She Kills (2016) Film Review – Right in the Dick

Posted on by Jim Cox

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She Kills is a 2016 American action horror film, written and directed by Ron Bonk. Boasting a huge filmography as an executive producer, Ron is known as the proprietor of SRS Cinema, a film production company based in New York, notable for funding and producing hundreds of low-budget horror films such as Ed Gein: The Musical (2015), Shark of the Corn (2021) and their upcoming project Venus Die-Trap (currently being crowdfunded).

Sadie’s life is destroyed when a vicious gang called ‘The Touchers’ targets her for their sadistic fantasies after witnessing her sexy but innocent naked frolicking in a nearby field. On her wedding night, they attack her and her husband Edward, brutalizing both of them. But during the attack the virgin bride discovers a dangerous secret about her body – she is cursed with the legendary ‘Fire Crotch’, a condition where Satan has laid claim to her vagina. After visiting her fortune-teller friend, Casparella, a space exorcism is attempted on her meat flaps, but it only ends up unlocking secret hidden powers inside her. Her hatchet wound becomes lethal, her most deadly weapon in her thirst for revenge against The Touchers and her fight against lustful men everywhere!

A loving homage to 70s exploitation and, more specifically, the rape/revenge subgenre, She Kills certainly emulates their stylised visuals and gritty tone wholeheartedly. Taking influence from/referencing some of the most influential titles in the genre, the film is a love letter to films such as I Spit on Your Grave (1978), Thriller: A Cruel Picture (1973), as well as many films inside and outside the rape/revenge genre.

However, one way the film differs from its predecessors is the overtly comedic overtones implemented throughout. Whilst the implementation of (purposefully) inferior quality stock footage, “unintentional” appearances from crew members captured on the sidelines, and zany, over-the-top performances play into the film’s exploitation foundations, the non-stop, low-brow humour can be more of a hindrance overall–lowering the intended impact of scenes. Fortunately, this takes somewhat of a back seat around the film’s mid-point, allowing for the over-the-top violence to perform the comedic elements.

Displaying a conscientious understanding of the cinematic style of the period, She Kills’ cinematography is a sleek representation of the contemporary visuals of this beloved genre. With several examples of inventive framing, crash zooms, and many other hallmarks of cinema at the time, Ron intuitively visualises a deep knowledge of the exploitation genre and what makes it so enchanting to fans so many years later. However, one negative is being recorded on digital rather than actual film, with visual effects to replicate the “grindhouse” aesthetic. While very noticeable in the film’s first act, the effects themselves aren’t too egregious and are soon forgotten about for the most part

Another key aspect that fully embodies the film’s basis is the amazing score. From the haunting piano piece of the intro, the rising, synth-laden drones of more tense scenes, and the juxtaposing, light-hearted folk music over a slow-motion massacre, the soundtrack of She Kills hits every note perfectly and fully embraces the film’s gritty tone.

Paying tribute to cult classics of times passed, She Kills is an undeniable billet-doux to the works of Bo Arne Vibenius, Meir Zarchi, and Sam Peckinpah, to name but a few. With its incredibly stylish visual design, in-depth knowledge of its source material, and fantastic, over-the-top performances, She Kills is sure to hit the spot for those who enjoy the niche of 70s exploitation and deliver a rollercoaster of revenge.

She Kills (2016) is available to purchase from Goredrome Pictures’ website here and TetroVideo’s website here.

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