In 1976, a band called Blue Oyster Cult musically proclaimed, “Don’t fear the reaper.” Considering the time gap, it is safe to say that the Cult wasn’t considering first-time writer/director/editor Gregg Bishop’s The Other Side in naming their track. Had Blue Oyster Cult viewed The Other Side previous to constructing “(Don’t Fear) The Reaper,” their celebrated classic may have been without a “don’t” and with an added “s” in its title.

In essence, it is obvious as to why The Other Side’s tagline reads, “Fear the Reapers.” The Other Side is a tasty B-horror that makes it nearly impossible to heed the Cult’s original command. Returning home before his college graduation ceremony, Sam North (Nathan Mobley) hopes to reunite with his long-distance fiancée, Hanna (Jaimie Alexander). Over the phone, the couple sets a meeting place (their “spot”) and time (6 o’clock). When Hanna doesn’t show up on time, Sam begins to worry; but it’s not long before his car is suddenly slammed off of the road and into a body of water — where Sam plunges to his death.

After his mysterious murder, Sam awakens in Hell only to be dragged back into the living world — escaping “The Pit” and eternal damnation. Nevertheless, the escape is only temporary. On his tail are three Reapers, with body-switching capabilities, sent by the Devil to reclaim Sam’s tormented soul. Even so, Sam is not the only one the Reapers are after. Oz (Poncho Hodges) and Mally (Cory Rouse) are in the Reapers’ sights as well, but when this pair of sinners realize that Sam’s fiancée is missing, they offer their services in hopes of redemption.

With above par violence, bloodshed, pace, and creativity, The Other Side exceeds expectations for a low-budget freshman affair. Filmed on a $15,000 budget in Atlanta, Georgia, the film quality is certainly reflective of the limited funds. However, with only 15K in the wallet, Bishop works wonders. Beyond the clunkiness and obvious inspirations, Bishop is able to provide stellar depictions of Hell, intense chase scenes, and impressive violence with well-splattered and spilled blood.

One frame in particular captures the soul of The Other Side. This frame features the Reaper who wears the hat standing next to a neighborhood watch sign. The image encapsulates the film’s B-movie feel by cracking a joke on public signage — reminding viewers that the film’s concept can’t be taken too seriously. After all, what crook really resembles a shadow in a hat and trenchcoat? Then again, from Bishop’s perspective the subject in question was never a crook, but rather a henchman for Lucifer.

Hilarious and dynamic, The Other Side took home numerous jury awards at various film festivals; yet, the production was limited to straight-to-DVD viewing. Quite honestly, Bishop’s style is something that most theatrical releases are missing. It’s fun; it’s intriguing; and, it functions appropriately. While calling The Other Side, “a masterful action-packed supernatural thriller” may be an overstatement, labeling it as a surprisingly well produced direct-to-video B-horror couldn’t be any better said.

So, come on baby... baby, take my hand. Don’t fear the reaper(s). Guaranteed, you won’t beg for forgiveness come the end of the credits. Pick up a copy of The Other Side. But first, be sure to flick that switch inside your cinematic psyche to B-movie mode; you’ll be surprised that The Other Side works on multiple levels.