Blood Sisters 1987
Directed by: Roberta Findlay
Starring: Amy Brentano, Shannon McMahon, Dan Eriksen
Review by Luisito Joaquín González
I’ve obviously never met her, but I’d imagine Roberta Findlay to be the kind of woman that would come along to watch a match and then join you at the bar to get smashed on Jägerbombs after. The type of cool chick that a guy can hang out with and tell her everything as if she were one of the lads. I think this because Exploitation films from the seventies were almost always male-dominated productions. With some help from her hubby (fellow director Michael) though, Roberta often managed to totally out-sleaze the competition and her filmography makes for interesting reading. She took softcore porn to the boundaries of hardcore territory with The Alter of Lust in 1971. Then three-years later she created controversy (and profit) by the bucketload with a fake pretending to be real Snuff movie that was imaginatively titled, Snuff. It had began life as a proto-slasher (many of her and Michael’s movies were), but producer Alan Shackleton tipped off the Police and spread word that the murders committed in the footage were in fact real. This brought audiences flocking and it has become something of a Grindhouse classic since.
The birth of the slasher genre offered former-exploitation directors an opportunity to return to the frontline. Successful titles like Halloween and Friday the 13th were not a million miles away from the style of film that they had been churning out over a decade earlier, which made it an even more logical step. It took Roberta Findlay until 1987, but she finally released Blood Sisters and I couldn’t help but be excited by the possibilities. What kind of slasher movie would a person responsible for everything from hardcore porn to sadomasochistic thrillers bring to the table?
The set-up is as traditional as they come. A group of sorority pledges have to spend the night in an old dilapidated mansion to become fully fledged members. Little do they know that the site was once a knocking shop that is reportedly haunted after a gruesome murder thirteen-years earlier. Unfortunately for the girls, it seems that a psychopathic intruder dressed in the clothing of the deceased prostitute has come along to spoil the party.
In fairness to Findlay, she had proven in films such as The Clamdigger’s Daughter that underneath all the sexploitation, she was more than capable of handling drama and extracting good performances from a cast. Whilst Blood Sisters is not amongst the best of her work, I’d be lying if I didn’t say that I enjoyed watching it. Running a SLASH above means that I have to sit through tonnes of modern slashers when sometimes all I really want is a dose of cheesy eighties trash. Thankfully, it’d be hard to get more trashy than this one. Much like the fat kid at school that wears broken spectacles and gets picked last for the soccer team, this has become something of an easy target to be mocked. I had a browse online to see what other people were saying about it and the general consensus is that it offers very little to be appreciated. Whilst I agree that there’s not much here in terms of credible filmmaking, I have to admit that Sisters deserves a little more love from slasher buffs than it currently receives.
There’s nothing more hilarious than seeing someone try their hardest to achieve a feat, whilst it falls down all around them. TV shows like You’ve Been Framed or Funniest Home Videos have made a fortune out of broadcasting such scenarios for audience pleasure. There’s a good example of this during Sisters in an early character definition scene. It’s set at a party and Findlay packs every shot with extras bustling past the lens in a bid to bring the environment to life. The problem is that they act in such a cheesy manner that it ends up looking extremely comedic. This is applicable especially to the sultry Diana, who after admitting that she has three dates lined up for the evening, boogies on down whilst a trio of jocks leer over her and try their hardest to dance at the same speed as the person closest to them.
When we do finally reach the fabled ‘haunted whorehouse of horror’, the tone does become somewhat darker. All of the girls are sent on a scavenger hunt, which means they split into pairs and head off to secluded corners of the spacious building. Whilst it does take maybe ten-minutes too long for the maniac to finally get to work (an hour in fact), Findlay does a sterling job of keeping things interesting in the meantime. Our characters are possessed briefly by the ghosts of former prostitutes that worked there, which is peculiar because we only saw one of them murdered in the beginning(?). Despite that, some of these sequences are strangely effective, especially an erotic scene that’s seen through a reflection. It’s hinted that mirrors are doorways of sort to the afterlife; an interesting concept that’s never really taken anywhere further.
Without a doubt the reason that Sisters is not thought of more highly is because after such a long build up, the bogeyman finally arrives and rushes through a bunch of diluted killings without any suspense. If Findlay had taken the approach of say, Pieces for example, we’d be looking at this with a similar level of adulation. Instead we have a film that has the cheese, hilarious dialogue and acting, but excludes the gore and grittiness. A director with such an extensive experience of Grindhouse pictures should have known better than most what ingredients were necessary. When it comes to the horror parts though, she flies through them with minimal application. I had trouble picking my choice of final girl to do battle with the lunatic, but there’s a reason why I found it so hard, which I won’t spoil for you.
