A brand-new promotion is on the line–and numerous individuals are vying for that coveted position. At Brimstone Magazine, the boss, Mr. Bowers (Timothy J. Cox) runs a tight ship, and he has high expectations of each and every one of his employees–including Michael (Justin Andrew Davis). Michael is unassuming, but, with the help of Agatha (Leslie Lynn Meeker) and her Satanic friend Ricky (Steven Trolinger), he is Hell-Bent on procuring that position–and he might just succeed.
Hell-Bent is a silly comedy that follows a nobody in the grand scheme of Brimstone Magazine. Michael serves no purpose other than to be the butt of everyone’s jokes, and he’s seemed to settle in well in that place. This underdog story immediately speaks to viewers, and they know the direction in which it’s headed. The story has been done so many times before, and time and time again, it has proven to appeal to the masses, and Hell-Bent aims to replicate those prior successes, but with a twist.
We all expect that Michael rises from the ashes of his existence and that he finds a way to succeed, but the way in which he navigates the film, and with whom, is a complete surprise. Writers Shayne Kamat and Lorenzo Cabello create a fantasy world that mirrors our own, that feels real and honest, but with an interesting touch of charisma and charm that we don’t always see each and every day. The way in which that charm is introduced is through Agatha. She’s calming, oddly sophisticated, and she brings a certain level of experience to the table–never relenting in her ability to reach viewers throughout Hell-Bent. While she, much like Michael, is unassuming, Meeker is a powerful presence throughout the film. I know she’s not technically the star of the film, but Meeker is the person that made the film for me.
The narrative is ever-winding, never really allowing viewers to settle in, and that’s a good thing. Viewers have to remain on the edges of their seats even though Hell-Bent is a comedy. As I sat there, waiting for the film’s next twist, I was over and over again pleasantly surprised. As previously mentioned, at the heart of Hell-Bent is a narrative about underdogs and never counting out the little guy. It does a wonderful job of presenting this to viewers, and the touching story is perfectly balanced by the constant comedy. Trolinger is the catalyst for the film’s comedy–and he’s brilliant. Not often do I laugh out loud at films, but I found myself, on numerous occasions, unable to hold back my laughter.
I have found on numerous occasions that short comedies often miss the opportunity to cut out some unnecessary scenes–ultimately losing viewers from time to time. Hell-Bent falls victim to this to a degree, but not to the point that others have. Surely it is a difficult thing to eliminate scenes that you once believed to be important, and I understand that the entire process must be gruesome–but it’s essential that Director Foster Vernon find the strength to eliminate certain scenes and strengthen his film as a result.
Other than the few scenes that likely could have found their way to the cutting-room floor, Hell-Bent is a solid film that employs a series of emotions throughout. It’s a twist on a classic tale, and it works in a number of ways to entice viewers along the way. It’s charming, hilarious, and it gets its point across from beginning to end. Hell-Bent does not disappoint.
Directed by Foster Vernon.
Written by Shayne Kamat & Lorenzo Cabello.
Starring Justin Andrew Davis, Leslie Lynn Meeker, Steven Trolinger, Ashley Kelley, Timothy J. Cox, Chris Andraka, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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