Final Curtain 2003
Directed by: Mike Goodreau
Starring: Michelle Algarin, Tricia DePaola, Mike Goodreau
Review by Luis Joaquín González
I’ve covered a few obscurities of late, so thought it was about time that I got round to giving this one a blast. Not to be confused with Brett Kelly’s identically themed (and titled) film of 2005, Final Curtain comes with its fair share of trivia. The IMDB lists eleven sequels, but I heard on the slasher grapevine that there are even a couple more and I have no idea how they’re funded because it’s almost impossible to find copies to buy on any format. I tracked down this one on eBay, but a brief scan through the usual purchase sites shows no listings at all.
The collection comes from Mike Goodreau and was shot on video as a throwback to the low budget flicks of the eighties. Goodreau has a few actor credits that I came across, but looks to have dedicated his directorial career to these films. It’s a shame that I haven’t yet managed to track down every instalment, because I’d like to see if they changed with yearly progression.
An ambitious businessman relocates to the small town of Taft, Massachusetts and hatches a plan to open an amateur theatre. Despite some friction from officials, the community are generally happy about the idea and he begins casting locals. It seems though that someone wants to tell their own story and they are willing to resort to murder to do so…
Not knowing anything about Mr Goodreau, I had to go into the film unarmed figuratively speaking. What I ascertained from what I saw was that he’s a big fan of theatre and probably a lot in reality like the character he plays here, Levi O’Neil. The background plot of him opening a small dramatic group is fairly engaging in the fact that it dominates the main chunk of the runtime. When the killer strikes, it comes out of nowhere and leaves us thinking, ‘Oh wow I forgot that I was watching a slasher movie.’ It takes twenty-minutes for said assailant to put in an appearance, but after, we get a handful of murders. They’re rolled out in the typical whodunit fashion, with the antagonist mostly off-screen, but despite their unimaginative nature (sword or knife stabbings), they are set-up impressively. We also get a few brazen attempts at gore that range from el cheapo to actually pretty good. In fact, we have to credit Goodreau for doing what he could on such a pocket-money budget.
That pocket-money budget is certainly visible in Final Curtain and it gives the film a ‘homemade’ sheen. Most of the audio is sketchy at best and the score, which is at least memorable, jumps like a scratched vinyl in places. I’m guessing that it was shot on a camcorder, but overall, it would be unfair to criticise the visuals. Despite some haziness, I don’t recall squinting to make-out what was happening too many times and there are a couple of bigger budgeted films, like Humongous for example, that couldn’t even achieve this level of clarity.
What prevented me from being really impressed was that as I alluded to above, the initial kill-scenes feel like they’ve been bolted-on to a TV show or documentary. When you think about classic scary movies, they’re not built upon much else than a horror core. You can have a mystery, sub-plots, in-depth character development, hidden meanings and even romance; but these elements should always be side-salads to a terrorising main course. Goodreau looked to be putting more effort into the trials and tribulations of the theatre plot branch, which reduced the impact of the murders. I don’t want to come across as being petty, but this didn’t ‘feel’ like a horror film for the most part and that prevented me from giving it a higher ranking. Other similarly funded features like Killer Campout or Bloody Creek managed to sustain a grim environment, but this one sacrificed some of its fear factor (and momentum) for the tale of a ‘theatrical’ journey. We spent a lot of time with the cast members, but never really knew who they were. Because of this, we couldn’t care less when they were killed.
Still, Final Curtain works in a cheapjack way. It’s one that much like Day of the Reaper, you need to be extra forgiving to enjoy, but me, I’m all about forgiveness…
Easter Sunday 2014
Directed by: Jeremy Todd Moorehead
Starring: Robert Z’Dar, Jeremy Todd Morehead, Ari Lehman
Review by Luis Joaquín González
When I launched a SLASH above, I wanted to create an online guide to the truest form of Halloween-alike slashers for fans to use as a reference point. My motivation was that I’d been stung hundreds of times reading a review of a ‘slasher’ movie only to go online and buy it then find out it was nothing of the sort. For me, writing the reviews wasn’t the important part, it was having a complete online list for genre fans. As the site has grown, I’ve had to start thinking more as a film critic and give an honest opinion on the direction, audio, blocking, camera placement etc of the pictures I featured. I took a few filmmaking courses and got an understanding of production from the earliest stages so that I could offer a constructive and informed view.
My earliest exposure to slashers was those of the peak period and therefore I’ve always used Halloween as the prototype. I’ve made my thoughts clear on A Nightmare on Elm Street many times and the reasons why I haven’t posted it here. However, from its success, we did get a host of genre entries that did fit with the category’s trademarks, but had antagonists with a repertoire of wise-cracks. These were the likes of Nail Gun Massacre, Psycho Cop, Doom Asylum, Hollow Gate and Happy Hell Night. Personally, I am a big fan of a macabre tone and don’t see the benefit of mixing slapstick with horror. I’m smart enough to know though that there’s an audience for pictures of that sort, or, well, they wouldn’t exist, right?
Easter Sunday, the yet to be released addition from Jeremy Todd Morehead, plays like something straight out of 1986 and includes a killer with an array of quips larger than his arsenal of weapons. It tells the tale of a vicious psychopath that murders his family on Easter Sunday whilst sporting a creepy mask. Sometime later, an up and coming rock group called, The Heartbreakers, accidentally bring the maniac back from beyond the grave…
I read an interview with director Jeremy Moorehead and he stated that he felt modern horror films had lost the humour that made them so addictive during the eighties. Many times on a SLASH above, I have said that the egotistic brats that populate a huge percentage of the post-Scream entries are no substitute for the goofy teens from the eighties. What Jeremy described as humour though, I would call charm; – and cinematically, there’s quite a difference between the two. After an intriguing and visually impressive credit sequence, Easter Sunday throws a whole heap of moods at us. We go from the throat slashing of a campy victim to a misplaced fart joke (?) and then on to the gratuitous murder of a sweet young child. This jumble of atmospheres continues throughout the runtime and creates a juxtaposition that I just couldn’t bring myself to digest, even though I really tried.
At times the comedic angle would wane and a dark, almost threatening, feel would generate from the scoring and some creative photography. During these parts, I felt myself subconsciously hoping that the runtime would maintain this flow, but alas, something silly would misplace all that’d gone before it. A fine example is when our protagonist (a spirited ‘look at me’ performance from director Jeremy Moorhead) informs his colleagues of how he fled the maniacal menace (a plot point that the viewer had witnessed and didn’t really need explaining). The scene is set-up well and it re-energises the momentum, but we then cut to a close-up of a character gulping down a burger in one mouthful and playfully jeering, which took the sting out of any ominous vibe. This is followed by the troupe discovering the dismembered head of their colleague in a refrigerator (a guy that was murdered then farted upon – no really), but instead of displaying fear or panic, we get a joke about the freshness of half a burrito that was left in the same fridge.
