The Slayer 1982
aka Nightmare Island
Directed by: J Cardone
Starring: Sarah Kendall, Frederick Flynn, Carol Kottenbrook
Review by Luisito Joaquín González
The Slayer only manages to scrape its way in to the slasher genre with its heels dragging across the floor. Like Dead Pit, Hard Cover and Small Town Massacre; J.S. Cardone’s video nasty includes many of the prominent trappings, but tries to incorporate something slightly different. The majority of the runtime is pretty standard stuff as a silhouetted killer hacks off cast members one by one, but when the maniac is revealed to be a supernatural monster, Cardone stretches the realms of the category beyond tradition. There’s certainly nothing wrong with a tad of originality, but the stalk and slash cycle is renowned for its stringent similarities. This of course pushes titles like Pledge Night, Child’s Play and A Nightmare on Elm Street just outside of the equation. Much has been written about The Slayer’s obvious links to the creation of Wes Craven’s Freddy franchise, so I won’t dwell too much on that topic. But it’s worth recognising the fact that he certainly lifted a few plot points from this and the Frankie Avalon bore fest of the following year (Blood Song) to come up with the idea for his huge horror series.
Surreal artist Kay (Sarah Kendall) has been having the same reoccurring dark dream since she was a young child. It contains vivid images of a horrific monster that stalks her in a flame filled room. Even though the nightmare has plagued her more and more over the past few days, she has never been able to see it through to its conclusion. Her Doctor husband David (Alan McRae) has agreed to take her away on a trip with her brother Eric (Frederick Flynn) and his wife Brooke (Carol Kottenbrook). He hopes that a little break from the pressures of everyday life will finally put an end to the restless nights. They have borrowed a beautiful house on a secluded island, which at this time of the year remains virtually un-inhabited. The rugged beauty of the isle immediately captivates Eric, but Kay is spooked because she believes that she has been there sometime before. On the first night they are warned that a dangerous storm is thundering towards the land, and it’s arrival sends the atmosphere into total chaos. The following morning when they awaken, David has disappeared, unbeknownst to them, murdered by an unseen menace. Before long, the silhouetted killer begins stalking the island with a pitchfork, looking to turn Kay’s dreams into a shocking reality.
The Slayer succeeds in being one of the few video nasties that someway lives up to its gruesome reputation. Robert Folk’s impressively orchestrated score keeps the tension running high and Cardone adds some neat directorial touches that build a few satisfying scares throughout the runtime. Although Richard Short’s special effects don’t stand up to the scrutiny of Tom Savini’s greatest hits, there are still some memorable gore scenes on offer. One guy gets semi decapitated in an ingenious killing that has surprisingly never been imitated over the following years, and there’s a decidedly grisly pitchfork impalement that is worth the budget purchase price alone. The film does drag somewhat in places, but some splendid scenes, which see Kay battling to stay awake and prevent the monster’s reappearance, salvage the final third. A good plot twist in the closing scene makes up for the somewhat brief showdown when the beast is finally unveiled. The net result is a movie that overcomes it’s flaws with a generally macabre underlining of claustrophobic doom.
Unfortunately, the years haven’t been to kind to this feature and the digitally remastered DVD cannot hide the numerous blips on the negative. The level of performance from the cast is really bad, especially the lack of emotion from lead, Sarah Kendall. Even when her brother and husband have been slaughtered she fails to look anything other than totally flat. At times, the script falls foul of the old ‘victim # 1 goes missing so victim # 2 goes looking for him’ shortcut, which shows a weakness in the screenplay. But the intriguing set locations and some stunning aerial photography keep things moving.
The Slayer is one of the many old horror movies that have been re-released totally unedited on budget DVD. You can pick it up for next to nothing on Amazon, so there’s really no reason why you shouldn’t. Eerie and at times downright gruesome, this one is certainly worth re-visiting.
Final Girl √
Psycho Santa 2003
Directed by: Peter Kier
Starring: Sarah Kendall, Frederick Flynn, Carol Kottenbrook
Review by Luisito Joaquín González
Can you believe that it’s almost Xmas already? Time just flies by. I am guessing that you’ve all got something slasher-tastic planned for the festive period. As per a SLASH above tradition, I wanted to post a few Christmassy entries, but thus far I could only locate this obscurity that I picked up a while back. I may be able to squeeze in one more before the big day, but as it stands this is your lot unfortunately :( Psycho Santa was released on a double DVD with Satan Claus, a movie so tough to sit through that I’ve postponed its review until next year when I’ll hopefully have built enough courage and will-power to try again. Despite the quality (or therefore lack of) of Claus, I was confident that this picture may deliver a shiny present that we’ll be excited about unwrapping.
