Sometimes, you finish a movie and say to yourself “what the heck did I just watch?” This can be for various reasons: Maybe it was an unpleasant viewing experience, or an overly horrific scene. In some cases, it could be because the film was so wildly nonsensical, wacky, and off the wall. Jesterpus: A Musical Comedy of Horrors is the latter, and writer/director Dan Bringhurst was absolutely aiming for that.
We begin with a Historian narrating a tale for us about how Merlin (Dean K.M. Jones) banished an evil, child-eating court jester by the name of Jesterpus (Trey Paterson) to Mars after discovering the clown made a deal with a witch in exchange for eternal life. A prophecy exists, however, that Jesterpus will one day return to enact his revenge.
Fourteen hundred years later, a mother (Hannah Kitty Cass) tells her son (Charlie Stover) this very story before bed…and that’s when the musical numbers begin. The title of this film isn’t just tongue in cheek, and it’s at this point where it becomes clear what Bringhurst’s intent is.
As it turns out, the prophecy is true, and Jesterpus returns to earth, subsequently awakening Merlin from his centuries-long slumber in a mountain. The race is now on for Merlin to find and destroy Jesterpus once and for all, as he continues on his bloodthirsty plan of murdering anyone he comes across. Merlin isn’t alone in this quest, as there are two bumbling buffoons of cops (Dan Bringhurst and Sheldon Demke) who are also on the hunt to capture the clown.
Merlin being thrust into a modern world comes with confusion and consternation, both for him and those he interacts with. There’s one notable, hilarious sequence where Merlin befriends a biker and accompanies him to eat at a diner, resulting in an unintentionally awkward exchange between the wizard and a waitress. It’s scenes like this that truly drive home the heart of the movie. This isn’t a story to be deeply analyzed: you just need to hang on and enjoy the ride for what it is.
True to form for musicals, characters often spontaneously break into song to narrate and push the plot forward. The numbers are silly and over the top, yet still somehow manage to be irresistibly catchy. Paterson’s songs and performance are particularly impressive and likable.
Jesterpus: A Musical Comedy of Horrors is full of lowbrow, crude humor that somehow works within the scope of the universe. It also utilizes plenty of practical effects for the kills that, given the budget at hand to create it, feel authentic and understandable.
There are filmmakers who set out to create something worthy of awards and accolades, and then there are those who just want to have fun making something silly, raucous, and outrageous. When reviewing a movie, both intentions need to be considered, because there’s enough room in the world for both ends of that spectrum.
Bringhurst leans heavily into the campiness and utter ridiculousness that encompasses this movie. That can be a risky move, because your audience will either understand what you’re trying to do and appreciate it for what it is, or conversely, they’ll be confused and shun it. This is a story that won’t be for everyone, but it seems clear that this notion was understood when it was being made. Still, appreciation needs to be shown for those who think outside the box, and throw caution to the wind to create a tale so uniquely bizarre as this one. If you’re looking for a quick watch that is unlike anything you’ve seen recently, maybe give this a try. You might be surprised.