Look, I’m the first to admit that this approach may be one that I can’t personally appreciate and I feel guilty that I have to criticise the valiant work of a fellow slasher enthusiast. I don’t watch horror films for toilet humour and I can’t recall many slasher classics that succeeded with that approach. I almost coughed up ‘half a burrito’ when the lead told another player in a rare moment of seriousness, “No offence, but we’re not in the mood to joke around”!?! – Really? For me, that was likely the funniest part of the movie.
I guess the point I’m trying to make is, if your characters aren’t taking the horror in your movie seriously, how can your audience? Would the grotesque axe-murder of a pregnant woman work in the middle of Naked Gun? It’s a shame, because there’s some sure signs of potential on display here. We get CGI gore by the bucketload, a couple of generally creepy moments and an unexpected shock at the conclusion that I REALLY wasn’t expecting. It’s just that it was, once again, weakened by the moments that followed.
There’s a good slasher movie somewhere inside Jeremy Moorhead. If he sacrifices one tone to focus on the other, he could be a contender. In fairness, Easter Sunday is not a movie I’d ever really buy into due to my personal beliefs and it’s important that other viewers keep in mind that if you like Horror with Porkys humour, you’ll thoroughly enjoy this film. It’s fast moving, gory and fun with moments that are truly commendable. For me though it felt like an express train that kept getting caught in engineering works.
The Night Before Easter 2014
Directed by: Joseph Henson, Nathan Johnson
Starring: April Sinclair, Emily Chidalek, Alyssa Matusiak
Review by Luis Joaquín González
Wow we’re almost in April already, this year has really flown by. So here I have a film that I have to admit that I was interested in seeing. I don’t know directors Joseph Henson or Nathan Johnson personally, but they’re friends of JA Kerswell, the scribe that motivated me to begin writing-up slasher films. As a geeky teen, before I could afford my own dial-up internet connection, I used to head to my local library to check out Hysteria Lives and it was reassuring knowing that there were other slasher nerds in the world just like me. I was truly grateful when JA asked me to contribute to his website and from those humble scribbles, a SLASH above was born.
The reason that I was so keen to check out The Night Before Easter was because I can logically relate to Joseph and Nathan; two true fans that finally got the chance to make their own addition to our beloved genre. I’m a person of self-reflection and I would be a liar if I said that I didn’t think about the criticisms I deliver and that it’s easy to talk from afar without ever having made my own motion picture. So how would two equally as prolific slasher critics get on when they jumped in at the deep end?
Some friends decide to spend the night together to say goodbye to one of their group that’s moving to London. Their local town is shrouded in the rumours of a maniac called Alex Sykes who many years back butchered his family whilst dressed as an Easter Bunny. As the alcohol flows, the revellers are stalked by an identical looking spectre. Has Sykes returned to seek revenge?
I’m happy to say that there’s a lot of fun to be had with TNBE and it’s comforting knowing that the film is in the hands of a crew that understand what’s needed to tick the relevant boxes. We are treated to a storming killer bunny that really brought to mind the hulking maniacs of old. There’s also an abundance of gooey red stuff to keep gore hounds chomping and a couple of extremely creative kill-scenes. Alyssa Matusiak makes for a foxy final girl and the fact that we see her get inebriated means that she’s far more genuine than the stereotypical Laurie Stroud template. I was surprised to see that she hasn’t got any other pictures in the pipeline as of yet, because the actress showed immense potential in her debut role. Henson and Johnson play it safe with their direction, but one scene that I thought really worked was the murder of a partially sighted victim that’d lost her glasses. A blurred screen POV was used to convey her vision as the boogeyman stalked up to murder her and it reminded me of a similar sequence from Nightmare on the 13th Floor.
Whilst there’s truly a heap of credibility to be found in the slasher scenes, the character development parts were where the film struggled to maintain the same level of credibility. Unlike most of the Western world, I’m not a fan of Big Brother, and the reason for that is because I once returned home late from work and decided to give it a try to see what all the fuss was about. Perhaps because it was halfway through a series, I was confused as to the attraction in watching a group of strangers discussing another group of people that I didn’t know or have any interest in. It felt like sitting on a train behind a couple that are conversing about their work friends; – it’s hard to engage yourself to subjects that you have no knowledge of.
After an intriguing opening, TNBE introduces its players with them standing in a circle and talking of their lives at school. I can appreciate that as a concept, this might seem a viable way of unraveling key script members and I admire that these filmmakers understand the importance of character definition. However, there’s only so much of, “Riley dated Kelly, but Kelly’s such a b**tch” that I could listen to, before I had to ask, “Hold on, who’s Riley again? I think I know who Kelly is, but isn’t she with Barney? Hold on, who’s Barney…? Fred? Wilma? Yabba Dabba Dingle, can we get to the slashing please…?” Later, the discussions began to switch to heart pouring from some of the soon-to-be-victims about their weaknesses or whether they’ve been genuine to their friends. I guess that these were included in an effort to magnify the personalities, make them more human and build a level of sympathy for their demises, which thus would make them have a bigger impact on the audience. Again, this is a good idea, but I never attached myself to anyone from the story and therefore found these parts to be awkward and unnecessary. I’m not saying that it’s an easy task, but when you think about movies like Halloween or Friday the 13th that mastered the creation of intriguing characterisations in a horror universe, they did so with the simplest of methods that avoided overindulgence. The risk that Henson and Johnson ran was that a lot of time is spent in the hands of uninteresting cast members and it proved a challenge for the film to rediscover its momentum.
Still, when the killer gets to work, the good outweighs the bad and The Night Before Easter overcomes it’s obvious budget deficiency to provide some thrills and spills. I can honestly say that behind the film’s lesser parts was the glaring logic as to why those decisions were taken and even if not everything worked, it was a bold effort all round. I am looking forward to Gory Graduation… Happy Easter
Directed by: David Noble
Starring: Courtney Shay Young, LaTasha Williams, Elgin Foster
Review by Luis Joaquín González
I remember reading a report a few years back about a slasher movie that was being produced in Louisiana and how local residents were excited about its release. It had been named after a regional dance/music trend, but the one photo that was attached to the article showed a hulking killer pursuing a petrified blonde girl through some forest. I filed the news-clipping under ‘items of interest’ in a SLASH above‘s sprawling HQ (my room) and heard nothing else on the subject. Then, about a year ago, I dug-out that preview and set myself a mission of discovering the status of that peculiar picture. Zydeco is an impossibly obscure title and another a SLASH above exclusive. It’s a slice of small-town filmmaking that takes pride in its heritage and so I was keen to see how it’d play.
