Things

Things is a Canadian direct-to-video horror film released in 1989. It is directed by Andrew Jordan and produced by its star Barry J. Gillis. This film is considered a significant entry in the field of "bad cinema" due to its unusual narrative, amateurish production, and absurdly grotesque storyline. Despite this, or perhaps because of it, Things has carved out a distinct, cult following among a particular subset of horror film enthusiasts.

In terms of lead cast, the film involves Barry J. Gillis who co-produced with Andrew Jordan and also co-wrote the screenplay along with him. He assumes the role of Don, a character now known for his bizarre dialogues and actions. Amber Lynn, a notable name in the adult film industry, appears as a sideline reporter in intermittent cut-aways. Bruce Roach brings to life the character of Fred, Don's brother.

The movie takes an unusual approach to the traditional horror genre. The plot centers around Don visiting his brother Doug’s remote house where vile, alien creatures are running amok. However, instead of a typical, linear narrative progression, the movie relies heavily on the themes of surrealism and absurdity. This ends up offering a unique, if somewhat disorienting, viewing experience.

Doug, in an elaborate turn of events, has concocted an idea to try an unethical experimental fertility treatment to help his wife conceive who's been struggling with childbirth. His eagerness and desperation to become a father blind him to the consequences of the dark science he delves into. The plot of Things takes off in a forbidding tone as this unnatural procedure thrusts the characters into a nightmare where they deal with monstrous, blood-thirsty creatures.

This hallucinatory plot is delivered with raw, low-budget visuals - perhaps budget limitations turned into a creative opportunity, making Things a more peculiar and hence, an engaging film. The production reflects an authentically gritty and indie horror aesthetic, underpinned by grainy Super-8 footage, DIY-special effects, and spontaneous dialogues. The horror scenes go full frontal with the gore, featuring some outlandishly gruesome scenarios that have become ingrained in the memories of its viewers.

In a sense, Things is a film that seems to defy the constraints of conventional storytelling with its disregard for narrative coherence and its unique exploitation of cheap thrills, all strewn together with an enthusiastic DIY ethos. However, these elements often contribute to making the movie an engaging and memorable watch. This is not a production meant for viewers seeking a refined cinematic experience, but rather for those who enjoy delving into the experimental, the alternative noir, where the violation of cinematic norms becomes its own form of enjoyment.

Throughout the film, humor is juxtaposed with horror, creating a strange ambiance that both disarms and disconcerts the audience. This, combined with the absolute unpredictability of the events that unfold, provides a unique viewing experience that leaves the audience on edge, always unsure of what is going to happen next.

The performances are a mix of over-the-top, stilted interactions amongst the actors, which is a key ingredient in creating Things’s unsettling atmosphere. Barry J. Gillis, in his portrayal of Don, delivers a performance marked by unnerving eccentricity. His idiosyncratic line delivery has since become a talking point amongst fans of the film. On the other hand, Amber Lynn’s intermittent appearances as a newscaster seem to be placed randomly throughout the narrative, adding another layer to this surreal horror spectacle.

Things is essentially a love letter to the unique creativity that can arise from budget limitations, lack of polish, and sheer ambition. The movie has managed to persevere and garner a cult following over the years, not in spite of its quirks and unusual approach to storytelling, but largely because of them. With its unconventional narrative style, this film is a truly unique dive into the world of experimental, low-budget horror and definitely one for those curious about the more esoteric corners of the genre.

In conclusion, Things offers a slice of the uncanny, amplified by its amateurish production and over-the-top acting. Despite its flaws, or perhaps because of them, it has retained cultural relevance through the sheer force of its individuality. This film is a testament to the fascinating landscape of low-budget cinema: raw, unpolished, and brimming with all the elements that make horror truly horrifying.