PARASITES: An 80-minute race against time with a claustrophobic atmosphere.

The neighborhood where I live used to be called “The Land of Flying Hatchets,” and indeed, a lot happened here, as you’d expect from a place where World War II began, and sailors of all nationalities sought entertainment. Today, it’s much calmer, but even during its worst times, it was never as sinister as the place we’re taken to by the creators of “Parasites”.

I’m aware that when it comes to crime, the United States is on a high level, but when three young, adventure-seeking men venture to the outskirts of the city, they discover an alternate reality they never even suspected existed. Their escape from the hell created by the titular human parasites feels like an escape from New York—or rather “Escape from New York“—because although the setting is very much contemporary, far from the post-apocalyptic world John Carpenter created, the claustrophobic atmosphere of an urban enclave from which there is no escape evokes memories of that VHS-era hit.

The filmmakers don’t have much experience in the industry, but it’s clear they spent their childhoods in video rental stores. Chad Ferrin honed his directorial skills at the infamous Troma studio, where he worked on “Tales From The Crapper“. Undoubtedly, it was valuable training, enabling him to make the solid, visually credible “Parasites” on a very low budget. The shaky camera is a bit annoying (is there anyone who actually prefers this style of filming?), and the editing is dictated by the lack of investment in special effects, but despite these shortcomings, it’s hard to resist following the fate of Marshal Colter. Matthew Olivo also does a great job as the composer, drawing on synthwave stylistics, although the inconsistent decision to weave in, for example, a blues song sung a cappella is somewhat puzzling.

The cast includes a few veterans. The main villain is played by Robert Miano, best known for his role as Sonny Red in “Donnie Brasco”, and his gang includes Joseph Pilato (Captain Rhodes from “Day of the Dead”). No one should have any illusions, though—acting is at best passable here, and the fight scenes feel less realistic than amateur wrestling matches.

The plot seems very simple—a gang of degenerates doesn’t like outsiders, so when three students show up in an expensive car, they are immediately sentenced to death. That’s pretty much it, but there is also a deeper layer, and the key to unlocking it is the surname of the main character. In 1809, the explorer John Colter was captured by the Blackfoot tribe. His companion was killed, and Colter himself was stripped naked and forced to participate in a brutal game by the natives—he was released only so that a chase could begin moments later. However, Colter turned out to be an experienced runner, and what was supposed to be entertainment became a fight for honor. In “Parasites”, we watch a race against time for almost eighty minutes, but it’s far from the dull, multi-hour journey of Bilbo Baggins in “The Hobbit”. The pacing, atmosphere, and a twist at the end make the viewing experience very satisfying. Of course, appreciating it requires a specific sensitivity and a fondness for bad movies, and without these traits, Ferrin’s film isn’t worth watching.