Easter Bunny Bloodbath 2010 Review
Easter Bunny BloodBath 2010
Directed by: Richard Mogg
Starring: Shayan Bayat, Meghan Kinsley, Travis Turner.
Review by Luisito Joaquín González
Back in the golden age of the genre, we had it all, didn’t we? Christmas got stalked and Halloween got slashed. Valentine’s and April fool’s Days were pickaxed, whilst a maniac aboard a locomotive terrorised New Year’s Eve. Hell, even Thanksgiving was dismembered by a loony with a machete… But what about Easter? That time of year when everyone puts on 6kg in weight due to a chocolate egg overload and then spends the next month at the gym trying to burn it off? Why didn’t we get a multitude of titles set around the Good Friday break? I guess you could mention the humdrum ‘Til Death us Do Part from 1982, but that was more of a black comedy.
It seems that when it comes to slashertastic action on an annual holiday, Easter was like the geeky kid at school that always got picked last for the soccer team and remained on his lonesome at the end of term disco. We had to wait for what seemed like a lifetime before someone decided to ‘massacarise’ that particular calendar event, but then finally in 2002, we received, along with our cacao butter coated calorie overdose, an attempt to revive the European Giallo named, Semana Santa. Next up four years later came the slightly better Easter Bunny Kill! Kill!
I was thinking of reviewing one of those for you in time for today, but by now I am sure that my regular readers will know that a SLASH above will always pick the more obscure entries over those that have been covered to death. So here I offer you the wonderfully rare, Easter Bunny Bloodbath from 2010.
This is the first film from director Richard Mogg who I have spoken to recently and he’s a lovely guy. Much like Chris Seaver from Warlock Home Video (Death O’Lantern review coming soon), his features are tributes to the SOV titles of the eighties that we all know and love. I really enjoy these fan flicks, simply because most of the time they have been put together by someone with the same kind of lifetime respect for the genre that we have.
A young man chooses to return with some of his friends to his deceased father’s house after twenty-years. It’s his first time back since a girl was brutally murdered by a guy dressed as the Easter Bunny when he was only six years old. He witnessed the killing, but has since put the incident to the back of his mind. Almost as soon as they arrive however, he begins to feel uneasy, because he sees a nut job in a white rabbit suit with a machete hanging around the location. Is it all in his head or are the group really up against a vicious psycho with creative dress sense…?
When I was growing up, like many immigrants that flocked to London from the EU, my family didn’t have a great deal of money. Whilst the rest of the kids were playing their C64s on a colour TV, my Brother and I would be reading library books or rolling abandoned tires down the hill outside our back garden. My mum was never one to let the lack of funds hold us back however and she would always try and be creative with what little cash that we had. I remember one particular time that there was a fancy dress presentation at school and my buddies were all discussing what costume that their parents were going to buy for them. The usual names were coming up, Batman, Spider Man, Superman et al and I remember having this overpowering feeling of rejection. I was pretty upset by the time that I got home and when I explained to my mother why, she would hear no more about it. She stayed up practically all night rapping cardboard boxes with oven foil and sticking coloured fruit gums on them with Sellotape. In the morning when I woke up, I had a full silver robot suit that cost us literally nothing. I wish I still had a photograph of me in it to show you how good that it was, but the children in my class loved it and my teacher even gave me a prize for the ingenuity.
Easter Bunny Bloodbath is very similar to that robot suit actually, because despite being filmed on a nothing budget, it’s covers up the fact exceptionally well that it is missing some of the elements that its cash loaded siblings have in abundance. Just like one of those classic eighties slashers that it pays its dues to, it starts with a prologue set twenty years earlier and Mogg uses black and white photography to highlight the fact. The gap in time becomes especially apparent later, because after the credits have rolled, the director dazzles us with an amazing amount of bright colour. The picturesque forests and lakes of the beautiful British Columbia backdrop look extremely crisp and the quality of the picture somewhat betrays the lunch money production that financed it. Shooting everything in the daytime showed good planning as the film remains well lit throughout and the director pulls off some decent and extremely creative camera tricks during the runtime. All this is accompanied by a professional soundtrack that has been mixed perfectly to match the superb visuals.
The choice of costume for the killer is intriguing because much like the bear mascot suit from Girl’s Nite Out, there’s something really intimidating about seeing such an innocent child-like guise splashed in blood. At times, Mogg manages to build an incredibly creepy atmosphere and the kill scenes are brutal, well timed and fairly gory. My favourite would have to be the kitchen murder of an unsuspecting female. She has her face boiled in water and then her head squished like a cherry. Mogg looks to have followed the method that worked for both Gaspar Noé (Irréversible) and Nicolas Winding Refn (Drive) by using the right sound effect for the head crushing scene. It’s gruesome. Obviously, we have become accustomed to bad acting in SOV flicks, but I must mention the surprise of the final girl here, Lisa, who was played superbly by unknown actress, Meghan Kisnley. She does a really good job with the role and managed a nice range of emotions. She also had a kind of a ‘looks a bit like Katy Perry’ thing going on and well… who doesn’t like Katy??
There is a fair bit to be admired here, but also something that majorly disappointed me about Bloodbath, and it is a personal bugbear of mine that I speak about more often than I feel that I should have to here on a SLASH above. I just fail to comprehend why these pictures are continually plagued by mixing unnecessary attempts at comedy into horror films that truly should just focus on the scares. Black humour can fit superbly when utilised the right way, but how many times do we need to see dumb slapstick failing in the slasher genre before filmmakers begin to realise that it just doesn’t work? Here it feels especially out of place because the tone became quite grim on occasion and I was really impressed by the mixture of mystery and terror. Despite some of the dialogue being amusing and the film having some fun, I felt that Mogg could have got much more out of the concept if he just played it straight. Characters like the obnoxious Steve were kept alive for far too long and the quips were little more than a hindrance to the movement of the plot. I have rarely seen a low budget offering that had so much potential to be effectively eerie but instead preferred to go for cheap laughs. Although it can be of course said that the whole point of paying homage to SOV flicks is to keep things campy, I found it harder to take because Mogg was close to achieving the toughest feat of all: – creating a genuine villain and an ominous environment to unleash him within. It is clear that shoe-string budgeted pictures are never going to have A-list continuity, but leaving vehicles, DVD Players and TVs from the last decade in a scene that’s billed as 1967 is a strange decision. Or was that another joke that I didn’t quite get?
There’s still the chance there for an ambitious filmmaker to create a really memorable Easter themed stalk and slash movie, but the ones that we have will do the job in the meantime. Easter Bunny Bloodbath is most definitely not a bad film and in fact I rather enjoyed parts of it. It took slightly too long to get going, a couple of the cast members could have died earlier; but I still saw some great signs of potential. I will be keeping an eye on Mogg’s future pictures, because there were moments here that brought to mind a Scott Spiegel or a Sam Raimi. All that on the tiniest of budgets…
I guess that if you take your horror served with a slice of American Pie-style laughs, then you can overlook my paragraph about the negatives. For me however I would like to see Señor Mogg make a pure out and out slasher flick. It’s rare that such a cheap movie delivers a few chills. This one managed just that…
Final Girl √√√