From its opening scene featuring black horror icon Tony Todd sitting in a dimly lit, home library of sorts, “Bitch Ass” immediately prepares you for what kind of film it is going to be. This opening prologue eloquently delivered by the ever reliable of the macabre Todd sets the tone for the journey we are about to embark on, and is perhaps (by writer/director Bill Posley’s own words) the most important scene in the entire film. This is will be the only time we really see Todd, as he is more of curator than an integral part of the actual story. But it is this kind of self awareness and execution of setting the tone early that makes “Bitch Ass” so effective from the jump. Posley is dialed into the genre he wants to operate in, and draws from these inspirations to take us back in time with his new slasher film, which features the first ever black, masked serial killer.
We begin in the late 80s, where we meet a young boy who loves to play board games. He is bullied and tormented by fellow students, nicknamed Bitch Ass for never fighting back. While on a date with his crush who was kind enough to accept his offer, he is brutally attacked and left for dead. Fast forward to 1999, where Marisa (the young girl from before who witnessed the attack) is desperately trying to keep her son from getting involved in the local gang activity. The gang is lead by Spade, who sends 4 recruits (including Marisa’s son) into a mysterious house said to be abandoned and loaded with goods. There are, of course, myths and legends about the creepy house, and the 4 recruits quickly learn that the house isn’t abandoned at all. It is inhabited by Bitch Ass himself, who has created a “Saw” like maze of deadly childhood games designed for one purpose: to kill those that have wronged him and exact revenge on all those that left him scarred.
Posley goes for broke with “Bitch Ass,” acutely aware of the needed camp, fun, and humor that must be injected to make an effective, 90s black horror film. He is smartly balanced to pay homage to the things that came before it, but also firmly planting his film in the B-movie genre. It is purposefully silly, purposefully campy, and purposefully over the top, which in turn makes “Bitch Ass” far more effective than any serious approach to the content. Posley draws from things like “Tales from the Hood,” “The People Under the Stairs,” and even bits and pieces of “Above the Rim” and “Set it Off,” firmly planting his debut film within the black horror genre. “Bitch Ass” is proud to be black, which is a large contribution as to why it works. It carries us through the decades of the genre, filmed during the pandemic, released in 2022 but taking place in 1999. It is effortless in feeling like it could exist 25 years ago, with its only real updates being the filmmaking capabilities and advancement in technology to create a truly disturbing, murder game house.
It helps that the entire cast understands the assignment, and everyone seems to be dialed into what “Bitch Ass” is trying to accomplish within its genre. Tunde Laleye is a towering presence as Bitch Ass, imposing his sadistic will on the deserving and sometimes undeserving trespassers. Laleye adds just enough complexity to his character to not be inaccessible, riding the thin line between an intriguing serial killer with a motive and merciless entity ala “Jason X.” Me’lisa Sellers injects the most grounded character with genuine conviction, while Sheaun McKinney as Spade is just the right amount of cheese and caricature. There are enough twists and turns in “Bitch Ass” to remain intriguing, and Posley and Jonathan Colomb’s taut 80 minute script keeps things moving along quickly. The film never gets too caught up in the weeds, set on delivering exactly what Tony Todd said we were going to get from the beginning.
“Bitch Ass” is classic slasher fun, invoking the sentiment “they just don’t make em’ like they use to” with resounding nostalgic fondness. Truthfully, if this were made in the era it actually takes place and wants to exist in, we would already be on “Bitch Ass: Reborn” by now. It’s got the kind of bare bones survivability of its murderous lead to warrant countless straight to VHS sequels that you would find on the horror shelves of Blockbuster. And I actually hope it is allowed to become that, because there’s enough good in “Bitch Ass” to want to more from the universe being built. Posley seems to only be scratching the surface of his vast ideas for his character, and I’d be very interested to see what he can do with a larger budget and unfettered access to bringing more of those ideas to life.
Bring on “Bitch Ass 2: Electric Boogaloo!”
Rating: 3.5 out of 5 Stars
“Bitch Ass” is currently available on Video on Demand. You can watch the trailer below.
