Dead of Nite 2013 Review
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 √