Who remembers the Banana Splits? Tra-la-la la-lalala-la...That song was childhood for a great deal of us. Kudos, then, to the producers turning an admittedly lame parody of The Monkees (and probably an early progenitor for The Furries) into something kind of fresh, kind of lame, kind of fun and very gory, forty years after the show ended.
In this alternate reality where the show never ended, Harley and his family are attending a taping of The Banana Splits for his birthday. His older brother is a surly burnout, his father a neglectful adulterer and his mum a timid flake. With him is a school friend, not a real friend, Zoe, who's there because her mum forced her. A happy family this is not. Thankfully, along with a variety of victims, harley and his family are going to get the chance to bond and repair their relationships, if only they don't get murdered by the psychotic animatronics.
Overall, the cast is not capable of blending the comedy with the surreal horror of Drooper, Snorky, Bingo and Fleegel going on a murder rampage. Maria Nash, playing Zoe, fares the best as the sardonic and confident co-pilot through a world she left behind years ago. Sara Canning, as the long-suffering show producer manages to elicit some sympathy when she's dragged into the mayhem. Naledi Majoli as an audience manager doing her best is easy to like and cheer for. Dana Kind, as the fretful mum turned bad ass does enough to be believable, but the rest of the cast all seem to be in different productions.
Shout out to the special effects crew who appear to do most of it without resorting to CGI. The Banana Splits enjoy a spot of violent murder and the gleeful squirms as they treat spines like a lock to a key, or heads like giant buttons to be mashed will elicit cheers and groans of disgust from the audience. The set details, as well, as we move from each of the Splits' iconic sets adds a great bit of variety to the warehouse lot. It all climaxes wonderfully in a private showing of the Splits' final show ever, complete with violent murder and goofy gags.
This is a brave attempt at bringing something long forgotten and now completely unknown to a new generation. While it's not entirely successful (the sound design doesn't sync with either the camp lameness or the brutal horror and the editing struggles to be smooth, owing in part to using animatronics), it does a decent job of reimagining a childhood favourite for a new audience. That in itself is comendable. One for gore hounds and those on nostalgia trips!
