#SlasherSunday2022
My Watchlist for Slasher Sunday 2022. (@CampCthulhu)
Slasher Sunday slices and dices its way into 2022!
Fifty-Two Weeks, One Hundred Slashers, Endless Kills...
Themes:
January: Arthouse & Elevated Slashers
February: Extreme & Splatter Slashers (Splashers)
March: Comedy & Parody Slashers
April: Sci-Fi Slashers
May: Texas Chainsaw Celebration
June: LGBT Slashers
July: Dead Teenager Movies
August: Ozploitation (Aussie Slashers)
September: Thrashers
October: Halloween Season
November: Native American Slashers
December: Supernatural Slashers
Era Stats:
1930s (Pre-Code Age) - 1
1940s (Vintage Age) - 0
1950s (Lost Age) - 1
1960s (Dark Age) - 1
1970s (Proto Age) - 5
1980s (Golden Age) - 40
1990s (Silver Age) - 14
2000s (Remake Age) - 18 (19)
2010s (Bronze Age) - 12
2020s (Retro Age) - 8
Slasher Sunday slices and dices its way into 2022!
Fifty-Two Weeks, One Hundred Slashers, Endless Kills...
Themes:
January: Arthouse & Elevated Slashers
February: Extreme & Splatter Slashers (Splashers)
March: Comedy & Parody Slashers
April: Sci-Fi Slashers
May: Texas Chainsaw Celebration
June: LGBT Slashers
July: Dead Teenager Movies
August: Ozploitation (Aussie Slashers)
September: Thrashers
October: Halloween Season
November: Native American Slashers
December: Supernatural Slashers
Era Stats:
1930s (Pre-Code Age) - 1
1940s (Vintage Age) - 0
1950s (Lost Age) - 1
1960s (Dark Age) - 1
1970s (Proto Age) - 5
1980s (Golden Age) - 40
1990s (Silver Age) - 14
2000s (Remake Age) - 18 (19)
2010s (Bronze Age) - 12
2020s (Retro Age) - 8
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- DirectorChristopher SmithStarsMelissa GeorgeJoshua McIvorJack TaylorFive friends set sail and their yacht is overturned by a strange and sudden storm. A mysterious ship arrives to rescue them, and what happens next cannot be explained.Week 157 - January 2, 2022 (Double Feature)
Era: Remake Age (2000s)
Theme: Arthouse & Elevated Slashers
Review: A late 2000's British fantasy slasher from Icon here. So, uh, pretty high concept for a slasher here, and they definitely pulled out all their stops for this one. When their sailboat capsizes during a storm, a group of people are forced to take refuge aboard a mysterious cruise ship, which is ostensibly inhabited by a masked maniac. That's the setup, and they do play it out, but, after a certain, uh, 'reveal', they take it way farther than I expected them to (and I'm kind of amazed with how far it went - it goes to a place where you can't really predict). For a story like this to work, it needs to be well crafted (and it is, for the most part, nicely thought-out, but it does slip up in a few spots that'll require you to, uh, 'not think about it' (lol) in order for it to all fit together). The length is about the standard here, but the pacing sort of slows in the second act (it picks back up after all of the 'revelations' are wrapped up).
The cast is above average to pretty good across the board here (very committed performances - Jess is probably the best, specifically near the end, but shout outs to Sally and Liam Hemsworth as Victor). The killer wears a burlap sack mask and boiler suit as their main disguise, and use a shotgun as their main weapon (so, kind of like the Phantom Killer, I guess). Their motivation and origin seems to be, bizarrely, tied to Jess (they evidently, 'somehow', have a personal connection to her, lol). Either way, they gotta kill 'em all (for reasons that'll be obvious in time). The kills are bloody but not particularly creative or gory ('sometimes you gotta die in order to truly live', which is exactly what you think it is, is my highlight). The climax is, largely, brilliantly executed, and the ending manages to bring everything full circle (in a rather shocking manner, lol).
Final thoughts, the makeup and visual effects are 'mostly' good in here (the practical effects, used to showcase the blood, gore, etc., are the best, but the CGI, used to create the thunderstorm, seagulls, etc., is kind of rough looking - the cruise ship is probably the roughest of the bunch, and comes across as very '2000s' CGI). The writing is also pretty good, but, as mentioned, does get somewhat convoluted in a couple of places (I will say that I'm quite impressed that the final girl lasted the entire duration - I think you'll know what I mean). There's a few action set pieces with nice stunt work and choreography (the car flip is probably the main highlight). The camerawork is decent enough in here (the actual cinematography was just alright, but the lighting, especially aboard the cruise ship, is a standout). Speaking of the ship, that entire set is well designed and beautifully decorated (I loved the boiler room portion). The imaginative story is the main hook here, and the rest of it is well put together to earn it its 'elevated' distinction.
