Anchor Bay was once a major outlet for both cult classics and oddities before streaming and Blu-ray boutiques were in the picture. And hidden among the defunct distributor’s horde of terrors is the New Zealand horror movie The Locals. This Kiwi curio found its way overseas shortly after its theatrical run back home in 2003, but as of today, it has neither an online presence nor a commercial release beyond out-of-print DVDs. An unfortunate yet fitting fate for a film about the ghosts of a forgotten time and place.
Shortcuts are a bad idea in horror. They cut down on mileage and time, but they also lead to trouble. Best friends Grant and Paul (Johnny Barker, Dwayne Cameron) are victims of their own dangerous detour in Greg Page’s first and only feature film. When they go on a trip after Grant’s recent breakup, they end up lost in the country. The deeper they delve into these rural parts the more Grant and Paul uncover the dark secrets of the blood-soaked land as well as risk the chance of becoming one of the film’s namesakes.
A sinister aerial view of the story’s main venue — the open countryside with no signs of life — is temporarily disarmed by more familiar and active surroundings. Somewhere in metropolitan Auckland, newly single Grant insists on wallowing in his misery until best bro Paul shows up. They soon load up the Subaru with supplies and surfboards, then head off in search of a much-needed distraction.
With such a small cast, The Locals has an opportunity to build up its two main characters’ relationship. Grant and Paul’s banter while en route to their destination is as natural as it is insightful. The taller, dark-haired half of this duo is sensitive and thoughtful, whereas the shorter dynamo flies by the seat of his pants. Page coaxes distinct and opposite personalities out of Grant and Paul, but he ensures they are always on the same wavelength. It is almost like they can read one another’s thoughts and finish the other’s sentences. The character writing is never all that inscrutable; the audience can understand these mates without digging too far below the surface. Their close bond, the product of years of friendship, is crucial to the story.
The horror elements become more visible once the protagonists reach their pastoral address. ROAD CLOSED and PRIVATE PROPERTY signs deter an always wary Grant, but the sudden appearance of two attractive and flirtatious women changes his tune. There is something odd about Kelly and Lisa (Kate Elliott, Aidee Walker) as they pull up to the entrance of Paul’s shortcut. They are in full eighties getup, and Lisa’s beater looks ancient when compared to the men’s modern car. While viewers are no doubt telling them to leave at this point, Grant and Paul have no proper reason to be scared of Kelly and Lisa. They of course follow them across the bridge without a single thought as to how this could end poorly. In all fairness though, Grant and Paul have greater things to fear as the night unfolds.
Grant and Paul’s real terror begins when they see a murder; Peter McCauley’s character Bill slashes a woman’s throat before their very eyes. With the car out of commission, the unlucky witnesses then have to hightail it across the country until they eventually split up. Grant is more enmeshed in the homicide after meeting one of the killer’s other victims, Martin (Paul Glover), who for some reason demands he help him dig something up. In the meantime, Paul crosses paths with Kelly and Lisa again, and the three of them evade a pair of revheads (Dave Gibson, Glen Levy).
Now it seems strange to have the main characters separate so early on in the story, but this time apart emphasizes the film’s most important theme. As with any close friends, people become distant from time to time. It is presumed Grant and Paul have done the same and are only now getting back on track. Their brief disunion could be caused by a number of things aside from friction: dating, school, work. So having Grant and Paul go on personal journeys in the wop-wops is a metaphor for their own friendship. Although they have their individual problems to contend with, they still find each other in the end.
The Locals is generous with exposition and clues, so the mystery at hand is not too difficult to figure out. Audiences will have a solid understanding of what is going on before the last act comes into sight. They realize a Twilight Zone-esque sort of disturbance in time is responsible for all the ghostly goings-on. Page, however, manages to wring out one major surprise in the story that feels like a straight punch to the stomach. It is an emotional turn of events that changes the film’s tone while also reaffirming the strengths of Grant and Paul’s relationship.
In the best way possible, The Locals is a friendship film dressed up in horror’s clothing. Page’s supernatural misadventure between two lifelong buds is rich in enthusiasm, genuine performances, and most of all, a notable depiction of intimacy between male friends. This homegrown New Zealand horror movie is never scary, but it is a stirring tale of love and loyalty.
Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
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