REVIEW: Bitch Ass (2022)

dir. Bill Posley

When four gang inductees – including the hesitant Q (Teon Kelley) – break into the house of an old rich woman they believe to be dead, they ransack the property room by room. Soon however they discover the truth behind the urban legend of “Bitch Ass”, and are forced to partake in a serial killer’s twisted board games that are a matter of life and death.

Introduced by horror legend Tony Todd (Candyman; Final Destination) in a retro-video-horror-host style, director Posley’s theatrical debut is a captivating homage to slashers. With obvious influences from the Saw franchise and Don’t Breathe (2016) it explores the much loved genre topic of motherhood and the creation of killers by monstrous maternal figures, contrasting the dichotomous relationships of Q’s mother – the supportive and protective Marisa (Me’lisa Sellers) – with the abusive grandma (Sheri L. Walker) of the titular killer.

With gore-filled kills, a strong cast and a distinctive visual style made up of split screen and game graphic cards, Bitch Ass offers a fresh twist on tired tropes, giving an interesting perspective on the nature-vs-nurture argument whilst delivering a love letter to the slashers of yesteryear.

© Ygraine Hackett-Cantabrana

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