A well-made and well-acted high concept slasher that successfully executes its unique premise, and delivers a hugely entertaining and distinctive showing here.
Rating: 9/10 (Incredible)
Best Character: Jess (Melissa George)
Kill Count: 15 (Overall: 2,967) - DirectorJames WanStarsAnnabelle WallisMaddie HassonGeorge YoungMadison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.Week 157 - January 2, 2022 (Double Feature)
Era: Retro Age (2020s)
Theme: Arthouse & Elevated Slashers
Milestone: '3,000th Kill' Film
Review: An early 2020's supernatural action slasher from New Line, Warner Bros., and horror veteran James Wan here. This is a pretty interesting one here, which starts off fairly typical, but eventually becomes like a supervillain origin story. After a traumatic event, a woman suddenly finds herself able to mysteriously experience firsthand the gruesome murders of a disfigured killer. I suppose this is sort of set up like a gialli (with Madison, the main victim, Gabriel, the killer, and Shaw, the cop, filling out the usual gialli roles), but it ends up turning into an action horror after the 'reveal' (which, like I said, almost feels like a supervillain origin story - the killer literally has superpowers). I feel like the main talking point of this picture is the 'killer reveal' (which I'll cover very briefly later on), but the actual story leading up to that is pretty conventional (well, if you've seen any of Wan's other horror films, then the ground covered in this movie will feel extra familiar). I didn't really 'hate' this story, but, for the most part, it didn't really impress me (the runtime is about the length of a superhero movie, and the pacing is brisk enough here).
The cast is fairly good and largely deliver on their performances (even after things get, uh, 'screwy' in the final act, they still keep these 'things' together - Madison is probably the best, but shout outs to Shaw, Moss, Mckenna Grace as Young Madison, and Ray Chase as Gabriel). Gabriel is also the killer in here. He wears a gialli-inspired disguise (a long coat and black gloves) and uses a handmade blade as his main weapon (which is crafted from a victim's trophy). His origin and motivation are hinted at in the opening prologue, but aren't fully revealed until the final act (suffice to say, he does share some 'connection' to Madison - his victims are also the faculty of the hospital where he was a patient of, as shown in the opening scenes). Also shown in the opening is the fact that he has superpowers (electricity manipulation is primary one, but also super strength and a couple of other ones), but it's never really revealed how he acquired these abilities (it's like the one thing that's left unrevealed in the end). The kills are very violent and oftentimes extremely bloody and gory, but not too imaginative ('an excellent death' and 'and the award goes to!' are my highlights). The climax features the killer reveal which is shocking in its presentation, but not too surprising in its actual execution (I had already predicted what it was going to be before it happened). The ending itself seems like a setup for more (we'll see - again, feels like a superhero/villain origin story).
Final thoughts, this being a Hollywood film means that the technical aspects are of a fairly high quality in here (and they are, the cinematography, provided by Michael Burgess, is up to par with Wan's other horror offerings, the lighting also carries the same vibe, and the sound design and editing overall gives off a familiar feeling, too - particularly early on, when the movie has a similar tone as Wan's other supernatural horror films). The visual effects look alright for the most part (I wasn't especially impressed by them, but they did get the job done - sometimes they look a little shaky, like when the 'scenery' is shifting and the environment 'melts' away, but the rest, even the CGI gore, seems adequate). The makeup and special effects give a good showcase of the gruesome aftermath of Gabriel's rampages (the highlight is probably the guy who, uh, gets his face 'rearranged' - a very brutal, fatal image). The writing in here isn't always the best, and neglects some of the finer details (it tends to leave certain points unclear in favor of trying to get the most out of this genre mashup). I got five stray shout outs going out to Sydney parking on the edge of the cliff (lol), the classic overhead tracking shot (in Madison's house), the reverse chase sequence with Gabriel and Shaw (fits with the gialli theme, though), Gabriel's rampage at the police station (a la Maniac Cop 2 (1990)), and the closeup sequence of the VCR operating (so gratuitous, lol). This isn't exactly perfect, but it's an ambitious offering for a slasher (a concoction like this won't please everyone, but I enjoyed it plenty enough for what it is, and appreciated what it was trying to do).
While its bold genre hybrid doesn't always blend together too smoothly, this still boasts some impressive production values, sufficient acting, gory kills, stylish action, and a shocking twist.