On the long drive to a party, a boyfriend decides to share with his partner his knowledge of a psychopathic Santa that has stalked the local region for over a year. He tells her three separate urban legends about the maniac, who dressed from head to toe in the guise of St. Nick, is said to lurk amongst the woodland. We are soon about to learn if he is speaking the truth…
Ok, so for ten minutes, I really thought that we were in for something special. It began with a stalking sequence through a junk yard that incorporated some intelligent editing and interesting camera angles that were generally well conveyed. We then get to meet the two characters that will narrate us through the three stories and the plot becomes something of an anthology, with each segment further developing the background of our antagonist. The first on the list involves a pair of young women that have planned to have an Xmas slumber party at a remote cabin. They turn up to find that their friend isn’t around, but notice some of her presents under a tree and believe that she must’ve gone for a wander. Chick #1 is a voluptuous brunette that steals every shot with a cheeky grin and a plunging neckline, whilst her friend is not so attractive, ten-years older and has more piercings than a junkie’s arm. One of them decides to have a shower, leaving the other to head out and search for their missing amiga. Logic dictates which of them is the correct choice for a lengthy full-frontal nudity sequence, but already by this point, logic had gone into hiding along with the MIA girl.
What follows from there feels like an eternity of absolute nothingness. I am reminded of the time that I pulled a chica in a London bar that looked, from the impression of her tight-fitting top, to have boobs that would rival Kim Kardasian’s. After getting her back to a hotel, I quickly learned (she confessed actually) a lesson that will stay with me until the day that I shift off this mortal coil. Padding, in almost all walks of life, is criminal. So the girls drink vodka and dance whilst an ominous someone looks on through POV in a scene that could have been clipped by at least five minutes. The photography had been good, the scoring had built tension, but the net result was a humongous mound of asbestos-laden boredom. Finally the door bursts open and I was convinced that all would be salvaged by us seeing a couple of gruesome slashings. Instead we cut back to the storyteller who, in the most flat and boring way possible, TELLS US how they were brutally killed. Eh?
Anyway, we skip on to the next anthology ‘installment’, which involves the least tense burglary in the history of crime. The filmmakers throw us a smart gimmick by giving us a blind homeowner (with a bikini-body?) that almost catches the robbers in the act. I guess that the sequence may have worked if it had been conveyed with an ounce of common sense, but it took me a while to even realise that the young lady in question had defective vision. After she has been dealt with, the invaders find a locked basement that houses our psycho Santa. He slaughters one of them (off screen) and again we have to be told what happened to the other by our narrator. The bogeyman’s escape and subsequent stabbing of a hapless St Nick leads to the third and final story of the picture.
Now this one, perhaps more than any other, really sums up all that’s wrong with Psycho Santa. A brother and sister, that are driving through some remote woodland, pull over after suffering some convenient problems with their automobile. They get out and begin to walk… and walk… and walk… and walk…. And then, walk some more, until eventually they come across our nut job who proceeds to (not) kill them. I mean, what the hell? Is this the mad slasher with the heart of gold or something? Now don’t get me wrong, there are a couple of murders in this movie that I didn’t mention (including a young kid), but the majority of the runtime is outrageously tedious filler. Scenes that should have been twenty-seconds long are stretched to five-minutes and to be honest you wouldn’t miss anything if you just fast forwarded through them. Much like my experience with the girl with the stuffed brassiere that I told you about earlier, padding to this extent is a total rip-off and no one likes a cheater.
Psycho Santa was directed by a guy by the name of Peter Keir and his billing was the most intriguing thing about the picture. You see, Keir has a couple of credits on the IMDB and two of them are films that were scored by Steve Sessions, the director of Torment. This got me thinking, did Sessions, exasperated by the poor quality of this film, use that name as a pseudonym? I tried finding some info about Keir on the net but came up with nothing at all. This leads me to believe that Sessions, a capable director, was pressured into padding out this film by an external influence. Perhaps the producers gave him a short shooting schedule and a runtime that needed to be fulfilled…? He then watched the net result and released it under an alias. I wouldn’t blame him
Whilst it’s tough to know for sure if my hypothesis is true, it would explain the inclusion of some deft visuals and a superb score, which I know Sessions has the ability to provide. Unfortunately there just wasn’t enough of either to overcome the disjointed and mind-numbing mid-section. We are promised a conclusion that we never get and all that we’re left with is a bloated boat that sinks after ten minutes and never bobs back out of the depths. Avoid it like you would a potential partner with suspiciously stuffed undergarments…
Killer Guise: √√√√
Final Girl √
Dark Ride 2006
Directed by: Craig Signer
Starring:Jamie-Lynn Sigler, Patrick Renna, David Clayton
Review by Luisito Joaquín González
The strength of TV shows like The Wire, Breaking Bad, Walking Dead and Broadwalk Empire make it easier to forget just how good The Sopranos was. It’s been seven-years since the last episode and I recently began the whole series again from the initial pilot on DVD. It was whilst watching that I was reminded of this slasher movie that includes Jamie-Lynn Siger as its heroine. She is of course the actress best recognised as Meadow Soprano and her notoriety was a key element for the marketing of this flick. I recall being excited when it was in development, bought a copy upon release and then never actually got round to watching it. Finally I decided that I had to change that..
