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…
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.
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…
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.
Bloody Creek 1993
Directed by: Gary Whitson
Starring: Ivory Blackwood, Michelle Caporaletti, Dave Castiglione
Review by Luis Joaquín González
Back in the days before we were all connected via the Internet, the best way to meet and converse with other horror collectors would be to attend film festivals. Nine times out of ten, they would be filled with geeky halfwits that would drop comments like, “Do you know that I have Killer Moon completely uncut on long play?” Or, “I’ve seen The Exorcist 1,998,764,647,576 times and can quote every line of dialogue, backwards.” This is when I’d pull my ace from my sleeve and say, “Well, I’ve got a pristine copy of Bloody Creek at home.” What would follow would be two-minutes of tense jealousy driven silence as the nerds would look me up and down and think, ‘What the hell is this Bloody Creek? Why does this skinny Spaniard have a copy??‘
In fairness, I’ve always owned quite a large collection of obscure pictures, but when my Japanese VHS of Cards of Death wasn’t enough, or if I couldn’t steal the limelight with my pre-cert print of Early Frost, I’d reach for my special weapon – Bloody Creek unrated. I mean, let’s be honest, before this review, you had no idea it even existed, right?
It was an early release from Gary Whitson’s WAVE Productions studio and it’s arguably the most traditional slasher of his filmography. My VHS is dated as 1994 and on the IMDB it’s listed as 1993, but I’m pretty confident that the IMDB have uncharacteristically got it right for once. The beautiful Tina Krause was discovered by Whitson in early ’94 and made her debut in Fatal Delusions the same year. Her china doll-like face combined with a sensational figure made her the poster girl of WAVE through the nineties and so I’m pretty sure that she’d have featured if it was made after she joined their team.
It tells the tale of a female author that’s writing a book about a number of killings that have taken place in Bloody Creek State Park. She is invited to the local Police station to interview those that investigated the case, but soon discovers that the killer may still be on the loose.
I guess that whether or not you’ll want to see Bloody Creek is dependent on your experience and taste for films that have been produced on this kind of budget. A lot of early WAVE releases were shot on a camcorder and filled with actors that had been picked up at conventions (like Krause) or from word of mouth. I knew what I was getting in to when I sat down to watch this picture and therefore found it easier to accept, but others need to be prepared for the non-existent funding so as not to be disappointed. Please keep in mind that I’ve taken this into consideration with my review.
So, the film lasts for whopping ninety-minutes, but would look much better without some of the bloatedness. The problem with directors that edit their own footage is that they are following their singular vision and its better when a third-party can advise on momentum. The movie’s stagnated pace is best demonstrated in the build-up to the first slaughter, which is shown via flashback (as is most of the runtime). We are introduced to the scenario by a detective that makes the fatal mistake of telling us beforehand that the girl is about to be butchered. Even in Zodiac – a cinematic account of a serial killer whose victims are globally known – David Fincher conveyed each murder from the outset in order to develop some tension. Here though, because we’d already been informed of the character’s fate, it was pointless to see her wake-up, get dressed, get in her car, drive, drive some more, reach the forest, set-up her camp, wander around etc etc. The only plot point of relevance and interest to us was HOW she died; – anything else was just filler. With that said, a voluptuous chick that goes camping on her own and downs a bottle of Cognac in a couple of gulps could never be considered unappealing. It’s just that this whole sequence would’ve played so much better if Whitson changed the detective’s dialogue from, “This is how the first victim was killed” to “It began like this…” – without any premature knowledge of the outcome.
Brushing aside the amount of over-emphasis for a second, I can say that I enjoyed Bloody Creek. It offers a wealth of slasher scenarios, a couple of cheesetastic gore scenes (they use leaves to cover the head of one bunny so it looks like she’s been decapitated!) and a few surprisingly ambitious twists. Sure, you can list continuity holes and enough inadvertent humour to rival Nail Gun Massacre, but I didn’t ever want to give up watching. The only thing that I thought was missing, was a decent ‘killer guise’, because without one, the maniac lacked an imposing presence. There’s also a chase and fight sequence in a swamp that I have to mention because it was so hilariously overblown. A pair of actors splash and tussle for about five-minutes, whilst accidentally swallowing mouthfuls of muddy rain water. Yuk!
