A busty feminist, a Jew, a militant African American, and a bisexual porn star hippie all audition for the role of Jesus in a Seattle play. When none of them gets the part, they take a road trip together full of sex, blood, Satanism, evil Elvis impersonators, zombies, and, of course, the apocalypse. Is it any wonder that Lloyd Kaufman, the head of Troma Studios (best known for their Toxic Avenger series), is quoted all over this movie’s cover saying how much he loves the film?
Yet, despite Kaufman’s seal of approval, it’s not until nearly an hour into the movie before we see the first bared breast and not until a while after that any real gore begins. What gives, Lloyd? Are you finally giving in to buildup and foreplay? At any rate, once the blood and guts do begin there’s no stopping them. Pitchforks through stomachs, zombie children eating body parts from a barbeque, it’s all there.
It’s not to say that nothing of interest happens the first hour of the movie. After all, it is here that our four Jesuses tangle with the afore mentioned gang of evil Elvises. When the fattest of the Elvises takes the Jewish Jesus’ necklace, you know there’s going to be trouble. I know what you’re thinking and, yes, it does sound like it’s way too much. But, there’s some intangible quality to a gang of foul tempered Elvises with cocaine smudged under their noses that is truly special.
With the campy meter running on high, our four Jesuses flee from this rumble only to be arrested in the small town of Jackville. That’s right, Jackville. The citizens of this town quickly turn the Jesuses against each other and try to exploit these actors for whatever backwoods fantasy that tickles their fancy. For one citizen the desire is for man on man lovin’. For another it’s finding the rod of power and ruling the world. For one woman, the want calls for another member for her coven, and also lesbian lovin’. Then there’s the quiet man who only seeks to help out the Jesuses in any way he can. This guy doesn’t fit, does he?
Not all movies can be its generation’s “Citizen Kane”, “The Godfather”, or “Schindler’s List”. To their credit, many low or no budget films, like “Gory Gory” don’t even try. Instead, they embrace their limitations and attempt simply to entertain their audiences. In our world full of pseudo-profound arthouse films, this fashion of not taking yourself too seriously is extremely refreshing.
Sort of a “Jesus Christ Superstar” meets 1960’s psychedelic B- movie meets Tromaville, “Gory Gory Hallelujah” is indeed fun despite it’s occasional slow points.