In my review of Scream Park recently, I mentioned my love of Funhouse; a stalk and slash movie that used an amusement park as a backdrop. It took a while after the Scream-inspired rebirth, but director Craig Singer decided to revisit the location once again for this glossy stalk and slasher.
Six friends head off on a road trip for their break, but whilst travelling, they decide to spend the night at an abandoned theme park. They are not aware however that an escaped murderer has taken refuge inside the complex and he soon begins to slash his way through them.
I must confess that Dark Ride successfully took me back somewhat to the glory years of the eighties. A group of kids heading off in a van to a location where they plan to stay the night but are stalked by a hulking asylum-escapee brought memories of The Prey and Terror Night streaming to my mind. It wasn’t only the set-up that felt nostalgic, because in Jonah, we have a psychopath that was highly reminiscent of Jason Voorhees during his prime. The fact that he stalked with an awkward lumber and wore a chilling mask really helped to give him that deranged presence. Whereas the majority of Scream clones often got lost in their dedication to deliver a compelling mystery, this screenplay ignores the whodunit aspect and instead goes all out to thrill with an antagonist that’s identified from the start.
Craig Signer directs with a contagious bundle of energy and engages us neatly with creative photography and razor sharp flourishes. He utilises the possibilities of the amusement park location perfectly by constantly swooping his lens and revealing a deft capability for pulling the best from his backdrops. One stalking sequence through the tight pathways behind the thematic decor was reminiscent of Michele Soavi’s Stagefright and when the killer strikes, it’s usually always well-timed. We are also treated to an abundance of gooey red-stuff and one killing in particular is exceptionally gruesome. A hapless security guard turns up and almost saves the day, but before he gets a chance to rescue our petrified heroine, his head is split in half like a melon by Jonah. You can see it in the video above…. Ouch!
Whilst Ride includes a lot that links well to its elder peers, it does fall foul to a flaw that is found more commonly in new-age entries. We are given almost an hour of character development, which shows that Signer really wanted to deliver defined personalities. The only problem with this approach is that they’re such a whiny bunch of brats that it’s impossible to like or relate to them. Spending the best part of sixty-minutes listening to bickering is not enough to prevent those first three-quarters from dragging and it makes it harder for the film to recover. Jamie-Lynn Siger had for seven-years delivered such a balanced portrayal as Meadow Soprano that she held her own against a heavyweight like Gandolfini. Here though she doesn’t look to be half as motivated, which is bizarre as I’d have expected more from a feature film performance.
The idea of pitching a group of teens against a maniacal assailant is something that doesn’t need much work from a screenwriter, but not much doesn’t mean none at all. In honesty, the script felt rushed and left gaping plot holes that were tough to ignore. Tobe Hooper’s Funhouse gave us a reason as to why it’s victims were trapped within the ride, but here not one of them realised that they could follow the track to the exit, which was baffling. We get a twist that is easy to foresee and relied heavily on coincidence to have worked. By the time it arrives, it felt unnecessary and like one layer too many.
Dark Ride is a tough film to review, because it does a lot that I consider to be spot on and I really appreciated that. It came so close to being a perfect tribute that I was perhaps more disappointed that it couldn’t live up to the expectations it had set for itself. In the end though, this was more down to me wanting it to be ideal than it actually being so. It is still a polished slasher movie with a lot to be admired, but when it’s over, you wouldn’t shout for more
Killer Guise: √√√
Final Girl √√
Dead of Nite 2013
Directed by: S.J. Evans
Starring: Tony Todd, Joseph Millson, Cicely Tennant
Review by Luisito Joaquín González
It still surprises me that since Cannibal Holocaust launched the ‘found footage’ gimmick that has been vital to horror hits like The Blair Witch Project and Rec, it hasn’t been used very often in the slasher genre. It’s strange because I can’t imagine another style of horror that would benefit more from that narrative. I remember considering posting a review of The Last Broadcast on a SLASH above, as it incorporates many of the ingredients that are commonplace amongst features on this site. In the end though, I decided that this was wishful thinking on my part as it is not, in fact, a slasher movie.
That argument cannot be levelled at today’s choice of post, Dead of Nite, which is a recent British entry to the cycle. It was released hot on the heels of Evidence – another title that utilised pre-filmed flashbacks as a structure, but chose the standard stalk and slash template as an overcoat. What is it they say about waiting ages for a bus and then two coming along at once?
A team of youngsters that run an online paranormal exploration site decide to visit the notorious Jericho mansion. It has a reputation as the most haunted place in the South East of England due to rumoured sightings of ghosts and a murderous history. They are locked in for the night to complete some research, however the next morning, most of them are found dead. All that remains are the tapes from their cameras…
To say that Nite starts badly would be one hell of an understatement. We open with Police taping off the scene of the massacre and the camerawork judders like it was being filmed by an epileptic. To make matters worse, these weren’t even scenes of found footage that could be excused due to a shaky hand. Many low budget horror films incorporate cameos from previous stars such as Kane Hodder or Robert Englund as a form of genre recognition. Here we get Candyman’s Tony Todd, but I’m not sure if you could consider his appearance to be a plus. He spends ten of his fifteen-minutes worth of screen time whispering inaudibly and then when he does raise his voice, it seems that the effort he took doing so made him totally forget that he was supposed to be ‘acting’. To be fair though, it’s not only Todd that could be accused of poor dramatics. The scenes filmed outside the mansion before the teens are locked in the abode play like a pre-school playground production of West Side Story. Someone call the drama coach, you guys have all got detention.