I’m in a good mood, so I haven’t gone in to detail about all the little things that disappointed me with Bloody Creek (even if I had to bite my tongue to prevent myself from mentioning the horrendous score). It’s an astoundingly cheap production (the cop’s office is surely someone’s kitchen – it even has a microwave!), but I was in the mood for some junky fun and junky fun’s what I received. We get a sprinkling of gore, some terrifically hot chicas (a WAVE trademark although they’re not quite Tina Krause) and a devious assailant that constantly surprises with his unpredictability. Gary Whitson wrote a script that does well to keep you guessing and I can only take my hat off to him for that.
Look, I can’t recommend you hunt down Bloody Creek and I can’t guarantee that you’ll like it. In its defence though I expected the worst and was originally going to write a step-by-step sarcastically mocking review as I did with Curse of Halloween, but the feature impressed me enough not to. I can’t give it any more credit than that.
Marco Polo 2008
Directed by: Alton Glass
Starring: Cristina DeRosa, Eddie Goines, William L. Johnson
Review by Luis Joaquín González
When you look at all the ‘hard to find’ slashers, you’ll notice that the majority of them share familiar characteristics. Whether it be that they were self-funded and lacked solid distribution or were plagued throughout production, which led the crew to abandon circulation, there’s usually a common link to be discovered between them. That’s where Marco Polo stands apart. This one was completed in 2007 on a solid budget and with a talented cast, so it’s strange that it has become so obscure.
In fact, what we have here is a feature that truly frustrates me; and my frustrations stem from the fact that it’s better than a large majority of the slashers that I watch, so why isn’t it available for global consumption? It kicks off with a fast-paced sequence that offers a pre-credits introduction to our boogeyman, Marco Polo. In a periodic scene from 1342, Polo, his wife and daughter are pursued through some forest, where they are eventually cornered and assaulted by their weapon-clenching assailants. Director Alton Glass goes for an incredibly merciless approach by showing us in detail how Polo was made to suffer by being blinded by the thumbs of a hulking barbarian. As he lies screaming on the floor, he can only listen helplessly whilst his spouse is raped and his child slaughtered. It’s an uncommonly harrowing intro, which shows a level of graphic violence that was quite intense. We then fast forward to present day California, where we meet our likely victims.
It’s these parts that most proved to me that Glass has the potential to be a competent filmmaker. We see all of our characters together at a pool party and there’s a blend of African Americans and Whites. What stood out to me was that the dialogue was audacious and intriguing, because it’s not the usual Hollywood sugar coated chit-chat. One girl nags her black boyfriend for leering over a white chick and he responds by saying, “She must have some black in her to be that fine”. Then a bullish Caucasian belittles a guy that looks like a poor man’s Eminem with the line, “Stay White Brother!” We live in a world where touching upon such topics always carries a risk of offence, but in reality, the majority of us aren’t racists and can share good-natured (and even competitive) interracial banter. I admired the director’s ambition to strive for realism and this continues throughout the runtime.
After such a crowded launch, we get a closer look at what will surely be our two central players. Jared is extremely disappointed that his younger brother Kelly wants to play basketball in Italy and not follow his sibling into the business that their entrepreneurial father left them when he passed away. This leads to an interesting ‘head or heart’ conversation that offers enough depth to develop both personalities. They decide to spend a camping trip together before Kelly jets off to Europe and this gives us a logical pathway to alienate our intended victims. There are eight campers that board the Winnebago to the forest, and each of them gets enough screen time to stand out. It would be wrong to say that they broke away from the traditional clichés, but the annoying jock type guy diversified into a real hero that I found myself rooting for. Actually, I wanted most of them to survive and I guess it’s because they were given more than just basic lines to move the plot from A to B.
When the killings start, they’re ferociously gory and Glass unleashes some tremendous visceral FX and a real injection of excitement. One guy gets chopped in half with a machete, there’s a unique decapitation and the brutal masked killer gives a credible Jason Voorhees impersonation. I liked the way that the film gave the players a slice of courage that convinced us that they wanted to survive. It’s tough to convey the true effect that a mass-killer would have on the average everyday Joe, but at least they weren’t just slashed and immediately rushed off screen to be forgotten. Every single box in regards to slasher trademarks is ticked (we even get a scary story around a campfire scene), but this film differentiates itself by including influences from thrillers like Fallen as well as a large dose of Friday the 13th. The biggest chunk of originality came from the conclusion, which I certainly wasn’t expecting.
