Bittertooth, 2023.
Directed by Monte Light.
Starring Autumn Ivy, Genevieve Thomas, Helene Udy, Justin Michael Terry, and Joe Altieri.
SYNOPSIS:
Two female podcasters track down a notorious serial killer, but things aren’t quite as straightforward as they seem.
Bittertooth is the latest movie from writer/director Monte Light, the filmmaker who impressed with his 2022 arthouse vampire movie Blood Covered Chocolate, and straight away you can see that, narratively, this is a beast of a different kind from that previous movie, although there are some stylistic threads that connect the two.
And whereas Blood Covered Chocolate looked to the past for its inspiration, drawing on established vampire mythology and expectations but adding some modern twists, Bittertooth feels very much a movie that is right now, mainly down to the way in which Light and his co-writers Cooper Holmes and Neal Tyler have framed their story using the medium of podcasting, and all that comes with it.
Which means that if you like true crime podcasts filled with adverts for male supportive underwear, read out by hosts who love themselves but are really putting on an act – which most media hosts are, but this is the 2020s and everything must be seen to be ‘real’, right? – and really care more about how their coloured wig looks or how they delivered a line than whether their content is actually engaging an audience, then look no further, as the filmmakers behind this movie have captured that on the screen, and lead characters Ivy Unicorn (Autumn Ivy) and Mia Noah (Genevieve Thomas) are indeed the perfect hosts to lead you into this world as they set about revealing the identity of a serial murderer known as The Bittertooth Killer. However, there is more to it than two podcasters trying to get famous, as one of the hosts may have personal reasons for their vigilante escapades.
Despite the modern framing, there are nods to horrors gone by in Bittertooth, most notably The Texas Chain Saw Massacre, but nothing here feels like a retread of what has gone before, channelling the vibe but going in its own direction and creating something more psychological rather than violent. Don’t worry, though, as Bittertooth does have moments where certain characters take off their masks – both literally and figuratively- to let their more explosive natures take over, but these moments are few and far between, and deliberately so, making their impact all the more satisfying.
But while this deliberately paced style of storytelling helps with the setup and payoff, it does mean that there is a section of the movie that feels a little sluggish, as our characters bridge the gap from selling their podcast and setting up their next show to getting to where they need to be for the final act. The performances are mainly solid – especially Autumn Ivy and Joe Altieri, who are both totally believable as their respective characters, although the standout scene is an interaction between Mia and her mother Vicki (Helene Udy) on a podcast recording that puts a lot of things to rest – but it is the stylish editing and visuals that do the bulk of the heavy lifting here, although when we get to the final act it all gels together again to make something that it at once familiar thanks to its subject matter, but a little different thanks to its execution.
If you enjoyed Blood Covered Chocolate’s arthouse take on the vampire mythology then Bittertooth offers up a similar experience for serial killers by taking something you think you know and playing with it, but what is more noticeable here is how much the filmmaking techniques feel more confident – even flamboyant in places – and offering up gorgeous visuals that add a contemporary dynamic. The pacing in the second act does dilute that energy a little, not to the point that it drags the movie down and it does bring it back for the finale, but it does make Bittertooth perhaps a little less enthralling for casual viewers. However, it also shows that Monte Light is growing as a filmmaker with style and a cinematic voice, and given the growth we have seen so far, his next movie will hopefully continue that trajectory.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Chris Ward
Originally published April 4, 2024. Updated April 5, 2024.
