Author Archives: luisitojoaquin
Girls Gone Dead 2012
aka Bikini Spring Break Massacre
Directed by: Michael Hoffman Jr., Aaron T. Wells
Starring: Katie Peterson, Shea Stewart, Brandy Whitford
Review by Luis Joaquín González
I often wonder if exploitation cinema may be reaching its date of expiration. For decades, a host of low-budget titles would provide horror, shocks, nudity and gore that would fulfill both morbid curiosities and rebellious desires. Having grown up during the tail-end of the exploitation boom, I experienced first hand the excitement of hunting out hand-drawn VHS covers and guessing what forbidden treasures might be included within. Nowadays of course, the most explicit content imaginable can be found quite easily with a Google search, which is why I wonder whether the market might be drying up for the exploitation genre.
Released in 2012, Girls Gone Dead was marketed as a T&A slasher; – a style that we saw in abundance during the noughties. Generally, T&A slashers lack technical quality in their attempts at delivering terror, so they up the ante with nudity and silicone enhanced ‘babes’. Good examples of the phenomenon are, Strip Club Slasher, Porn Shoot Massacre, Blood and Sex Nightmare, Fatal Delusion, Sandy Hook Lingerie Party Massacre, Fatal Pulse and Massacre at Rocky Ridge. As I alluded to in my opening paragraph, I can’t help but assume that the growth of free-access online porn has stolen a percentage of the audience for titles that sell themselves on having a couple of extra nudity shots.
A group of girlfriends head off to the remote mansion of one of the troupe’s fathers for a weekend of crazy partying. Missy, the daughter of an over-zealous church member, promises that she will let her hair down and finally break the shackles that have been imposed on her by her incredibly strict mother. Excitement leads to disappointment when they learn that their ‘house of fun’ is actually located in a retirement community. The bad news gets worse when a hulking masked killer turns up with a large axe…
Whilst T&A slashers are my least favourite sub-category of our favourite sub-genre, I will never complete my mission of reviewing the entire pool of these flicks if I don’t go against my preferences from time to time. I’m reminded of something a girl I met in Kraków once told me, “Be more intelligent than the rest, without making it obvious”. Another suitable quote might be, “The smartest disguise is that of the clueless clown”. I mention these because, GGD is an interesting addition to the slasher collection and it’s one that may have a hidden layer.
I watched it straight after Most Likely To Die and whilst they are both modern slasher movies with slick productions, they are totally different beasts cinematically. MLTD spent a while expanding the complex identities of its unique personalities, whilst GGD rolls out the clichés without a second look. Directors Michael Hoffman and Aaron T. Wells have a ball with their cast of attractive bunnies and said bunnies carry the lengthy exposition parts comfortably. At 102 minutes, I was expecting the momentum to stagnate whilst watching the girls getting drunk and pulling off the predicted shenanigans, but the script has enough wit and endeavour to keep things moving. There’s a sub-plot about an adult porno/big-brother type website, which I initially thought was an unnecessary diversion. It leads to a house party sequence that includes a humorous (if misplaced) cameo from Ron Jeremy, tonnes of bikini-clad bimbos and an abusive wannabe Hugh Hefner with a face that you’d love to punch. With a crowbar. Thankfully, the killer turns up and puts an abrupt end to the decadence with his trusty hatchet. Due to the cameras that were capturing the boogieing hotties, some footage of the murders is posted online and we get to see our key players watch it, in jest, a short while later. The irony didn’t escape me that they were mocking the earlier massacre, whilst blissfully unaware that they’re next on the maniac’s list.
Eventually the killer turns up to take care of Missy and her pals, and begins picking them off one by one as they wander off to get up to mischief. Hoffman and Wells go all guns blazing and deliver some brutal murders and gratuitous gore. We get an antagonist dressed in a robe and cherub mask (nod to Valentine?) and there’s a few interesting set-ups, including the death of a valiant chica that I really felt deserved to escape the maniac’s clutches. It’s fair to say that 90% of the runtime sustains an ‘entertaining’ (but non threatening) tone, although the final twenty-minutes did deliver some really neat tension and a couple of scares. I mentioned earlier that these types of pictures are generally pretty shabby from a technical perspective, but that’s not the case with this one and the directors pull off some interesting stuff. Some other reviews that I have read criticised the mystery saying that it was too easy to guess who it was under the mask. In honesty though, I didn’t notice it to be worse (or better) than any other slasher/whodunit I’ve seen of late. One thing I will say is that I often complain about unlikeable characters in modern entries, but GGD managed to even make me root for the spoiled brat. That’s a real achievement.
Going back to the comparison with Most Likely to Die, for the best part of GGD, I was thinking that it lacked the intelligence in scripting and preferred ticking boxes over attempting MLTD’s more ambitious style of storytelling. Later though, I noticed the aforementioned ‘hidden layer’ and that GGD possibly included a subtle comment on modern voyeurism and the easy access to society’s ills via social media, which in effect makes them dangerously acceptable. Perhaps there was also a nod to parental relations and how there comes a time when padres need to accept generational differences. I also noticed a view on religious fanaticism and how certain ideologies have become outdated with the technologies and desires of modern society. Then again, maybe it’s just a silly slasher and I was overreaching when i noticed those depths…?
What I can be sure of is that Girl’s Gone Dead is an entertaining and fun entry that is as close as it gets to an eighties cheese flick without being an eighties cheese flick. It’s overlong; for sure. Actually, if they removed all the cuts away to Ron Jeremy and his chums, the film would work a damn site better. Still, I managed to remain hooked and I couldn’t ask for more than that. In reference to my comment on the fading appeal of exploitation pictures, it’s fair to say, if they’re this fun, there’s still a market for them. Oh and one last thing, I’ve proved many times on a SLASH above that the IMDB is an awful guide to slasher movies. Well this one has a rating of 3.5 on there! Stop the world, I want to get off…
School’s Out 1999
aka Schrei Denn Ich Werde Dich Toten
Directed by: Robert Sigl
Starring: Katharina Wackernagel, Niels-Bruno Schmidt, Nils Nelleßen
Review by Luis Joaquín González
In my review of Amerikill, I made an unforgivable error. I said that it was strange that there are so many killer clowns and hardly any psycho jesters in the slasher genre. Slaughter High got a well-deserved mention, but I failed to acknowledge School’s Out, which includes arguably the most slasheristic jester disguise of them all. I hope that you find it in your hearts to forgive me…?