The real Marco Polo was an ambitious traveller that passed away peacefully, surrounded by his wife and daughters, in bed. There are definite question marks over the logic of using such a renowned historical figure as the film’s antagonist. The fact that the screenwriter has bolted-on a distinct and unflattering streak to his personality makes it all the more peculiar. It would have been easier if they’d just used an imaginary person – a conquistador perhaps – because Polo was everything but a sadistic butcher. Still, I cannot really find any other relevant criticism to aim at this slasher and I’m scratching my head as to why it’s so obscure. When a motion picture that is confidently produced and includes sharp direction, a rapid pace, unpredictability, interesting scenarios, a professional gloss and some gore, you’d think that it had achieved everything that was asked during pre-production. A friend of mine said that he had heard that this was extremely similar to See No Evil, but it’s not at all. Alton Glass’ entry to the sub-genre is much better and deserving of a more prominent status.
So why does the film remain on the missing list? It seems like it all came down to bad timing. Just as shooting was completed in 2008, the lead producer had to deal with some personal matters, which meant that the concept was pushed to one side. When he was finally able to re-focus his efforts on securing circulation, the digital boom had rendered him unable to find the right deal. Now, eight-years later, it can finally be seen on Amazon.com, but only if you reside in the US.
There are around sixty slashers that I know of that will never see light of day on the right format. There’s a strong argument to say that Marco Polo and Legend of Moated Manor are the best of those. I hope you one day get the opportunity to see if you agree.
Reviews by Luis Joaquín González
a SLASH abover Paul Morris sent me an email a while back asking why I don’t review many slasher shorts on the site. I guess the reason is because I post a review once a week and I’m used to covering a feature-length movie. There’s only so much that you can say about a film that’s a few minutes long and I write about 800 words about each flick that I watch. Then suddenly it dawned on me, why don’t I just review a few together!?! Ta-da. (It’s hardly inventing the wheel, but you have to understand that sometimes, I’m not the quickest)
So, every now and then from here on out, I’ll post an update here that’ll feature the shorts that I’ve watched and my opinion on them. I own quite a few and with many I have zero information on how they were put together. I apologise in advance if I don’t provide all you need, but they’ll all be slashers and I’ll give what I can:
Dead Air 2014
Directed by: Zac Morris. Running time: 6 Minutes
Set at a dorm party on Halloween night no less, Dead Air focuses on revenge for a prank that went wrong some time ago. At just over five-minutes, it’s a fun little flick, but doesn’t particularly explode with an abundance of potential film making quality. Whilst it’s creatively shot, the killings are all off-screen, I didn’t think much of the performances and there are no new gimmicks or tweaks to the formula. Cool black mask though and I will admit, if this was a teaser for an up and coming slasher, I would be adding it to my ‘to watch list’.
I, Murderer 2014
Directed by Dipayan Chatterjee. Running Time: 7 minutes
A poignant and disturbing seven-minute flick from India that will certainly make you think. I don’t agree that the slasher genre is the right place for political or campaign messages, but I’ll make an exception here because it truly is beautifully shot and professionally edited. If we forget about the concept for a moment, we can credit the haunting mask and musical accompaniment, which is top-class. I guess in this over-populated rat-race of a world that we live in, we need to think more about this subject, take precaution and as we say in Spain, controlarse y tened cuidado.
Fear the Reaper2004
Directed by Keith Munden. Running Time: 28 minutes
The first of Munden’s Reaper trilogy, this one tells the tale of a supernatural murderous being that’s stalking and murdering youngsters around a small residential area. A plump teen has a bizarre connection with the killer and sees what he does in visions and dreams, which means she must try to stop him. A few good moments that border on suspense are ruined by a disjointed flow and the fact that we can barely see anything some of the time. Even when we are given clear day shots, it’s still tough to follow, because the plot has the narration of melted ice cream and even repeats a few minutes of the SAME scene toward the conclusion. I can only presume that the editor was with his friend LSD when he put this together. Still, for a big fat 0 budget, it does show signs of potential here and there.
Directed by Steve Goltz. Running Time: 11 minutes
After a group of kids run down an old man by a roadside, a masked killer follows them camping to take revenge. Here we have the debut movie from Slasher Studios; the team that would go on to bring us Dismembering Christmas and Don’t Go to the Reunion. It’s a dose of extreme slasherism that’s confidently produced and tells an entire I Know What You Did Last Summer-type story in eleven-minutes, which is some achievement. Keeping in mind the bite size runtime, the characters are well conveyed and the film goes all out to impress. A true tribute to everything that we love about slashers, the use of the teddy bear and a cool mask are welcome inclusions. With four murders, some gore and a sex scene, you get bang for your buck, it’s just a shame they couldn’t chuck in some suspense. Still, as slasher shorts go, it’s a definite must see.
