Cult actor Bill Oberst Jr. plays a deranged struggling writer with insomniac.  Bill’s lack of sleep drives him to extremely hallucinate to the point of being dangerous to not only himself but to others.  His derangement wields a bowie knife, a rust colored hammer, and a sporting bow and arrow as the hallucinations get weirder, stranger, and more violent and everyone that Bill comes into contact with becomes a target of his severe breakdown into insanity.

Who doesn’t love Bill Oberst Jr? The veteran actor has a unique look about him and his acting method brings stage and screen acting together into one great performance in Trevor Juenger’s “Coyote.” Without saying much through the entirety of the film, Oberst interpretation of one man’s sleepless delusions sports no talking head explanation. Rigorously and physically involved in the role, “Coyote” could not have been possible if it wasn’t for Oberst serious role indulgence.

The film is described as a blend between “Taxi Driver” and “Videodrome.” That description is entirely accurate. Full of body horror and plenty of schizo to go around, the surrealism in the editing by Juenger is remarkable pitted against budgetary restraints. Hard to follow, lost in translation, yet somehow by the end of the movie you get it, you just get it. You might even feel lost for the first hour and by the time the last half hour comes around, you’re just as angry, confused, and disturbed as Bill. You might even want to take out a person or two with a bowie knife.

“Coyote” won’t break much cinematic ground like “Taxi Driver” or “Videodrome,” but “Coyote” will be a great embarkment to a honorable homage and a surreal look into fresh art-house horror. If you like this type of material full of masochistic mutilation, visceral carnage, and a visual look into the mind of lunacy, then Wild Eye Releasing’s “Coyote” is for you.