Horror has always been a response to the world around it at the time of its creation. The genre is also cathartic, as seeing innocent people take down the villains is always enjoyable. In this case, Bible thumpers do very ungodly things all in the name of family and God. And then the victims try to fight back. With that in mind, the Craig Ouellette-directed Straight On Till Morning, which he co-wrote with Neal McLaughlin, is the terrifying offspring of High Tension and The Texas Chainsaw Massacre.
A newly married couple, Lily (Katie Peabody) and Rubin (James Simenc), are driving down a lonely desert highway. They get a flat tire, which Rubin goes to change out with the spare. Then Lily gets smashed by a passing car. Now, it is 2009, 29 years after that tragic event, and singer Dani (Kelsey Christian) hits the road, paying her way with small gigs here and there. This is how she meets diner waitress Kaitlin (Bonnie Jean Tyer). The two have an instant rapport, and their shared chemistry convinces Dani to impulsively ask Kaitlin to join her on her journey. Kaitlin says yes.
“Before they know it, Dani and Kaitlin are bloody, bruised, and chained up in a strange house.”
That is how the two wind up half-naked in the back of Dani’s car one rainy night. Unfortunately, they were noticed by a giant, hulking man who startled them. Before they know it, Dani and Kaitlin are bloody, bruised, and chained up in a strange house. That huge person who throws down like it’s no one’s business is Virgil (Michael Gmur), the adult son of the now-elderly Lily (Maria Olsen) and Rubin (Bill Hengstenberg). And what this family has planned for Dani and Kaitlin brings a terrifying new meaning to “family values.”
If someone stumbles upon Straight On Till Morning without knowing a thing about it, they would think it is a whirlwind romance about two women who meet and make brash decisions. This is because the screenwriters have crafted strong characters with dreams and foibles that make them realistic. The dialogue is quick and clever, but never feels rehearsed. And for the first 25 minutes or so, this is a terrific little LGBTQIA romance.
"…this is as perfect as horror gets."