She’s Not Alone 2012
Directed by Mike Streeter. Running Time: 8 minutes
The slasher genre went through a bizarre referential phase recently, where there were a host of entries that played like Z-grade Elvis tribute acts to the peak period. I can honestly say that I can’t name many that managed to pull off the retro gimmick as well as this classy and stylishly directed addition from Mike Streeter (a name to watch). Everything from the music, props, fashion and style is pure nostalgia. It annoys me with shorts that if crews only need to fulfil a few minutes of screen time, why can’t they make the most of each shot. We are given a plethora of good camera work during SNA and even some tricks that Carpenter himself would have been proud of. In fact, if someone told me that Carpenter had directed this, I probably wouldn’t feel the need to question. I can’t give She’s Not Alone any more credit that that.
Pesadilla Sangrienta 2006
Directed by Marceleo Cabrera/Felipe Paredes. Running Time: 7 minutes
A pretty nothing-ness slasher movie that was likely filmed on a cheap mobile phone. Zero dialogue, zero gore and you can’t see what’s going on most of the time. No real story with this one outside of a guy with a Guns n Roses-era Slash-style haircut stalking a girl that has one too, which only adds to the confusion. It’s great that people make slashers at home, but I can’t give them credit if they’re this bad.
Directed by Ryan Shovey. Running Time: 12 minutes
This one was originally meant as a teaser for a feature length slasher that thus far hasn’t materialised. It’s a shame, because Hunter really is a superb slice of slasherism that much like She’s Not Alone, shows heavy Carpenter influences. It’s set inside a house and so we don’t get given much space, but Shovey delivers suspense, shocks and some Argento-alike camera tricks. The killer is creepy as hell too. What I thought worked best was the fact that we got to know the two characters in only twelve-minutes, which was a sign of good scripting. I understand that the director is working on another slasher movie, so let’s hope it turns out to be as stylish as this.
Title Unknown 2011
Directed by Unkown. Running Time: 9 minutes
I have no information on this one or even its title, which is a shame because I kind of have a soft spot for it. The whole production reminded me of mid-nineties SOV titles like Savage Vows and it has a similar type of attractive obscurity. It tells the tale of an ambitious Deputy that wants to rid the town of a vicious masked killer, but the Sheriff is less eager, which raises suspicion in the eyes of the apprentice. Whilst there’s no gore and the score has been borrowed from other hits (even Halloween), the killer’s mask (reminiscent of the Monk from Terror Train) and a couple of impressive shots make this one interesting. It’s by no means a polished example of great filmmaking, but it gains points because it’s so reminiscent of the days of buying cheap VHS from stores/websites.
Directed by David Dinetz, Dylan Trussell . Running Time: 8 minutes
Chainsaw was presented by Eli Roth and it tells the tale of a huge maniac stalking a Haunted House at a theme park. It’s certainly amongst the most gratuitous shorts that I’ve witnessed and includes some extremely graphic shots of a chainsaw-blade cutting into flesh. Whilst it is an extremely modern picture with its MTV flash cuts and CGI, it had an interesting comment on voyeurism, which was a key theme of Tobe Hooper’s Funhouse. Bizarrely, the intro reminded me of the brilliant Derek Cianfrance drama, The Place Beyond the Pines. Definitely one for gore hounds.
Panic Fear 2015
Directed by John Francis Conway III. Running Time: 5 minutes
Panic Fear won’t take up too much of your time, but it makes a statement with its structured shots and inventive camera placement. I appreciated the lengths that the director went to for realism by demonstrating how victimised we would be if a similar scenario were to strike when we least expect it. The smart use of muffled external sound worked wonders to set-up the theme of a killer invading a place of complete seclusion: our home. In fact, this one becomes more scary upon post reflection. I’ve seen thousands of people butchered in slasher films, but this one just felt a little more ruthless than usual.
