Vines gives off strong 1950s B-movie vibes during its brief runtime. Writer-director Luke Zwanziger takes the mad scientist template and goes wild with it. But does the go-for-broke style translate into chaotic fun or simply mayhem?
Dr. Harold Madsen (Lowell Deo) is a botanist who is convinced that humans were designed to live with nature. Unfortunately, technological advancements and reckless behavior have put that balance in grave harm. So, when the doctor sees Rowan (Joel Austin), an electrician trying to repair downed wires, hacking at some vines to climb the pole, he forms a plan. Dr. Harold kidnaps Rowan and injects him with a serum of some kind. The botanist hopes that human and plant DNA will fuse together, creating the perfect creature. Is the doctor on to something, or is he completely mad? Can Rowan escape his leafy fate, or will he morph into Z-grade Man-Thing?

“The botanist hopes that human and plant DNA will fuse together…”
Vines captivates with its strong visual presentation, largely due to the stark lighting. The use of harsh reds and calming blues and greens in almost every scene creates a palpable sense of foreboding. The extreme close-ups, whether it’s of Rowan tied to a chair or the plant that moves on its own, add to the suspense. The intensity of the doctor’s belief that he is right is where the true scares lie, keeping the audience on the edge of their seats.
The effects are a bit of a mixed bag. Yes, this is an independently produced short but once the leaves start growing out of Rowan’s face, they are noticeably plastic. However, the living plant moves with startling realism, and the flashes of the serum coursing through veins look great.
Vines is a film that doesn’t take itself too seriously, and that’s part of its charm. It’s a little humorous, a lot creepy, and just plain fun. The actors effectively bring their characters to life, and the effects are, for the most part, very good. This combination of elements makes Vines a film that is sure to entertain and engage its audience.
Vines screened at the 2024 Seattle Film Festival.