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SCARECROWD: THE MUSK (2015)
Directed by George Nevada
Written by Jay Disney (script translation), George Nevada
Starring Fabrizio Occhipinti, Gabrielle Bergère, Antony Ferry, Ruby Miller, Karen Lynn Widdoss, Frances Williams, Danny Willis, Raphael Willis
Find out more about this film here, @scarecrowdthemovie, and on Facebook here
I really don’t know what to say about SCARECROWD: THE MUSK. The film is one of those efforts that have moments of sheer brilliance. Or maybe it’s just completely incompetent filmmaking. Either way, appreciators of cinematic weirdness like THE ROOM, THE GREASY STRANGLER, THE TAINT, and THE THINGY: CONFESSIONS OF A TEENAGE PLACENTA might have a new film to celebrate.
It’s quite obvious that SCARECROWD: THE MUSK is made by people with very little knowledge of filmmaking, storytelling, and just solid entertainment. But out of this ignorance comes some kind of simple brilliance that endeared me to this film. A meteor from deep space lands on the farmland of a simple farmer (Fabrizio Occhipinti), who tracks it down and ends up touching it and taking it to his home. Faster than you can say Jordy Verill, the farmer becomes infected with a virus that turns his body into a massive tumor and compels him to don a scarecrow costume and kill people. The rest of the film sets up scenario after scenario for the scarecrow(d) to kill people with what looks like a very plastic machete. Interspersed between the rampant nudity and kills are monologues, seemingly from the spores of the alien planet itself, waxing philosophically about the futility of life, the inferiority of the human race, and the pointlessness of existence.
Be it the horrifyingly bad spelling of this film (which I think is supposed to be SCARECROW: THE MASK, but even in the posters the A in MASK is crossed out and replaced with a U for some reason and a D is added for no apparent reason) or the lack of any kind of plot other than having the scarecrow(d) wander into one person or persons and then kill them with whatever is handy, this is one of those films that seems to lose itself in what folks seem to like about slasher flicks, but forget that there needs to be some kind of connective story tissue in between these showcase kills. Towards the end, there are a few moments where we get into the scarecrow(d)’s head and see he was often ridiculed and mocked as a human trying to connect with others, but that comes a little too late in the game.
Still, this is the first time I’ve ever seen anyone killed with a toilet brush scrubber. So there’s that to look forward to if you take a chance on this one. The lack of storytelling sense hinders SCARECROWD: THE MUSK from being a poorly constructed highlight reel of gory kills. Even though the kills are rather potent, you need more than that to make a horror film.