Directed by Jarno Mahlberg. Running Time: 12 minutes
If I had to compare this Finnish slasher with any other that I’d reviewed of late, then it would have to be Murhapukki, which funnily enough hails from… Finland. Whilst I don’t like horror comedies that go out of their way to try to be funny, I’m a big fan of black humour or a slice of the tongue in cheek. Axecutioner overcomes its low budget with a huge chunk of fun that I thoroughly enjoyed. There’s some very cheap gore that is creatively displayed and the outlandish camera angles are Scott Spiegel-esque. It’s as standard as could possibly be in terms of plot (three guys go to a cabin in the woods to drink whilst there’s a masked nut on the loose), but it ticks the boxes with its overall campiness. This one reminded of cheesy eighties hits without broadcasting that it’s doing so.
Time to Die 2011
Directed by Madness INC. Running Time: 10 minutes
Whilst on the subject of Horror Comedies that work, here we have one on the complete opposite end of the spectrum. At nine minutes and thirty-nine seconds, Time to Die is nine minutes and thirty-eight seconds too long. From what I could make out from the bad audio, it tells the tale of a group of misfits that have paid for a time share or something along those lines to explain away the threadbare plot. Before long, a killer that looks like a throwback from the Kiss glam metal era offs a handful of them in slapstick ways. Look I appreciate that this is just a group of friends having fun, but I have to call it as I see it and what I saw sucked like a mosquito on steroids. To make a comedy work, you either need jokes that are, well, funny or an obvious source code for what you’re mocking. I had no idea what was going on here and wish they hadn’t have bothered. In fact, it made me wish it was time to…
Killer on the Loose 2015
Directed by Mark Baliff. Running Time: 15 minutes
Here we have an expertly taut and cunningly smart slasher from director Mark Baliff that definitely needs to be seen. It demonstrates style right from an opening credit sequence that incorporates a handful of creative shots of Halloween props to build the tone. We then cut to a blood stained girl that’s fleeing a hockey mask sporting stranger. She manages to sneak into an unoccupied house where a cat and mouse game of hide and seek begins with the would-be assailant. Killer on the Loose includes a bundle of references to Halloween and Friday the 13th (including an abode very similar to the Myers House and Night of the Living Dead playing on the TV). It’s no carbon copy though and builds up to a unique and impressive conclusion. What really stood out for me, aside from the aforementioned structured shots, was a strong use of sound and gothic lighting. If the slasher genre is left in the hands of filmmakers like Señor Baliff, we have loads to look forward to.
The Welder 2015
Directed by Justin Cauti. Running Time: 15 minutes
Three girls head to their college to meet Trey, the boyfriend of Alex, who’s celebrating her birthday. Little do they know that a psychopathic Welder that was mutilated ten-years earlier is back for revenge. With a decent budget, killer guise, location and score, I was disappointed that this one wasn’t better. Most of the characters are the brash-cocky-brat-type that ruined a plethora of post-Scream entries, except one; but he doesn’t last long enough to make an impression. With nothing to attract me to the victims, I was hoping for some gore or suspense, but aside from a couple of interesting shots, it was mainly put-together with minimal flair. It’s hard to find fault with the hulking maniac and his deranged heavy breath, but the film lacks the polish of others I’ve reviewed here. Still a killer Welder is a good idea for a feature length picture guys..
Directed by Will Morris. Running Time: 4 minutes
Porkchop was so bad that it ruined the concept of a cool killer ‘Pig Head’ guise. Thankfully, Squeal improves upon the lacklustre Chop but still falls short of giving us a great and gratuitous gammon gore fest. It tells the tale of a group of girls at a party that are stalked by said maniacal assassin; but this guy has a deranged but intriguing motive for his attacks. As expected, he looks pretty menacing clutching a scythe, but some awful acting and overuse of a strobe effect prevents the film from really impressing.
Night Night Nancy 2011
Directed by Lewis Farinella. Running Time: 5 minutes
I have often believed that surrealism would be a good blend with the Slasher genre, but in fairness we haven’t seen many attempts at introducing the concept. The idea here was definitely to make a visual interpretation of a bad dream and the net result was fairly impressive. A young girl wakes up alone and discovers that there’s a masked intruder in her house and so she tries desperately to escape his clutches. What I really liked about Night Night Nancy was the killer’s awkward limp and deranged breathing, which really gave the impression that he/she was seriously disturbed. I also thought that incorporating a mobile phone as a source of terror was smart and the conclusion conveyed a nightmarish quality. The final girl made some silly decisions, but mostly it worked well.