To give you a better idea, Blood Sisters is extremely similar to the previous year’s Girls School Screamers. In fact I could go you one better by saying that it was almost completely reproduced by Jim Wynorski a few years later and titled Sorority House Massacre Part II. If Findlay had gone with what I guess would be her natural instinct and been more exploitive with the death scenes, we’d be looking at a trash slasher classic. In the end though, a few softcore embraces and bemusing characters don’t do enough to salvage it. I liked the fact that it was such a clear postcard of eighties fashion and goofiness and simply for that reason, if very little else, it does deserve to be seen.
Killer Guise: √√
aka Cut Throat
Directed by: Keith Walley
Starring: Luciano Saber, Kate Norby, Raquel Baldwin
Review by Luisito Joaquín González
You know what? I had a great idea the other day for the opening of a slasher film. A girl is all alone in her house late at night, when the telephone rings. She answers it and a demented voice that she doesn’t recognise begins taunting her with personal knowledge that he has about her life. At first she wonders if it could be a prank, but then the deranged caller becomes more threatening and asks if she wants to play a game. We soon learn that he has a family member/boyfriend tied up close by, and if she doesn’t complete the quiz, the loved one will die. So then we… Hold on, my phone is ringing…. “Oh hi Mr Craven. Yes, of course I know what a lawsuit is, why do you ask?”
This totally forgotten entry from the boom years of the second cycle starts pretty much the way that I’ve written above. Whilst I appreciate that it may have been a subtle comment on the magpie nature of the slasher genre, it doesn’t really hint at satire and instead plays it incomprehensibly straight. Would a film really be bold enough to rip off its obvious inspiration (Scream) so openly?
A film crew that are working on an up and coming slasher movie called Death Blade become the target for a brutal masked killer. As more crew and cast members end up dead, the leading lady decides to hunt out the murderer.
Whilst watching Scared, I was reminded of a very good Tim Robbins film from 1992 called The Player. Aside from having an intriguing synopsis, it became renowned for an eight-minute tracking shot that was truly a miraculous slice of cinematography. It wasn’t only the length of running time that made the scene impressive, but also the amount of action that was perfectly coordinated all the way through. There were a large number of actors working in conjunction and on cue to maintain the momentum, which really stood out as an ambitious director going the extra mile. Scared includes a somewhat shorter (96 seconds), but similar in craft set-piece that immediately created the impression that we were watching a stylish slice of motion picture development. In fact, with so much dialogue revolving around the background details of movie production, I was convinced that we may have a slasherised homage of type to Roger Altman’s classic. Unfortunately, like a senior manager that berates his team for their lack of focus whilst clearly logged on to Facebook, Scared doesn’t lead by the example that its script brags about.
I remember a time when even the worst slasher movies included characters that we kind of enjoyed watching. Give me a van full of numbskulls from The Prey or Don’t go in the Woods over a group of conceited silicone-enhanced brats any day. Scared has a cast that’s so deplorably unlikeable that I failed to understand the screenwriters’ logic for even bothering to include a central character. They were all involved in some kind of inane love triangle that made them look like a bunch of junkie sluts. I forget the exact details, but our heroine Samantha had been passed round more of the crew members than the script they were working on and her buddy was portrayed to have the intelligence of a tadpole. They set out to uncover the identity of the masked killer, but this wasn’t much fun for us, because we had guessed it ages ago. It turns out that there’s a tag team of homicidal maniacs on the loose, which I think I might have seen somewhere else ( Mr Craven, whilst I have you on the line…)
When a mystery is really crappy in a slasher movie, it’s an easy slant for a critic to call it Scooby Doo-esque. With Scared, we don’t even need to resort to such slander, because the final girl and her partner set out on a mission to catch the psychopath using a gimmick that they admit was learned from an episode of Scooby Doo(?). This involves them both dressing as the killer so that the villains will think that the person they come across is actually their partner-in-crime and not an intended victim. Sound confusing? Well it gets that way, when the final girl bumps into the assailant and they roll about on the floor in exactly the same attire. Robert McKee from Adaptation said that voice-narration is a cheat’s way of depicting what’s going on in scene. I can only assume that he hadn’t experienced Scared’s methodology of having a conclusive battle between two identically dressed characters. Perhaps they could have placed two luminous arrows on the screen above each participant and scribbled, ‘bad guy’ and ‘the one we’re rooting for’ to make it clearer? Then in what I guess could only have been included as a deliberate piece of inadvertent humour, the heroine challenges the maniac, who had thus far notched up about 6 of her colleagues, to a knife fight. You know, as you do. How we laughed. It’s almost as dumb as trying to track down a psychopathic killer by yourself… Oh yeah… Oh. Mind you, if you meet cops as incompetent as those featured here in real life, you might just feel the need to start your own investigation. I forgot about the unwritten rule that makes detectives in crud horror films a) insanely inept and b) unable to purchase a normal suit and tie combo. Damn it.