I picked this one up back in the early 2000s on an Amazon multi-buy with Party Crasher, The Catcher and Carnage Road. There’s another German slasher called School’s Out Forever that I will likely review soon, but to the best of my knowledge, it has nothing else in common with this. Whilst researching, I found out that this was originally a TV production, which I’d never have guessed, because aside from a lack of gore, it looks plush enough to have been a cinematic release. I’m quite surprised by its lack of popularity amongst slasher completists and that it has picked up only a few mixed reviews. With this in mind, I thought it was about time that I set the record straight with a gloves-off autopsy here on a SLASH above…
We begin with a young girl heading along a dark road and listening to music, which immediately brought to mind the opening of Urban Legend. She even comes across a creepy looking stranger whose car has broken down just to confirm the homage. Jessica slows down to offer assistance to the incapacitated driver, but comes to her senses and speeds off when he tries opening her door. As she heads along the road, her cellular phone rings and the voice quickly identifies himself as the man she just left in a layby. He admits that he has her number because it’s painted on the side (she’s driving her father’s taxi) and pleads again for a ride into town. The mystery caller gives his best Scream ‘creepy mutter’ impression, but it doesn’t prevent the foolish youngster from turning around and returning to the scene…
Next up we meet a group of students that are going to stay over at their campus to celebrate graduation. Nina has recently broken up with her boyfriend and that’s just one of a number of delicate complexities that surround the relationships of the troupe. As they begin to party through the night, it soon becomes apparent that a maniac that was responsible for a massacre on the site a decade earlier has broken out of a local asylum. Their worst fears are realised when a masked killer begins slicing through the revellers with the same weapon that the escapee used all those years ago – a large pair of scissors…
School’s Out is a film that’s split into three distinct acts and the best way that I can review it for you is by describing how each one delivered varying moods. For the first thirty minutes or so, I was struggling to adapt to the tone, which was mainly due to the most unconvincing dubbing since The Blazing Ninja and some peculiar lines that had been awkwardly translated from the German script. There were a host of conversations that sounded unusual and noticeably peculiar, so I would have preferred to have viewed a subtitled copy. On top of that, the fact that it had started with the aforementioned elements that were clearly lifted from Urban Legend and Scream meant that my initial impression was that this was an extremely poor European rendition of its American brethren. We were given a few scenarios that attempted to bring the key players to life, but the staggered flow of the klutzy dialogue meant that I couldn’t buy into what I was seeing. With so little to keep me engaged, I began to fidget and lose interest whilst waiting for the action to commence.
When the killer gets to work though, the pace begins to tighten, which is mainly due to a couple of splendid decisions from director, Robert Sigl. Never has the inside of a school looked so gothic and he traps his characters amongst terrific backdrops, including an ominous spiral staircase and a room that’s filled with mannequins and tarpaulin maps. Without any gore, the crew rely on sharp editing and frantic movement to bring the kill scenes to life and there’s a tense moment when a fleeing bunny tries to grab the assailant’s weapon whilst he’s temporarily immobilised. Another notable sequence sees a victim slaughtered whilst her friend looks on through an air vent and there’s a fairly tight mystery that will keep you unsure of your choice of cast member that’s under the mask. I mentioned above that this is the most ‘slasheristic’ jester guise of those I’ve featured on a SLASH above and with a red mask and period costume it’s hard to disagree with that statement. Sadly, I also think it’s the weakest of the three; – because the plastic look of the visor is at odds with the rest of the attire. Amerikill and Slaughter High did it better for me.
The third and final part of School’s Out is my favourite and its authenticity allows the film to overcome allegations of being a complete Scream clone. Our heroine Nina and one of her friends survive the school massacre but they do not believe that the Police have pinned it on the correct suspect. We get some effective dialogue scenes that open-up new layers to the puzzle and they all lead to a final confrontation back on the campus that’s staged well enough to build drama. It’s unusual for a slasher to go for an aftermath plot-branch and I liked the way that the script didn’t push itself into corners or run up blind alleys. Nina makes for a subtlety appealing heroine, if again, let down by the scripting; whilst the motive, when revealed, is totally ‘out there’ but that’s pretty much par for the course.
Even if it may be a bit long-winded in places, School’s Out is a satisfying slasher film that has some slick embellishments. If I could track down a subtitled copy, I’d give it an extra half-star, but as it is, it’s still worth the effort of checking out. It was followed by an equally enjoyable sequel that has, strangely, become almost impossible to track down. On another note,I just noticed I’ve posted this on the weekend after Brexit. As a Spanish/Irishman that lives in the UK, perhaps reviewing a German slasher could be considered a political statement of kind…? Then again, perhaps not…
Most Likely to Die 2015
Directed by: Anthony DiBlasi
Starring: Heather Morris, Jason Tobias, Tatum Miranda
Review by Luis Joaquín González
For me, the biggest mystery surrounding the slasher genre is how such a basic and straight forward formula has resulted in so few genuinely credible motion pictures. Of the 800 or so entries that have been produced, you can count the truly outstanding ones on your fingers. For movie watchers that aren’t slasherholics, there seems to be a thin middle ground and these flicks are either superb or trash-can worthy. It’s hard to pinpoint the exact reasons why the category hosts so few exquisite inclusions, but I think a big part of it is that filmmakers often try to expand on the traditional template when there’s really no need to.
Most Likely to Die is refreshing because it’s a big(ger) budgeted effort that proves that you can still make a sharp and thoroughly entertaining movie by sticking to the guidelines. Instead of flamboyant recalibration of the nuts and bolts, Anthony DiBlasi has decided to polish the old ones and paint them in chrome – and it works
A group of youngsters arrange a get-together at the remote mansion of one of their friends to celebrate the ten-year anniversary of their graduation. As they begin to arrive, they notice that Ray – the house owner and a professional hockey player – is mysteriously absent. Still, they begin to catch-up on their achievements and celebrate their reunion. Little do they know that a brutal masked killer is watching them and before long they’re fighting for their lives…
When I first learned that DiBlasi was making a slasher movie I was extremely keen to see the net result because he’s a director that I have a lot of respect for. His previous features have shown a unique flair for mixing horror with strongly developed characters and I wondered how he’d get on with the more basic trappings of a stalk and slash flick. If there were any lingering doubts about his potential as a competent up and comer, he washes them away with MLTD, by staying true to the category’s principles without betraying his own vision. The film offers a wealth of intriguing set-ups that allow its players to transcend the usual stereotypes and this is most-evident in the choice of final girl; – a professional poker player with a self-destructive lack of trust. At first I wrote a note that the friendships looked unconvincing, but as the film progresses, we are given more insight on the complex relationships that exist between the former classmates and why some of them may have the motive to kill. Whilst I wouldn’t say that the mystery is outstanding or that the conclusion was a shock (it is in fact fairly underwhelming), it does add an extra layer to the tension of the marauding killer.