Two chicas from Chicago head down to explore the sights of Louisiana. Once there, they inadvertently upset the local townsfolk and become the targets of a giant merciless killer.
You know, I was so close to posting this on my Slasher Shorts page, because at 45 minutes, it barely qualifies as ‘feature length’. The reason I changed my mind is because much like Death O’Lantern and Friday the 13th: Halloween Night, it’s quite a rarity and deserves at least one ‘full’ review on the web. Perhaps the reason it’s become so obscure is because it’s such a strange runtime to sit through. We open with a text description of the notorious ‘Bloody Benders’ from Kansas, which I thought was a credible launchpad. Next comes a slickly produced credit sequence that shows a young girl fleeing through a forest from an unknown pursuer. I sat up in my seat and thought, ‘Damn, this looks good’, and it really did… at least up until I heard the twang of a country guitar…
I’m reminded of when the geeky cashier in Burger King only gives you one Ketchup to go with your XXL Bacon Quarter Pounder with Cheese Meal. You’re left desperately trying to squeeze the last remaining drips from the sachet so as not be eating dry salty chips whilst wondering, “Do they pay for these sauces from their salaries or something?!?”. Zydeco looked to have run out of salsa in those first ten-seconds of pre-credit sequence and it rapidly took a downward spiral into Poopsville. We follow the two poorly acted girls as they visit sights around Louisiana and even if we could perhaps accept the uninspiring dialogue, the lack of any actual horror was proving less forgivable. I was left struggling to ascertain what tone Noble was aiming for. There’s the historical intrigue with the Bloody Bender intro, the effective chills from that initial chase scene, but then we slump into comedic dialogue and a collage of the girls on a shopping trip. I mean, what were they trying to make the audience feel…?
I stopped watching Zydeco on the twenty-five minute mark because my train had pulled into my station and the next day, I wasn’t overly keen to pick up from where I’d left off. Thankfully, director David Noble seemed to realise that the ante should be upped and when I eventually got round to finishing the feature, the introduction of the Jason Voorhees-alike killer did seem to offer slight redemption. Our antagonist is a big hefty menace and he takes out a handful of victims, which results in at least one tacky but fun gore scene. (It includes slasher regular and all round cool guy Jade La Font getting gutted!!)) I didn’t notice a huge amount of panache in the way that Noble decided to shoot the movie, but one lengthy tracking shot, which looked to have been filmed with the cameraman on a quad bike or something, was really rather audacious. It was in fact so impressive that the editor included it three times, but I’m not convinced that the only reason for its repetition was because they were proud of how it looked.
You see, Zydeco has a unique structure for a slasher that starts out fairly well, but kind of gets progressively stranger as the film rolls along. We have our main story, which is the fate of the two city girls and their eminent misfortune in and around Louisiana. Then there’s also a plot-branch involving a brother that has hired a Private Detective a while later (exactly how much later is left un-clarified) to hunt out his missing sibling. These two timelines coincide quite well until the final scene, which I won’t spoil, but it left me with the impression that they ran out of budget before finishing the original script. I could even speculate that the whole Private Detective part was bolted on to pad out the runtime and explain away the bizarre ending. If I went into detail about why I think this, it would ruin a twist that in fairness, I wasn’t expecting. If you manage to locate a copy of Zydeco though, you’ll automatically see what I mean. It feels like there’s a part of the movie that they didn’t have the funds to film and so they had to include a wrap-up scene to get it to a format that was at least releasable. I guess that this could explain why Zydeco has become hard to find and why they re-used that impressive footage. The idea was obviously to get as much out of what they had as humanly possible.
Then again, with no concrete information, all that we have is my ramblings on a SLASH above and what do I know? Maybe this is how it was all meant to be. Maybe people like collages of badly acted girls doing shopping in slasher movies. Well if that be the case, give Zydeco five-stars and hunt it out. Me, I’ll leave it with just the one (and a bit)
Terror at Black Tree Forest 2010
Directed by: Dustin Ferguson
Starring: Allison Scott II, Paul Albers, Steve Carty
Review by Luis Joaquín González
One of the toughest tasks that blog authors/critics face is that we often converse with filmmakers before seeing their movies. Sometimes they’re generally nice people and if their movie sucks thereafter you do feel a shade of guilt for having to put into words all that was bad about their effort. It’s tough, honestly it is, but it’s something that we must do. When I posted the write-up of Cheerleader Camp: To the Death, Dustin Ferguson wrote a very honest comment beneath and warned me against his debut feature, Terror at Black Tree Forest. He said that he was expecting a negative rating, because he’s made 29 films since and has obviously improved upon his breakthrough flick. With this in mind, he’s made my job a whole lot easier, because my expectations are now already lower than Christ of the Abyss and I don’t have to worry about offending him. Nice…!
Twenty-years after the rape and murder of a married couple, the only survivor, a young child at the time, breaks out of his asylum and heads back to Black Tree Forest. He arrives just when two couples and a pair of campers are planning a fun-packed weekend and he soon begins lurking ominously as they unwind. Will any of them escape the blade of the vicious masked maniac…?
Despite being a pretty cool guy, it’s fair to say that Dustin Ferguson is also fairly modest. You see, if a filmmaker himself tells you that he’s picture’s bad, you can be pretty sure that it’s not going to be anything other. Fortunately, I’d have to disagree with him on this one, because Terror at Black Tree Forest may not be the Maradona of slasher movies, but it’s not quite the Ali Dia either.
Before the pre-credits, we are shown two trailers of seventies cult classics in an effort to relive the experience of watching rental VHS cassettes. The films chosen were Robert Englund’s ‘Slashed Dreams’ and the Christmas shocker, ‘Silent Night Bloody Night’. Whilst this is a fairly simple technique and not particularly authentic, it worked because Terror is shot with a lens-gimmick that gives the screen a static/fuzz that’s reminiscent of those 16mm prints that we all know and love. Even if the opening scene is the only one that is set in 1970 (the rest of the action is twenty years later) they choose to film the entire runtime this way, which is certainly unique.
Aside from that, what I feel really made Terror stand out was the killer’s bloodied burlap sack-guise and a deep haunting electronic soundtrack from Nathan Christensen. At times his accompaniment single-handedly carried the tone, because it’s so effective in its ability to unsettle the viewer. There’s a murder late-on that may be poorly lit, but the actor’s pre-death gargling and the strength of the keyboard sampling really does create a macabre feeling. We also get a tacky but solid ‘knife through eyeball’ gore shot that brought to mind Lucio Fulci’s Zombi 2. Ferguson’s films almost always include a solid playlist and this, his first picture, is no different in that respect. As a director, it’s clear to see that he values in the importance of well- produced audio. His choice of camera movement and angles also show that he sees his pictures with a creative vision and I believe this is why his projects overcome their fund-related deficiencies.