Anyway, when they finally bolt the doors, the screenplay goes on a self-discovery mission. If a script could suffer a midlife identity crisis, then Dead of Nite’s is in desperate need of counselling. After the obligatory shot of a full moon, the visitors decide to hold a seance. The ouija board spells out the word death and the glass flies off the table and smashes to smithereens against the wall. You could be forgiven for thinking that we have got a supernatural thriller on our hands, but after a sickle is grabbed from the wall by an ominous hand, the paranormal elements are never seen (or heard of) again. That’s not such a bad thing though, because when the slasher stuff starts, the film finally finds some credibility and delivers a few impressive chills.
Whilst Nite can be considered a ‘found footage’ film, these elements, much like the ghostly stuff I mentioned earlier, are kind of bolted on. One minute we will be watching a camcorder shot of the action and then in the next instant, we see everything through a fixed lens. Surprisingly though, this blend works extremely well in some places, like when the director cuts to isolated staircases and rooms to underline the atmosphere of solitude. After the fusebox is destroyed early in the runtime, everything is filmed in night vision and it makes the actor’s eyes illuminate like reflective motorway studs in the darkness, which was creepy. I liked the antagonist’s guise and Robin Scott Fleming delivers a decent score to help maintain the tension. The killer stalks with a traditional Michael Myers-alike strut and even if we only get a handful of murders, they are creatively delivered and fairly menacing.
Whilst there aren’t any true gore scenes and the mystery is easy to figure out, Dead of Nite has enough in its briefcase to at least deliver the odd moment that is worthy of praise. I wasn’t expecting much, but I enjoyed the few jolts and the attempt to make the stalking sequences as scary as possible. If you have seen everything else and keep what I’ve said in mind, you should check it out.
Killer Guise: √√√
Final Girl √
Directed by: Dick Mass
Starring: Huub Stapel, Monique van de Ven, Serge-Henri Valcke
Review by Luisito Joaquín González
Being that I was born in Huelva, finished my studies in Moscow and have also resided in Budapest, Przymysl, Paris and London, you could say that I’ve seen a bit of the world. If I had to chose one city though that I would put at the top of my list of fun places to go, then it’d have to be the capital of The Netherlands. I love everything about Amsterdam; – from its rich and tranquil canal based landscapes to its mind blowing cafés, you truly haven’t lived until you’ve been there. That’s why I was infinitely excited when I learned that Holland had created its own addition to my favourite cinema sub-genre – an aquatic slasher movie. You read it right; Amsterdamned manages to mix the B-movie bliss of a masked psychopath with the cultural trademarks of Europe’s most exciting location for a weekend break. Perhaps better than that is the fact that it’s actually an amster-damned good movie
It opens with a cool credit sequence that mixes some brilliant underwater photography with an eerie horror soundtrack that was provided by director Dick Maas. The shot pans along the riverbanks as a yet unidentified predator stalks its prey. It’s almost like Jaws in a canal, as we watch the camera emerge from the murky depths, scan the area and then move on to another location. Next we cut to a prostitute flagging down a taxi later that same night. After an amusing bust up with the randy driver, the hooker is left walking the back streets to find her way home. Before she even has a chance to begin her journey, a dark figure raises out of the canal and repeatedly stabs her with a large blade. The killer, leaving a streaming trail of blood behind him, then drags her corpse into the river and disappears into a mass of bubbles. The following morning, the woman is discovered hanging upside down from a bridge by a boat that’s filled with tourists.
Next up we meet Detective Eric Visser (Huub Stapel), a hard-boiled Dirty Harry-alike who is immediately put on the case of the bizarre killing. After a vital clue is found at the scene of the next slaughter, the Police seem convinced that the maniac is a diver and begin checking out all the local clubs and stores. Whilst following that lead, Eric meets Laura (Monique Van de Ven), a beautiful artist who is keen to help him crack the case. Meanwhile the body count is rising and the town mayor wants this killer caught. Can Visser track down this maniacal madman? Or will the killer find him first…?
I have no hesitation in stating that Amsterdamned is amongst the best slasher movies to be released towards the end of the eighties. Boasting a superb script (“What does she mean a big black monster with huge claws?” “I don’t know but your mother-in-law better have a good alibi!”), some stunning photography, intriguing characters and a talented director, this is truly a great advertisement for Dutch cinema. It’s not really a teen-slasher in the hackneyed Friday the 13th mould. Instead it’s best described as a slasher/murder-mystery/thriller, which makes the most of being a part of each category. It’s easy to see that Amsterdamned was extremely well financed and at times, it even manages to outshine its American brethren from the same period. How many hack and slash flicks have you seen that include a town-wide motorcycle chase AND a colossal boat pursuit in the same feature? Dick Maas did an extremely good job of making his movie stand out from the mediocrity that had engulfed the cycle this late into its rein and it gives ‘Damned a plush backbone.
