Aristotle posits that there are three types of friendships, those based in utility, pleasure or virtue, but Harpoon’s narrator (Stranger Thing’s Brett Gelman) would like to add a fourth: the friendship of history. These are friends by virtue of having been friends. Turns out that these friendships aren’t always the most healthy. Especially when you’re out to sea and uncover a love triangle of infidelity and have a harpoon (or speargun rather) at your immediate disposal.

Jonah, Sasha and Richard are such friends. They are also the only three cast members to appear in the film. A masterclass in minimalism, Harpoon is able to create a much larger world than the stripped-down trio of actors and the two settings that it takes place in. Writer and director Rob Grant, who is no newbie to the indie horror scene (this is his sixth feature), smartly builds out his story upon the fractured but long-standing relationships between the two guys and their lady friend.

Down on his luck Jonah, played by Munro Chambers (Turbo Kid), recently lost his parents and has nothing to his name but debt whereas long-time BFF Richard (Christopher Gray) has six-figures in his bank account, hand-outs from a wealthy, shadowy father who casts a long shadow despite never appearing in the film. Sasha (Emily Tyra) may be Richard’s girlfriend but their relationship is strained past the point of breaking, his rageaholic impulses and history of cheating finds her ready to sock him in the face from pretty much the first frame of the movie. When Richard believes he discovers proof that Jonah and Sasha have been sleeping together, a series of increasingly violent and unpredictable events land the three feuding friends out at sea. Figuratively but also quite literally.

As the group’s situation worsens, Harpoon transforms into a darkly funny riff on Edgar Allen Poe’s “The Narrative of Arthur Gordon Pym of Nantucket”. Stranded at sea with no lifelines, the appeal of cannibalism quickens and Grant manages a healthy dose of gallows humor that laces the building sense of dread. The complicating factor of broken friendships gives Harpoon plenty of pitch-black comedic moments, with Gelman’s omniscience narration providing sardonic commentary and economic scene breaks.

Grant proves to be both a more-than-competent screenwriter and performance wrangler, getting solid turns from his tight principal cast, particularly from Chambers as he succumbs to blood poisoning and becomes increasingly unmoored. Harpoon punctuates dialogue that varies from friendly banter to thrashing outbursts to soul-bearing confessions with splashes of gore and campy violence, maintaining a strong balance of dark-comedy horror throughout.

Hiding in plain sight, the clever edges of Harpoon are most apparent by curtain call. Littered with red herrings and plot twists, some of which are smarter and less predictable than others, Grant presents some borderline brilliant subterfuge, confusing the audience as to which gun ultimately belongs to Chehvok. Figuring out the various layers and deceptions of the movie becomes a thrilling exercise in itself. The script is punchy, funny, and intelligent and features one of the best twist endings in recent years, steering Harpoon into rocky waters that go down as smooth as scotch for thrill-seeking audience members. As refreshing as this deliciously dark and devious little indie horror is, Harpoon deserves to make more than a small blip on your radar. Seek out its horrific call like the urgent SOS it is.

CONCLUSION: ‘Harpoon’ is both a clever calling card and and breakout vehicle for UTR horror-dude Rob Grant and a thrilling cut of campy horror-comedy. As pitch black as the depths of the ocean, with sordid laughs, vengeful dialogue, and brutal deception, ‘Harpoon’ is a must-see for genre fans.