DiBlasi is wise to pay tribute to the slashers of old without making it obvious that he’s doing so. The film can be described as a mix of Terror Train, Pranks and Slaughter High, but it doesn’t attempt to hide the fact that it’s been filmed in 2015. We get a host of gimmicks that we’ll recognise from the classics including the killer putting a red X over the yearbook pictures of his victims and a subtle sub-plot of a prank that backfired. In time-honoured tradition, the opening scene includes a chase sequence and a (surprisingly) bloodless slaughter, but we don’t get to witness the antagonist for quite a while after. The in-between parts are spent unraveling the personalities of the school friends and there’s some interesting tweaks that bring them to life. What I liked about MLTD is that it breaks away from the ‘one by one they wander off to die’ chestnut, because the entire group are made aware fairly early that there’s an uninvited guest on site. This means that the script needs to be more creative in the way it strands its victims and puts them at the peril of their pursuer.
Our antagonist has a unique guise and he strikes with a ferocious brutality. There’s a really well set-up scene in an alleyway that provides suspense as the maniacal menace closes in on a trapped victim, smashing lightbulbs along the way, like we saw in both My Bloody Valentine and Terror Train. It would be an extreme exaggeration to call this a gore film, but there are some gruesome moments and an audacious kill with a hockey stick that’ll satisfy blood hounds. DiBlasi directs with confidence and draws pitch-perfect performances from an inexperienced cast. His choice of lighting for the second half of the picture is perfect and he delivers a vibrant combination of audio that hits more often than misses. Using the English National anthem for a kill scene was a masterstroke that I’m surprised didn’t come with an explanation of kind.
The lengthy attempts at dramatising the key players may be off-putting to those looking for a fast-paced slasher flick. It could also be said that the killings aren’t graphic enough for hardcore hounds, but you’d have to be hyper-critical to truly find much more fault with Most Likely To Die. Here we have a movie from a production team that made the right decisions: don’t waste budget on non-essential ingredients when all you really need is competent actors, a cool killer guise, some blood and a director with the ambition to succeed. Sometimes doing the basics to the best of your ability outshines an overload of creativity. This may not be a genre-defining movie, but it’s a worthy inclusion that should be a lesson to filmmakers looking to continue the legacy.
Bone Cave 2011
Directed by: Matthew Brooks
Starring: Justin Rose, Jeremy Jusek, Andrew Hart
Review by Luis Joaquín González
So here we have yet another extremely rare slasher movie, but it’s one that is refreshingly unique. Even as a fan of the genre, I often get tired of the amount of films that traipse along the standard clichés without even attempting to inject any authenticity. Bone Cave on the other hand is unlike anything that I’ve seen before and despite its limitations, it offers an encouraging slant on the stalk and slash formula.
A pair of college kids hatch a life-changing plan to get rich by robbing a local ecstasy dealer and hosting a rave so that they can sell the tabs that they stole. As the party gets underway, it soon becomes apparent that a caped killer is lurking among the revelers and looking to slaughter the drug-induced teens…
For the first twenty-minutes or so, Bone Cave played like it was little more than a slasher by the numbers. It kicked off with a pair of poorly acted lovers being murdered in a cave by a caped menace with a painted face. There was nothing about the sequence that couldn’t have been copy and pasted from a million other genre entries and when the next cut showed us a couple of kids sitting outside a high-school, I felt like I was watching a lower budget knock-off of President’s Day. However as those same characters began speaking about their ambitious plan to rob a local drug pusher and host an illegal party, I began to realise that Ohio based director Matthew Brooks was on a thoroughly different wave-length.
Whilst there’s no denying that Bone Cave is a slasher movie, it’s one that plays like it’s only half-aware of the trappings, which I mean as a compliment. We get forty-five minutes of plot development from the three main players and perhaps because the dialogue has been written by a youngster (Brooks was in his twenties) it comes across as genuine as to how youngsters speak. It could be said that the pace during these parts isn’t as tight as it should be and a couple of killings might have made the runtime sharper, but Brooks’ flair for witty lines and realistic scenarios kept things afloat. If you’ve been a long-term reader of a SLASH above, you’ll know my thoughts on the challenges of mixing slapstick and terror into a palatable cocktail. There are many entries that have tried this formula (Easter Sunday/Slaughter Studios) and the majority of them are disjointed and shabby. It would be unfair to call Bone Cave a slasher/comedy, but the script delivers a nice blend of humor (from the dialogue) and horror (from the multiple victims). I expected the theft of the ecstasy tablets to be a small background sub-plot, but it is smartly expanded to generate a solid spine. It’s fair to say that there are no real surprises in later revelations and the killer’s identity is easy to guess, but most of the ideas here are novel and smartly delivered.
The second half of the film takes place inside the cave of the title, which was the location chosen to host the rave. The exteriors were filmed locally and are impressively conveyed considering the lack of experience and I can only guess that a hall was used for the other parts, but credut to the set designer(s) that worked hard to make it look as realistic as possible. Early on, I was a little worried that the lighting would be a problem, because we have about ten-minutes of footage that is illuminated by a couple of torches, but this soon improves and the crew did a good job technically. I also thought it was original the way that the killings were staged. Initially we get a torture porn-esque kidnap of a young girl that gets acid thrown in her face, but then the maniac goes on a rampage and runs into the middle of the party-goers with his custom blade and begins slashing… Cue pandemonium! We do get some blood splashing and a couple of gooey moments, but Bone Cave is fairly light on the gore score. It draws to a conclusion with the three main characters trapped with the maniac and they must overpower him in order to flee the carnage. If I were to be really harsh, I could say that the film might’ve worked better with a meaner spirit and I also didn’t think that the killer’s dialogue (he’s a real chatterbox) was effective. Still, earlier on I mentioned President’s Day and whilst the pair have very little in common, they share an alluring vibe that’s impossible to brush off.
All in all I enjoyed Bone Cave. It’s certainly full of innovation and a handful of smart accomplishments. The pace does stagnate a bit during the first half and some of the effects are visibly cheap (the grenade explosions are PSone-esque!!), but I guess that they made the most of an extremely tight budget. Matthew Brooks is certainly a talented filmmaker and his inclusion to the genre is worth a look.
