Crumb Catcher: An Intriguing and Hypnotic Film

Crumb Catcher

A newlywed couple is held captive in a remote lake house by a maniacally optimistic inventor and his sour wife who are desperate to finance his dream project with a half-baked blackmail plot.

Director – Chris Skotchdopole

Writers – Chris Skotchdopole,Larry Fessenden, Rigo Garay

Stars – Rigo Garay, Ella Rae Peck, John Speredakos

Crumb Catcher, A Horror Movie Review by Hope Madden

You want to see a nice evening unravel quickly?

Chris Skotchdopole takes an intriguing premise—groom gets too drunk on his wedding night and can’t quite remember what happened—and layers on something hypnotically, catastrophically banal.

Leah (Ella Rae Peck) and Shane (Rigo Garay) have not started their marriage off on the best foot. Last night was a bust, but maybe a quiet honeymoon at Leah’s boss’s gorgeous, art-bedecked cabin will right things.

Garay and Peck develop a believable antagonism, Skotchdople’s first sleight of hand. Because the performers and the writing (penned by the director along with Garay and Larry Fessenden) slowly deepen and tenderize the relationship so that you buy them as a couple, and hope for their best.

And then.

Most couples contain one person who cannot bear to be rude to someone no matter how obliviously, insistently annoying that person is. The other member of the couple can’t decide who to be angrier with, the annoying stranger or their own placating partner.

John (the magnificently deranged John Speredakos) is that annoying creature, and you have absolutely met this guy before: doesn’t pick up on hints, aggressively friendly, needy and clearly has an agenda.

So it is with much contention that the newlyweds greet John late on their first night together at the cabin. What follows is a bold mix of home invasion horror, comedy of manners, and absurdist timeshare nightmare.

Skotchdopole’s feature debut benefits from his years behind the camera, including shooting Fessenden’s 2019 Frankenstein analogy, Depraved. Crumb Catcher’s disorienting camera emphasizes its chaotic, freakshow quality and visually represents the rising anxiety of the hellish social trap.

Garay delivers an often internal, tender performance nicely offset by Peck’s droll sarcasm. Lorraine Farris turns in strong support work as well, but Speredakos owns this show. His display of desperation and entitlement turned delusional would be hilarious were it not so unsettling.

Skotchdopole’s managed a tightwire of tones, delivering a tense and compelling thriller that turns banality into a weirdly funny nightmare.

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