Whilst it could by no means be considered a gore flick, there are enough gooey corpses floating about (literally) to keep the bloodhounds interested. It’s also competently written, which means that it’s not easy to work out the psychopath’s identity until he is unmasked at the conclusion. There’s a fairly large body count and most of the murders are carried out creatively, whilst trying to pack in as much suspense and intrigue as possible. My favourite would have to be the underwater battle between the killer and an unsuspecting Police diver. The whole scene is filmed aboard a submerged boat and the claustrophobic tension is superbly executed. Unfortunately, Amsterdamned was yet another victim of poor dubbing for international broadcast, which means that the voice-overs sound like a consignment of community drama-project dropouts. It’s impossible for me to rate the true performances of the cast because it’s this dubbed version that I saw, but I’ve heard that they’re pretty poor from the supporting actors anyway. It’d be nice to find a subtitled copy one day and check that out though
I wasn’t sure what to expect, but Amsterdamned turned out to be a big surprise for me and it is wholly recommended to slasher fans across the globe. It’s extremely well financed, boasts some snappy dialogue, superb direction, a cool killer costume and even a cheesy theme tune; how can you argue with that? The boat chase alone is worth the budget purchase price. Recently we were talking about slasher movies that have unique antagonists. A killer Diver? Well I’ll be (Amster)-damned… – (And yes, I did steal the same joke twice))
Killer Guise: √√
Final Girl √
Fever Lake 1996
Directed by: Ralph Portillo
Starring: Corey Haim, Mario Lopez, Bo Hopkins
Review by Luisito Joaquín González
Imagine being the director behind the worst slasher movie ever made. Now no doubt in terms of technical application and production values, there are far poorer entries to be uncovered, but Bloody Murder from the year 2000 has long been widely regarded as the weakest addition to the stalk and slash cycle. There are a couple of reasons as to why this is the case. Firstly, it received quite a solid distribution deal, which meant that it was seen a lot more than most of the DTV monstrosities that have littered the genre. Secondly – and in effect most importantly – it is without doubt a turgid excuse for a scary movie experience.
Prior to its release though, director Ralph Portillo already had a stab at the stalk and slash grouping with Fever Lake, a virtually forgotten addition that slightly pre-dates Wes Craven’s Scream. Whilst I can admit that I wasn’t overly excited about seeing it again for this review, I carried the hope that I may find something that I missed all those years ago.
Six school friends head off to a remote lake on a fishing trip for a weekend’s break. Upon arrival they learn the legend of an evil spirit that emerges from the depths and causes unrest amongst local wildlife and human inhabitants. After a young girl is butchered by a wolf, the natives believe that the evil has returned…
Due to a flagrantly ripped off opening scene that sees an axe-clenching father stalk his wife and child through a similar looking house, Lake has been branded some places as a teen-slash imitation of The Shining. The methodology of Stanley Kubrick’s masterful picture was to spend a length of time with the characters and develop a successful tone of dread that built up the moments of horror exceptionally. Portillo’s flick also lets its players dominate the majority of the plot, only this time around it results in an overwhelming feeling of frustration and boredom. This is mainly because we have a story that’s as exciting as being kept on hold to customer service, and it’s been populated with personalities that are as intriguing as an empty cereal packet. Around the fifty-minute mark, I asked my Mrs if she knew the name or a noteworthy detail of anyone that had appeared on the screen up to that point. I waited thirty-seconds or so for a response and then realised that she had fallen asleep.
Now I understand and appreciate a director that can build an underlying apprehension that explodes into a crescendo at the conclusion of a feature. I also recognise that this is by no means an easy feat to accomplish. What confused me most about this though was that it looked to have been put together by a crash test dummy. If Halloween acts as an example of a film that’s been produced with a complete understanding of horror as an experience, Fever Lake is its mirror reflection. We are only made aware that there is a threat lurking around the location by the repetition of identical dialogue by a ‘Native American’ that’s played by a white man(?) and adds absolutely *nothing* else to the story. He and other members of the townsfolk (including inept sheriff of the year award winner Bo Hopkins) talk of an evil spirit that lurks in the lake, but there is nothing that demonstrates this visually. Instead we get suspense music at the dumbest of times, like when the teens are discussing what to have for dinner(?). Well over an hour is spent with the cast involved in breakneck moments of tedium that include: going fishing, chatting about uninteresting crap and running out of petrol. Every now and then we cut back to the aforementioned American Indian who reiterates those lines he said five-minutes ago and it all merges into a steaming pile of nada.