Bad slasher movies are two-a-penny, but what made this one worse was that it talked a good game. It’s ironic that the script was filled with choice lines about making ‘the next Scream‘ and ‘the need for a good twist and T&A’ but Scared doesn’t practice what it preaches. It was released in the US as Cut-Throat; a title that I guess was safer than Cut-Off-My-Own-Head-With-A-Blunt-Hacksaw, which is what, at times, I felt like doing. The awful acting (the director guy was abysmal), terrible inept dialogue, characters that vanish without trace from scene to scene and predictable mystery are totally at odds with some creative cinematography. It’s a shame that it was totally wasted in this junk.
Killer Guise: √√√√
Final Girl √
The Silent Scream 1979
Directed by: Denny Harris
Starring: Barbara Steele, Rebecca Balding, Cameron Mitchell
Review by Luisito Joaquín González
Perhaps it’s because they were generally more amateurish projects, or maybe it’s just that funding was often hard to secure, but I’ve always wondered why so many slasher movies from the peak years suffered problematic productions. Titles like Moon In Scorpio, Scalps, Truth or Dare, Killer Party and especially Curtains never saw light of day as they were initially intended and the issues were certainly visible in the final print. Silent Scream was completed in 1977, but was considered unreleasable by director Denny Harris. He hired an entire new cast and brought in Jim and Ken Wheat to re-write the script at his own expense. Together they decided to make it more similar to the boom that had swept cinema around that time, the slasher genre.
Now the major difference between the titles that I mentioned earlier and Silent Scream is that for once the movie that we ended up with worked superbly. Whereas for example Curtains never escaped its muddled backbone, if I hadn’t have read the stories of a troubled shoot, I would have been none the wiser here.
In the rush to find housing before the new semester, four students end up at a recently refurbished house overlooking a remote beach. A couple of hours after they move in, they are shocked when one of their number is brutally murdered by an unseen fiend during the night. Little do they know that the deranged killer is closer than they could ever have imagined.
Whilst I have no doubt in my mind that Halloween played a part in the inspiration for the final version of Silent Scream, the fact that it was released so close to Carpenter’s classic means that it avoids many of the traditional trappings. Instead, the Wheat brothers seem to have followed the blueprint of features like Black Christmas and Psycho to come up with the synopsis for this doom-laden thriller. Even if we do get the standard troupe of teenage victims, there’s no sign of trademarks like the have sex and die rule. I found it refreshing that the heroine’s characterisation didn’t follow the path that would become a cliché and the story feels closer to reality because of that. The four key personalities are so well developed during the opening scenes that it’s tough to chose who we think will succumb to the killer’s blade first. This gives the picture an extra shade of suspense that only adds to the solid mystery.
Harris had been a big fan of horror movies and he rallied valiantly to get his first film produced. After watching how professionally everything had been put together, I had no idea that this was the work of a debutant and I’m still surprised that it’s his one and only motion picture credit. A slick juxtaposition of fixed camera angles and shots that loom ominously give the feature an extremely polished look and a fitting score from Richard Kellaway adds an extra layer of class. What impressed me most about the film was that the screenwriters took something as unoriginal as a tale of a bogeyman in the basement and twisted it continuously keep viewers guessing. The decision to include a corny doo-wop tune as the psycho’s calling card worked along the same methodology as utilising childlike themes such as a clown or a doll. Once combined, these elements gave Silent Scream an incredibly creepy tone of subtle menace that remained constant throughout.
It’s often forgotten that the art of acting is not just spouting lines of dialogue with emotion. I was saying to a friend just recently that if Brad Pitt ends his career without an Oscar, it would be almost criminal. It could have been easy for him to become a Rom-Com king and trade on his looks, but he always chooses audacious roles that for whatever reason he hasn’t yet been acknowledged for. Barbara Steele shows here that she can deliver a performance via body language and gestures that puts her a level above her peers. She steals every scene in a brilliant portrayal that must’ve motivated those around her to up their game. The dysfunctional family stereotype is skewed to perfection and it never reaches the realms of over indulgence.
Silent Scream is a brilliant slasher movie and amongst the best of the genre. Whilst it may be more of a Hitchcockian nod to Psycho than a true teenie-kill feature, it delivers blood and scares like the best of them. Quite why it is not as fondly thought of as The Burning et al is an enigma and I definitely think you should re-visit it sooner rather than latter.
