To a certain rarefied demographic, the idea of having beloved kids TV icon and all-round good Chegg Keith 'Cheggers' Chegwin star in a Chegg smashing, daytime TV trashing, 'Cheggers slays Pap' type of celebrity baiting satire is inspired, and just might find favour with any B-Movie maniacs who are currently oblivious to the UK's most ironic and sublimely chronic television personality, as this gory satire is so deliciously silly, and so unrepentantly absurd, that the clumsily titled 'Kill Keith' might, perhaps, introduce the altogether baffled, non-UK viewer into the iconoclastic inanity of pint-sized, sadistically re-invented, munchkin-voiced maniac Keith Chegwin!
Perhaps, to fully appreciate the broad, blood-slathered slapstick that 'Kill Keith' so zealously utilizes requires that the viewer suspend heroic levels of disbelief, otherwise the frequently unsubtle sitcom, pseudo-slasher shenanigans might finally prove to be a trifle tiresome. 'Kill Keith' is a fitfully amusing satire that might have been more successful as a more condensed 45-minute version, as the whimsical premise of an ostensibly squeaky clean TV personality caught in the murderous midst of a 'Breakfast Cereal Killer' death frenzy, sadly, was a little too 'over-Chegged' for my tastes, but if taken as a 'so-bad-it's-good' type of majestic misfire 'Kill Keith' is certainly not without misguided merit, not least being the likeable, agreeably frothy performances by luscious Susannah Fielding and delightfully nerdy Marc Pickering, both expressing a benign, wide-eyed ingenuousness that goes some way to ground the gallivanting, Grand Guignol ghastliness that surrounds them both.
Keeping expectations low and perhaps maintaining one's blood alcohol levels somewhat higher than usual, I am fairly certain that any seriously warped, morbidly muesli masticating, B-Movie masochist will no doubt boggle most appreciatively at director Andy Thompson's Chegg-winning 'Kill Keith', an audacious, achingly asinine, TV Star Slaying spoof, wherein the films entirely ludicrous conceit is forcibly stretched to breaking point and far beyond all shred of cogency, but, frankly, it is the single-minded unwillingness of the filmmakers to dilute their gloriously absurd vision with an iota of credibility that finally won me over, and national treasure Joe Pasquale's rigorous cameo effortlessly steals the show!