When the killer finally turns up 72 minutes later, the momentum tightens slightly before one embarrassing twist leads to an incomprehensible one and it all fades to black. I have reviewed many slasher films that have been over-padded by 15 minutes and should have been trimmed down to give their runtime a smoother flow. A whopping forty-five could be removed from Lake though and it would still make an incredibly boring short. There’s no slasher action for the first hour and everything else that happens is delivered so leisurely and with such ineptitude that it’s a real challenge to keep your eyes locked on the screen. One false scare was so bad that I felt shame for the filmmakers, but my sympathy was turned to anger when I saw that they’d tried to do the exact same thing again at the conclusion.
I have no idea what Portillo was thinking when he made this film and I don’t know why he even bothered. It’s easier to give credit to someone who has tried and failed than it is when you can’t see any logic in an attempt or its delivery. Fever Lake is absolute rubbish and is perhaps even worse than the more notorious film that it led to. Of course I will re-watch Bloody Murder and explore this in finer detail, but don’t expect the results of my analysis anytime soon. I need a break from Ralph Portillo. A considerable one to be honest.
Air Terjun Pengantin 2009
aka Lost Paradise – Playmates in Hell
Directed by: Rizal Mantovani
Starring: Tamara Blezinski, Marcel Chandrawinata, Tyas Mirasih
Review by Luisito Joaquín González
Throughout the history of Indonesian cinema, it has mostly been dominated by imports from larger countries. When Dutch-born filmmaker L. Heuveldorp attempted to launch a domestic market in 1926 with his silent fantasy piece Loetoeng Kasaroeng, he soon realised that his attempts were futile against the popularity of larger budgeted and technically competent features from the U.S. and Hong Kong. Later in the century during the Japanese occupation, films became more of a propaganda tool and the moderate success of self-developed titles such as 1938’s Fatima was brushed under the carpet once again.
It wasn’t until the year 2000, under the Reformasi movement of the post-Suharto era that a freedom was found once again in independent filmmaking. More titles were released that covered previously censored themes of love, politics, happiness and religion. This allowed budding directors to finally approach a genre that had been highly in-demand amongst native audiences: horror. Whilst obviously not on a par in terms of special effects, the creepy and haunting Jelankung from 2001 showed a huge amount of potential. It took a further eight-years, but in 2009, Indonesia’s first attempt at a slasher movie was released called Air Terjun Pengantin, or Waterfall of the Bride.
A group of youngsters take two boats and head to a secluded island of tranquil beauty for a romantic break. On route they discuss a myth about a deranged witch doctor that lived there and was rejected by his stunning bride. Before long, it becomes apparent that a masked killer inhabits the Isle and a fight for survival ensues…
When watching Pengantin, I was reminded of a skit from the 1988 tongue in cheek slasher, Return to Horror High. It’s the part where the eccentric producer mentions that he doesn’t care about plot or depth as long as there’s enough boobs and blood to go round. Whilst there is no ‘true’ nudity exposed herein, the first twenty minutes play like an exercise in the best camera angles to reveal the female anatomy through a bikini. Now there’s not a lot wrong with that, considering the fact that the chicas were undeniably hot, but when an attempt at exploitation becomes instantly recognisable, it is in danger of falling into the realms of campiness.
Keeping that in mind and the fact that I had absolutely no idea what to expect from Rizal Mantovani’s picture, I initially felt that it may be little more than a slice of prime fondue. In the opening scene for example, our obvious final girl is shown waking up in the morning sporting exquisite lingerie with perfectly coiffed hair and make-up. Despite attempting multiple times, I have never managed to avoid looking like an alcoholic scarecrow when my alarm goes off in the AM, so I found that extremely impressive. Moments after, when we are introduced to her gang of friends, they convey a collective cheesiness that would shame the cast of Embalmed. Upon the killer’s arrival sometime later though, the tone changes dramatically and the film becomes violent, gory and slightly mean-spirited. The murders are most definitely inspired by the torture porn trend and the first one caught me totally off guard. A teenage girl is nailed to a chair and has her finger dismembered before receiving a machete through the top of her cranium. Following that, another victim is slashed across the shoulder and left to bleed to death in agonising pain.
Even though both brutality and cheese are found regularly throughout the slasher genre, the strength of one mood brought out the weakness of the other in this juxtaposition. Pengantin has some memorable characters that are placed into intimidating situations, but I was never rooting for one of them to survive. I found myself more interested that actress Tamara Bleszynski was half Polish and born in London than I did anything that she gave to the final girl role and the rest of the cast offered nothing worth remembering. I’m not sure if this was mainly down to a poor translation of the script or because the plot was so threadbare that it failed to give us a reason to be interested. The lack of any real focus on the backstory though made it come across more like a collection of sequences that had been strung together randomly. Funnily enough, I Know What You Did Last Summer was immensely popular upon its release in Indonesia and I could see that it was a source of inspiration behind the planning and delivery of this feature. It’s just a shame that screenwriter Alim Sudho didn’t follow Summer’s strongest suit, which was its smart and engaging mystery.
