PSYCHO GOREMAN: Monsters in Tribute to Childhood

Oh, to be a teenager again! Playing make-believe games in the yard, driving your parents crazy with antics, and watching bloody horror movies and monster films in the evenings. Wait! That last one is still possible (the first two, too, but it’s really not appropriate anymore)! Thanks to directors like Steven Kostanski, you’ll forget all about those tough years and the big bucks spent on education. You’ll relax, eat tons of candy, turn off your brain, put your shame in your pocket, meet Psycho Goreman – the Archduke of Darkness, the biggest thug in the universe – and feel like a kid again.

Are you excited but also confused? Let me explain what “Psycho Goreman” is about. Kostanski’s film tells the story of a sibling duo (Mimi and Luke), who accidentally come into possession of a magical stone/amulet/gem. This object allows them (well, mostly Mimi, who definitely takes charge in the pair) to force a monster from the planet Gigax to play childish games. This monster once terrorized the entire galaxy but was defeated by cosmic Templars. The resurrection of the Archduke of Darkness, whom the kids rename Psycho Goreman (PG for short), brings his enemies to Earth, including his greatest adversary, Pandora.

“Psycho Goreman” is a twisted, crazy, vulgar, campy, and bloody mix of everything we love about horror, science fiction, and adventure films from the 80s and 90s. It’s a movie where you’ll find traces of iconic titles like “E.T.”, “Robocop”, “Terminator”, “Power Rangers”, and “Star Wars”. However, Steven Kostanski’s film is closest to “The Toxic Avenger” from the legendary Troma studio. PG doesn’t pretend to be anything it’s not. It’s a no-frills, low-budget, but high-energy ride fueled by a love for the aforementioned genres. A love expressed through tons of rubber and latex used to make the monster costumes, gushing blood, and cheesy practical effects. It’s worth noting that in terms of effects, costumes, and makeup, PG is exceptionally well-crafted and delightfully nostalgic. No wonder, as Steven Kostanski is a highly regarded FX specialist, with credits including “Silent Hill: Revelation” (2012), “Suicide Squad” (2016), and “It” (2017).

Beyond the impressive effects, “Psycho Goreman” is, above all, a hilariously dark comedy, and its success in this area is thanks to the actors. It’s almost unbelievable how aware the young actors are of their wild, comedic performances, especially Nita-Josee Hanna, who plays Mimi. Her character is both annoying and extremely funny, always at the center of attention (even during a scene where her friend Alasdair [Scout Flint], transformed by PG into something resembling a giant brain with eyes and tentacles, gets kissed). This young, talented actress is definitely one to watch. Owen Myre, as Luke, holds his own beside her. Luke isn’t as bold as his sister; he often gives in, is obedient, and somewhat withdrawn. Kostanski cleverly uses Luke’s personality for humorous dialogue scenes, where despite spending time with the siblings, PG still can’t remember the boy’s name. As for Matthew Ninaber, who plays the titular monster, it’s hard to say much since all his emotions are hidden under the rubber suit. However, it’s worth noting that Steven Vlahos provides Psycho Goreman’s voice, delivering hilariously Shakespearean lines like: “The horrors you have just witnessed cannot be unseen. Your young minds will carry this until it consumes you in a miserable death,” which are especially funny when met with a deadpan response from Mimi, like: “Cool.” Oh, and I almost forgot. Mimi and Luke have parents, too. These are also well-acted characters, but I feel that the scenes revealing their marital issues slow the film down and are the least engaging.

One thing that immediately stands out while watching Kostanski’s film is the incredible chemistry between the actors, which you can almost feel through the screen. Despite all its craziness, “Psycho Goreman” radiates good energy. It’s a sincere love letter to the kind of cinema you loved as a child. As a result, Kostanski’s production is one of the weirdest, yet also funniest, tributes to childhood in the history of cinema.