Miner’s Massacre 2002
aka Curse of the Forty Niner
Directed by: John Carl Buechler
Starring: Karen Black, John Phillip Law, Richard Lynch
Review by Luis Joaquín González
What with Штолиьч and XP3D, I’ve been coincidentally ‘digging’ through the mine-based slashers with a pick-axe at an impressive rate. Here we have one that I’ve wanted to add for some time, but there’s always been a title in front of it… Until now. Curse of the Forty Niner or Miner Massacre as it’s known round these parts was the second slasher film from John Carl Buechler after he directed arguably the most ‘gutted’ of the Friday the 13th sequels (part 7). He also provided special make-up effects for a number of eighties films including, The Prey.
Known for his visceral gore scenarios, Buechler was something of a cult hero throughout horror’s most cheesetastic decade. Although his directorial efforts never really put him on a level with Carpenter or Craven, he still played an important part in the production of numerous entries. After the Scream-inspired slasher rebirth, he returned to the cycle that he had heavily contributed to with this overlooked inclusion.
A group of young adults head off to a remote Southern location where it’s rumoured that a murderous outlaw named Jeremiah Stone stashed a pile of gold. The area is surrounded by the legend of the ‘Curse of the Forty-Niner’, which dictates that if anyone finds the treasure, the spirit of Stone will return from beyond the grave and murder those responsible. Guess what happens next…
Is sticking consistently to your stereotype always a bad thing? To be honest I’m not so sure. If we erase the past twenty years, I’m a massive Robert Deniro fan. I honestly believe that his Vito Corleone in Godfather 2 and his Leonard Lowe in Awakenings are (along with Sean Penn in Dead Man Walking) amongst the greatest performances ever captured on film. His critics will say that he can only play a gangster or a villain, but I disagree, because the best of his work from the past two decades is Silver Linings Playbook and Everybody’s Fine, which are everything but dark characters. It’s a shame that the roles that he’s most renowned for are violent or aggressive, because he has more strings to his bow than he is given credit for. Despite accusations of churning out anything for the paycheque of late, his quality has been mainly evident when he’s played against type.
In the case of John Buechler though, Miner’s Massacre has the opposite effect. If you’ve got a film from a guy that’s known for making ‘the goriest continuation to Friday the 13th‘ (in its uncut form), I guess you build a certain level of pre-view anticipation. Then when said movie has less blood splashing than I Know What You Did Last Summer, you kind of feel, well, a bit disappointed. It certainly looked as if, stung by the censorship issues that plagued his entry to the Voorhees saga, Buechler had re-invented himself as a filmmaker more focused on suspense. In honesty, I much prefer the Carpenter methodology and value style over substance, so was keen to see how he’d get on with such a stark change of approach.
On first glance, Miner’s Massacre starts fairly limply, with pancake personalities and plot branches that have minimal exposition. Our antagonist is brought back from the grave rapidly with no real explanation and the gang know exactly where they’re going to seek treasure after receiving only half a map and a chunk of gold(???). It could have been a prank by a friend or a marketing gimmick from Walmart, but they merrily pack their stuff and off they go without a second look. Thankfully, when they reach the secluded location, the film drastically improves due to a tighter pace and an aura that’s subtlety reminiscent of inclusions from the tail-end of the peak period. Buechler outshines many of his contemporaries by capturing the charm and wit of the late eighties without over-emphasising the fact. He fills his film with archetypal slasher personalities, but I did like a couple of them, which made a real difference to the egotistical tosh that fills other modern slashers. I think that my favorite was the ‘moan-a-lot-bitch-girlfriend-from-hell’ that became the first victim of the troupe. Her OTT Brooklyn ‘My Cousin Vinny’-alike accent really gave her some spark and I was fairly disappointed when she checked out prematurely. She may not have escaped her stereotype, but because she was played with fire, I really thought that she stood out.
Looking like a cross between Freddy Kruegar and Jack Sparrow, the killer stalks and slashes his way through the group with impressive menace and the murders build up to a tense conclusion in an underground mine. Its fair to say that Buechler directs with endeavor, but there’s nothing outstanding that genuinely transcends the norm. The decision to shoot the night scenes with a tint of blue was a poor one and the lack of visual clarity is surprising considering the budget. That’s not to say that the production had extensive funds to play with, but there were a handful of explosions and OTT effects, which could have been substituted for a better lighting rig. One of my readers, a cool dude from the Philippines posted a comment recently on Death Valley. He correctly mentioned that it was one of the only slashers that had a Western slant, but I guess that you could say that Miner’s Massacre also counts as a genre entry that owes something to outlaws and gunslingers from America’s deep south.
I guess that you could call Miner’s Massacre the slasher equivalent of a film like Con Air. It’s an entertaining stroll that takes the expected route, but doesn’t attempt to uncover an adventurous shortcut. There’s a cute chick (Eve), some exciting stalking scenarios and an authentic antagonist, but I couldn’t help but think that this director is capable of delivering so much more. I was saying to my mum recently that it’s amusing how so many heavy metal groups from the eighties have ‘reunions’ when the bank balance is looking a bit on the light side. I suppose that in the case of Buechler, he just accepts the odd director’s gig for the exact same reason.
Paranormal Xperience 3D 2011
Directed by: Sergi Vizcaino
Starring: Amaia Salamanca, Alba Ribas, Miguel Ángel Jenner
Review by Luis Joaquín González
Like most slasher fans, I’d be a liar if I said that I hadn’t considered making my own entry to the sub-genre. On the drive from Aracena, my family’s pueblo, to Huelva, there’s an old quarry that is one of the most historical sites in Southern Andalucía. Nowadays, Parque Minero Riotinto has a museum that displays artifacts from its 3,000 years as Europe’s biggest mine. The story began with the Phoenicians hunting for copper, and as the tides of time swept over the Iberian peninsular, the Romans took over when they discovered large stashes of silver. In the late nineteen-hundreds, an entrepreneur from London purchased the site and it became one of the first British settlements in Spain. Even if the visitors loved the hot weather and spacious deserts, they missed a few of their own novel customs and decided to introduce them to their gracious hosts. Before long, a Golf course was opened and a soccer team by the name of, Recreativo de Huelva. None of those early settlers could have predicted that they had laid the foundations for the creation of the league that would give us the largest match in the world, ‘El Clásico’ between Real Madrid and FC Barcelona.