On the plus side, the location is outstanding in its beauty and Mantovani captures the colours of the picturesque landscape exceptionally. There’s also a great soundtrack that gives the production a truly polished feel and gore fans will enjoy some of the outlandish killings. It’s just that the film’s methodology was best demonstrated by its portrayal of its female cast members: glossy and attractive, but ultimately hollow. Last year, a sequel of kind to this was released, titled, Air Terjun Pengantin Phuket. I haven’t plucked up the courage to sit through that one yet ;)
Killer Guise: √√
Final Girl √√
Happy Halloween 2014!
It’s come around so quick, the greatest night of the year for horror fans. What’s everybody got planned? I hope you thoroughly enjoy it. Unfortunately, I’m moving house today and the third Jnr González is waiting to arrive on the 4th of November, so I won’t be hitting it hard and it won’t get:
I mean messy of course ;)
I want to take this opportunity to say thanks for keep viewing the site. I really wanted to have a place on the web for people who love slasher movies to basically check I a film before buying it. I have had so many bad experiences myself of hunting out a movie and then being disappointed that it’s not a slasher and so I wanted to make somewhere so you could check on them first. I never expected the site to become this popular and I love to see your comments and emails. I also apologise if I can’t always respond in time, but my kids and Mrs are quite demanding haha! Thanks so much for your visits and support. Anyway, I will keep trying my best to work my way through the entire genre, so keep giving your recommendations and feedback
HAPPY HALLOWEEN :)))
Left For Dead 2007
aka Devil’s Night
Directed by: Christopher Harrison
Starring: Steve Byers, Danielle Harris, Shawn Roberts
Review by Luisito Joaquín González
Halloween has become far more significant than just a reason to dress up for slasher enthusiasts. After the success and legacy of the seminal film of that title, it will always be known to us as ‘The night he came home’. I first saw Carpenter’s classic on the 31st of October 1987 and I launched a SLASH above around the same date in 2011, which makes this the site’s third year on the net. Happy Birthday and all that.
As it is such a momentous day, I generally try to find a suitable slasher film to mark the occasion and this year I’ve chosen Left for Dead. Despite decent funding and a cast including scream queen Danielle Harris, Christopher Harrison’s entry has become surprisingly obscure. Not many of the leading slasher sites have bothered with it and it is hard to find a copy to buy online. It was produced with a large amount of PR and I remember reading an exciting preview in Fangoria back in 2007 before everything went quiet. It snuck out direct to Canadian TV some two-years later with much less media coverage and didn’t hit disc format right up until 2012. It’s never a good sign when that happens, so I wasn’t expecting too much.
After an unfortunate event in an early scene, which leaves a kid dead, a group of youngsters promise to keep it a secret and they get on with their lives. The next Halloween, they decide to have a fancy dress party, but it becomes apparent that someone is watching their every move…
To be fair, there are quite a few things that Left for Dead gets right. For example, the killer turns up almost immediately and once he’s on screen, there’s never a huge gap between one murder and the next. Harrison as a director is all about visuals and the majority of the first half of the movie is filled with girls with ample cleavages, cheesy fancy dress costumes and bright colours. He also tries to get the best out of his (admittedly below average) cast, especially when they’re speaking one on one. There’s a good example of this in an early scene where Danielle Harris and her boyfriend, played by Steve Byers, converse. Whilst it’s impossible to say how much of this was down to the creativity of the actors, the scene is nicely set-up and convincingly portrayed. Little things like this are important to see in a feature film and even if you don’t notice them initially, subconsciously you will.
Another thing worth mentioning is that there’s no doubt that Harrison is a fan of the slasher genre and eagle-eyed viewers will notice many tributes to titles like Maniac (the shotgun through windscreen murder), Fatal Games (victim on crutches), Friday the 13th Part II (spear through lovemaking couple) and Halloween. Oh yes, he’s a fan of Halloween alright; so much so in fact that he duplicated entire sequences… And the score. I don’t have a problem with this though, because it is fun playing the recognition game and makes you feel all wise and knowledgeable on the genre. The only issue though is that it seems that the director was more interested in showing us his inspirations than concentrating on making a credible entry that future pictures could reference themselves.
I have complained previously about overlong character development, but Left for Dead doesn’t seem to have much at all. Most of the time I couldn’t recognise one person from the next and once we had defined the main players, we really didn’t get any backdrop on the others. Not only did this mean that we couldn’t care less about what happened to them, but it had a devastating effect on the mystery. When the culprit is finally revealed, it was like, who was that again? Did I miss something? Erm… Ok…
Still there’s a fair few murders and despite a disappointing lack of gore or suspense, it’s worth watching for the most part. A missed opportunity to be sure, but it’s at least worth a look.
Killer Guise: √√√
Final Girl √
Billy Club 2013
Directed by: Drew Rosas and Nick Sommer
Starring: Marshall Caswell, Erin Hammond, Nick Sommer
Review by Luisito Joaquín González
I don’t remember the last time that I’ve anticipated a slasher movie quite as much as I have Billy Club. To be fair though, it’s logical as to why I’m feeling this way. It’s from Drew Rosas and Nick Sommer, the creators of Blood Junkie, which was one of the best genre entries of the past decade. Junkie achieved the admirable feat of mixing campy SOV wit with a smart synopsis and it was shot with an ambitious pizzazz. It’s also worth noting that it’s not just a SLASH above that have been counting the days for the release of this one either. Horror forums, sites and critics across the world have been extremely vocal in their support for the project and I haven’t seen quite this kind of buzz since the 3D remake of My Bloody Valentine was rumoured.
