“Murder Anyone” is the latest brainchild of director Gordon Bressack and features the likes of Kristos Andrew as Cooper, Galadriel Stineman as Bridgette, Maurice LaMarche as George, Charles M. Howell IV as Charlie, Carla Collins as Marie, Spencer Breslin as Blain, and Hector David Jr. as Eduardo. The movie follows the story of two veteran playwrights, George and Charlie, who decide to join forces to write the next best avant-garde. However, their alliance soon deteriorates when they face off against one another in the arenas of creativity and ego.
The Next American Avant-Garde
As the curtains lift and the stage lights dim, we’re introduced to two aspiring playwrights, George and Charlie. They’ve got their notebooks out and their imaginations revved up, ready to write the next avant-garde American play. The play in question is a gripping thriller centered around the character of Bridget, an aristocrat who’s head over heels in love with George despite knowing very little about him. However, their intention isn’t to turn Richard into a violent axe-wielding killer but to imbue him with a dark and dangerous side that will resonate with the audience.
As the clock ticks on, the two playwrights delve deeper into the creation of Richard’s character, discussing every intricate detail from his wardrobe to his accent and even his preferred sports. As the words began to fly, so did the arguments between the two concerning whether they should write a play or try their luck in the movie business. George argued that they should abandon the idea of writing a play and focus on a movie script instead. He cited the lack of interest in theater in LA and how playwrights earned very little compared to the movie business, where even the worst writers could make a fortune. Charlie disagrees, arguing that in theater, they had creative authority, unlike in movies, where a director could easily change the script without the writer’s input. He also pointed out the unique power of theater to connect with an audience in a more intimate and profound way than the movies.
A Man In A Chicken Costume
Following the debate, George and Charlie finally came to a compromise. George agreed to shelve the idea of a movie script in exchange for making some changes to their play. The duo brainstormed and came up with some creative adjustments, including changing the character of Richard to Cooper, making him younger, and giving him a more mysterious and comical personality compared to before. However, George can’t help but argue again when Charlie decides to add Blaine, who walks onto the stage dressed in a chicken costume. Blaine is a Funny guy with a penchant for dressing up as movie and literary characters for costume parties. In reality, Richard (now Cooper) is in cohorts with Ben for stealing and murdering Bridgette for her father’s prized possession, Picasso. In a sudden twist, Cooper confessed that he had developed feelings for the lead character, Bridgette, and couldn’t bring himself to harm her in any way. Meanwhile, Bridgette has been eavesdropping on their conversation and suddenly bursts onto the stage, gun in hand, and shoots Blaine twice in the chest. As the room falls silent, Bridgette reveals that she, too, has feelings for Cooper, and despite her violent outburst, she decides to spare his life. Bridgette has been waiting for someone like Cooper all her life—a sociopath with a single redeeming quality and a knack for stealing. Now the play has not one, but two psycho killers.
‘Murder Anyone’ Ending
Back in the present, George steps in and introduces a new character to the mix: Mary Clemens, a blind psychic from France who has the extraordinary ability to see into a person’s past. Marie revealed that she doesn’t sense happiness in her life, which is controlled by her wealthy father. Years ago, Bridgette’s heart belonged to a young Mexican man named Eduardo Gomez. They were deeply in love, but Eduardo’s father was nailed to the wall to put an end to their relationship. With all his wealth and influence, he succeeded in having Eduardo deported, tearing them apart, and forcing Brigette to have a late-term abortion. Brigette, full of anger, vowed to spend the rest of her life hating her father. As the story progresses, Mary drops a bombshell by revealing that she has been summoned by the poulet (chicken). Cooper suggests killing Marie off, but Brigette decides otherwise, hoping to see how all of this plays out. Brigette also decides to host a seance at Marie’s suggestion. As the séance began, the spirits of Cooper’s victims began to materialize one by one. Nancy Babcock, Brigette’s kind neighbor, and her husband, Peter, emerged as ghosts. Even Milo, their loyal dog, made an appearance. Blaine, the quirky friend in the chicken costume who had ridiculed Cooper for choosing love over the Picasso painting, also manifested as a ghostly presence. The room was filled with undead zombies wanting to kill Cooper and Brigette. As the summoned spirits start to turn hostile, Brigette frantically tries to wake Mary from her trance. Meanwhile, Cooper finds himself fending off the relentless attacks of the vengeful ghosts. Brigette also stabs Marie in the gut, hoping it will send the zombies back, but it is to no avail. Fortunately, blowing the seance candle did the trick and sent the undead back to where they came from.
But there’s a twist! Brigette reveals that she plans to kill him and has been slipping toxins into his drinks since morning. But Cooper has a surprise up his sleeve and reveals that he’s actually a vampire with no appetite for champagne or toxins, only blood. Brigette pleads with his so-called paramour to turn her into a vampire so they can keep killing and killing for all eternity. However, Cooper is a commitment-phobe and can’t have Brigette around too much, but he offers to summon her using the summoning candles if he needs a booty call. Instead, he offers to use the summoning candles for a quick rendezvous. However, as soon as he finishes his sentence, Brigette thrusts a wooden stake piercing into his heart, revealing that she’s none other than the renowned vampire hunter Van Helsing. Also, back in the present, it is revealed that Charlie isn’t real and is just a figment of George’s imagination. In reality, George never had a writing partner, as he was always wary of having to share creative control. In the final seconds, George takes a deep breath and proudly proclaims the title he has been fighting for all along with Charlie: “Kung Fu Zombies.”