Rating: 8/10 (Great)
Best Character: Madison (Annabelle Wallis)
Kill Count: 49 (Overall: 3,016) - DirectorMike FlanaganStarsJohn Gallagher Jr.Kate SiegelMichael TruccoA deaf and mute writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears at her window.Week 158 - January 9, 2022 (Double Feature)
Era: Bronze Age (2010s)
Theme: Arthouse & Elevated Slashers
Review: A mid 2010's thriller slasher from Blumhouse, Intrepid, and Netflix here. This is a fairly standard, and obviously low budget, flick here, which I sort of expected a little more from. A deaf-mute writer who lives alone in the woods gets stalked and tormented by a masked killer. And that's exactly what happens for the entire duration of the movie (after a certain point is when I started to expect it to 'take a turn', and perhaps add an additional layer - or any kind of extra angle - but it plays its plot completely straight). Despite there not being much going on on the surface (straightforward story and single location setting), this still made a (mostly) effective use of its components (some decent suspense and cat-and-mouse games happening - well, the third act gets a little shaky, like when John shows up, but it's solid up until that point). The runtime and pacing are both good as well, and help out with the watchability here.
The cast is limited but they're all largely good with rather committed performances (John Gallagher Jr. as the Killer is probably my favorite, but shout outs to Sarah and Maddie). The Killer is also the killer in here. He's never given an identity or any kind of origin (he's just referred to as 'the Man'), but he does seem to have a motivation (which is the usual stalk and torment before killing type - I'll call this the 'Human Hunter' archetype). His disguise is really just a white mask (which has a smirk on it - they make a bold move, and have him lose this mask almost immediately), and he prefers using a crossbow and hunting knife as his main weapons. He does show some personality (he kind of has to since Maddie has no dialogue), but it's not far from the usual 'sadistic maniac' stuff. The kills are also limited, but they are very violent, quite bloody, and sort of creative ('corkscrewed' is my highlight). The climax and ending are both mostly satisfying, albeit pretty conventional (I actually kind of expected a crazy twist what with Maddie being a writer and all, but nope, lol).
Final thoughts, the cinematography gets, uh, 'creative' at times (which helps build the suspense), and the lighting likewise works out really well in here (nearly the entire movie takes place at night in a darkened house, but it's never difficult to tell what's happening - and they actually also make some interesting uses of certain light sources). The makeup and special effects are rather high quality in here (obviously the dark lighting helps obscure imperfections, but, when they get their showings, they look very good and convincing - the blood and specifically the injuries (like Maddie's busted hand) look really savage). Sometimes the writing wasn't always the sharpest (particularly, as mentioned, in the third act - the most egregious part is probably the exchange between John and the Killer (who is posing as a cop, and John is just being a complete moron because I guess the plot demands it)). I got two stray shout outs going out to Maddie's gratuitous Matrix dodge (when the Killer shoots at her) and John spearing the Killer (and the Killer literally tapping out). The story and plot kind of let me down, but this is still otherwise well-made, well-acted, and well-directed (which of course means that I don't mind awarding it a 'Good' grade here).
Although its story is rather straightforward and ordinary, this does serve up a mostly satisfying, suspenseful, and proficiently made offering here.
Rating: 7/10 (Good)
Best Character: The Killer (John Gallagher Jr.)
Kill Count: 3 (Overall: 3,019) - DirectorDavid Robert MitchellStarsMaika MonroeKeir GilchristOlivia LuccardiA young woman is followed by an unknown supernatural force after a sexual encounter.Week 158 - January 9, 2022 (Double Feature)
Era: Bronze Age (2010s)
Theme: Arthouse & Elevated Slashers
Review: A mid 2010's supernatural slasher from RADiUS-TWC and Dimension here. I reviewed this once before in Spooktober 2018, so, for this re-review, I decided to watch it with a commentary track enabled. Well, I just looked at my previous review, and I, as I said there, didn't really care for it. I have to say, after this rewatch, my opinion of this didn't change much either. Following a sexual encounter, a young woman must find a way to evade the deadly consequences of a mysterious monster who hunts down those that engage in sexual activity. I still hate this story (the metaphors and theme are presented in a very blunt fashion - maybe this was a studio demand, but I personally hated that), and found it to be rather pointless (mostly in regards to the ending, which I'll cover later). The length is like ten or twenty minutes too long (this barely explains anything, and really had no business being extended), and the pacing itself is pretty rotten (the godawful limp to the climax in particular, but the entire film takes its time).
The cast is just sort of whatever, really - I guess they give committed performances, specifically Jay, but I still hate these characters, so none of them did much for me (I still found myself cheering for the monster, and, yes, I still wanted It to get Jay - I did remember seeing Yara and Greg in the TV shows, The Deuce and Penny Dreadful: City of Angels, and they're decent in those, but I didn't care for them in this). 'It' is the killer in here. It doesn't have an origin, but it does have a motivation (which is basically that it's a living 'killer STD', or something like that). It 'wears' a couple of different 'disguises' (most of which are rather absurd, like; the old woman, the naked lady, the urinating girl, and the tall man), and seems to use some supernatural 'life-draining' power to kill its victims (I suppose - there's only one character who actually dies on-screen). The kills are very limited (only two), and they're rather disappointing (no blood, and fairly ridiculous looking - 'sucked 'em dry' is my highlight). The climax is straight up braindead (seriously, what the hell is up with their plan, anyway?), and the ending left me salty (the final scene, mostly).
