It shouldn’t come as a big surprise to learn, Thanksgiving horror is not as popular as Christmas horror. That in-between time after Halloween and before Christmas and New Year’s apparently isn’t the most ideal setting for macabre machinations. But, if you’re so inclined to have a side of thrills with your turkey, then look no further: Christopher Wesley Moore has made the search a bit easier this year with When the Trash Man Knocks.
This capable indie feature arrives just in time before Americans everywhere gather on the fourth Thursday of November and indulge on home-cooked feasts. As you begin to watch this movie, though, thoughts of John Carpenter’s Halloween naturally creep in. Similar setups, different times of year. Nevertheless, Moore knowingly brings out the dark side of an otherwise innocuous holiday.
Unlike the most basic Thanksgiving movie, When the Trash Man Knocks isn’t about togetherness and being grateful for one’s family. Quite the opposite, Moore conceives a visceral antithesis of the unity so pervasive this time of year. Moore, who wears multiple hats in this production, stars as Justin, a troubled soul whose life is compromised by both familial obligation and shared trauma with his mother (Jo-Ann Robinson). Unable to advance at his miserable job or in his romantic relationship with a coworker, though, Justin’s only perceivable option is to suffer. And for him, he feels quite deserving of that ill fate.
Justin’s declining mental health is directly tied to his mother, an agoraphobe haunted by the murders of her husband and other son. They were casualties of the Trash Man, a local who went on a killing spree sometime ago. As the protagonist continues to look after his mother, the town’s own near mythical boogeyman then resurfaces. Years of uncomfortable peace abruptly end as the Trash Man comes back for seconds.
Admittedly, this movie doesn’t escape an overused trend found in modern horror; it’s hard to forget the onslaught of “metaphorrors” imposed on the genre in recent years. Moore, however, finds a good balance between entertainment and trauma-drama. Justin and his mother’s stories come across as well examined without also foregoing the simple pleasures of a proper slasher. When the movie isn’t busy exposing the interiorities of its two complex protagonists, it summons a satisfying, not to mention brutal killing spree that evokes memories of classic ’80s slashers.
A hastier filmmaker would have tossed the psychological baggage in without much design or consideration. Moore’s vision for his heartbreaking characters is evident, although it doesn’t pan out exactly as one would have expected. This is ideal if you’ve seen your fair share of slashers and are looking for something less predictable, albeit not too different. When the Trash Man Knocks certainly isn’t a go-for-broke movie; it keeps a tight leash on its familiar story while still supplying a few productive changes along the way.
Slashers don’t often diverge from routine. Much to the chagrin of critics, this particular horror subgenre tends to play it safe. In their defense, though, these movies are at their best when they keep things simple; all they really need is someone killing a bunch of people in a short amount of time and, most importantly, make sure that massacre is compelling. Moore indeed sticks closely to the blueprint, but a well-developed psychological element gives this homemade dish more flavor. Add in the neat performances and an assortment of suspenseful set pieces, and When the Trash Man Knocks is a welcome offering of holiday horror.
Tales from the Paulside 
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