Over the years, Clay Moffatt has become a familiar name at Screen Critix. We’ve reviewed several of his previous projects, including Ghostly Secrets of Hotel San Carlo, The Last Five Days: The Freak Building, Pocketman and Cargoboy, and Silver Woods, so it’s always interesting to catch up with his latest filmmaking efforts. He returns with Give Me Something Good, a Halloween-set horror comedy that once again sees him taking on multiple roles as writer, director and editor.
The story begins on a college campus, where friends Lucy (Samantha Santillanes) and Selena (Melissa Rokuskie) discuss a party being hosted by the popular but unpleasant Caitlyn. Lucy has little interest in going, preferring to stay home and catch up on her biology homework, but Selena suggests a compromise. Instead of attending Caitlyn’s gathering, why not have a small party at Lucy’s house? Better still, she’ll invite Colt (Jonathan Michaels), the boy Lucy has a crush on, while persuading her own boyfriend Jarrod (Drew Lopez) to come along as well.
Before long, the handful of friends have gathered at Lucy’s home. Calling it a party may be stretching the definition slightly, as there are only six people present, but the evening gives Lucy and Colt a chance to spend time together. Upstairs, Selena and Jarrod disappear for some privacy, while Lucy’s older brother Austin (Stephen Kessen) wanders downstairs clutching a Ouija board, convinced it will make the night far more entertaining.
As horror fans will probably expect, the séance doesn’t go according to plan.
After a trick-or-treater unexpectedly appears at the front door and strange events begin occurring around the house, Lucy suddenly collapses before awakening with glowing red eyes. From that moment onwards, the film shifts into familiar possession territory as she begins stalking and attacking the party guests one by one.
Give Me Something Good Shows Heart, But Needs More Originality
The premise is certainly recognisable. Haunted houses, Ouija boards and demonic possession have all been staples of horror cinema for decades, and Give Me Something Good follows many of the genre’s well-worn conventions. Unfortunately, that familiarity becomes one of the film’s biggest obstacles, with many of the plot developments feeling predictable long before they arrive. The story rarely finds an opportunity to surprise the audience or put its own spin on the material.
Visually, the production reflects its modest budget. Adam Berardi’s cinematography includes the occasional enjoyable tracking shot and an effective crane movement during the opening college montage, but much of the film relies on fairly straightforward compositions and simple coverage. Camera pans and tilts sometimes struggle to keep pace with the performers, while the lighting remains functional rather than helping to build atmosphere. Independent productions can absolutely create memorable visuals on limited resources, but the filmmaking here often feels quite basic.
The performances are similarly mixed. The cast are clearly enthusiastic and appear to be enjoying themselves, which brings some welcome energy to proceedings, even if the acting never quite reaches a consistently convincing level. There is a genuine sense that everyone involved was having fun making the film, and that enthusiasm does come across on screen.
Where the film struggles most is in balancing its advertised genres. Marketed as a horror comedy, it never fully embraces either side. The horror elements generate very little genuine tension or suspense, while the comedy rarely produces the kind of laughs needed for the lighter moments to truly land. As a result, the film occupies an awkward middle ground where neither aspect is as effective as it could have been.
The practical effects are also fairly limited. Once Lucy becomes possessed and the body count begins to rise, the blood effects and prosthetics never quite convince, reducing the impact of scenes that should feel far more shocking. Budget limitations undoubtedly play a part, but creative editing and stronger visual presentation could have helped sell these moments more effectively.
Despite those criticisms, it’s impossible not to admire Moffatt’s commitment to independent filmmaking. He continues to write, direct and produce films on very limited resources, and simply completing another ambitious project deserves recognition. His passion for filmmaking has never been in doubt, and his willingness to keep creating and improving is commendable. Having followed his work for a number of years at Screen Critix, it’s encouraging to see that same determination remain.
Ultimately, Give Me Something Good feels more like another learning step than a finished destination. The story leans too heavily on familiar horror tropes, while the filmmaking and performances still have room to grow. However, every new production builds experience, and Moffatt’s persistence suggests there are stronger projects still to come. For fans of ultra-low-budget independent horror, there may be enough Halloween flavour here to warrant a look, even if the film ultimately falls short of delivering on the promise of its title.
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