Forest Falls 2012
Directed by Ryan McDuffie. Running Time: 27 minutes
At just under half an hour, Falls is longer than many on this page and it’s also one of the most unique that I’ve featured. The plot line starts as have a million others, with a group of teens heading up to a secluded camp site to indulge in some beer drinking and partying. It’s when the killer reveals himself BEFORE starting the bloodletting that the film heads off on a pathway that’s ambitiously uncommon. Whilst I am not really sure if I enjoyed everything I saw here, I can’t knock director Ryan McDuffie for trying to break the mould. Our masked killer is no Jason Voorhees wannabee and dispatches his victims rapidly with a handgun, which takes the ‘slash’ out of any slasher flick. I also didn’t think that knowing who the killer was from the outset worked, because it removed any intrigue or mystery that may have made him more ominous. Still, there’s no denying that Falls is expansively produced and I was impressed by some of the acting. The sets are slick and well-lighted and the movie opens with a Doo-Wop song, which added some real culture. It’s just that for me, guns in slashers are like sausages at a Vegan banquet – totally out of place. The film just couldn’t recover from that.
Midnight Man 2011
Directed by Kyle Stackhouse. Running Time: 4 minutes
Midnight Man is another of the many shorts that chooses a ‘one woman alone in apartment’ set-up to deliver some creative visuals. Here we have a maniac with a creepy mask (reminded me of the the antagonist from Final Scream) stalking a blonde female in her bedroom. The director uses some neat sound and a couple of Carpenter-alike ‘boogeyman looming in the background’ shots to add class, but it’d been nice to have seen more of a struggle from the victim or even a chase sequence.
Pizza Man 2015
Directed by Todd Condit. Running Time: 5 minutes
Interesting idea for a slasher movie, where the boogeyman is your Pizza Delivery guy! In honesty, these couriers get a hard time, because they bare the brunt of your wrath if the food’s late (even if it’s rarely their fault) and they don’t get a tip as would a Taxi driver. Shot in black and white, Pizza Man plays well on the fact that waiting around for a meal is the most antagonising thing in the history of food. Whilst there’s not a lot of suspense in the way the stalking is rolled out, we do get some gore and a killer Delivery Guy who’d make a great spouse for the chick from Pizza Girl Massacre don’t you think?
Directed by Steve Piché. Running Time: 3 minutes
Well this one wins the award for the shortest title of today’s post at under 180 seconds, but that surprisingly doesn’t make it any less enjoyable. A Slash abover Martin was involved in the production of this one over ten years ago and he kindly allowed me to review it for you all today. It only shows the stalking and slashing of an unfortunate wanderer, but there’s definitely a chunk of credibility on display. We get some nice low camera angles, a machete through cranium killing and a slow stalking maniac in a burlap sack, which regular readers will know is my favourite guise.
Tear Her 2014
Directed by Ricky Bird. Running Time: 6 minutes
Creepy little short from Hectic films that was made as a tribute to watching scary movies on VHS and dealing with inconsistent tracking. Rather than reminisce about my VCR though, the mazy screen and some chilling sound effects gave Tear Her a nightmarish feel, which helped to make it fresh. It shows a killer in a terrifying mask stalking an unfortunate model in a large dilapidated complex, which may not be much in terms of novel scripting, but works because it’s uniquely put together. I always have believed that the best horror is the type that goes the extra mile. Tear her does just that
Directed by: Todd Jason Cook
Starring: Rebecca Torrellas, Mike Gebbie, Lisa Whiteman
Review by Luis Joaquín González
Running a site that is purely dedicated to reviewing only the truest of stalk and slash entries is great, but I must admit that sometimes there are films that I’d like to cover, but can’t because they don’t fit the template. I believe I’ve stayed faithful to only posting genuine entries, but the one that I’m most unsure of is The Dead Pit. My rationale for including it was because, sure, it’s a zombie movie, but there is really so much in the first half that reminded me of our favourite film style. The hulking masked doctor, the terrorised final girl, stalking sequences and heavy breath POV shots; it’s hard not to look at those ingredients and think: stalk and slash.
Actually, it’s interesting that there have been so few true crossbreeds, but that’s where Zombiefied stands apart. Director Todd Jason Cook has said that he set out to make this picture the truest amalgamation ever released and so I was keen to see what he could achieve. Would this be a post that I would be confident could sit comfortably with the rest and tick the right boxes?
