It’s not clear who was choosing Faye Dunaway’s projects for her during the noughties with lots of zero to minimal budget productions populating most of her output. One of these projects is Welsh horror comedy, Flick, a mish-mash of of comic book aesthetics, zombie comedy and fifties rockabilly music. It’s a combination that shouldn’t work – and subsequently doesn’t when in the hands of writer-director David Howard.
Howard’s film sees a 1950s rocker murdered and returning in present day to seek vengeance on those who wronged him. Memphis cop Lt. McKenzie (Dunaway) and her animatronic arm are on hand to deal with the situation.
Don’t be fooled by a synopsis that sounds far better than it is, Flick is a passion-filled, yet chaotic and highly niche-interest watch that will deliver nothing to those not interested in fifties rock and roll and zombies. But like so many horror-comedies, Flick isn’t scary enough nor funny enough to ever justify watching.
On an aesthetic level, Howard captures some interest, shooting the film with glowing reds and in darkened rural locations in small-town Wales. Yet the budget clearly does not allow for this to be done on a satisfactory or visually pleasing level. Howard gets around some of the more ambitious narrative moments with comic strip cutaways which prevent the project looking as cheap as it is.
As is always the case with her more recent output, but Faye Dunaway is the best thing about Flick as the tough Memphis cop, battling confusion and a rocker zombie in Wales. Yet even as a die hard fan, I’d say this is one that Faye fans can sit this one out without too much worry. Of course, it’s nice to see a unique and original story being told and independent voices are becoming harder to find in cinema, so I’m glad Flick exists and I do hope its target audience found it.
Hopefully the Euro-trip will be steered back on track with a trip back to the continent shortly. Catch up with previous entries here.