[Film Review] I Need You Dead! (2020)

Creativity can, at times, feel like an unbearable curse. Self-doubt and crippling imposter syndrome hits at any moment and the pain it brings can truly feel like death.

Rocko Zevenbergen’s debut feature film I Need You Dead! begins as a neon punk party and quickly descends into a deep, dark, meta analysis of depression, the creative process, and the isolation that comes with both.

For those genre fans not familiar with Troma Entertainment, watching a film influenced by the popular B-movie production company may be too far outside the nice, cozy comfort zone. Best known for The Toxic Avenger, Lloyd Kaufman’s Troma specializes in splattery, spewy, gory, psychedelic stories that are truly unlike any other films. Zevenbergen worked on Kaufman’s most recent film, #Shakespeare Shit Storm as a P.A., where he established enough of a rapport with Kaufman to have him appear in a hilarious movie-within-a-movie in I Need You Dead! The influences of Troma, as well as strong Charlie Kaufman vibes, are seen but not overwhelming, as Zevenbergen creates his own, unique aesthetic within the world that he has built.

I Need You Dead! introduces young punk Dood (Estevan Muñoz) as he hypes himself up before a party. This scene shows the viewer exactly who this kid is – not entirely comfortable in his skin and desperate to fit in. During the raucous house party (a seriously authentic portrayal of a house party, you can practically smell the place) the camera chases Dood in a desperate attempt to keep up, with extreme close-ups and split screen madness setting the stage for the tone of the film. Upon taking drug-laced “dummy gummies” Dood falls in love at first sight with Pal (Sidra Morgan-Montoya), has to talk his way out of getting arrested, and ends up on a deserted rooftop overlooking the city, lamenting his loneliness. 

From there, Dood witnesses a toothy, fleshy creature bubble up from the sewer. This scene doesn’t feel at all out of place in the narrative, as Dood’s mental state is in constant question, the viewer wondering how much of his mania is due to the drugs and how much is his internal struggle. The creature proceeds to hound its way into Dood’s life, torturing him in scenes that are sometimes outright hilarious, and other times absolutely horrific. The creature is a full-on asshole, taunting and threatening Dood with biting humor and overwhelming cruelty. As the creature invades Dood’s world, Dood has to find a way to get rid of it before it ruins his life.

The camera work and music in I Need You Dead! are incredibly effective in juxtaposing the frenzy of a large group of rowdy kids and the still sadness of a young punk wallowing in doubt and self-deprecation. The soundtrack is filled with Portland, Oregon punk bands and a killer homemade score that captures the aesthetic of this high-energy, independent production. The practical effects would make Troma proud, and Zevenbergen is a director who is not afraid to open his chest and yank his heart out for the viewer to see. 

I Need You Dead! takes turns that no one will see coming, turns that are both terrifying and familiar. The film is a cautionary tale and a mind-bending battle that has to be seen to be believed.

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