The Devil's Rock (2011) - 3/4

Nazi occultism is always an interesting subject and certainly ripe material for a horror movie. I am inclined to think the occult tendencies in the Third Reich were purely decorative and symbolic. But that doesn't make it any less fascinating for a curious imagination. Paul Campion writes and directs The Devil's Rock, a low-budget, three-or-four actor movie that tries to capture the drama of the individual Ally soldier against the Reich and this its most intimidating aspect.

The Devil's Rock concerns Captain Ben Grogan, an unfortunate New Zealand soldier who accidentally washes up on a beach in the Channel Islands prepared to kick ass. He soon discovers it's the wrong beach in more ways than one. On this island, Nazi occult experiments have summoned a succubus that the Nazi Colonel hoped to control for the glory of the Reich. And the Colonel has lost control.

Where Campion really excels and shows an incredible talent is crafting, in a very limited set with only three actors, the impression of a much larger world. The geographical and historical sense of the mid-WW2 world is created purely out of good dialogue well-delivered. More than that, through dialogue with the demonic succubus and the German occultist, he gives reality to the demonic planes that we of course never get to see.

Where Campion does not excel is in generating real suspense. He has all the elements: a mysterious screamer locked in an equally mysterious room, a bunker filled with dead bodies, a highly claustrophobic set. Unfortunately, Campion wastes very little time revealing to us that the woman locked away is a demon. He makes an effort, after the reveal, to craft some psychological thrills in that the demon looks like Grogan's dead wife. But we already know she's a demon! We've seen her red with black, curled horns--like Tim Curry in Legend. The reveal should have come nearer the film's end, leaving us to wonder if the Germans didn't somehow resurrect Grogan's wife or indeed to just wonder what the hell is going on. The audience, namely myself, should have been kept wondering and then the psychological thrills would have really worked. We would have been wary for Grogan as he was drawn to his wife. As it stands, the only suspense is between the Nazi and Grogan.

When I checked Campion's filmography to research this review, I was surprised to find that I had already seen one of his shorts some time before The Devil's Rock was released. A minimal, strange film called "Eel Girl" that is actually a bit more suspenseful than The Devil's Rock, but based on the same notion. A scientist is sexually drawn to an attractive monster-girl kept in an aquarium. As he gives in to his lusts, the eel girl stretches her mouth to devour the scientist whole.

Reflecting on the similarities between "Eel Girl" and The Devil's Rock, I wonder if I didn't find Campion's problem. You see, there are some people who have peculiar fetishes, one of which is called 'vore.' Vore fetishism is finding sexual stimulation in seeing someone devoured by something: a monster, a snake, a demon, whatever. There are also some men who find monster-girls particularly arousing as they appear in horror movies, comic books, and Japanese cartoons. The thought of being devoured by these monster girls really interest some men. Campion is a clever enough director, I wonder if he didn't knowingly sacrifice suspense for his own interest in monster-girl devouring. That would be a foolish move, since vore fetishism has very niche appeal.

Whatever the reason for the blunder, it does leave The Devil's Rock limping. What could have been one helluva feature film debut is more of a promise of great things to come than a great thing in itself. The Devil's Rock is still impressive for its limitations and a decent horror film in its own right.