There’s a decent idea for an exploitation flick buried in here, because the premise is that hillbillies who have lived illegally in the wilderness for an extended period of time fight back once government developers try to clear the land for creation of a park. Alas, the filmmakers avoid the obvious path of making the hillbillies sympathetic, instead portraying them as dimwitted maniacs. Worse, the filmmakers provide the hillbillies with a steady supply of victims by contriving subplots about folks wandering into the woods during the killing spree. To a one, the characters in God’s Bloody Acre are stereotypical and underdeveloped, so it’s impossible to care what happens to anyone onscreen, though of course basic human empathy kicks in once the final survivors of the ordeal seem close to becoming victims. In any event, God’s Bloody Acre represents many of the worst tropes in horror cinema, reveling in violence against women (there’s an endless scene of a young lady getting her throat cut) while reinforcing demeaning clichés about rural populations. Oh, and just for good measure, the picture throws in a little racism, because, naturally, the three black guys driving a Rolls-Royce are violent thieves who rob every white person they encounter. In the spirit of trying to say something kind, director Harry Kerwin manages a few clever scene transitions, and the vignette of a fellow getting chopped in two by a bulldozer blade is nasty. But in all the usual ways for this sort of junk, God’s Bloody Acre is boring, cheap, dumb, and unsavory.
God’s Bloody Acre: LAME