Final thoughts, the camerawork is pretty gratuitous (like trying a little to hard to seem profound), but I did, overall, like the composition and some of the lighting in here (there's a good amount of panning and picturesque shots, and, indeed, the lighting does give this a 'dreamy' look to it). The score (supplied by Disasterpeace) still kicks ass, and is easily the main highlight of the entire picture (really cool, throwback dark synths, which enhances the atmosphere). The writing failed to impress me again (I didn't find this to even be particularly 'scary' or even entertaining), and there's also some cheesy jump scares in here (like the gaunt boy, which made me laugh). The characters themselves are annoying, but also make some bewildering decisions (bordering on flat out stupid - some gems: Jay trying to talk to the monster (LOL) and Yara standing directly in Paul's line of fire (deserved, tbh)). This is a low budget film, but it does have some top notch production qualities (the costumes and sets are well designed and decorated - the makeup and special effects are also up to par). I got three stray shout outs going out to Yara's stupid clamshell 'phone' (it's an ambiguous time period, so I guess this is supposed to reflect that, but I hated it), It's 'nude woman' disguise which is still wearing sandals (lol), and Jay selling the chair shot (that'll do moron, that'll do).
About the commentary, it was with a bunch of film critics (whose names I can't remember at the moment). The main guy does give a rather in-depth discussion of the film (he conducts the commentary, and calls in the guests, but he's the only one there from start to finish), but, honestly, he seems to fanboy out about the movie for a sizeable portion of the commentary (he and his selection of fellow critics do seem like the types that would enjoy something like this, though, so they are, at least, rather enthusiastic about discussing the film). He wasn't involved with the film's production, but he does evidently know plenty about it (he does mention that he got the director's 'approval' for the commentary, so I suppose he just 'came ready'). I didn't really care for the 'geeking out' over the movie (which gets amped up near the end when he starts to 'damage control' the ridiculous climax), but it does cover enough ground to be somewhat informative (I can't personally recommend it, but if you're a fan of this film (unlike me), then you might find some use of it). Look, I (still) don't like this movie, but I did like 'some' of the technical aspects in here (well, mostly just the soundtrack, lol - so, I'll probably bump my score up to a five).
The killer soundtrack and top notch production design do their best to make up for the disappointing story and the mindless ending.
Rating: 5/10 (Average)
Best Character: It (Various)
Kill Count: 2 (Overall: 3,021) - DirectorJohn CarpenterStarsLauren HuttonDavid BirneyAdrienne BarbeauA woman is being watched in her apartment by a stranger, who also calls and torments her. A cat-and-mouse game begins.Week 159 - January 16, 2022
Era: Proto Age (1970s)
Holiday Special: John Carpenter's Birthday
Theme: Arthouse & Elevated Slashers
Review: A late 70's made-for-television giallo proto-slasher from Warner Bros., NBC, Shout! Factory, and slasher veteran John Carpenter here. This came out (well, aired) after Halloween (1978), but it was evidently made before it (so, I guess this movie is technically Carpenter's first slasher). This is a definitely a 'proto'-slasher here, and feels more like a giallo than a slasher at times. A television director relocates to Los Angeles for a job, and ends up finding herself as the target of a malicious voyeur. Kind of a barebones picture here, but it does make the most of what its got (it feels low budget, but that might be because of the limited and largely interior settings). The story progression is dictated by the killer's 'process' (which starts off rather slowly as the killer prefers the stalking aspect as oppose to the killing). This does work out however since the buildup is paid off nicely in the end (more on this later). The length and pacing are both fine (since this is a TV movie, the film is peppered with 'act breaks', which turn up whenever a commercial break was to be placed - they usually appear after certain 'turning points').
The cast is pretty great overall in here (not much else to note, but their performances, even the killer who is probably the most 'animated' of them, all hit the mark - Leigh is my favorite, but shout outs to Paul, Sophie, Hunt, and Len Lesser's cameo). The killer, 'D.G. Hill' (which is the alias that he uses when he operates as 'Excursions Unlimited'), is a serial killer who apparently gets his thrills from stalking his victims before eventually 'moving in' on them (he does this by spying on them with a large telescope and bugging their apartment with sound equipment). He stages his murders to appear as suicides (it's never really shown how, but he apparently shoves them off the balcony of their apartments). There isn't really too much 'to' him, ultimately, however (he's just a really sick voyeur, and he looks exactly like you'd expect him to, lol). The kills are limited (only two), and aren't very creative or particularly bloody (I guess, in fairness, this is a TV movie, so that sort of makes sense - 'a taste of your own medicine' is my highlight). The climax and ending are both exciting and rather satisfying (especially the final confrontation).
