On Thursday, filmmaker Ron Kraus world-premiered his latest feature, “Wounds,” at Screamfest LA inside Hollywood’s iconic TCL Chinese Theatre. The film is a solid effort from Kraus, backed by a strong cast that sells the story of a horror-obsessed special effects makeup artist struggling to prove himself—until he finds a unique, deadly source of inspiration.
The psychological thriller stars Jack Kilmer (“The Nice Guys”) as Caleb, a struggling makeup artist working for a fading horror studio run by his uncle (Eric Roberts, “The Dark Knight”). While working on his first solo gig for a low-budget vampire flick, Caleb’s uninspired creations upset the director, leaving him with one last chance to save his job. Desperate to prove his talent, Caleb witnesses a brutal murder, inspiring him to use extreme, horrific measures to fuel his special effects work going forward.
As the project and his confidence are re-energized by this gruesome new method, he finds companionship in Ginny (Paris Jackson, “One Spoon of Chocolate”), a fellow makeup artist who offers encouragement when he needs it most.
Kilmer brings a palpable presence to the lead role, delivering a convincing portrayal of the angsty, awkward makeup artist. Jackson shines opposite him, bringing grounded confidence to Ginny’s otherwise broken character. The on-screen chemistry between the two makes it easy to root for them as a potential on-screen item, despite the red flags that pop up during their courtship. Even as Caleb’s psyche begins to unravel, Kilmer delivers a sympathetic performance that’s only lost when Ginny loses it, too.
Despite its brief 90-minute runtime, “Wounds” feels a bit slow initially, but once it finds its footing, the pacing hits its mark. Visually, the film boasts a distinct analog aesthetic, thanks to being shot entirely on 35mm film. The look fits seamlessly, serving as a love letter to indie cinema and genre filmmaking. From the Roger Corman-esque low-budget empire run by Caleb’s uncle to explicit nods to practical FX touchstones like “The Howling” and George A. Romero’s “Night of the Living Dead,” Kraus’s affection for horror is front and center. Even more intriguing is the showcasing of Michael Powell and Emeric Pressburger’s “The Red Shoes,” underscoring Caleb’s dangerous, self-destructive obsession with perfecting his craft at any cost.
The biggest letdown in “Wounds” is that, for a film centered on a practical effects artist, several of the bloodier scenes rely heavily on CGI. While forgivable in one instance due to scale, the film would have felt far more authentic—and true to its theme—had it leaned into practical gore effects during its pivotal moments.
Ultimately, “Wounds” delivers an entertaining 90 minutes of genre cinema, anchored by lead performances that keep you invested until the end, and offers an extra layer of appreciation for anyone who loves the art of filmmaking.