Final Girl √√√
Directed by: Denis Devine
Starring: Meredith Mills, Eric Bunton, Joe Decker
Review by Luisito Joaquín González
When you take a look at some of slop that has populated the slasher genre since 1978, it’s not hard to see why so many entries are mocked for their ineptitude. Have you ever wondered what was the initial production plan behind movies like Night Divides the Day or Camp 139? Do you think that the distributors who picked them up were expecting extravagant success when they watched them through? Were they haunted by a delusion that prevented them from recognising the heinous level of their product’s quality? Keeping that in mind, it would take a brave man to take a gamble on a slasher movie that hasn’t – as of yet – been signed for any kind of distribution. Made way back in the year 2000, Bloodstream has yet to find a scheduled release anywhere across the globe. It was only because it had come from genre veterans Dennis Devine and Steve Jarvis (Dead Girls/Fatal Images/Club Dead) that I even bothered trying to track a copy down. I eventually managed to contact Jarvis, who was good enough to send me a DVD screener. Despite the experience of the filmmakers behind the project, I found it hard not to approach Bloodstream with expectations lowered. Surely if the movie was any good then it would have been snapped up moons ago, right? Well fortunately enough and not for the first time in my splatter-reviewing career, my preliminary expectations were off target with this one….
It kicks off in the unfamiliar settings of a chemical laboratory. A devious worker manages to trick a dim-witted security guard into letting her sneak out a small quantity of an unknown substance. The woman takes the vial to a remote warehouse, but she is brutally murdered by an unseen menace before she is able to receive payment for her pilfering! Next up we meet the likely body count material and massacre applicants at a Los Angeles ‘talent’ show. Pam has traveled from Arizona to watch her younger sister Sandy’s singing debut and she soon gets to meet her friends and colleagues. Unbeknownst to her and the guests, Sandy will not be performing tonight, which is due to the fact that she has been kidnapped by a nut job who may or may not be a vicious serial killer. The following morning when she doesn’t return, Pam and her new found friends begin searching for the youngster. It soon becomes apparent that someone doesn’t want Sandy to be discovered, because members of the search party begin being kidnapped and then surgically dissected by a cackling masked psycho. Next we learn that the motive for the attacks is not as straight-forward as first expected and soon a mysterious link between the victims leads to an authentic conclusion…
Unlike traditional post-Scream slasher yarns, Bloodstream has an extremely complex and creative synopsis. Without giving too much away, let’s just say that the screenwriters deliver an impressive number of sub-plots and branches without wrapping themselves up in an awkward knot. Despite a huge amount of interchanging activity in the story, ‘Stream manages to maintain its momentum, which is all down to some slick work from Jarvis and Devine. Even if the budget restrictions are visually obvious from the start, the sets are stylishly lighted and attempts at suspense are carried out with flair and panache. There are also a couple of bloody murders that liven up proceedings, which include a grisly eye-stabbing that reminded me of the terrific opening from Evil Dead Trap. Also watch out for a few surgical ‘torture’ scenes that manage to look credibly realistic, despite the miniscule budget. There’s an extra lick of gloss that comes from an engaging mystery and Bloodstream is a movie that stays in your head hours after the film has ended. That’s a very accomplished feat for a modern teen-slasher.
When reviewing a pre-screener, you have to ignore some of the continuity mishaps because they would likely be ironed out before the final print is submitted. I did pick up on a few blunders that really stood out though, like seeing the nozzle of a smoke machine bellowing fog into the moody night sky. Jarvis admits that the audio on the disc is not perfect; and in honesty, it is sketchy in places. What I found stood out more to me though was the cheesy level of the acting quality, which gives away the amateurism of the budget cast members. Still, there was enough in the story to overcome this and none of the issues were nearly bad enough to have kept the film from being released. It was apparently re-edited and streamlined twice to tweak the mystery elements and give the runtime a smoother flow. This left a couple of minor gaps in the plot, which don’t detract credit from the complexity of the story, but were likely explained in the footage that was later removed.
It isn’t far off a crime, when you consider the amount of schlock being released with regularity, that an authentic and ambitious title like Bloodstream hasn’t yet been given an opportunity at mass consumption. Perhaps it is not too late for a company to pick up the title and give it the exposure it deserves. I find it hard to explain why movies as contemptible as Paranoid and Head Cheerleader Dead Cheerleader managed to find distribution, whilst this looks set to suffer the fate that befell ‘The Legend Of Moated Manor’ before it. I just hope that this isn’t the case and one day you guys have the chance to see if you agree with my comments……
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.
