Blood Junkie 2010 Review
Blood Junkie 2010
aka Rocky Trails
Directed by: Drew Rosas
Starring: Nick Sommer, Emily Treolo, Ross Bachhuber
Review by Luisito Joaquín González
Over the past couple of days, I’ve watched Bloody Moon and Do You Wanna Know a Secret one after the other. Despite being similar films in terms of their genre and content, the most obvious difference between the two is one that I have highlighted previously: charm. Is Bloody Moon a better example of filmmaking than Secret? No; but at least it doesn’t have a cast full of unlikeable and egotistical cliches that we can’t relate to. Eighties slasher movies, no matter how bad that they may have been, were successful in giving us characters that we liked. There’s no bigger or better drama in cinema than hoping a hero or heroine that we’ve invested in prevails against an evil force.
Director Drew Rosas understands this and has given us a slasher movie that has stolen the keys to Dr Emmet Brown’s time-travelling DeLorean and taken us back to the category’s past glories.
Four beer loving teens decide to take a weekend’s camping trip on some secluded woodland. Due to the fact that one of them was babysitting and can’t leave her kid brother alone, they decide to take him along. During their hike through the woodland, they uncover an abandoned factory, which has various legends of a disfigured loon that dwells within. They soon begin to discover that those stories may be true.
I must confess that it’s been a while since I’ve seen a picture distributed by Troma. Whilst I have never been a fan of their love of toilet humour, they must take some credit for their part in helping to populate the slasher cycle with some good and bad additions. These include Blood Hook, The Creeper, Angel Negro and Girls School Screamers. Blood Junkie is arguably the cannon of their arsenal, which Ido mean as a compliment.
What we have here is a feature that’s hard to take a swipe at. Having seen as much DTV crap as I have over the years, it’s nice to finally get an entry where the amount of effort is so visually obvious that it radiates. Unlike The Sleeper, the eighties continuity here is OTT, but consistent. We see cassette tapes, moustaches, boob tubes and luminous tops; but what amused me the most was the Hair Metal posters that were shown on one guy’s wall. I lived through those times, listened to those tracks and it seems like light years away nowadays. The energetic score is better than any actual synthesiser accompaniment that I recall from the period and the dialogue is comical without being overtly obvious in its attempts. Each shot is planned to be more inventive than the last and the runtime becomes a livewire of creative ideas. For reasons that I can’t disclose here, Junkie is also a film that warrants a second viewing to really bring the best out of the unexpected ending.
What I thought was especially effective, was the director’s ability to change the tone successfully and with minimal effort. Time spent with the characters is campy and fun, whilst scenes that involve the killer often border on being quite creepy. His costume is a gas mask, which is anything but original, but it is ok because his motive is fairly unique. Much like a vampire, he has a taste for human blood and he knocks victims unconscious and drains them in a secluded room. This leads to an ingenious use of the aforementioned headpiece, because the nutjob inserts the protruding hose into a victim and then sucks through it to give himself a warm hemoglobin smoothie!
Despite the novelty of the blood draining part, the abduction, instead of slaughter of teens, does lead to a lack of slashing. The first couple of murders are committed off screen and it’s only later that the maniac begins to attack with brutality. There’s a gooey throat slashing that serves only to inform us of what we could have been in for had Rosas structured his antagonist’s MO more typically. The less is more approach doesn’t necessarily work in low budget slashers.
Still, Blood Junkie was a pleasure to sit through and there’s enough here to prove that Rosas is an exquisite horror filmmaker. His audacious directive style makes him something of a B-movie Wes Anderson and I am eagerly awaiting Billy Club, which should be released shortly.
At 72 minutes, Junkie could never be accused of outstaying its welcome and it’s a film that I feel deserves some of your time.
Killer Guise: √√√