Well, it all kicks off in a bedroom with a naked chick and a guy sharing lines of coke. As if on cue, the girl says with a knowing nod, “I’m off to take the obligatory shower”. Whilst she’s scrubbing away (in gratuitous close-up), her partner hears a noise in the kitchen and goes to investigate. He comes across a creepy mannequin that’s holding an MP3 player, but before he has a chance to raise the alarm, he is stabbed from behind by an unseen killer. Next up, the maniac goes to take care of his bathing girlfriend, but just as we are waiting for the anticipated slashing, out jumps the ‘zombiefied’ corpse of her recently deceased partner and it begins chewing on her neck! So, a zombie, a hulking killer, blood, a jump scare, a fantastic pair of (natural) boobies and cocaine. It’s fair to say that there have been worse opening scenes.
Next up we head over to a heavy metal club called, Röcbar, where a concert is in full flow. As the group perform, the nut job from earlier (who’s now sporting a Nixon mask that’s identical to the one from Horror House on Highway 5) subtlety murder’s the DJ and inserts a CD into the music system. The new sound seems to have a strange effect on the crowd and they begin morphing into zombies and attacking those that haven’t yet turned – cue pandemonium. After a violent struggle, one band and their singer manage to escape the carnage and flee into the streets that are now filled with roaming re-animated corpses. We soon learn that a similar occurrence has happened once before, but not on such a grand scale. With the Police unwilling to assist, it’s left up to the gang of rockers to prevent the plague from spreading and find a cure. They’ll have to do so whilst avoiding the flesh hungry zombies and a malevolent masked killer…
It gives me great pleasure to tell you that Zombiefied is a truly entertaining horror flick that may be rough around the edges, but delivers a rugged ride that’s unlike anything I’ve previously seen. It’s full to the brim with bloody action and it rarely allows you to catch a breath as the corpses drop. The plot unravels amongst hordes of murderous zombies that chow their way through an impressive number of victims. The director flings everything into the cooking pot to conjure up a gore-laden stew. Your taste buds may not be totally tickled by every mouthful, but it’ll leave your belly too fulfilled to complain about the service.
Director Todd Cook has had a film reviewed here on a SLASH above previously of course, but Evil Night was a totally different beast that simply had no structure. People would walk on screen with no introduction, get killed and the same thing would happen once over. He does revert to a similar technique at times here, because there are a lot of nameless and eminently pointless victims that are lined up like pins only to be bowled over with minimal fuss. Zombiefied overcomes that though, because everything’s held together by a central concept that’s progressively intriguing and addictive. We follow a group of likeable characters that are desperately trying to find a cure for the epidemic and even if the way that the story choses to write out the authorities is laughable, there are various tweaks that maintain our engagement.
Not everyone agrees with my stringent view on what makes up a true ‘slasher’ movie, but seeing as I am strict with my idea of the guidelines, I wondered what I’d make of a zombie/slasher cocktail. In fairness to Cook, he shows respect to both genres and their principles. The living dead are the modern kind that sprint after their prey, but the slasher scenes are traditional, with a hulking masked killer that has a calling card (aforementioned mannequin) and a traditional slo-mo stalk. The army of gut-munchers are under the control of the boogeyman and sometimes he uses them to devour his prey instead of a blade or axe. Even if this concept sounds like it may be tough to digest, I have to give credit to Cook for making the blend so palatable. He pulls of a number of moods and even chucks in suspense on occasion, which magnifies during the slasher scenes. We also get fair amount of gore, a couple of hot-ish chicas, a riveting mystery, an open-ending and the chance of a sequel, which I’d personally like to see. Perhaps the best thing of all is that an hour and forty-five minutes is a long time for a horror movie, but it really flew by. I was watching without alcohol too!
From a technical perspective, Zombiefied is not a perfect movie experience. The thrash metal soundtrack is not for all tastes, it’s a bit casually scripted and it suffers the flaw that ‘plagues’ all zombie movies, which is, how much can really be done with the same MO? I honestly believe though that there’s so much here that works that you can accept those minor gripes because it’s a real extravaganza of horror excess. I liked it so much that I was disappointed to see that Cook doesn’t have any other projects currently in the pipeline. I would never have said that when all I knew of his work was Evil Night and Night of the Clown. I can accept titles like that if they lead on to a wider plan and Zombiefied may well be his masterpiece.
Finally we have a zombie/slasher that truly can fit in with its brothers here.