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 √√√
Dead 7 2000
Directed by: Garrett Clancy
Starring: Joe Myles, Matt Emery, Delia Copold
Review by Luisito Joaquín González
I certainly wasn’t expecting much from Dead 7, especially after I learned that it was a Brain Damage films release. They are the production criminals that have unloaded excrement like Maniacal and the rancid Butchered on to unsuspecting movie fans for the past ten years. But with that said though I’m always open minded when it comes to low budget features, because for every twenty Camp 139s there’s always the chance that there could be a Killer Campout lurking amongst them somewhere. Surprisingly enough – Shock horror – Garret Clancy’s slasher opus was a damn site better than it had any right to be, and it has somewhat restored my faith (momentarily) in Brain Damage as a label.
Clancy opens proceedings with a neat collage of woodland wildlife shots that brought eighties schlock classic The Prey to mind. Next we cut to a girl named Venus who is searching for her younger brother in the dense forest. She is very protective of Harley as he is death and mute, which makes it harder for him to communicate and let people know if he needs help. The two had been playing hide and seek until Harley’s attention had been diverted by the mysterious station wagon that had parked just yards in front of him. Hidden behind the camouflage of the dense trees, the young boy watches on as two men climb out of the car and drag a struggling man out of the boot. Franky (Matt Emery) and Brownley (Joe Myles) are viscous drug dealing gangsters that are just about to enforce the consequences of messing with their clique. They drag the victim out to an abandoned mine shaft and decapitate him with an axe before throwing his body down the pit. They hurriedly leave and meet up with their girlfriends Julie (Tanya Dempsey) and Karen (Janet Keijser) and their co-ed friend Drusilla (Gina Zachory).
Franky suddenly realizes that he has left his wallet back at the shaft, and after consulting Brownley, the two decide that they’ll have to go and find it without arousing the suspicion of Drusilla. Despite having very bad taste in friends, ‘Silla doesn’t seem like the type to be a part of any immoral activities and that’s why they try to keep the corpse under wraps. All five of them head back to the scene, and leave Dru to join Harley playing Hide and Seek. Unfortunately whilst searching for a secluded place, Harley comes across the foursome in a criminal situation, which means that they have no option but to silence him…for good! So down the mineshaft he goes with no chance of ever escaping or calling for help. Poor old Drusilla has no idea that her buddies have just killed the youngster and she is dragged away without an explanation.
A couple of months down the line, everyone except Venus seems to have forgotten about Harley’s death. But the gangsters are given an ominous reminder when an unseen intruder throws some incriminating evidence through Franky’s window. This results in a chain of events that leads to the gang being stalked and gruesomely slaughtered one by one by a mysterious stranger. Brownley has already proved that he is a ruthless killer, but it looks like he may have met his match in this mystifying vigilante. But who could be behind this frenzy of retribution?
Even though it sounds like a textbook slasher by the numbers, Dead 7 is actually a fairly engaging and moderately authentic take on the genre. It makes a refreshing change to have a mystery that actually pays off the viewer with a satisfying conclusion, and Clancy has enough screen writing flair to keep you guessing through to the climax. He directs with a confidence that exceeds his lack of experience, and the photography is fluid, crisp and innovative all the way through. Kudos also to the editor who did an extremely credible job when compared with similar no-budget offerings. The decision to shoot all the horror scenes in broad daylight was a wise method of avoiding the frequent problems caused by insufficient illumination and even though the locations were those of the ‘take what you can get’ variety, they suit the desolate atmosphere of the feature. Modern day horror enthusiasts might be disappointed by the lack of any really convincing gore, but the murders are fairly imaginative all the same: Death by copious amounts of cocaine anybody? The acting is fairly shoddy and unconvincing, but it’s by no means the worst that I’ve seen. It’s perhaps ironic that the best performance happens to be the director’s cameo as a bent copper.
It goes without saying that Dead 7 does show it’s amateurism in places. Clancy’s script includes some inadvertently amusing dialogue that certainly wasn’t his initial intention and one or two of the bargain bucket death scenes are hilariously hokey. One guy gets his ears lopped off and spends the rest of his screen time covering them up with his hands so that we don’t see the wounds!. In all fairness though, the killer’s face make-up in the final scene was actually quite good and there’s also a gooey slashed throat among other grisly highlights.
The net result is a decent slasher with a supernatural sheen that manages to keep you watching from start to finish. And that’s a target that many other Brain Damage monstrosities couldn’t even dream of achieving. There’s some raw but worthwhile talent on display within Dead 7 and it warrants at least a viewing.
I say check it out…
Killer Guise: √
Final Girl √