Mercedes Bryce Morgan directs the provocative Bone Lake. While the press notes assure me that Mercedes Bryce Morgan is a single person, this messy and conflicted film feels as though it was a tug of war between three creatives named Mercedes, Bryce, and Morgan.

Bone Lake is bookended by its best (and bloodiest) bits. The film kicks off with a stark naked couple, fearfully running away from crossbow arrows before being outrageously impaled. This opener is immature, but it rightfully earns the audience’s attention; quickly securing a tone and signalling to the viewer just how violent and bawdy the film is daring to be. Unfortunately, the film nosedives from there.

The film gains a new couple, Sage and Diego (Maddie Hasson, Marco Pigossi). The lovebirds are headed to a fancy country house for a special getaway, where they waste no time settling in. Once their energy has simmered down, their vacation is interrupted by Will and Cin (Alex Roe, Andra Nechita), another couple who have also booked the lakeside rental; although everyone agrees to share the house after some consensual chats. However, after the couples mingle without their significant other, Will and Cin start to stir the pot by being suggestive with gossip and flirtations. Sage and Diego start doubting each other, but they also share mutual suspicion towards the strangers.

With an anthem that literally chants “sex and violence”, what was once promised as a meat-and-potatoes horny horror-thriller (like Bodies Bodies Bodies or a menacing version of The Overnight) turns into a sanctimonious psychological thriller revolving around themes of infidelity and trust. A few of these campy talks go a long way, as screenwriter Joshua Friedlander makes it very clear of how much transparent manipulation is caused by Cin and Alex. Bone Lake spins in slow circles as Cin and Alex continue to pit Sage and Diego against each other. Hasson and Pigossi give likeable performances at first, but their characters become less interesting as their attitudes towards each other grow sharper. Pigossi, especially, gets whinier and whinier in ways that remind us of Tommy Wiseau, the actor infamous for his over-the-top reactions in the romantic-drama The Room.

Bone Lake ends in entertaining chaos as characters spar with each other resulting in nasty wounds, and even death. The film also has a standout final shot that gives Bone Lake a much needed (and humourous) reality check. But this fantastic finale feels like an apology from a production that believes their viewers can be easily bought, rather than applying itself to redraft its second act. Suddenly we’re all Sage and Diego – being manipulated and played by filmmakers who are trying to smooth us over with fights and gore. This tactic might work for more forgiving audiences who are thankful for the late gift but, as someone who felt lied to for most of the flick, other movie goers are going to feel, well, boned.

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Addison Wylie: @AddisonWylie