Kasey's (Brock Riebe) life is anything but happy, he hates his job at
the call center of a debt collector - especially since he never makes
enough money to make ends meet anyways -, his job as masseur is driving
him bonkers, as his mostly male clients usually also want to have sex with
him (which is a service he refuses to offer, and his only friend, Beth
(Lillian Lamour) is really getting on his nerves ... and then, he
accidently kills a massage client who wanted to force himself onto him.
Unfortunately, the whole thing looks like murder, so he can't call the
police, and so he doesn't have the first idea what to do. While he's out
thouth to have a good think, a burglar, Marco (Ben Muller), breaks into
his place, finds the corpse ... and figures he might use that to his
advantage ... Marco starts to blackmail Kasey - but it's really not that
bad, mainly he wants to have a shower and crash on his couch for a few
days as he has lived in his car of late, and he does cut up the body for
Kasey after all and get rid of the body parts, so he's not so much
blackmailing Kasey as he's helping him ... but then he comes up with a
scheme to make it a habit to kill Kasey's clients - after all, most of
them are perverts more than careful that nobody knows where they're going
for their kicks anyways - and save up enough money to eventually skip the
country for good. Hey, it worked once, it's bound to work again, right?
Kasey of course will have nothing of it ... until he loses the job he has
hated anyways - and soon, he and Marco are in business killing and robbing
massage clients, and against all odds, they strike a friendship that
develops into love as well ... but at the same time they try to be blind
to the fact that they are heading for disaster ... Taking a
deliberately slow approach to build up its story, Incall is above
all else a totally unusual character study about a very likeable (or at
least totally pitiful) guy turning serial killer, almost without noticing
it, marrying human drama with dark comedy in the process, garnered with
outbursts of violence that never feel gratuitous. And thanks to a subtle
brand of humour, an unexcited directorial approach, and great central
performances, the film totally works. True, in a time where gross-out
humour, breathless pacing and spitfire editing rule, Incall might
look like a bit of an anomaly - but that's a good thing!
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