“Blood and Honey” borrows a notable conceit from Disney’s own 2018 film “Christopher Robin.” In that film, the titular boy left his stuffed toys behind in the 100-Acre Wood to join the army, grow up into Ewan McGregor, and start a family of his own. Years later, Christopher would return home to find that his stuffed animals remained alive and alone in the woods during his absence, but remained just as eager to play. The prologue of “Blood and Honey,” explains that Christopher Robin (Nikolai Leon) befriended actual animals in the 100-Acre Wood, describing Pooh and his friends as bizarre mutant animal hybrids, creatures that might have been seen on the Island of Dr. Moreau. They began to rely on Christopher for food. When he left to go to college, the animals began to starve and became feral. Owl, Piglet, Rabbit, and Pooh even stooped to killing and eating Eeyore. Ho ho ho.
In the present, Christopher returns to his now-dilapidated childhood home to find Pooh (Craig David Dowsett) and Piglet (Chris Cordell) as more or less Leatherface, complete with weaponized chains and surrounded by the bones of their victims. Also stumbling perfunctorily into the film is a sextet of nondescript twentysomething ingenues (among them Amber Doig-Thorne, Natasha Rose Mills, and May Kelly) staying at a nearby cabin. Lacking in distinct personalities, as well as basic intelligence, these six characters will spend the rest of the film getting maimed and murdered by Pooh or Piglet. This is a group that panics when they find that one of their own is dead, and only then deduces that the potential murderer might have been the same one to have written “GET OUT” on their windows. Ya think?
