PussyCake Movie Review

Written by Stuart D. Monroe

Released by Screambox

pussycake poster large

Directed by Pablo Parés
Written by Maxi Ferzzola, Hernán Moyano, Pablo Parés, and Hernán Sáez
2021, 83 minutes, Not Rated
Released on August 30th, 2022

Maca Suarez as Elle Cake
Aldana Ruberto as Sara Cake
Sofia Rossi as Juli Cake
Anahí Politi as Sofi Cake
Flor Moreno as Pato

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What do you get when you cross a premise that feels a bit like From Beyond with an all-girl rock band as cool as (if not cooler than) Josie and the Pussycats while throwing on liberal amounts of straight splatter via a loving apeing of Predator? The result of that inspired mix is the Argentinian bloodbath known as PussyCake, and I’ll be goddamned if I can think of a better title to a film.

For the struggling all-girl rock band PussyCake, the answer to all their problems is just one more tour. That’s what they tell themselves as they roll into the next town, full of inspiration for Elle Cake (Maca Suarez; The Accused), her girlfriend Sara Cake (Aldana Ruberto), and Sofi Cake (Anahí Politi; Crystal Eyes); inspiration comes in the form of a few hits of acid for Juli Cake (Sofia Rossi). What they are actually rocking and rolling their way into is a living nightmare of a town, a place where dimensional lines have been crossed and something (or somethings) has been let loose. The ladies of PussyCake will discover one last gig isn’t always the answer.

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There’s so much to like going on in PussyCake that what little misses the mark misses it with residual style points while also being covered in a bucket of guts. There’s an actual story here built around some believable and well-played relationships in an utterly fucked scenario. That’s a pretty good way to keep the tension naturally ratcheted up. The splatterhouse SFX from Marcos Berta (Terrified) keep everything nice and visceral for the duration of this classic “deserted town” scenario.

You’ll be treated to “zombies” that are closer to unfortunate hosts thanks to a lovely little brain-sucker creature, because who doesn’t love a brain-sucker? Said pseudo-zombies barf what appears to be two percent milk to transmit victim to victim. There’s plenty of disemboweling, forcible alien egg removal, and all-around gore. And then there are heads in the ground as a direct homage to that all-time classic, Motel Hell.

The Predator-inspired misunderstood hero has a pretty cool design that still does enough of its own thing not to be a complete apeing. The constant noise he makes is a little jarring at times and is frankly overused, but you’re still basically having too much damn fun to care. As his character develops and you realize his true motivation, he adds another layer to an already solid cast with damn good rapport.

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PussyCake polishes off its trip down Tribute Lane by maintaining the sensibility of the original Evil Dead. This is a movie that knows when to be dead serious and when to go for a more comedic (and surprisingly sweet) approach. Not that there was anything sweet in Evil Dead, but you know what I mean! It’s a misnomer to call PussyCake a simple splatterfest even if it utterly works on that level…and it does. However, it’s so much more creative than all that. By showing love to many of the classics while focusing on the human story, PussyCake manages to do its own thing with aplomb.

And I’ll remain crazy about the name PussyCake. It’s right up there with Butt Boy, Killer Sofa, and The Velocipastor as attention grabbers go.

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Movie: 4.5 Star Rating Cover


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Stuart D. Monroe
Staff Reviewer
Stuart D. Monroe is a man of many faces – father, husband, movie reviewer, published author of short horror, unsuccessful screenwriter (for now), rabid Clemson Tiger, Southern gentleman, and one hell of a model American who goes by the handle "Big Daddy Stu" or "Sir". He's also highly disturbed and wears that fact like a badge of honor. He is a lover of all things horror with a particular taste for the fare of the Italians and the British. He sometimes gets aroused watching the hardcore stuff, but doesn't bother worrying about whether he was a serial killer in a past life as worrying is for the weak. He was raised in the video stores of the '80s and '90s. The movie theater is his cathedral. He worships H.P. Lovecraft, Stephen King, and Clive Barker. When he writes, he listens obsessively to either classical music or the works of Goblin to stimulate the neural pathways. His favorite movie is Dawn of the Dead. His favorite book is IT. His favorite TV show is LOST.
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