With its dilapidated tunnels and isolated landscape, I often felt that the Riotinto mine would be the perfect location to shoot a slasher movie. A lack of time and funds however meant that I never took my daydreams further than the initial stage. When I learned about the production of XP3D, I hoped that the crew would make the most of the concept and I can’t deny a slight satisfaction in thinking that an idea of mine was actually being developed for the big screen. Albeit, by someone else and without my involvement :((
A group of medical students are given the task of hunting out any truth to the rumours that surround an abandoned mine. Years earlier, a professor ruthlessly butchered some locals, but his corpse was never discovered and legend dictates that he still roams the grounds. Due to a lack of transport, Ángela invites her younger sister, Diana, who owns a van to join them on their expedition. Their relationship broke down after their father committed suicide and since then, they have never seen eye to eye. Almost as soon as the group arrive, they sense an ominous presence and are left having to fight to survive…
I’m from Andalucía and the fact that so much of Spain’s globally recognised culture comes from my community (Siesta, Toros, Flamenco, Tapas etc) makes me extremely proud. Even Cristóbal Colón set sale on his groundbreaking journey of discovery from the ports of Huelva. When it comes to slashers though, I have to take my hat off to Cataluña, because their track record of Los Inocentes and Los Ojos de Julia speaks for itself. XP3D is another Catalan entry and I was keen to see if it could be the Luis Suarez to sit alongside Messi and Neymar in their slasheristic attack.
On a relatively light budget of €3,200,000, the film looks as good as any of the entries that have thrown untold-millions behind their developments. Shooting in contained underground environments is always a recipe for a bad lighting rig, but Rosa Ros’ sets are extensive in their detail and perfectly displayed. Whilst It takes around forty minutes for our first killing, Paranormal Xperience sustains interest due to an exquisitely mastered intro, which I won’t spoil for you. I will say though that it is a masterclass of tension in a confined environment. From then on, we spend time with a group of youngsters that may not be extensively developed, but they are at least likeable and given interesting tweaks. It was a risk to fill the cast with actors that hadn’t even really made a mark in TV shows, but the dramatics are surprisingly solid, especially from Maxi Iglesias and Amaia Salamanca as our beautiful heroine. Although they prove that they weren’t only cast for their physical appearance, the camera does linger longingly on Úrsula Corberó’s rear-end almost as many times as it does her face. I guess though, a culo like hers deserves to be appreciated 😉
Director Sergi Vizcaino shoots the action with a visible gloss and it gives the film an adroit realism. I recall the advertising campaign, which created the impression that we were in for an out and out gore extravaganza. We do get an extremely gruesome CGI head-rip and a wince worthy moment where a rock hammer is removed from a victim’s eye socket (nasty), but not everything was shown on-screen. I did like the look of the antagonist, who sports a ‘Phantom of the Opera’ style half-mask, but his taunts are neither threatening nor witty, which leaves them lingering without substance.
Even if Spanish cinema is renowned for its unique character driven narratives, I’m the first to confess that we do often make films that are inspired by Hollywood trends and conventions. Following the success of Saw and My Bloody Valentine in 3D, XP attempts to follow In their footsteps with the same visual gimmick. In doing so, I feel that the film sacrificed some of its potential. It’s almost as if they were halfway through writing the script when a producer came up with the idea of 3D and then everything else fell by the wayside. All the realistic dialogue and depth that had been visible from the launch suddenly evaporates and it felt like someone gave acupuncture to the second-half of the screenplay. The characters clearly have mobile phones (I won’t mention the most obvious Sony product placement ever) and use them to contact each other whilst at the mine. When the killings finally start, not one of the panicking victims even mentions calling for assistance, which looked like a bizarre thing for the author to overlook. (?) In fairness, the invention of cellular technology was the biggest challenge that the slasher genre’s basic structure has ever faced. It can be overcome though with a simple line of goofy but expository dialogue like, ‘My battery’s dead’ or, ‘I have no signal’ (I mean, they were in an underground mine). Штольня even went as far as to give us a scene that explained the lack of a call for help; – and whilst that’s not always necessary, anything looks better than absolutely nada.
Another issue is that the film overestimates the intelligence of its gimmick. I won’t tell you how so as not to ruin any potential surprise, but it reminded me of an excited present bearer that wants to tell you what your gift is before you shake the box or rip the wrapping paper. There’s nothing wrong with a twist, because many slasher movies are built upon them, but it was easy to predict the outcome here. It could also be said that the storyline doesn’t really know what it wants to be. We launch along a pathway that makes us believe that we’re watching a film about a haunting, which makes sense considering the ‘paranormal’ title. Then the masked killer turns up and we slot into the traditional template without a second look. I mean, they do mention a supernatural-ish aspect later, but it felt like it’d been bolted on at the last minute when someone on set said to the screenwriter, “Yo dude, what about the ghostly stuff?”. The response was probably something along the lines of, “Oh yeah… Damn it, I forgot about that…” I don’t know; it just looks like the script was completed in a week and based on a combination of ideas that were cobbled together in haste. If you compare XP with Los Inocentes, it’s easy to see that one had a logical plan THAT WORKED and the other plays like a skateboard rolling down a pebbled hill.
It’s a strange analogy, but you can’t prepare a good curry by simply throwing in more spice. It’s about the finer details; the timing, the seasonings, the blend of the right herbs. XP borders on being an exquisite main course, but the fact that it throws too much into the Tandoori oven, leaves it a bit too overdone to be truly succulent. Not even a helping of gore-soaked poppadoms could perfect the taste. So with that I’m off to the kitchen…
Final Exam 1980
Directed by: Jimmy Huston
Starring: Cecile Bagdadi, Joel S. Rice, Ralph Brown
Review by Luis Joaquín González
So following on from my review of Fatal Exam, I thought I’d cover this peak period sleeper and get all of the ‘exam’ slashers out of the way once and for all. I must admit that I hadn’t seen it for about twenty-years, so I was keen for a second viewing and thorough analysis. My perception from back then was that it was a bit too much of a Halloween magpie and I didn’t appreciate the unimaginative ‘look’ of the antagonist. I was about 15 at the time and my non-franchise favourites were the likes of My Bloody Valentine, The Prowler, StageFright and Legend of Moated Manor, which all included killers with memorable masks. In comparison, Final Exam felt, well, a little bit ‘meh’, and I have never re-visited it… Until now…
Writer/Director Jimmy Huston shot Exam over six-weeks during the spring of 1980 and he utilised friends and students that he had recruited from word of mouth and a small advertising campaign. It would be his fourth motion picture and a complete change of tone from his previous work, which was mostly genre films that played like European productions. Despite the self-sourced nature of the development, the $53,000 budget didn’t stretch as far as anticipated, which resulted in a few scenes having to be re-written or completely scrapped. I couldn’t find any information in regards to the film’s box-office performance, but it certainly acquired a solid VHS distribution deal, because I own Spanish, British and Polish copies.