So after all that I’ve stated above, why was Dustin so keen to prepare me for the worst? Well, there are a few reasons. I watched Terror on a three-hour flight, which meant that I was something of a ‘captive audience’. I can imagine that the mid-section may begin to drag for those that are surrounded by possible distractions, because the dialogue is predominantly routine and the characters lack intrigue. It’s also worth nothing that a lot of shots could have been shortened by at least a few seconds and it seems strange that this wasn’t noticed during editing. I can only guess that the financiers for the picture gave Ferguson a runtime and said it had to be filled?? The net result is a 1.5 star movie at just over an hour that could have been 2 stars if it were reduced to 52 minutes. I also thought it was strange that after a lengthy and smartly put-together chase sequence, the final stand-off between the heroine and the killer is left off-screen. Perhaps they ran out of budget?
As I said earlier, the boogeyman truly looks scary, but I had to read the back of the cover to make sure who he was because we don’t really get an explanation. I mean, sure, we can work out that he’s the kid from the opening scene, but in that case what happened to the rapist/murderer that killed his parents? Was he captured? Is he on the loose? Oh and whilst on the subject of the opening sequence, Terror has stolen the crown from Nail Gun Massacre for the most comical rape sequence in horror film history. Still, I’d prefer that any day to the grotesque stuff we saw in Gutterballs.
Terror at Black Tree Forest is a cheap and cheerful slasher movie that scores points for the level of creativity and a few good ideas. It’s got gore, brief nudity, a cool killer and a fantastic score, which is quite a lot for such an obscure flick. I would say that this is perfect viewing material for a train/plane journey when you have an hour or so to waste…
Directed by: Eamon Hardiman
Starring: Derek Rydall, Jonathan Goldsmith, Kari Whi
Review by Luis Joaquín González
Whilst slasher directors are regularly mocked by critics, I wonder if they really get the appreciation that they deserve. I mean, let’s examine this a little more closely. With 1,000+ titles in existence, do you know how hard it must be to choose a unique mask for your antagonist? Let’s be thankful for those that just keep their killer off-screen throughout the runtime, because if not, there would be no masks left for up and coming filmmakers to choose from.
Eamon Hardiman found the solution for that conundrum by going for a pig headpiece. I can hazard a guess at how he came up with the idea, it likely went something like, ‘hmmm what guise should I use for my slasher? Perhaps a dog? No – they’re man’s best friend, so not shocking enough. A bull? Hmmm well, they’re pretty threatening, but they remind me of a burger. No, we can’t have a killer Big Mac. A pig? Well Evilspeak had hogs in it. Ok, that’ll do, let’s move along. Now l know that pigs get killed in slaughterhouses (but so do cows, chickens, sheep etc) and slaughterhouses are scary, so there’s more to this idea than just animal lovin’. In fairness to Hardiman, whatever the reason for his choice, Porkchop certainly led the way in creative killer garbs for the year two-o-one-zero…
A gang of dweebs head off to a campsite in the woods for a spot of the usual antics. They fail to take heed of the legend of Porkchop – a pig-masked killer that is rumoured to stalk the local vicinity. Before long he’s after the campers with a chainsaw and a sledgehammer…
One thing that we all know about the slasher genre is that originality is rarely found amongst titles. Halloween was indeed so iconic that many of its cinematic inventions are duplicated even today. In modern times, there’s a common element that we see more and more in post-Scream productions that makes no sense to me at all. It’s the process of filling a story with totally unlikeable characters. I have hurt my head thinking about this and I cannot uncover any logic in the approach or why we see it so often. On a basic psychological level, fear derives from the threat of something that could happen to you or someone that you care about. Whilst films are obviously just fantasy, there’s a big difference between how we feel towards a character like Laurie Stroud or how we feel about ‘forgot what her name is girl’ from Porkchop. It’s a trend in recent times for slasher movies to pack their casts with boring, loutish idiots and it’s amazing in many respects how many crews stick with this methodology
In Hardiman’s slasher, we get a stereotypical punk rocker(?) with an awful English accent (I thought he was Australian at first), a guy who is cheating on his girlfriend with a ditsy teenager, a porn obsessed geek, two foul-mouthed sluts and a robot (?) voiced by Dan Hicks as the source of comic relief. R2D2 and C3PO were perfect humour providers in the original Star Wars pictures and that may have been the idea here. I don’t remember seeing a prop made of yoghurt pots taking a chick from behind in any Star Wars movie though and they could’ve ripped off Jar Jar Binks (cringe) and it would’ve made the same nonsensical impact. We look on for an hour as these poorly acted, heinously scripted jerks make jokes that progressively become more vomit inducing whilst we are left begging for the killer to turn up and put us out or misery.
When ‘Pig-Head’ finally gets to slashing, the first couple of campers are butchered off screen, which is a huge disappointment because the pre credits murder was explicitly gory and promised so much. In fact, I have to ask whether that opening sequence was bolted on later, presumably after a distributor gave them more money to inject some pizazz. The scene builds up so well, with the killer’s boots traipsing through some undergrowth whilst a stunning chica whips off her top to unveil a lovely pair of jubblies. We get a superb machete through head effect and then what follows is a ski slope to ineptsville as the film leisurely strolls through its clichéd footpath. I can give credit for the eighties references (a hideously acted guy screams ‘you’re doomed’ ala Crazy Ralph from Friday the 13th), the chicks are hotter than usual and the part where Deb uncovers the bodies of her chums is stylish with its red-ish tint and creepy scoring. My main gripe is with the characters, which are as appealing as having your appendix removed by Cropsy. Without anaesthetic.
All this leaves me wondering, what if Hardiman had scripted his cast to be likeable youngsters that we see bond over an hour’s build up? They wouldn’t have had to be good natured, we could’ve had an insecure slutty type like Donna from Humongous for example. The group could’ve grown as friends as normal people do and then when the psychopath makes an appearance, we might have rooted for them to overcome the evil, just like in any film with a well-developed protagonist. Instead, we get an overlong, poorly directed bore that I’d forgotten about moments after it’d finished.
