Artik (Angelo) is a big, burly, mountain man (in appearance) who lives on a rural landscape farm in the outskirts of a mid-western town. Along with his semi-doting wife Flin (Carter), they raise their boys to mechanically harvest each day after being fed slop for breakfast and plow the fields without a sound.

Artik’s son, Boy Adam, is quiet and clearly displaced. He has…seen things. Evil, brutal and nasty things which were motivated by his comic-obsessed father who is devoted to passing along his serial killer ways in hopes of purifying the search for a real hero.

The filth and doom follow Boy Adam around as he mutely absorbs the treacherous murders of vagrants, neighbors and every day nobodies. Forced to learn how to hunt, trap and kill sends Boy Adam into the realm of straight-edge Holton (Williamson), a tattooed young man trying to make an honest manual labor living and clear his thoughts of pollution from those he has encountered with substance abuse.

Holton is immediately drawn to the boy with a definitive protective shield, once the home life violence is identified through some unnerving drawings. On a mission to save this young man from his predatory destiny mapped out by Artik, Holton puts his own life on the line in order to save innocence from the most dangerous harm instilled around him.

In similar griminess of Sick Girl and Snowtown Murders, the destitution is palpable as these characters go about normal days on the farm without recourse. Through incredible talent, Angelo, Williamson and Mercer (Holton’s group therapist) show incredible diversity and range within themselves that will glue you to the screen, waiting to see who is expendable and who in fact…is heroic.