Final thoughts, the camerawork is really great in this (I watched the 'widescreen' version, but the composition looked fine and didn't seem 'off' at any point - the cinematography and lighting are both reminiscent of gialli with an emphasis on eyes (like Leigh in the park or, my favorite shot in the movie, Leigh hiding under that grate)). There's also a couple of POV shots from the killer's perspective (these shots sort of reminded me of Michael's 'third-person' stalking scenes in Halloween (1978) - except being in first-person, of course). The soundtrack (supplied by Harry Sukman), is effective and gets the job done in here (specifically in the final act). Despite the camerawork being largely brilliant, this does still 'feel' like a TV movie (as TV movies tend to have a, uh, 'peculiar' look about them which stands out against theatrical features). I liked the majority of the writing in this (mostly the characterizations which are well-developed). I got three stray shout outs going out to the cool guy cabbie (the real MVP), the H.P. Lovecraft shout out ('Arkham Tower'), and the killer removing the dial pad from Leigh's phone (he truly thought of everything, lol). Even though this does feel like a prototype of things to come, this is well-written and well-executed (and, as much of Carpenter's filmography, an enjoyable and fairly great watch).
Despite the limitations of being a TV movie, this is still a well-acted, well-crafted, and greatly enjoyable giallo-inspired proto-slasher here.
Rating: 8/10 (Great)
Best Character: Leigh Michaels (Lauren Hutton)
Kill Count: 2 (Overall: 3,023) - DirectorOliver StoneStarsMichael CaineAndrea MarcovicciAnnie McEnroeA comic book artist loses his hand, which in turn takes on a murderous life of its own.Week 160 - January 23, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Arthouse & Elevated Slashers
Review: An early 80's supernatural psychological slasher from Orion, Warner Bros., Shout! Factory, and slasher veteran Oliver Stone here. This is Stone's second and final slasher (after his directorial debut Seizure (1974)), and I will give this some credit for its 'unique' approach here. After a freak accident, the severed hand of a comic book artist comes to life and goes on a killing spree against the artist's enemies. A good deal of the setup is about the artist's life unraveling, which, apparently, causes the hand to become sentient (the hand evidently has a 'psychic link' to the artist because reasons). The time between the hand returning and the artist's life in shambles actually works out rather well in here (there's just enough time given to properly develop the relationships, and show how they 'wronged' the artist). I had a pretty good time with this story overall (and wasn't really expecting it to also take place around Christmastime, lol). A slightly extended runtime, but the pacing is brisk (a fast watch that gets to the point quickly).
The cast is really great and seem, uh, 'overqualified' for something like this (many committed performances which sell this nicely - Michael Caine as Jon is easily the best in here, but shout outs to Anne, Stella, David, and a r a r e shout out to Amanda). The Hand is the titular killer in here. Previously the Hand belonged to Jon, and gets violently removed in a traffic-related accident (that pretty much sums up its origin). Its motivation is, as mentioned, to eliminate Jon's adversaries (and it's never truly revealed what 'caused' it to come to life). It's appearance is exactly what you think it is (a grown man's severed hand), and, yes, it gets around via crawling (very fast in most cases, which almost makes it seem like it's teleporting). Because of Jon's hallucinations, there is a hint that 'maybe' not everything is what it seems with the Hand and its presence (Jon and the Hand's psychic link gets stronger over time, lol). The kills are rather basic and without much blood or gore, but they are pretty violent ('get a grip, doc!', which is easily the bloodiest, is my highlight). The climax and ending are fairly satisfying, and feature something of a twist (and it seems like a setup for more, but there isn't).
Final thoughts, the actual kills don't have much blood or gore, but there is some rather brutal gore featured in the injuries (nice makeup and special effects, decent props, and good-looking prosthetics - that part when Jon loses his hand is surprisingly gruesome, and the bits with the lobster legs curling and the shower knob hand are well done). The camerawork has some decent lighting, and features a fair amount of POV shots (usually from either Jon or the Hand - Jon's weird bar sequence is a standout). This being an early 80's slasher means that there's got to be some gratuitous nudity, right? (sure, and it's the usual topless shots, but there's also a bizarre sex scene, which I didn't, uh, particularly care for (lol), in there). The editing is sometimes a bit too sharp in here (the cuts, specifically, which might've been done to try to trim the length, I suppose - it's just really tight, but I didn't necessarily 'hate' it, though). I got three stray shout outs going out to Amanda eating the lizard (and the lizard's severed tail), ye old classic cat jump scare (this freakin' Amanda), and the coloring turning to black and white during some kill scenes (including the one with Oliver Stone's cameo). I guess this fills out the 'arthouse' requirement, and it's really carried by its performances (especially Michael Caine, who also 'elevates' this picture greatly). The great execution leads to a pretty great watch here.