It’s worth mentioning that Hardiman’s entry was successful enough to have a follow-up and a remake of sort that was filmed in 3D. I haven’t seen either so can’t really comment on whether the level of quality had improved, but I am mystified by Porkchop’s popularity. It offers little more than either Blood Reaper or Memorial Day and should really be thought of with the same amount of adulation. I’d go as far as to say that Camp Blood was better. Even Carnage Roa…. Ok, ok… that’s going too far…
Directed by: Antti Kiuru and 6 more
Starring: Andres Pass, Aatto Paasonen, Ville Lähde
Review by Luis Joaquín González
My recent posts of Mexican and Spanish films such as Chacal, Masacre and Atrapados en el Miedo went down really well with my readers, so continuing along the linguistic thread, I thought I’d review this Finnish slasher from the year 2000. Shot by (a record?) 7 directors, I found this 27 minute short whilst on vacation in Estonia. I have literally no information about its production, but I’ll say that it’s the first addition from Finland that I’ve come across.
A group of young males decide to meet up for a drink over Christmas. Whilst the ground is covered with snow outside, blood begins to spurt because a psychopathic stranger dressed as St Nick begins brutally slashing through the revellers. Can they stop him in their tracks?
With so many entries that I still have left to review to complete the largest online slasher A-Z, I am guilty of overlooking the countless ‘shorts’ that people have recommended.The three that I did cover, Death O’Lantern, The Hook of Woodland Heights and Friday the 13th:Halloween Night were posted more for their obscurity than anything else and I guess the same could be said about Murhapukki. What we have here is an immensely enjoyable seasonal slash-fest and despite being cheaply put-together, I found loads to appreciate.
The film kicks off with a killer in a Santa suit stealing a car from an unfortunate individual. An OTT tone is set almost immediately when the assailant chops off the hand of his intended victim and then runs him down with the automobile that he just stole. Whilst the effects are the bare minimum of believable gore, it was fun to see spraying crimson and gruesome violence so early on in the picture. From then on, we are introduced to a group of guys that are gathered in two or three homes across a snow-laden landscape. As you can imagine, twenty-seven minutes allows almost no time for character development, but the plot is rapped around a typical ‘revenge for a past event’ core that unravels as more victims are dispatched.
I guess that the reason that I enjoyed Murhapukki is because it breaks the mould by not bothering with smart-ass ‘know it all’ characters or vomit inducingly blatant ‘homages’ to genre classics. Instead it includes a handful of recognisable elements, but doesn’t portray them with the mission of proving to the audience that the screenwriter(s) are knowledgeable of the greatest hits of the category. Our psycho Santa, for example, cuts up photos of his victims after murdering them -(due to identical clothing and hair, they look to have been taken the same day?!?) -, which we saw in Prom Night/Fatal Games and Graduation Day amongst others. There’s a Carpenter-alike shot of a bread knife on a kitchen table that disappears in the next instant when the camera returns to the focal point. We even get an effective Argento-esque ‘the maniac’s behind you’ moment that’s set-up in a bathroom mirror. We could say of course that these are tributes to the trademarks, but they’re conveyed more subtlety and not with the recent methodology of ‘let’s see who can include the most references to the eighties’, which has been done to death.
In a 27 minute runtime, the directors managed to pack in tonnes of bloody murders and a handful of chase sequences that meant that I was entertained all the way through the admittedly short runtime. One of the pursuits built impressive tension as the camera switched from POV to fixed-angles and the snowy landscape single-handedly mushroomed the underscore of isolation. Whilst the continuity is laughable (one guy gets a machete in the hand, but is fine moments later) and the acting is non-existent, I thought Murhapukki achieved a good-time slasher vibe admirably.
I often wonder when watching low budget entries, how so many can struggle to take a relatively simple formula and not have a ball with it. Pukki could act as a lesson to up and coming filmmakers that getting too mixed-up in parody and conceitedness is unnecessary. I could criticise the dramatics or flimsy plot, but there’s really no need to. Instead, I got more than I was expecting. Cheesy bloody deaths, amusing inebriated ‘gangsters’, a creepy score and a Santa-suited slayer in glasses… Are you really ready…?
Atrapados En El Miedo 1983
Directed by: Carlos Aured
Starring: Adriana Vega, Sara Mora, José Luis Alexandre
Review by Luis Joaquín González
My recent love-in with Mexican slashers (Muerte, Bosque, Masacre) made me feel the need to dig out the last few of my own country’s entries. I wanted to confirm to myself and y’all that Spain could compete with other nations that speak our wonderful language and prove that we are indeed the Hispanic kings of the slasher category. After seeing Atrapados en el Miedo, I wish I hadn’t bothered…
This one comes from Carlos Aured, who had made a name for himself with his cult pictures of the seventies. His career began as an assistant for Leon Klimovsky and he soon progressed to the director’s chair to unleash some solid horror features, such as: El Espanto Surge de la Tumba and Los Ojos Azules de la Muñeca. Like many exploitation gurus that had achieved a modicum of prior success, the slasher boom of the early eighties gave Aured the desire to grab a slice of the cash pie that the filmmaking world had been scoffing. Atrapados would be his very own addition to the cycle and it was, in effect, his last movie. What a way to signal your departure from cinema.
Four youngsters head off to a secluded house in some woodland to spend a romantic weekend away from the rat race of Madrid. Little do they know that an escaped lunatic is also hanging around the site and he has murderous intentions for the foursome…
It’s only early December and already the Christmas parties have begun. There are few things worse than going to work after a night of heavy drinking. Your brain is a mangled mess of alcohol, cheap aftershave and cigarrillos and whilst you may be at your desk in body, you’re certainly not there in either awareness or spirit. The clock drags by like a one-legged tortoise on tranquillisers and a trip to the server room for a sly power-nap is an absurdity that seems more and more attractive. I look at Atrapados en el Miedo and I can only presume that Carlos Aured, for all his previous experience, was drinking a bit too much during the production. Either that or he’d gone insane. Actually, this was his last picture, so maybe I’m on to something there…
So where do we start? Well, with the ‘original’ aspect of a unidentified stranger breaking out of an asylum. This is demonstrated to us on-screen by a guy jumping over a wall that has a sign that says ‘mental hospital’ on it. Do we actually get to see this Mental Hospital? No. Did the crew in reality just stick a sign on the brick wall at the bottom of the producer’s back garden? Quite possibly. So with no idea who he is, what his motivations are or why he escaped, we are meant to be scared of this normal looking bloke with a curly mullet. Perhaps he was just at the asylum visiting his grandma? Maybe he was actually the groundskeeper? I mean, he was wearing a green woolly jumper. Ah, no, no; that can’t be the case. He breathes like an asthmatic after smoking twenty whole packs of Marlborough Reds. If you know your slashers dear reader, you’ll know that during the eighties, only Darth Vader and stalk and slash psychos did that; – and this sure as hell ain’t no Star Wars film.
