Things don’t start off with a lot of promises in “Boys from County Hell,” and they don’t improve as they go. But that’s not to try, as it has practically two presentations that show old people suddenly bleeding from their eyes while watching TV, and then a trio of Irish thugs pranking Canadian tourists with an ominous pile of stones, that believed to be linked to a story that inspired Bram Stoker Dracula. Tourists are immediately frustrated, but locals Eugene (Jack Rowan), William (Fra Fee) and their beefy pal SP (Michael Hough) are satisfied, mainly because there is nothing else to do in this part. from Ireland. Joke whatever you want, but this jagged rock mini-tower is the most intriguing thing in this movie, ominously sitting on the ground as Eugene’s father Francie works with his company to tear it down and turn it into a bypass. No one knows what’s underneath.
Baugh has a lot of foldable story elements here, but the making of the movie leaves them falling apart – the opening farce has the comedic winding-up of a walk in the woods, and like many other passages, it mostly exists. to empty the exhibition with lots of awkward ADR (recording dialogue for moments of distant or off-camera characters who might as well be voiceovers). The first half of the movie is slog, and that doesn’t change too much when William is suddenly killed by the rocks in a way that is surprising and horrifying. But that’s a start, because at least it brings the vampire elements of the story back to the surface, having been buried under the aforementioned charismatic pile of rocks centuries ago. The thin and bland cast of the road workers movie (including Eugene’s friend and colleague, Pauline [Andrea Irvine]) is then attacked by a bloodsucking force that diverges from Stoker’s famous Count Dracula when it comes to rules. Not the least strange, though Baugh ends with some surprising moments where things suddenly fall into the frame. And despite all the drinking and even a designated beefy sidekick who seems designed for jokes on such a nature, it’s just not funny.
Instead, “Boys from County Hell” feels the need to prove his emotional qualities, delving into the effect of this loss, and later on the strained relationship of Eugene and his father Francie (Nigel O’Neill ). There’s a big gap between them, left behind by their mother’s passing, and Francie is too macho to mend with even a hug. Both take up a considerable amount of script pages, but the development is too flat to be heartbreaking; The same is true when it turns out that there is more emotional pain to be squeezed out of William’s part of the story. Baugh thinks that dealing with an undead issue with overt heartbreak will add more dimension to his story, but the tonal pivot is as much of a buzzkill as the light of day.