The strong and committed lead performance, intense gore with splendid special effects, and the overall great execution of this manage to sell the rather strange premise and peculiar villain.
Rating: 8/10 (Great)
Best Character: Jon Lansdale (Michael Caine)
Kill Count: 4 (Overall: 3,027) - DirectorRichard DriscollStarsSteve MunroeBerderia TiminiJeff PirieIn a future police state, a stand-up comic murders a competitor for a job, then gets mixed up with a stripper.Week 160 - January 23, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Arthouse & Elevated Slashers
Review: A mid 80's post-apocalyptic surreal slasher from Arrow Video here. So, I did partially watch some of this movie before in another film by this director, Grindhouse Nightmares (2017) (which has footage from this movie randomly spliced into it), that I reviewed in Nightmare November 2020. I hated that movie, and, if I'm being honest, this one isn't much better. In a dystopian police state future, a struggling comedian kills his rival and achieves a successful career, but his life eventually spirals into a surreal nightmare. A very simple story, but also a very 'arthouse'-y story (it really goes above and beyond to try to be profound, too). Honestly, I didn't hate this story, in theory, however, it just flat out skips over huge portions of time, and glosses over a lot of story details (doing this makes the story itself difficult to follow and rather confusing - this comes to a dumbstruck head in the third act). There's also a ton of dream sequences, which sometimes offer a glimpse of things to come, but are largely useless. The length is about average, but the pacing is complete trash (too much time is spent on superfluous filler scenes, like the extended Jazz band performance).
The cast is mostly mediocre to pretty poor in here, but they're kind of all over the place (some of them seem to be trying, but the others either can't keep up or are just too incompetent to - Sam Coex is probably the best among them, but shout outs to Ann, Jim, and George Ellington). Sam Coex is also the killer in here. He's the eponymous 'comic', and his motivation is to 'overtake' his rival (which he does with some good old fashioned murder, of course). His origin is detailed briefly in a fourth wall breaking monologue given by Sam himself (apart from the opening description, this is the only time in the movie when the fourth wall is broken). He doesn't wear a disguise, and seems to prefer a hunting knife as his main weapon. His plan is incredibly stupid, but it works out on the count of everyone else being dumber than his plan (seriously, he buries his rival's corpse in his own house's front yard, lol). I didn't hate him, but I didn't 'like' him, either (he's sometimes presented as a 'victim', but he's literally just a jealous murderer). The kills are rather trashy, but occasionally get pretty bloody ('human PEZ dispenser' is my highlight). The climax is very nonsensical with a 'fill-in-the-blanks' ending montage (it's just total trash, and extremely unsatisfying and bewildering).
Final thoughts, the makeup and special effects are limited, but they aren't, uh, 'terrible' (well, from what I could tell, anyway - the only real gore is from my highlighted kill, and it gets the job done). The camerawork is very surreal and dreamlike in here (it's easy to see what inspired this movie, like the colorful lighting during some exterior scenes or the irregular composition). The writing is pretty rotten for the most part (story issues aside, the actual dialogue, specifically Sam's 'jokes' (which are terrible, yet met with uproarious laughter), the awful and weird sex-relationship montage with Sam and Ann, and a fair amount of the characterizations (pretty much anything related to Ann, which is scarcely evaluated on, if at all)). The production design is fairly decent (there's no real reason for this to be taking place in the time period that it does, but they do an alright job of portraying it). I got three stray shout outs going out to the random gratuitous and drawn out slo-mo peppered throughout the movie (the worst one is easily the one at the burning apartment), that shot of the hands clapping around that candle (lol), and the tremendous amount of 'mysterious smoke' (the smoke machine itself even makes a cameo in Sam's torture scene, lol). I can't even really say that this had an 'interesting' idea, but this pretty much failed across the board here (it is a curious effort, but largely trash one, too - it's not 'so bad, it's good', so I wouldn't bother with it if you're thinking that's what this is).
The stylish and mysterious camerawork and the somewhat intriguing setup are nowhere near enough to make up for the poorly delivered plot, incompetent acting, and the nonsensical and unsatisfying ending.