Next up we see two Spanish chicas walking through a park. I have to give credit to Carlos Aured, because one of them, Monica, was honestly one of the most beautiful women that I have ever seen. (Except for my Mrs of course – you know, in case she’s reading). In fact, whilst watching, my partner said to me, “Do you think that girl’s pretty?” I replied, “What girl? Oh that was a woman on screen? Sorry I didn’t notice.”😉 Anyway, Monica’s friend, who’s also at the high end of the ‘eye candy’ scale, attempts to steal a kiss in the most unconvincing lesbian clinch ever filmed. Clearly confused by her feelings, Monica sprints off into the trees where she is attacked by a stray dog. Don’t worry my dear, I’ve had days like that too. She is saved from a mauling by an unseen somebody who beats the aggressive mutt with a large branch. Just when she thinks her luck has marginally improved, Monica’s hero turns out to be our bogeyman and he begins strangling her with said branch. Her friend/would-be lover hears the commotion and sprints over to assist, but she too meets her fate at the hands of the escaped loon.
So now we are introduced to two pals and two sisters that are travelling to a remote house to study molecular science. Not really, they’re off to make ‘lurve’; a fact proven by one of the guys continually cracking sex-jokes that are so bad, even his best friend tells him to take a break. We look on as the pair of hombres go to a shop and get some booze, face the drama of not being able to buy any yoghurt and have to overcome the trials and tribulations of a puncture on their Mercedes. Meanwhile the muchachas stay at home and do very little aside from spout the silliest dialogue I’ve ever heard and look gormless. Eventually after offing the daughter of a couple of shopkeepers (who was minding her own business on a groovy bicicleta), the killer turns up and slowly begins ‘terrorising’ the couples.
I guess that with the Latin looks, cruddy dialogue, shaky photography and dumbfounding scenes, Atrapados reminded me a tiny bit of Andrea Bianchi’s Burial Ground. The only difference is that whilst Ground had bundles of gore, this lazy Spanish effort is essentially bone-dry. Also, I know that the music in Bianchi’s ‘classic’ was pretty off-kilter, but Código Exterior’s scoring for this is absolutely hideous. It starts with a poorly timed jazz-piece that’s as bad as an ogre playing the bagpipes and then continues to go downhill from there. If you recall Mask of Murder‘s heinous guitar lick that highlighted every ‘twist’ in the story, these guys manage even to ‘out-awful’ that with their accompaniment. It’s truly cringeworthy.
I mentioned earlier Aured directing Atrapados like he had a monster hangover throughout the production, well this is especially evident in the film’s pacing, which completely slows to a standstill during the mid-section. There’s only so much of four people spouting absurd dialogue in a small house that I can take before my eyelids come over all heavy and I begin to snooze. When the killer finally turns up, we get a conclusion that might have been ok if we could make out anything that was happening. We’ve seen on the TV that directors shout, “Lights, Camera, Action!” It looks like Aured, in his drunken stupor, forget the ‘lights’ bit. I don’t know, I just feel that an 83 minute runtime that features only three on-screen killings seems a bit tame, but maybe I’m a tough cookie to please. Where I guess that the film does succeed is in its level of bad movie-ness that’ll appeal to those that love Nail Gun Massacre, Boardinghouse, Night Ripper and the like. I already mentioned the conversations and soundtrack, but that’s really only the tip of the iceberg. Other things that stood out were that the girls getting attacked by the psychopath, but completely forgetting about it only moments later and when he returns for our heroine, she goes into a trance-like state and has to be escorted from the premises by her poorly-acted buddies. Just when you feel that every basic filmmaking principle has been shattered, the final credits show an HP Lovecraft quote that has absolutely *nothing* to do with anything we’ve witnessed…?
We live in a time now where a unified Spain could be a thing of the past as the likes of Cataluña regularly campaign for their own independence. I believe that we should stick together, but I wouldn’t mind seeing the back of the guys that made this particular picture, whatever autonomous community that they are from. We could revoke their passports for treason or something. I’m joking, of course, but one thing I will say is that Atrapdos en el Miedo translates to Trapped in Fear. I admit that it’s a cool title, but I have thought of one that’s far more suitable: Atrapado en el Baño con una Gran Caca… I’ll let you Google translate it…
Into the Woods 2006
Directed by: Chad Hundley, Michael Smith
Starring: Andrew Hyde, Chad Hundley, Colleen Mooney Wright
Review by Luis Joaquín González
I remember a couple of years back, my son Olivero loved travelling on the train. He was two-years old then and it was something amazing for him to be sitting on the carriages similar to those he’d seen in Thomas the Tank Engine and Friends. It was intriguing to witness his excitement, because for me, someone who has taken the same route day-in/day-out for nine-years, there’s nothing more predictable than waiting at the station every morning. When on my way to work, I know every house, tree and landmark that I pass, because I’ve witnessed them for almost a decade. In other words, it’s become a routine.
This obscure slasher flick from 2006 is a similar case in point to my journey, because it takes the standard slasher rule book and follows it step by step without injecting any panache at all. I found about it from the IMDB whilst looking up another film of the same title. It boasts there an impressive 6.7 rating and three extremely positive user reviews that were posted within months of each other (and within a year of this film’s release…). Even if I understand how easy it is to set-up fake IMDB accounts and post self-penned critiques as an effective marketing ploy, the optimist in me always finds a glimpse of hope in those emphatic write-ups.
A group of youngsters decide they want to go camping in the woods to get away from the hustle and bustle of life. They head out to a secluded location in the woods and come across another group of individuals who are also there to party. Before long a hooded killer turns up and begins hacking through them one by one…
Last week, I posted a review of Doom Asylum and there’s something about that picture that I want to recap so as to assist in underlining the biggest flaw of today’s feature presentation. Without checking my notes, I’m going to describe to you the characters that carried us through Doom Asylum, which I watched over two-weeks ago. We had the comedic blonde geek that could never make a decision and his kooky girlfriend who kept calling him, ‘mum’ for some strange reason (?). Then there was the randy black dude who fell in love with the drummer of punk group, Tina and the Tots. Tina herself was tough as nails and fought valiantly with the killer during the conclusion and how could I forget the cute psychology graduate and the dweeby guy that collected baseball cards? I’ve literally finished watching Into the Woods and If you were to ask me one personality trait of the youngsters that I’ve just witnessed, I’d struggle to tell you anything about a single one of them.