As a small college prepares to close its doors for the end of semester, a number of students remain on campus for the last of the exams. Their final preparations for the journey into adulthood take a turn for the worse when a psychopathic killer begins to butcher them one by one…
I won’t be making any headlines when I inform you that Final Exam is not a competitor to Halloween, Friday the 13th or even Curtains, but I do think that it’s a much better movie than its reputation would lead you to believe. In fact, I’d say that if all the slasher flicks of the past twenty-years had been a similar level of quality, the genre would be filled with a lot more critical acclaim.
We are given the clichés of the category’s most notorious offerings with the characterisations (virginal lead, promiscuous friend, ‘horror’ nerd, bullying jock etc) but I found it intriguing how they were conveyed with a subtle depth. Radish, the curly haired geeky guy, was certainly a prototype for Scream’s Randy both physically and personally. He has a crush on our straight-laced heroine, Courtney, and his romantic pursuit shows moments of realism that are well-handled and recognisable. There’s an interesting scene, where the two have a heart to heart about her insecurities, which offers a delicate comment on the fear of rejection and the challenges of confessing true feelings. Courtney herself is clearly based on the sensitive Laurie Stroud-stereotype, but she carries a desire to overcome her social trepidation, which I thought made her more appealing. The ‘slut’ persona, Lisa, defends her actions in a humorous sequence that displays how she uses her appearance to progress. Hell, even the rebellious jock had something of a sadness about him and a desperation for recognition. All these common elements that are never explored in most slasher movies seem to be written with a keener focus and it gives the personalities an extra layer. Whilst it can be argued that the key players never really have an arc or reach the destination of their inner journies, the dialogue is memorable because it offers situations that we can relate to.
Whilst Huston deserves praise for his scripting and ability to derive convincing performances from an inexperienced cast, the look of the movie definitely belongs to Darrel Cathcart. As one of the most underrated DPs of the peak period, he really put his visual stamp down with some wide-framed set-ups and impressive camera placement. His input also greatly improved another eighties slasher (Death Screams from the same year), but Exam demonstrates the best of his work. There are countless postcard shots of the boogeyman in dimly lighted locations that are extremely impressive and even if the score is clearly ripped from John Carpenter, it assists with the creation of some creepy moments.
I always felt that Michael Myers was much scarier than Jason Voorhees, because his motives were ambiguous and never clarified. Jason killed to avenge the decapitation of his mother and Michael just murdered because he was ‘pure evil’. It’s true that when it comes to antagonists, less is always more; but the killer here is a total nobody and the ‘nothing at all’ approach doesn’t work. I’m not sure if it was an unsuccessful attempt at breaking ground from Huston or some expository scenes were cut from the final print, but we’re left with a villain that is little more than a cardboard prop. We didn’t even hear the traditional radio news report that informed us that, ‘an infamous murderer has escaped the local asylum killing two-guards…’ I’ve overcome my disappointment at his lack of a ‘killer guise’, because I took it as him being so deranged that he didn’t care about concealing his identity. It’s just that the story lacks a Dr Loomis type character to elaborate his menace with some hammy lines about, ‘The blackest eyes… The devil’s eyes…’ It’s strange that the film is so similar to Halloween in its structure, but so authentic in the finer details. It’s a shame that those are the ones that no one really notices.
Over the years, many reviewers have commented on the film’s sluggish first-half and the extreme lack of gore, which are fair criticisms that I can’t defend. Personally though, I felt that this captured the essence of the peak-period superbly and showed why the golden oldies will always be the best examples of the sub-genre. There’s no denying that the pathway to the conclusion builds a sharp momentum as bodies drop in rapid succession and the final face-off in a claustrophobic bell-tower is competently staged.
Final Exam is an important addition to the slasher grouping that overcomes its accusations of imitation with some solid examples of impressive filmmaking. There are a lot of elements that don’t really move the plot in a progressive direction (the artistic, yet unnecessary POV through a kitchen vent for example) that over-inflate the runtime, but all in all there’s a lot here that warrants respect. Jimmy Huston never really revealed any trivia about the production in later interviews, which only adds to the enigma.
We live in a world that’s full of injustices and whilst Final Exam is regularly brushed aside as an average picture, Porkchop gets remade in 3D. Let that sink in for a moment…
aka Kandie Land
Directed by: Eddie Lengyel
Starring: Haley Kocinski, Max Elinsky, Ari Lehman
Review by Donny Ybarra (Brother’s Grim)
I recently reached out to director/writer/horror aficionado Eddie Lengyel, whom not only let me screen the movie, but has been very eager to discuss this film too! What is nice is to be able to connect with filmmakers and discuss what it is that brings you together, in this case it is the love of the slasher genre! I explained to Eddie how much of a fan I am of slashers, I’m constantly on the lookout for new flicks, especially ones that have an iconic masked villain. Before digging right in I’d like to also point out that Mr. Lengyel has another upcoming project due out later this year called Naughty List, and yes, it is a Christmas slasher!
When you watch horror movies/slasher movies, what keeps you invested? For me it is the cast, and while there are some moments of dry acting, I’d say you can see the passion in this film from everyone in front and behind the camera, and that definitely counts. Now everybody knows Ari Lehman in the slasher world as the “kid Jason Voorhees”, but I have been watching some great indie slashers here lately and Ari is all in the horror mix and is fun in this film briefly. Having cast a horror vet in a slasher flick only adds to the appeal to me, kudos for bringing him on board. Another standout for me was Don Kilrain as “Jonah” who was our masked madman. With a name like KILRAIN, you expect to have one badass mother____%#^!!, and Jonah is that! Jonah is pretty imposing and is fairly creative when it comes to the kills. Another standout was Molly Miller as “Tiny”. Tiny was an interesting aspect to this film, she brought the “humanity” out of Jonah, and I don’t know if that is such a good thing! It was also nice to see Janine Sarnowski as “Luna” she was a familiar face from Chill: The Killing Games (which I loved!), and I really enjoyed her character in this one.
The plot for this one is straight up, you get a tragic past that creates this villain…who has grown to despise “pretty people”., so what do you think happens to a group of models that cross paths with this creepy brute?!?! Let’s just say, beauty is only skinned deep! I wasn’t really a fan of the scenes with the models, there was just not a character I cared about, I found the models rather annoying and not at all interesting (other than wanting them to die quickly), but they served their purpose.
Being a fan of iconic killers like Jason, Freddy and Chucky, what works for them is their motivations for killing and unique ways of doing so with a kickass look. I wouldn’t put Jonah up there with them, but I would say that if given a sequel I would love to see the “punish the pretty people” angle more to give our killer a little more edge. What brings this slasher up a notch from others is not only motivations, but the kills. This movie was pretty brutal, and dare I say offered up some inventive demises. You are treated to some old school practical effects too, no CGI blood! Also, the mask had no explanation with its origin, but it was fun to guess. Was it a “pretty crush” that turned Jonah down and he ended up taking her face? Who knows, but the hair on the side was creepy. The fact that the mask looked like old dried skin was creepy too, kinda reminded me of the Indian slasher from Ghost Dance a little before he is revived.
