There’s a point midway through Neighbor where, after sucking for a long time, it convinces you it’s about to not only stop sucking, but might actually justify the previous sucking that took place. Then it yells, “Psych!” and starts sucking all over again, and continues on sucking until the credits finally roll.
The film follows a nameless maniac who is able to invade the homes of strangers and torture them to death, because she looks like America Olivo (Bitch Slap) and doesn’t fit the whole psychotic serial killer stereotype. After we see her torture and kill a bunch of people we don’t know (including John Waters regular Mink Stole), she moves on to a bunch of characters we do know, but still care very little about. After she has tortured and killed them, we find out someone else has been arrested for her crimes, and she’s free to go on her hot-chick homicidal ways.
The generous fool in me wants to believe writer/director Robert Angelo Masciantonio was going for an American Psycho-esque satire here, but without that film’s pedigree and deliberate stylization, Neighbor adds up to little more than a series of increasingly violent acts perpetrated on the human body, climaxing with a scene where Olivo (whose performance is the film’s sole highlight) inserts and breaks a glass tube in her main victim’s (obviously rubber) penis.
As graphic as this moment is, it lacks the authenticity required to be genuinely frightening, which is ultimately the problem with the entire movie: It never earns the disgust it tries so hard to invoke. —Allan Mott