthetics. The three teens who find themselves abducted by the bible bashing right-wingers are somewhat typical slasher types with no real substance; the only characterisation afforded them is their keenness to get laid. This is surprising given Smith’s penchant for creating usually quite three dimensional characters with pointed opinions and biting wit. When their lives are endangered however, we root for them on a purely human level and because their captors are utterly unreasonable and deluded by their beliefs. The scene in which one of the teens awakens from drug-induced unconsciousness, bound up in a cage and being wheeled into a fiery LGBT-condemning sermon conducted by the Fred Phelps-inspired Abin Cooper (Michael Parks), is expertly constructed, as queasy tension steadily smoulders towards bloody ignition. With surprising subtlety our attention is drawn to the figure standing under a white sheet in front of a huge cross. A little like that scene in Audition, we gradually realise that someone is under the sheet. Feebly struggling. Tension mounts as Cooper’s vitriolic sermon and hateful comments about homosexuality continue to spit forth, and the overwhelmingly troubling revelation of what’s under the sheet - a captive man accused of being gay, lashed to the cross with reams of plastic wrap - ends with a sickeningly brutal death. That this violent and despicable brand of homophobia still exists in the States adds to the impact Red State makes early on. This scene is unflinching in its intensity and demonstrates Smith’s astounding ability to create tension and get the pulse racing. Alas, this intensity soon abates and is distinctly lacking from the rest of the film, which unfolds as a darkly comic siege narrative heavily inspired by Waco. The self-righteous fundamentalists eventually engage in a violent shoot out with ATF (Alcohol, Tobacco and Firearms) agents led by John Goodman.
Tension is initially generated by the congregation’s deluded self-righteousness and the way in which Abin Cooper whips them into a worrying frenzy with his onslaught of anti-gay bile, ‘supported’ by quotes from the good book. However, proceedings soon run out of steam and Red State becomes rather muddled and uneven. As the siege continues, the feeling that it is completely futile becomes overwhelming. By peopling his story with unsavoury characters we just can’t relate to, perhaps what Smith is saying is that society has become so distorted by extremism and corruption, that it is best to just detach yourself from it. The state cops are painted in the same unflattering light as the cult, and Smith touches on how religion and politics are still intertwined in contemporary US society, but doesn’t really explore this concept in much depth. In the end, the film exhibits a rather nihilistic outlook, as various protagonists are killed; though Smith must be praised for refusing to conform to horror conventions. Mention must also be made of Michael Parks’ charismatic performance as Abin Cooper. Smith openly acknowledges that this character is based on the Westboro Baptist Church pastor, Fred Phelps; infamous for picketing the funerals of not only gay people, but also soldiers – who he claims were killed by God as judgement for the US’s acceptance of homosexuality. Cooper’s Phelps-like unreasonableness and belief that he is entitled to cleanse America of gays rightly gets the blood boiling. It’s too bad the bordering on slap-stick ending dilutes his power to unsettle.
While all the ingredients for a highly emotive and provocative story are evident in Red State, it simply doesn’t live up to its potential. Far from a bad film though, and never anything less than entertaining, it just lacks the powerful impact such heated subject matter warrants.
