Hell Hole movie review & film summary (2024)

“Hell Hole” was obviously inspired by the master John Carpenter, owing a great deal to his version of “The Thing”—a remote outpost overtaken by a monster that can look like an ordinary person—and movies he made about people essentially stumbling into portals to Hell in films like “Prince of Darkness” and “In the Mouth of Madness.” The hapless souls in this one are a team (led by Poser’s Emily) that’s fracking in a remote corner of Serbia when they drill into, well, something impossible. They find a body in a sort of cocoon of a centuries-old soldier, and he’s still alive. While they discuss what to do with this break in reality, they notice something even stranger about the Frenchman in that there appears to be something that occasionally peeks out of his nose or ear. Before you can say “burn it with fire,” the monster that was inhabiting the poor soul has jumped ship to John (Adams) and set out to wreak more havoc.

The main twist of the body possession tale here is a sort of male pregnancy narrative in that the creature is inhabiting men as a host for growth. Where’s mom? And what happens when it comes to term? The Adams Family has a lot of fun with some of their most out-there ideas, such as when the creature in a human host realizes it’s under threat and basically just flees by turning its current home into a pile of bloody goo. “Hell Hole” is a marvelously goopy movie with a whole lot of slimy red stuff and tentacles slicing through the air. It’s also a consistently funny movie, playing almost more like dark comedy than the foreboding work the family has made in the past.

On that note, I’m happy to see Adams and Poser kind of spreading their wings and trying something different here, but it’s hard to shake the feeling that this one doesn’t have the same teeth as their best films. It’s more of a lark. Sure, there’s some commentary about how f-ing with Mother Nature will eventually lead to carnage, but it’s very loosely sketched, and the characters have too few traits to be actually memorable. And, yes, it’s a bit clever that Emily used to be a hippie, and there’s some decent character work by Olivera Perunicic, but the people here are naturally forced to cede interest to the enemy they face, giving the whole thing a bit of shallowness that even great body horror avoids. It’s sporadically fun enough, but just not that deep a cinematic hole.