(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“After moving to the suburbs, a young couple finds themselves trapped in an epic battle between their new HOA and an onslaught of monsters from hell.”
Every now and then, I – as a critic – am gifted with reviewing something that essentially reviews itself.
Hold The Fort – a Horror/Comedy that sprang from the minds of William Bagley (who also directs) Scott Hawkins – is the kind of no nonsense, middle-of-the-road production that benefits from knowing at all times what it wants to be and sticks to that gameplan. In transplanting our young urban professionals – Lucas (played by Chris Mayers who seems to be channeling Conan O’Brien here) and Jenny (Haley Leary) – from the big city into the great American suburbs, the writers present the audiences with the quintessential ‘fish out of water’ scenario only to then raise the stakes when it becomes inescapably clear that their HOA (Homeowners’ Association) is hiding a dastardly secret. Let it be known that home ownership comes with a price; and – in some parts – that price might be your mortal soul!
Well, well, well …
Apparently the reason that Lucas and Jenny scored such a deal on their new house is owed to the fact that it happens to be settled on a block which shelters some kind of interdimensional portal: annually, said portal opens up in all of its supernatural glory to unleash any number of hungry and carnivorous creatures looking to digest human flesh. What the young couple failed to read in the fine print to their HOA commitment is that by agreeing to own a stake in the Gruber Communities one also agrees to, annually, taking up arms to defend the land of the living against these undead manifestations. Then – in mostly humorous fashion – it doesn’t take long before the bodies pile up and our not-so-dynamic duo find themselves standing shoulder-to-shoulder with about as motley a crew that was ever assembled to ‘hold the fort’ – well … the rec center, anyway – from the spectral invasion.
What I meant above when I said above about how some reviews write themselves is just that: generally speaking, if one reads the premise behind Fort going in, then you’re mostly assured of what you’re going to get. It’s a bit of harmless tomfoolery, all of it rendered with a healthy helping of salt; and only the inclusion of some harsh language here and there pushes this one into any controversial territory whatsoever. In fact, Fort in many ways feels like a variety show skit, the kind of which one may’ve found in days of old on such programs as Saturday Night Live or – even more likely – Mr. Show With Bob And David. It’s that simple structure that ties all of this together, from the kinda/sorta Looney Tunes foundation to the mostly predictable bits about neighbors having their own peccadilloes on display obliviously. One of them day drinks. One of them partakes of chemical substances. One of them has a fondness for weapons. And – you guessed it – there’s even the stiff-upper-lip HOA president who presides over the community like it’s his own personal fiefdom.
Because Bagley and Hawkins only went with plot mechanics they found absolutely necessary, Fort does come off a bit paper thin in spots. Characters have no depth – or, at least, only so much as the respective schtick they’re attached to requires – and not even the glorious glowing pit is given any great measure of narrative history. It’s this casualness that can and won’t be the film’s greatest asset: those wanting a bit more foundation to the foolishness will likely be disappointed with just how incidental everything gets handled here. The sad truth here is that a bit more effort could easily have elevated this one to greater heights, but that wasn’t meant to be.
Now … let me add this for the uninitiated: I still had a helluva lot of fun with Fort. I’m fond of projects that resonate in such a way that they can mostly be confined to one or two central locations – the lion’s share of the action is in the aforementioned rec center / clubhouse (which could’ve been bigger) – because they damn near require that everyone hit their marks. When there’s only so much space for the action, the pieces need to move strategically; Bagley – as a director – keeps this one in motion well enough to hold up with its goofball sensibilities. Though I would’ve liked a bit more, Fort still moves with great efficiency across its brisk seventy-five minutes … and that does say something.
Hold The Fort (2025) was produced by Media Team and Brodacious Films. According to the supplied press materials, the film is presently available for digital purchase on such platforms as Apple TV, Prime Video, and Fandango At Home. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are mostly very good: like other Horror/Comedies of this type, Fort doesn’t ‘go for broke’ with hugely impressive CGI inserts and, instead, keeps the ghoulies looking affordable (at best). Lastly, if you’re looking for special features? Alas, as I viewed this one via streaming, there were no special features under consideration.
Recommended.
Clever more than it is cathartic, Hold The Fort (2025) feels like a variety show skit – a good one – that grew big enough to enjoy a life all of its own; and yet the script doesn’t quite know how to both go big and push the envelope with its sardonic sensibilities. Comically, it winds up feeling not dissimilar from what the comedy duo Abbott and Costello did with Horror way, way, way back in the day (not a bad thing), with most of the ensemble ‘understanding the assignment’ and giving it their all when the opportunity strikes. Still, another rewrite (or two) might’ve elevated the material a bit, giving the central story a stronger foundation – with even, perhaps, it’s own mythological backdrop – but it’s still a pleasant enough experience at its lean run time.
In the interests of fairness, I’m pleased to disclose that the fine folks at Brodacious Films provided me with complimentary streaming access to Hold The Fort (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“After moving to the suburbs, a young couple finds themselves trapped in an epic battle between their new HOA and an onslaught of monsters from hell.”
