I understand that people who know me through various social media connections may already be fed up of me going on about The Kindred, but I am going to spend some more time on it. Because it deserves it. Whatever people think of the quality of the film itself, this was something I had been wanting to see for about 35 years, all thanks (as so often happened) to a lurid and tempting VHS cover.
While his scientist mother (Kim Hunter) is dying, John Hollins (David Allen Brooks) is surprised by the news that he apparently has a half brother. Even more surprising, he is supposed to destroy this individual, named Anthony. Heading back to the old homestead with some firm friends to help him, John starts to piece together exactly what his mother meant. It is all to do with a load of illegal experiments, resulting in the creation of a life that really shouldn’t exist.
Co-written and co-directed by Stephen Carpenter and Jeffrey Obrow, The Kindred is, especially in the first half, a clumsy and clunky piece of work. It often tries to be creepy and suspenseful while most viewers will be waiting for whatever wild practical effects are surely due to come along in time for the third act. In fairness, however, those practical effects DO come along, kudos to the team for them, and they are given plenty of screentime to ensure that nobody feels short-changed.
Although The Kindred is gloopy horror fun, most will be unsurprised to find that it is far from a showcase for great acting. Brooks is decidedly average in the lead role, outshone in any scenes that he shares with either Talia Balsam (who plays his girlfriend) or Amanda Pays (who plays a woman so happy to help our hero that she might just have a secret agenda). Peter Frechette is defined by the fact that he is trying to no longer be a smoker, and he’s stuck being the most annoying of the main group members, while Timothy Gibbs and Julia Montgomery have lesser, but also less annoying, parts to play. Hunter may not be onscreen for long, but she’s not the only established star to be involved. Rod Steiger is enjoyably over the top as another scientist who values results over ethics, and every scene that features him is a barmy delight, either thanks to his performance or the special effects around him.
Despite the runtime not being overlong, the pacing could be tightened up slightly. The special effects, as wonderful as they are, vary wildly in quality. And the score by David Newman feels like it should have been much more bombastic. But these are relatively minor criticisms, especially when you think of the many other horror films from this time that ended up being much less satisfying.
The Kindred almost comes close to delivering on the promise sold on that VHS artwork, and almost coming close is a damn sight better than many other horror movies manage. I am sorry that it took me over three decades to see it, but I am also glad that something I had given up hope of ever seeing turned out to be part of a very special viewing experience, one that kept a grin on my face for the duration.
7/10
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