The dangers of being a burlesque dancer with a heart of gold in the Valley are on full display in Richard Elfman’s new horror comedy, Bloody Bridget. Anastasia Elfman stars in the titular role as a burlesque dancer who becomes a heart-eating vampire marred in matrimonial mayhem with Voodoo deity Baron Samedi (Jean Charles) while practicing the art of dance. You remember Richard Elfman, right? He is the mad genius behind the cult classic Forbidden Zone. Here he tells a more linear tale filled with supernatural shenanigans, exotic dancers, and female empowerment that is an infectiously silly, brazenly creative, batshit crazy movie dares you not to fall under its spell.

Bridget works at a sleazy burlesque bar with aspirations of pushing her craft to greater heights. Her days are spent exposing drinks to high art and dodging the advances of her lecherous boss Tony (Tom Ayers). Bridget soon finds herself in the world between the living and the dead being guided by Mambo Mathilda (Denise Milfort) to Samedi, the Voodoo Deity. It seems that Bridget is Samedi’s wife from centuries ago. He then awakens her bloodlust, turning her into a heart-eating vampire and sending her back to the living world. After discovering her newfound powers, Bridget confides in her co-worker Pepe (Marcos Mateo Ochoa) bout her paranormal predicament. The two join forces to rid the world of cruel characters one by one. It’s a great plan until it isn’t. Soon Samedi wants his wife back and Bridget must make her case before Samedi and Satan himself (Richard Elfman) to stay in the living world, honing her craft.

Elfman returns to form with this zany, candy-colored confection. The conventional rules of cinema are thrown out, for the most part, in favor of the absurd. That is what makes Bloody Bridget work. Here, we accept that Bridget is the reincarnated wife of a voodoo god. We accept that she becomes a justice-driven vampire. We even accept that a dancer can pay for a one-bedroom in the valley. Why? because of Elfman’s zany, capricious creativity that goes for broke.

Anastasia Elfman is wonderfully silly in the lead role. She leans into her talent for camp and the returns are hilarious. The casting too, is refreshingly inclusive with a cast that features a variety of characters being exactly that. On the technical notes, the big star here is Howard Wexler‘s eye-popping DP work and Andrew Kasch‘s spunky editing. There is a silly vitality to the movie that eschews convention in favor of whimsical creativity that is irresistible. It’s almost Burton-esque. This makes sense since the Elfmans are basically from the same twisted DNA.

Let’s be clear, Bloody Bridget isn’t out to reinvent horror movies. Its purpose is to entertain. For that alone, Bloody Bridget is a success. Leave your brains at the door because Bridget is only after your heart.

7 Out of 10