Every now and then, I – as a critic – am gifted with reviewing something that essentially reviews itself.
Hold The Fort – a Horror/Comedy that sprang from the minds of William Bagley (who also directs) Scott Hawkins – is the kind of no nonsense, middle-of-the-road production that benefits from knowing at all times what it wants to be and sticks to that gameplan. In transplanting our young urban professionals – Lucas (played by Chris Mayers who seems to be channeling Conan O’Brien here) and Jenny (Haley Leary) – from the big city into the great American suburbs, the writers present the audiences with the quintessential ‘fish out of water’ scenario only to then raise the stakes when it becomes inescapably clear that their HOA (Homeowners’ Association) is hiding a dastardly secret. Let it be known that home ownership comes with a price; and – in some parts – that price might be your mortal soul!
Well, well, well …
Apparently the reason that Lucas and Jenny scored such a deal on their new house is owed to the fact that it happens to be settled on a block which shelters some kind of interdimensional portal: annually, said portal opens up in all of its supernatural glory to unleash any number of hungry and carnivorous creatures looking to digest human flesh. What the young couple failed to read in the fine print to their HOA commitment is that by agreeing to own a stake in the Gruber Communities one also agrees to, annually, taking up arms to defend the land of the living against these undead manifestations. Then – in mostly humorous fashion – it doesn’t take long before the bodies pile up and our not-so-dynamic duo find themselves standing shoulder-to-shoulder with about as motley a crew that was ever assembled to ‘hold the fort’ – well … the rec center, anyway – from the spectral invasion.
What I meant above when I said above about how some reviews write themselves is just that: generally speaking, if one reads the premise behind Fort going in, then you’re mostly assured of what you’re going to get. It’s a bit of harmless tomfoolery, all of it rendered with a healthy helping of salt; and only the inclusion of some harsh language here and there pushes this one into any controversial territory whatsoever. In fact, Fort in many ways feels like a variety show skit, the kind of which one may’ve found in days of old on such programs as Saturday Night Live or – even more likely – Mr. Show With Bob And David. It’s that simple structure that ties all of this together, from the kinda/sorta Looney Tunes foundation to the mostly predictable bits about neighbors having their own peccadilloes on display obliviously. One of them day drinks. One of them partakes of chemical substances. One of them has a fondness for weapons. And – you guessed it – there’s even the stiff-upper-lip HOA president who presides over the community like it’s his own personal fiefdom.
Because Bagley and Hawkins only went with plot mechanics they found absolutely necessary, Fort does come off a bit paper thin in spots. Characters have no depth – or, at least, only so much as the respective schtick they’re attached to requires – and not even the glorious glowing pit is given any great measure of narrative history. It’s this casualness that can and won’t be the film’s greatest asset: those wanting a bit more foundation to the foolishness will likely be disappointed with just how incidental everything gets handled here. The sad truth here is that a bit more effort could easily have elevated this one to greater heights, but that wasn’t meant to be.
Now … let me add this for the uninitiated: I still had a helluva lot of fun with Fort. I’m fond of projects that resonate in such a way that they can mostly be confined to one or two central locations – the lion’s share of the action is in the aforementioned rec center / clubhouse (which could’ve been bigger) – because they damn near require that everyone hit their marks. When there’s only so much space for the action, the pieces need to move strategically; Bagley – as a director – keeps this one in motion well enough to hold up with its goofball sensibilities. Though I would’ve liked a bit more, Fort still moves with great efficiency across its brisk seventy-five minutes … and that does say something.
Hold The Fort (2025) was produced by Media Team and Brodacious Films. According to the supplied press materials, the film is presently available for digital purchase on such platforms as Apple TV, Prime Video, and Fandango At Home. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are mostly very good: like other Horror/Comedies of this type, Fort doesn’t ‘go for broke’ with hugely impressive CGI inserts and, instead, keeps the ghoulies looking affordable (at best). Lastly, if you’re looking for special features? Alas, as I viewed this one via streaming, there were no special features under consideration.
Recommended.
Clever more than it is cathartic, Hold The Fort (2025) feels like a variety show skit – a good one – that grew big enough to enjoy a life all of its own; and yet the script doesn’t quite know how to both go big and push the envelope with its sardonic sensibilities. Comically, it winds up feeling not dissimilar from what the comedy duo Abbott and Costello did with Horror way, way, way back in the day (not a bad thing), with most of the ensemble ‘understanding the assignment’ and giving it their all when the opportunity strikes. Still, another rewrite (or two) might’ve elevated the material a bit, giving the central story a stronger foundation – with even, perhaps, it’s own mythological backdrop – but it’s still a pleasant enough experience at its lean run time.
In the interests of fairness, I’m pleased to disclose that the fine folks at Brodacious Films provided me with complimentary streaming access to Hold The Fort (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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