[CFF ’22] ‘Bitch Ass’ review: Film about first masked Black serial killer short on ideas

Bitch Ass has some lofty goals as is seen immediately when the film compares itself to other Black horror movies. Name dropping Candyman in the opening minutes is a bold move since it instantly opens up comparisons. Taking place in 1999, the plot follows a group of four people who are being initiated into a gang. They are tasked to rob what they are told is an abandoned home. As it turns out, it is very much inhabited.

Director Bill Posley is unafraid to let his movie wear its influences on its bloody sleeve. Along with mentioning other films, Bitch Ass borrows from Saw, Don’t Breathe, and even hosted horror shows like Movie Macabre. Everything flows nicely, but that does not take away from the fact that much of the script has a “been there, done that” feel.

Despite the lack of originality, Bitch Ass offers lots of brutal fun. Posley does not hold back on the gore and some of the kills are downright disgusting. Adding to the terror is the fact that the titular killer does not possess any supernatural abilities. He is a broken person who is lashing out because of his past.

Flashbacks provide Cecil’s (Bitch Ass is just a mean nickname) backstory without justifying anything he does. In typical slasher fashion, it is over the top, but works in the context of the story. The same can be said of the rest of the characters. Just enough information is provided about each one.

Bitch Ass touches on a number of themes regarding being Black in America, but never deals with any in a meaningful manner. The film is more concerned with delivering gruesome fun than a strong message. It may not bring anything new to the table, but that does not prevent it from being entertaining.

Tickets for the Chattanooga Film Festival are available HERE