I’ll forgive many a slasher film for acting if I know that some thought when in to the body count, which this movie racks them up nicely. The pacing is pretty fast and you get kills frequently. When the movie starts winding down, there is a scene towards the end with a couple trying to escape via row boat, which I thought was pretty hilarious. Another funny bit was the “prophet of doom” on the hoveround, if anyone is going to escape this movie it would be that old lady, after all she does have a head start! I wouldn’t have minded more of a chase scene towards the end, although I did enjoy that last kill quit a bit, it really made me squirm a little. Also, I was hoping for a “final girl” when I realized that at the end, Luna was it! Which broke the slasher norms and made me think of the “final girl” Alley Oats (played by Deborah Rose) from The Boneyard. This made the movie believable and gave us someone that could be a kickass character later too!
I always look forward to reviewing these indie films, many boast about being a “homage” to the 80’s, while I think others just do. With this one I do get a little nostalgia from that decade, it’s almost a mix of Leatherface: TCM 3 (1990) and a tad bit of Twisted Nightmare. I could definitely see this one released towards the later part of the 80’s, when most slashers just ran through a checklist of what it takes to be a slasher, which with today’s horror releases it isn’t a bad thing. I say give this one a peep creepers, two thumbs up.
I found Scarred to be a relatively fast-paced slasher that was both unique and grisly. I appreciated that the core characters had been developed beyond the hooker/stripper stereotypes to actually carry a screenplay and build rapport with viewers. I don’t recall seeing the gorgeous Hayley Kocinski in Chill, which is strange, because she’s got the Eastern European-type of beauty (her surname’s Polish) that I adore. Still, I thought she was good as the lead. I totally agree with Donny that ‘Tiny’ (reminiscent in a way of the ‘kid’ from Burial Ground) somewhat weakened the killer’s menace, but there was enough of an enigma surrounding his hate of ‘pretty people’ to supply a macabre aura. Whilst most of the victims make dumbfoundingly stupid escape decisions and some of the acting is sketchy, I can’t deny that Scarred offers all you want from a slasher spectacular. My only question is, what happened to the girl from the prologue?
Killer Guise: √√√
aka The Pit
Directed by: Lubomyr Levytskyi
Starring: Svitlana Artamonova, Mykola Kartzev, Olga Storozhuk
Review by Luis Joaquín González
The fact that my kids are half Polish and I speak the language fluently means I feel like an honouree Pole of sorts. Due to this I always wanted to review a category addition from that country, but despite the fact that horror is extremely popular in PL, they haven’t yet given us a true slasher flick. I had high hopes when I learned about the production of 2008’s Pora Mroku, because it had been listed in the media as a similar concept to Wes Craven’s Scream. The net result though turned out to be more of a Hostel clone, so we are still waiting for an entry from the land of żubrówka. Some may cite Fantom Killer as a Polish slasher, but it was actually filmed in East London and Roman Nowicki is an alias for British filmmaker, Trevor Barley.
The reason I tell you this is because I was excited about seeing this offering from Ukraine, which neighbours Poland along the Eastern border. Ukrainian as a language utilises the same Cyrillic alphabet as Russian, but a lot of words are far more similar to Polish (Jak instead of Kak, Tak instead of Da etc)). I speak Russian, Polish and I’m learning Bulgarian, which means I had no problem at all in understanding the dialogue spoken throughout this movie.
A group of students head off to explore an underground chamber where it’s rumoured that an ancient Pagan cult had hidden valuable artefacts. They are accompanied by their college professor and soon discover a locked entrance to a tunnel that leads to the darkness below. When they wake up the next morning, the professor has disappeared and the gate has been mysteriously opened. They venture inside to hunt for their colleague and some treasure, but eventually discover more than they bargained for.
Much as with the case of the aforementioned Pora Mroku, there are various different synopsises that can be discovered online for Штольня. If you were left wondering if this actually is a slasher movie, you’ll be happy to learn that it certainly is, right down to a hooded menace bumping off students one by one. It’s surprising how much the film plays true to the genre’s trappings, especially in the cliched personalities of its personnel. We get the stereotypical jocks, cute heroine and geeky hero and there’s even the chance to guess if the maniac is someone we’ve already met. Debutant Lubomer Levytski draws solid performances from his actors and Olga Storozhuk is brilliant as the beautiful heroine. Eastern European women are amongst the most gorgeous in the world and the director certainly makes the most of this fact by casting a few staggeringly hot chicas. I was disappointed that other titles from Slavic countries, like Slovenia’s Masaker, were so weak on the eye-candy factor. Luckily, Trackman – a film arguably inspired by this – brought back some credibility.
We get a couple of fantastic set-pieces that really underline the abandonment of the victims. The most memorable is when they discover a ventilation pipe that leads outside and begin screaming for help in the hope that someone will hear them. We are shown a worker that is a few yards away and would immediately be able to assist if it weren’t for the fact he was wearing sound-mufflers to protect from the roar of his chainsaw and generator (!). Perhaps what makes the scene all the more hard hitting is that he turns off his devices and removes the earplugs at the exact same time that the troupe take a break from shouting. Just as he puts them back in, their cries begin again….only more frantically!. Don’t you just hate days like that?!? There’s also a very effective jump scare that hits us as the kids are driving to the excavation site. It shows impeccable timing from Levytski.
With the underground backdrop, flashlights and dark tunnels, it’s impossible not to think of My Bloody Valentine when analysing this entry. The difference is, George Mihalka’s classic boasted a hulking antagonist that was regularly on screen and shown to be stalking his intended prey. Maybe it was an attempt to add an extra layer of mystery to Штольня’s premise, but the killer is barely seen up until the climax. I don’t even recall a chase sequence that attempted to deliver suspense. I’ve always believed that it’s much harder to direct a horror movie than it is any other genre and whilst Levytski does well with many of the core principles of filmmaking, he fails to capture the tone of dread that this feature needed. With so much at his disposal in terms of a great location and a convincing set-up, it’s a shame that the flick didn’t deliver much tension or terror. We cared about the characters and wanted them to prevail, but we never faced a genuine aura of trepidation. I sat watching in the hope that a dark cloud would engulf the purity of the runtime, but the threat wasn’t really visible to us. Looking back at Halloween, we had the eerie scoring and ‘the shape’ lurking in the background of many shots. Here I couldn’t shake the feeling that the characters had to tell us that they were scared because there was no visual antagonist to impose fear upon us. It’s also worth noting how little the flick offers in terms of cultural recognition. The cast and language are Ukrainian, but aside from that this could just be a dubbed copy of a US film. I was hoping to see some expository dialogue whilst they ate Pelmeni or prepared Borsch, but unfortunately there was nothing that truly represented the blue and yellow of the former Soviet state.
