Silent Night Bloody Night 2013 Review
Silent Night Bloody Night 2013
Directed by: James Plumb
Starring: Philip Harvey, Victor Ptak, Alan Humphries
Review by Luisito Joaquín González
Merry Christmas to all my readers!!! So the film featured in my last review, Silent Night, was a VERY loose re-imaging of Silent Night Deadly Night from 1984. It was in fact so loose that if I hadn’t had read the press pack that came with the pre-screener, I would have thought that it was just a stand alone feature. Silent Night Bloody Night: The Homecoming however didn’t even bother to get creative. It’s an almost word-for-word duplicate of a film of the same title that was made some forty-years earlier. The original Silent Night Bloody Night boasted an intriguing concept, a uniquely gothic tone and some solid performances. This British back garden rehash is as much of a tribute to that cult classic as would be a One Direction cover of Led Zeppelin’s Stairway to Heaven. In fact, it may even be worse…
Christmas Eve 2012, Jeffrey Butler returns to a small town after finally deciding to sell the house that had been left to him in the will of his Grandfather. William Butler had burned to death in mysterious circumstances twenty-five years ago and it has been vacant ever since. Three key figures from the local community, including the town Mayor, have mixed feelings on letting the property go on the market and want to purchase it for themselves. To make matters worse, a serial killer that has broken out of the local asylum decides to take refuge in the dilapidated abode. Before long, the maniac begins systematically slaughtering the locals, but what could all these events have in common with one another?
I would hate to play group poker with director James Plumb on my team. Here’s a guy who doesn’t hold anything back… even for a second. I knew from the moment that a Mark 4 Ford Transit (in production from the years 2000 – 2006) turned up in a prologue dated 1987 that I was in for a gruelling seventy-eight minutes. They even scribbled over the number plate with a whiteboard marker in a pathetic attempt to cover up the fact. Continuity, anyone?
So anyway, the plot gets rolling and they manage to achieve the almost impossible task of making what was a slightly complex but logical story seem like it doesn’t make a lick of sense. Did screenwriter Andrew Jones find an online copy of the original script written in Imperial Aramaic and run it through Google translate before submitting it as his final draft? For the first thirty minutes, I had no idea who was the protagonist, what was going on or why I should care about anything at all. Strangers walk on to the screen and say a few lines before getting killed in sequences that may have been edited by Wallace ‘Wally’ Karue from See No Evil, Hear No Evil. I could write a thousand words about the way that scenes look to have been chopped together on a freeware version of Windows Live Movie Maker, but the filmmakers couldn’t be bothered and so I can’t either. One couple got dispatched with an axe rather bloodily whilst underlining the have sex and die rule for the second time in fifteen-minutes. It was a shocking waste of circus potential though, because the nameless female is the only person in the history of sexual relations that can get down to it whilst keeping all of her clothes on. How cool is that? Maybe it had something to do with the size of his hatchet? Boom Boom.
Forty minutes in to the original Silent Night Bloody Night, we had spent that time establishing a group of suspicious, shady characters in a smartly convoluted plot. In this dumb and pointless reboot, I wasn’t interested In anyone or anything that I was seeing, except I was wondering who would be foolish enough to pay the bill for a phone in an abandoned house. Our maniac killer uses said tel to ring and, ahem, ‘terrorise’ his intended prey in the same kind of ways that were so scary the last time that this story was told. The difference back then was that the actor playing the psycho’s voice was stern and terrifying, whilst Adrienne King shows how rusty she is here by sounding like an amateur dramatics group cast her off after the first audition. I am not sure about you, but I don’t enjoy paying a premium price to watch awful dramatics. I’m also not the biggest fan of flat, lazy camera angles, cardboard characters, an awful score and a noughties registration Ford Transit being teleported back to 1987 for the opening scene. I did however like the security guard at the mental hospital. Anyone that drinks Red Stripe beer and watches Night of the Living Dead whilst working with the criminally insane is a legend in my eyes.
It’s hard to find much positive to say about Silent Night Bloody Night: The Homecoming, but there were a few things that I liked. James Plumb seemed to save all of his minimal directorial ability for the final chase sequence and it went really well up until we saw that dreaded Ford Transit again. (In case you forgot, it’s the one that was used in the prologue from twenty-five years earlier). I guess that you could say that the killer’s guise was decent and there’s a fairly large body count, but it’s not enough to warrant you tracking this down. Yes it’s low budget and yes it’s good that people still want to make slasher films, but I just felt that it was offensive to the classic that it attempts halfheartedly to rehash.
The most talented person in this production was the one that put together the box-art. He/she made it look like a free vodka for eternity gift voucher and that’s just irresistible. If you, like me, are on a mission to see every single slasher movie, then make sure that you borrow your friend’s copy and save yourself a miserable Christmas of regretting wasting your wonga.
Final Girl √