Now don’t get me wrong, I’m not saying that the script of every eighties slasher movie was a shining example of expert personality development. In fact, they were generally pretty slack when it came to giving their victims much time to do anything other than get naked and die. They did, however, utilise stereotypes, such as: virginal heroine, slut, jock, fat practical joker and lard ass Sheriff, which allowed us to separate cast members by more than a hairstyle or T-shirt colour. The really good entries would take these clichés and have a ball with them, so we would discover something to subconsciously bond with and grow to appreciate in that person. Into the Woods spends 40+ minutes frolicking with a bunch of absolute nobodies and there are few things to be found that are more underwhelming.The gang head off to a campsite to flirt, drink and chat the usual recycled quips, but the lack of anything remotely intriguing about them bored me to tears.
There are ways that a motion picture can bounce back from a cast that’s filled with cardboard boxes. I’m thinking of Sorority House Massacre 2, which overcame this by giving us a slick momentum and bundles of cheese. I was hoping that Woods might deliver some expert killings or bouncy gore, but despite a large body count, these parts were a lot like my train ride to work; predictable and uninspiring. It’s fair to say that the crew here were operating on minuscule funding; but hell, even Movie Machine Massacre generated a small slice of gloom and according to Mark Demise, in that production ‘there was no budget’.😉. Frankly, a 78 minute slasher flick should never feel overlong, but the Mrs had just finished painting her toe nails and I wasn’t sure if watching them dry from the corner of my eye was tantalising me more than what was going on with this feature. With a killer in an interesting hood that made him look ghostly, tonnes of cannon fodder and a good location, it should have been a straight forward task to make a fun stalk and slasher. Instead what we end up with is a film as exciting as seeing the word cancelled on the timetable when I go to the station that I told you about in my first paragraph. As regular a SLASH abovers know too well, it’s fashionable of late to pay homage to the hits of the eighties. Quite why directors Chad Hundley and Mike Smith chose Blood Lake as their flick to imitate is beyond me.
I think the scene that really killed the picture for me in terms of credibility was when there was the corpse of an earlier victim on the screen and as a fleeing chica stepped on him, the actor flinched not once, but twice in a row. Was that the best take that the two directors could get? Neither of them felt that they might need to shout cut and start again? They were shooting on video for gawd’s sake, so don’t even have the excuse of wasting celluloid. It was so bad that I included a clip of it above for you to see for yourself. Also, it’s great that Chad and Mike have a few mates in a rock band that’ll provide the music for their feature début and in all honesty, they’re not even that bad. I ask though, is soulful acoustic grunge-style accompaniment the right choice for a killer in the woods flick?
Let’s put it another way, amongst other things, President’s Day had its romance between the two leads, which was fun. Chill went with a gaming gimmick that added intrigue. Billy Club‘s mystery kept us engaged throughout, whilst Lost After Dark bundled us with immense gore. Into the Woods, well, it just exists really. There’s been a lot of talk over the past few years of computers being able to take over from humans in the future in a variety of jobs. Woods is an example of how a C64 might direct a slasher movie. Insert cassette with the guideline data and load press play on the tape. In other words, it’s a film with the personality of a cyborg. I’m not talking Hasta La Vista upgraded Arnie either…
Curse of Halloween 2006
aka Into The Woods (?)
Directed by: Jeremy Isbell
Starring: Jeremy Isbell, Sherrie Wilson, Travis Azbill
Review by Luis Joaquín González
Hola a SLASH abovers! This month is our 4th birthday and today is Halloween, so I was just looking back at how we’ve celebrated this date over the past 48 months. In 2011, I posted a review of the best slasher film ever made: Halloween. I followed that a year later with the pretty decent Halloween Camp, which wiped the floor with its cruddy predecessor, Scream Bloody Murder. The choice for 2013 was an extremely obscure fan film, which was zanily titled, Friday the 13th: Halloween Night. My next annual post was the surprisingly rare and moderately appealing, Left For Dead. For the big 2015, I’m (kinda) proud to present a SLASH above‘s very first ‘no star’ movie… Yay!!
In the city where I live, there have been reports of people being spiked with hallucinogenic drugs. After watching Curse of Halloween, I woke up sweaty and couldn’t work out what day it was, where I’d been or what was my name. I was worried that I might have been a victim of a tad of inconspicuous LSD poisoning, so I decided to retrace my steps. I thought that I’d begin by re-watching this film and keep a timeline of everything that happens to see whether I’d maybe been infected by the curse…ooooooooh
We start off with a boat pulling up to a tropical coastline and the words Curse of Halloween burst on the screen in what looks like Bold Calibri font. Nope, there’s no Jack-O-Lanterns, pumpkins or typical objects reminiscent of this time of year, instead it’s a sun-kissed beach that’s accompanied with Hard Rock music. Alrighty then. Names aren’t this screenplay’s strong-suit so I’ll identify the characters (like this in brackets) that we meet so that we can reference them again as we roll. The first is an individual that has a gun to his head (Suicidal Dude) but doesn’t look particularly bothered by the fact that he wants to end it all. He mumbles some barely audible chatter about a pumpkin queen and a ghostly curse that led to the murders of all of his friends. Not only does this completely destroy the tension of guessing who may survive the oncoming events, but even on the second viewing, I couldn’t make any sense of what he was saying.
Next, we skip to an overweight male (The Driver) who is is heading along a dark road when he accidentally runs down a woman in white negligee (Negligee Chick) with a great rack. He stops the car and jumps out before picking up the injured female and taking her into a conveniently empty (and wide open) house. He leaves the stricken hottie on the sofa and goes outside to wave down a passing motorist for assistance. A six-seater pulls over to the roadside and out jump two young men. The first is later identified as Travis, whilst we’ll call the other one, Mr Ponytail, because he sports a long scruffy one. They leave their girlfriends in the vehicle and reluctantly follow The Driver who’s literally begging for help. When they enter the abode, Negligee Chick has disappeared (Like the Urban legend from The Cycle?) and Travis punches The Driver for reasons that are hard to comprehend. (Hey like the movie). Meanwhile, outside, the two girlfriends (Silicone Enhanced and Chubby) debate their current situation. Silicone Enhanced wants to get out to see what’s going on but Chubby doesn’t agree. Silicone Enhanced then sees Negligee Chick in the shadows and convinces Chubby by saying something like, “We’ll be safe if we take a flashlight.”(?) Was it a Swiss-army flashlight with a Bazooka that fights off evil demons? I don’t know. They did however feel that it would protect them, so exited the car and headed into the forest.
They stroll for a short time until they come across another large unlocked mansion. They enter and begin looking around, which made me ask, isn’t breaking and entering a crime punishable by lengthy imprisonment? Now we cut back to the six-seater and a new lass (Blonde Girl 1 with Brown Jacket) is shown waking up on the backseat. I don’t remember seeing her there moments ago, but if she was, she’s been abandoned without so much as an ‘hasta pronto’ from her friends. Nice. Mr Ponytail, Travis and The Driver walk over to the vehicle, totally ignoring the snoozy Blonde Girl 1 with Brown Jacket (can they see her, is she real?) and head off after their girlfriends to the other house. Once inside, Travis somehow separates from his buddies and is assaulted by a cloaked assailant (The Slasher) with a pale face. The hooded nut-job tasers him with a bolt of lighting that shoots out of the palm of his hand and looks like it was drawn on to the screen with crayon.