With Billy Club, Rosas and Sommer have approached a theme that really needs a credible entry, – ‘the sports slasher’ – and their choice of sport is baseball. We’ve been here before of course in 1998 with The Catcher, but the fact that my one-star review of the film is the most positive that can be found on the net, should tell you all you need to know about its quality. Another title, Sawed from 2004 also included a psychopath with a b-ball bat, but aside from the weapon, it offered little else to be considered as a comparison. There was still a gap in the market for an addition that could stand the test of time due to such a unique and popular subject matter. Add on top of that the fact that it is based around Halloween and all the elements were there for a real slasher treat.
A guy travels back to his town of birth to meet up with his former teammates from his school baseball team. Things haven’t been the same for them since a kid that they used to know went mad and killed his coach in cold blood. Upon his return, it seems that he has stirred the wrath of the psychopath and before long he’s fighting to protect not only his own life, but also that of his hi-school sweetheart…
The second major motion picture after a successful debut for a filmmaker is always the hardest to produce. Despite the experience and critical praise that has been received, there’s a lot more pressure to improve upon what was done previously and it’s tougher to build the same level of motivation. I remember when Donnie Darko was released all those years ago, I waited patiently for Richard Kelly’s follow up. When Southland Tales hit screens five-years later, there was no sign of that same spark. I’m happy to say that this is by no means the case with Billy Club and in fact, it’s the total opposite. What we have here is a pitch perfect slasher movie and instead of being strong in just the odd area, the crew have delivered the complete package
As is common in these pictures, the bogeyman’s motive is linked to an incident from the key characters’ childhood. Instead of following the typical Halloween/Prom Night methodology of showing you this event at the outset, it is unravelled in glimpses as the plot gathers momentum. This authentic approach works wonders in sustaining the mystery and it also builds an underscore of tension that doesn’t waiver all the way through. I consider myself amongst the best at guessing the identity of a masked maniac in whodunits, but in honesty, this one had me stumped until the revelation scene. I’d like to be able to state that I was cheated by the screenplay, but I wasn’t; I’d been outsmarted at every turn. It also helps that we are given personalities that grow on us as the story unfolds and the performances are strong enough for us to develop bonds with the cast members. I was especially impressed with Marshall Caswell’s turn as the male protagonist and he looks to be a fine actor that can handle numerous emotional levels. I can’t believe that this was his first full feature
Blood Junkie was marketed as a horror comedy and it did have a number of scenes that were highly amusing. Club’s humour is far more subdued, but when it strikes, it’s handled with care. There’s a hilarious skit in the mid-section that sees a youngster accidentally consume a large amount of shrooms and the directors utilise colours and camera trickery to portray the effects of his hallucinations. In my review of Intruder, I highlighted Spiegel’s energetic photography as highly addictive and entertaining. Well there are examples of the same panache here and it works perfectly to set the tone. When the killer turns up, he does so with menace and his guise (a modified umpire mask and lumberjack get-up) recalls the best backwoods loons. In time honoured slasher tradition, he crosses faces from a team-photo, however this time it’s done with a blow torch that’s also used to stamp the victims with their shirt number post-mortem. You’d expect a film so ripe in so many places to be equally as gory and we are treated to some outrageous kill scenes. These do aim more for realism than extremity though and I believe that suits the film’s set-up perfectly. Whilst the chase sequences are suspenseful and the bogeyman does have that hulking Jason Voorhees-like frame, the best chills for me came from the discovery of the killer’s lair and the childlike score that accompanied it. I found these moments to exude an adept aura of creepiness.
I recently went to see Fincher’s Gone Girl at the cinema and about halfway through, I got that exquisite feeling that comes only when you’re watching a great film. It’s best described as the dropping of your critical guard and just letting the filmmaker’s takeover because you are secure in the knowledge that these guys know what they’re doing. I had that same impulse whilst sitting through Billy Club and I honestly can’t give it any higher praise than that. It makes a change to see a movie that lived up to it’s potential and I was over the moon that it did so. Let’s work together to make it the success that it deserves to be and then we can remain in hope that Rosas and Sommer give us another slasher movie sooner rather than later. Club has already picked up three awards prior to its release and I’m confident that it will receive more after November the 4th. Pre-order your copy without delay.
I had always predicted that it would take a big budget hit to bring back the slasher genre. Movies like Billy Club are making me think otherwise.
- Drew Rosas and Nick Sommer have given me some T-Shirts to give away to lucky readers to follow the November the 4th launch. All you have to do to is answer the questions here and you will be in the mix to receive one. Check back on Halloween for the link :)
Killer Guise: √√√√
Final Girl √√√