By David Dent
Written, directed, produced and edited by David Axe (who also writes non fiction comic books), he sells the movie like this: “a tiny crew of lunatics made Shed in Columbia, South Carolina in late 2018 … during a hurricane. Shed is bloody, sexy, weird and transgressive.”
Shed is indeed all of that and more, a kind of blend of Under the Skin, The Hidden and early Peter Jackson.
It’s Halloween and a group of friends (including an old guy dressed in a Santa Claus outfit) are in a cabin in the woods having themselves a little party. The problem is that at least one of their number is a shape shifting alien who takes out the guests one by one, trying on their skin for size (the title is a play on words, doubling as the location and the activity). The only way of telling if people are human or not is for them to have sex. At least I think that’s what’s going on.
Filmed on a budget of $25,000, if Shed feels confusing, that’s maybe down to the fact that half the cast walked during filming, necessitating Axe having to recruit other actors to complete the parts. It probably would have helped to have known that at the beginning.
Probably the best thing in the movie is the icky practical effects by Lisa Ashworth and Brandon McIver. There are some pleasantly repulsive scenes of skins being shod are reworn that makes me think that this is where the budget went. It certainly didn’t go on the sets.
Shed is probably a film best experienced than understood. Half of the dialogue feels made up on the spot and the cast, of all shapes and sizes, aren’t scared of getting a little nekkid in the interests of plot development.
Seriously this is one strange film. I’ve written this review in a style that hopefully feels like. Watching. It. Because it’s all over the place. Literally.