Script in horror films is – in most of the cases – a necessity that accompanies the true “meat” of the bloody fiesta taking place. Although Baskin‘s director Can Evrenol pretends to have a complex storyline to tell, what he really has to offer is a mind-boggling gore fest at its finest – it’s creepy as hell and a must-see for horror fans.
Five police officers respond to a call in a town with quite a frightening reputation. On the road, they almost die in a car crash. Luckily (or maybe not…) they find themselves in the mansion, where the backup was requested. Soon they reveal horrifying truth about the place.
Baskin is a slow-burn at the core, but the Turkish director takes his time intentionally. After a brief introduction to our villager-type, narrow-minded police officers, who discuss whether they ever fuc*** a chicken (you read it correctly), Evrenol rolls up his sleeves. The poor fools are thrown into a pool of total depravation, becoming a part of some sickenening ritual, conducted by a deformed dwarf in a hoodie. Sounds funny? Believe me, it’s not.
Because the plethora of nightmarish creations packed in one film is at the same time undeniably astonishing, but also worrying. Despite the fact, that the viewer needs to prevail only one truly terrifying sequence – a sort-of wickedly bloody black mass – one should know the length of it. There is no coincidence in the fat, that Baskin is a slow-burn movie – not only does Evrenol take his time to finally invite us to the hellish mansion, but he also doesn’t hurry to quickly end that carnage. Therefore, intestines are flying around, fingernails are scratched on the floor and women in animal-themed masks are raped – it’s a Marquis de Sade’s dream.
However, the reason why Baskin stands out in the flood of mediocre gore films, is the manner that Evrenol tells his story. There is a lot of self-criticism, a lot of deeply hidden irony in this wicked tale. His characters aren’t the typical “horror meat” we are used to – instead, they are given a bit of soul, a bit of mystery. The creepy, dark atmosphere is also perfectly sustained – the colorful array of sets reminds of Suspiria and Rob Zombie’s Lords of Salem. On top of that comes the soundtrack – ominous, lively depicting the hell that we’re witnessing.
In all it’s disgusting filth, Baskin is truly a must-see for those, who believe modern horror is all, but innovative. Even though Evrenol’s story is plain and simple, his ideas are truly spine-chilling. If only given a more substantial budget, this man might truly serve some justice to the die-hard fans of the genre.