Now that Travis is seemingly out of the way, Mr Ponytail comes across Silicone Enhanced and starts getting it on with her after she flashes her boobs at him. This part stood out because it’s astoundingly obvious that a body double (or porn clip) was used for the nudity bit. The fact that it’s a totally different type of footage and these boobs were a gift of nature (not suspiciously pert like Silicone Enhanced’s) means they weren’t even trying to convince us of authenticity. (I’m an expert in boob analysis btw!) Next we see a poorly shot scene of Mr Ponytail getting tasered the same way that Travis did by The Slasher. Keeping in mind that Mr Ponytail and Travis have surely been dispatched, we head outside to find Silicone Enhanced back by the six-seater with Chubby. Strangely, she’s showing no recollection of the mysterious event that just occurred or why her frolic with Mr Ponytail had been halted prematurely. (Let’s be honest guys, it happens to the best of us…)
The Slasher emerges from the forest and mutters something like, “Don’t turn around”(?), before a new character that looks to be played by the same actress as Blonde Girl 1 with Brown Jacket (I’ll call her Blonde Girl 2 without Brown Jacket) is shown strolling through the trees. Did they really re-use the same cast member to play two equally insignificant people? Well I’ve got a chance to find out because here’s Blonde Girl 1 with Brown Jacket and she’s being dragged under a sofa, surely by The Slasher, who made it back to the house in record time. Then we see Mr Ponytail smoking a fag, but didn’t I say that he just got zapped by The Slasher…? Isn’t he dead? I guess not. Hmm… We cut back to Blonde Girl 1 with Brown Jacket, but hold on, didn’t I say that she got dragged under a sofa? Well, she’s not under the sofa any more and looks fine exploring the house… Am I still on LSD? What’s going on here? She finds a food selection in the kitchen (looks like oven-cooked Garlic Bread and Chicken Nuggets) and heads outside to Mr Ponytail, The Driver and… Travis, who didn’t I say had been… Ah f**k it. Anyway they begin munching the freebies whilst blissfully avoiding any reference to anything that has happened previously. Meanwhile, in another part of the house, Chubby gets choked by The Slasher and locked in a room, but looks about as interested as a sleeping snail. This idiocy continues for a while, as people that we’d presumed were dead reappear and nothing makes a lick of sense.
A few minutes (that seem like years) later, a car drives by, crashes into a lamppost and we meet its occupants. There’s a pudgy dude (Big Guy) and his girlfriend who is… hey it’s Blonde Girl 2 without Brown Jacket. How could it be that she’s just pulled up in a car if we’d already seen her strolling nearby a few minutes ago… I give up. We now learn that she actually has a name though, which is Ashley. Mr Ponytail (remember him) gets accidentally stabbed by Silicone Enhanced, but then shows up without so much as a scratch a little later. Why doesn’t anyone stay dead, dammit? Travis and Big Guy see a load of stuff that I guess is meant to be quite freaky, whilst The Slasher murders Silicone Enhanced by throwing her off a cliff. A few more silly things happen and The Slasher reveals himself to be exactly who we thought it was all along. It’s not hard to guess though, because we can clearly see his face under the cloak in most scenes. He slaughters everyone except Big Guy and Ashley, but just as they’re about to escape, Ashley comes over all kooky and screams at Big Guy. One thing to note is that throughout all this confusion and crapola, I saw Christmas stockings on one of the walls. So it’s not really the Curse of ‘Halloween‘ then is it…?
So now we cut back to Suicidal Dude who’s still suicidal and still has a gun to his head. He tells us that even though we saw Travis get killed (at least twice) it turns out he was the only survivor of that fateful night. We are shown in flashback how Suicidal Dude helped Travis to recover from his horrendous experience by taking him away on holiday to an exotic island. Travis, Suicidal Dude and three girls – that seemingly don’t need or deserve any introduction at all – climb aboard a boat and what follows is ten minutes of absolute nothingness. We struggle to keep our eyes open as they drink beers and eat snacks on a lake whilst a score plays, ends and then starts again like a CD on repeat for TEN MINUTES. Did the director insert some random holiday footage to pad out his hour long feature? Quite possibly. Eventually, with only three minutes remaining, someone kills off the whole gang except Suicidal Dude without a single splash of blood. How does this relate in anyway to Negligee Chick, The Slasher or anything we’d seen previously? After two viewings, I still have no idea. Finally, we switch back to Suicidal Dude‘s ‘gun to head’ scenario from the prologue and he pulls the trigger before the film suddenly ends. No final credits, no special thanks, no blood, no inspiration, no explanation, no hope, no nothing; the screen just goes black.
What to make of Curse of Halloween then? Well, I honestly have no idea. Is it a new drug-like experience that was responsible for my dazed state the next morning? A legal high perhaps? Well if it’s not, I don’t really know what to say. In fact, I do: this should never have seen the light of day beyond Jeremy Isbell’s editing tools. It’s absolutely diabolical. I’d like to make a joke about the director and his dire filmmaking abilities, but the biggest joke is on me for paying $13.98 for this steaming pile of poo. The only way I can explain this mess is that Isbell lost the script after shooting and edited the footage whilst heavily inebriated. There just isn’t any other logical view as to why it has the structure of soup. If ever you get round to directing a horror flick, you can rest assured that no matter what happens, it will never be as bad as this. I guess that could be something of a motivational quote for debutants to be used in film schools. At least then I would get something for my $13.98. There are entries out there in slasher-land that are so hilariously inept that they have their own type of fan base, like Nail Gun Massacre or Splatter Farm. Curse, however, engages in a different kind of way. Your eyes remain transfixed as your jaw drops to levels that you don’t recall it ever reaching and you feel a deep-rooted intrigue as to how anyone would have cojones large enough to attach their name to a travesty such as this.
I recently had an interesting chat with an up coming producer who said its a shame Alfred Hitchcock didn’t do any commentaries. His reasoning was that it’d be great to hear how he worked and came up with his glorious ideas. For me, I’d pick a Jeremy Isbell talk-through everyday of the week. Watching him explain this catastrophe would be Oscar worthy. Happy Halloween… Beware of the curse…
Oh and btw, before I forget, if ever a movie could be judged on its trailer, check out the above… the music is from another film and the credits don’t even have the right title lol…
RATING: NO STARS