Штольня is a solid slasher film that would be a great one if it had an atmosphere of doom and a central villain. We needed a lot more stalking and even a few more heavy breath POVs, but instead it was left up to the actors to convey the terror verbally. Of course that doesn’t mean that this is a bad movie, in fact it’s actually pretty good. It’s just a shame how close it came to being outstanding and just missed that certain something.
Night Killer 1989
aka Non Aprite Quella Porta 3
Directed by: Claudio Fragasso
Starring: Peter Hooten, Tara Buckman, Richard Foster
Review by Luis Joaquín González
I was saying to a friend the other night that after four-years of writing reviews for a SLASH above, I’m still nowhere near halfway through the slashers that I own. Due to the sheer weight of numbers, I’m guilty of overlooking the Giallo sub genre, which is a shame because Italy deserves its place in this online encyclopaedia. To make up for the lack of Tenebrae etc, I’ve tried covering the slasher films from Southern Europe that were moulded upon their US counterparts. The likes of StageFright, Nightmare Beach, Absurd and Bodycount have always intrigued me, because it’s strange that Italian directors adapted their methodologies to appeal to a foreign market trend that had been inspired by a style they created.
This is another one of their ‘Americanised’ exports and it’s by far the most obscure. It’s from Claudio Fragasso, who became a cult hero from the popularity of his daft project that was filmed on US soil. I haven’t seen Troll 2, but you don’t have to search far to learn that it’s a notorious ‘so bad it’s good’ cheese-fest. Fragasso began his career as an assistant to Bruno Mattei and it’s easy to see similarities in their filmographies. They worked extensively in the exploitation space and both seemed equally as focused on tackling popular cinematic trends on minimal funding. Due to loopholes in copyright laws, many low-budget flicks were released in Italy as unofficial sequels to renowned hits in order to grab an audience. The Texas Chainsaw Massacre’s Italian title is Don’t Open the Door (Non Aprite Quella Porta). Well this one was circulated as a continuation of kind to that series (Non Aprite Quella Porta 3), which made me think that it might be heavily influenced by Leatherface and his cannibalistic family.
It begins in much the same fashion as did Michael Soavi’s StageFright, with a group of theatre performers practicing their dance moves. Before long we meet our masked killer and he slaughters one of the bunnies backstage with a Freddy Kruegar-esque glove. When the bitchy director goes to check on the missing cast-member’s whereabouts, she also gets attacked by the loon, but he only manages to slice her throat delicately, which weakens her vocal chords. What follows is an energetic chase sequence that ends with the injured female tumbling from the auditorium to the floor below. The cast members look on in shock at the corpse and the screen fades to black.
We soon learn that the city is being plagued by a maniac that is killing and raping females at a terrifying rate. Thus far, the Police and a Psychiatrist (by far the most credible Sam Loomis impersonation) have no lead on his true identity, but they’re desperate to put an end to the ferocious butchery. His next victim, Melanie Beck (Tara Buckman), manages to survive and gets a view of the attacker’s face, but the event has left her with short term memory loss and she doesn’t recall anything about the night. She is released from hospital and bumps into an alcoholic vagabond by the name of Axel (Peter Hooten). His frantic beeping of his horn and offer of alcohol doesn’t immediately woo her, so he follows her into the women’s toilets (even a cubicle) where she draws a gun and forces him to strip to his briefs and flush away his clothes (I’m not joking). Axel manages to find a T-Shirt and new pair of pants from somewhere and continues his pursuit, which results in him preventing the desperate female from committing suicide on a beach. After taking her to a hotel, he begins to reveal some worrying shades to his personality. It looks like Axel is increasingly unstable and could well be the vicious maniac that she escaped from last time…
I mentioned Bruno Mattei above and whilst it’s true that he made some pretty bad movies, his Eyes Without a Face is a smart giallo that proved that even directors renowned for cheesy trash could helm a stylish picture on occasion. if you break down this film to the sum of its parts, I guess you could say that it looks fairly mediocre. We do get some gore, but it’s very amateur (the boogeyman’s glove is clearly rubber), the uncredited score is only outdone by the flamboyance of the performances and we lack a traditionally ‘clean cut’ protagonist that the audience can sympathise with. Somehow though, the bouncy soundtrack, unhinged characters, peculiar dialogue (“Oh Grandma, what a big schlong you have(!)”) and videotape picture quality combine to create an authentic and pulsating movie that blew my expectations to smithereens. It’s almost as if I kept waiting for the runtime to become tedious, but it maintained a momentum and only grew in intrigue with every step.
It’s clear that Night Killer was structured like a slasher movie, but it certainly has the grit and (not so) subtle sexual themes of a giallo. Our heroine regularly exposes her breasts (she massages them at one point after receiving a threatening call (?)) and we are told that the victims are raped before they are slaughtered. Thankfully, this is never demonstrated visually, and we only see the psychopath punching his bladed glove through their stomachs like he was The Terminator (??). One of the unfortunate females is even killed by having her face pushed into a bowl of latex (???). I managed to work out who was under the mask long before the conclusion, but there’s a further revelation that makes zero sense on reflection, even if it would rival the denouement of The Usual Suspects if you happen to be the guy from Momento or a Goldfish with a five-second attention span.
As I alluded to above, the leads really go OTT with their portrayals. This is especially true in the case of Peter Hooten, whose demeanor and vocal delivery was reminiscent of Matthew McConaughey’s cameo from The Wolf of Wall Street. Despite the misleading Italian release title, Night Killer is not similar at all to The Texas Chainsaw Massacre. It’s pure slasher trash that plays like a mix between Terror Eyes and Halloween. There are no supernatural elements, but the killer’s mask is clearly modelled on the face of Freddy Krueger and then of course there’s the bladed glove. We even get a final sequence that could have been lifted from the Edmund Purdom trash bag, Don’t Open ’til Christmas. I know that seems unlikely, but if great minds think alike, I guess that the opposite can happen too 😉
It would be illogical to call Night Killer a well made movie, but it’s constantly entertaining and riddled with intrigue. I thoroughly enjoyed my viewing and it’s another of those time capsules from a long forgotten time that modern entries regularly attempt to but never manage to emulate…