Rating: 3/10 (Bad)
Best Character: Sam Coex (Steve Munroe)
Kill Count: 3 (Overall: 3,030) - DirectorSimon BarrettStarsSuki WaterhouseMadisen BeatyInanna SarkisCamille, a young woman who arrives at the Fairfield Academy following one of the student's untimely and violent death.Week 161 - January 30, 2022 (Double Feature)
Era: Retro Age (2020s)
Theme: Arthouse & Elevated Slashers
Review: An early 2020's supernatural (or is it?) slasher from Dark Castle, RLJE, and Shudder here. There were a couple of moments during this when I thought there was going to be 'something more', but there really wasn't (and it ended up being rather straightforward). After their fellow student apparently kills herself, her friends join forces with a new student to investigate her mysterious death, which may be linked to a supernatural haunting. It pretty much plays that setup straight, and there is a 'twist' (as in many slashers), but, for the most part, this story doesn't really go anywhere too spectacular (for example, the supernatural angle doesn't get that much play in this - as you may surmise from the title and the setup). I wasn't necessarily 'disappointed' by the, uh, conventionality of this, but I guess I just sort of hoped that there would be a little more here (I'd say I was disappointed in how predictable it ended up being, though). Straight up slasher structure, and plenty of time is devoted to building up the characters (average length and decent enough pacing, too).
The cast is serviceable, but none of them really stood out too much to me (Camille is probably the best of them, but shout outs to Helina and Mrs. Landry). The killer and their identity is the main mystery here (there's little to be said about them, but you will receive a definitive answer as to their origin and motivation by the end - a kind of 'exposition dump' type of reveal). Their disguise is evidently also the same disguise that one of the other girls use to scare Camille at one point (I guess they steal that girl's mask 'somehow'), and they use a dagger as their main weapon (so, there is plenty of actual slashing that goes down). They partake in stalking (in multiple ways), but they mainly use it as a means to an end (no lingering or dwelling). The kills are very bloody and sometimes pretty brutal, but they don't get particularly creative until the latter few of them (I have a couple of favorites; 'the slash dance', 'hardcore light tube special', and 'head of the class' are my highlights). The climax is mostly alright (killer reveal aside, the actual final confrontation is fine), but the ending itself is underwhelming (one of the twists and the resolution to that twist were a letdown).
Final thoughts, I guess this is a 'low budget' feature, but it does maintain an attractive production quality; the camerawork is mostly nice, the lighting, whilst on the darker, monotone side, is adequate, and the makeup and special effects, especially in the climax, are pretty good. The setting itself, albeit contained, is also well designed (that 'ballet room' is probably my favorite set in the movie). The soundtrack (supplied by 'Sicker Man') is rather decent (a sort of dark electronic sound to it - the ending theme is my favorite piece). The writing is sometimes pretty witty (the dialogue, in particular, but also occasionally the character development), but there's also a few cheesy jump scares sprinkled in here (most of them are telegraphed from a mile away). I got one stray shout out going out to the killer also taking the light tube shot (and Camille getting knocked out by the falling debris, lol). I suppose this accomplished what it was trying to do (in a bit of a sloppy manner), but I honestly can't say that this thing that it was trying to present was especially captivating (it seems like it's going for something more 'prestigious', but it ends up delivering a fairly standard deal here). All that said, it is still an alright showing for what it is.
A sleek looking modern slasher with a decent soundtrack and some gory kills, which gets held back by its inconsistent story and underwhelming ending.
Rating: 6/10 (Decent)
Best Character: Camille (Suki Waterhouse)
Kill Count: 6 (Overall: 3,036) - DirectorLars von TrierStarsMatt DillonBruno GanzUma ThurmanIn five episodes, failed architect and vicious sociopath Jack recounts his elaborately orchestrated murders -- each, as he views them, a towering work of art that defines his life's work as a serial killer in the Pacific Northwest.Week 161 - January 30, 2022 (Double Feature)
Era: Bronze Age (2010s)
Theme: Arthouse & Elevated Slashers
Review: A late 2010's supernatural period slasher from Shout! Factory and 'slasher veteran' Lars von Trier here. This is von Trier's second appearance in Slasher Sunday (after his cameo in Too Many Cooks (2014), which I reviewed in last year's watchlist), and I decided to watch the 'Unrated' cut for this review (which clocks in at over two hours and thirty minutes). This reminds me a bit of American Psycho (2000) here (and feels like it could be a kindred spirit of that). A psychopathic serial killer chronicles his murderous career to an unknown entity. The story here has a vignette style to it with Jack recounting a few of his murders as episodes (which he refers to as 'incidents' - five in total, plus an epilogue). So, yeah, it's really just Jack recalling 'random' (as he claims) moments of his life (which gives it a comparison to American Psycho). I actually really enjoyed how weird some of these segments are (also like American Psycho, it almost comes off as a satire at certain moments - like the entire second incident). The length is extended (even more so because of the version I watched), but the content is intriguing enough to never truly have a dull moment.
