A schlocky enterprise possessed with an exploitation spirit and surprisingly sentimental heart, The VelociPastor keeps its forked tongue in cheek within an ultra-low budget world where religion, punk rock and rubber monsters combine for a unique and entertaining movie experience.

There is a certain frame of mind needed when approaching a film like The VelociPastor. The title itself is a hint and a half that this is a movie more in the camp of “so bad it’s good”, in which many an exploitation lives and breathes. Yet unlike the likes of Sharknado and The Room, there is quality filmmaking here that sits next to moments of ridiculous schlock filled insanity. Writer/director Brendan Steere has created a film where the joke is ever present, yet it is done without any traces of cynicism or delusions of grandeur. There is craft to its silliness and a heart to its tastelessness, and don’t be fooled, The VelociPastor is both silly and tasteless.

The film focuses on Father Doug (Greg Cohan), a Catholic priest in mourning over the fiery deaths of his parents. On sabbatical in China (hilariously shot in anywhere parkland USA), the good Father becomes afflicted with the curse of transforming into a velociraptor. With the help of prostitute Carol (Alyssa Kempinski), a conflicted Father Doug takes on the scum of the streets.

A riff on the classic werewolf story, The VelociPastor works well for those who can tolerate its low-grade production value. With a budget of $35,000, there is much illusion of disbelief needed to see you through. In fact, all viewers need to be fanatical in embracing the schlocky spirit of The VelociPastor, especially during the scenes of dino-mayhem with its fake blood and rubber monsters. In any other production, Steere would have been wise in not showing so much of his dino-denomic creation. Yet those rules don’t apply here. Steere is as “in” on the joke of his creation as anyone. It’s a creative decision that works well.

Not to say that Steere doesn’t bring more to the proceedings. For an exploitation feature of this nature, there is a surprising amount of sentiment and quality (albeit low budget) filmmaking on hand here. Steere’s characters are indeed over the top and are played that way, but he gives them some dramatic depth, resulting in stakes on the table. The relationship between Doug and Carol is especially strong, as exemplified by a love scene that is surprisingly void of any dirtiness or tackiness and accompanied by fine song selection.

The VelociPastor announced itself with a massive roar across the film community. What is surprising is that there is bite to go along with its growl. It’s not a film for everyone, but those who approach it with the right spirit will receive many unexpected rewards.