The cast is pretty much pitch perfect across the board in here (as they tend to be in von Trier's films - Matt Dillon as the titular Jack is my favorite, but shout outs to Claire, Al, Uma Thurman's cameo, and Bruno Ganz as Virgil). Jack (REDACTED) is also obviously the killer in here. He's sort of like Patrick Bateman, but a little older (he too narrates his life - alongside Virgil, whom he calls 'Verge'). He doesn't wear a disguise or have a 'main' weapon. He is a straight up serial killer (his main activity is evidently over the course of the 70's and 80's), and even dubs himself as 'Mr. Sophistication' (that's the alias he uses in his letters). He's got some 'quirks' about him, including OCD and being a 'clean freak' (this of course kicks in at the worst times, notably during the second incident). It does go, uh, 'in-depth' into his feelings about humanity and the murders he commits (it's mostly the narration with Verge, which is displayed over various artworks and stock footage). Like Bateman, Jack makes the movie, and the entire movie would've felt cheesy had he not been as well-written. The kills are extremely violent, mean-spirited, and very bloody with some brutal gore ('the jack of all trades' and 'something to chew on' are my highlights). The climax is wonderfully absurd, and the ending features an 'epilogue' (which gets pretty surreal, but finishes on a mostly satisfying note).
Final thoughts, the makeup and special effects are top notch in here (not just the gore, which borders on hyperrealistic (seriously, it gets down right diabolical at times), but also all of the other visuals - some of which get really elaborate and creative). I haven't watched many of von Trier's films, but this is very well-written (I mentioned Jack's characterization, but, well, pretty much the entirety of it is super strong - the characters are well-shaped and the dialogue is sharp). The rest of the technical aspects (lighting, photography, score, production design, etc.) all feel high quality, and do a great job of portraying the appropriate time periods (I especially liked the camerawork, which doesn't go out of its way to seem 'stylish', but does look slick and gets picturesque in the epilogue). The editing is mostly well done, and features these quick cuts sometimes (these did 'enhance' the frantic scenarios, though). I got five stray shout outs going out to Uma's character accusing Jack of being a serial killer (and just being a weirdo in general), Jack's frozen pizzas (which are there for years), the footage from von Trier's other films (making a cameo appearance), the frozen victim in the upside down photo (so absurd, lol), and Jack practicing taxidermy on 'Grumpy' (also ridiculous). Well, I'd say that they pretty much nailed what they were going for here (lol), but that result won't be a crowd-pleaser for everyone. It'll get a high grade from me because it's definitely a unique take on this genre (and it fully earns the 'sophisticated' status here).
As sophisticated as its title character, this does feature a grim and gruesome story, but still succeeds with its sharp writing and direction, superb cast, and top notch production values.
Rating: 9/10 (Incredible)
Best Character: Jack / Mr. Sophistication (Matt Dillon)
Kill Count: 10 (Overall: 3,046) - DirectorNathan HynesChris PowerStarsAnthony AlvianoAl BernsteinJean-Marc FontaineA documentary by two desperate young filmmakers who stumble upon the ultimate subject, a 33 year old cannibalistic serial killer named Anthony McAllister, who has agreed to let them document every aspect of his horrifically violent life-style. Initially terrified, the filmmakers get to know Anthony as a person. They even begin to identify with his ecological and philosophical justifications for his cannibalistic lifestyle. It's only when they investigate further that the filmmakers begin to doubt Anthony's accounts of his past. Tensions noticeably rise as the filmmakers continue to confront Anthony on his conflicting stories and ever-changing philosophies. During an awkward interview, the filmmakers interview Merle, the father of a young girl who was abducted and never found. This abduction was Anthony's first child victim. Merle welcomes them into his home and gives them a heart-felt experience that even Anthony is touched by. As the documentary reaches its conclusion Anthony begins to become uncomfortably aware of the how much of his life he has revealed to these filmmakers. In a final interview with Anthony a deadly confrontation erupts and all that remains is a broken camera and this footage. This film will challenge the audience to view a horrific side of humanity and will deliver a social commentary that leaves the audience thinking about the world they live in and the power and effect of all media.Week 162 - February 6, 2022
Era: Remake Age (2000s)
Theme: Extreme & Splatter Slashers
Review: A late 2000's indie mockumentary found footage satire slasher from R-Squared here. This does have an original setup (with its 'documentary' framing), which you may have seen before in, uh, 'other' slashers, but this, from what I can tell anyway, is the first one to do this. A cannibalistic serial killer invites a pair of filmmakers to follow him and document his murderous activities. And that's exactly what happens from top to bottom (I guess I expected something more 'shocking' to occur, especially in the climax, but it plays out like you think it will). The story is intriguing however and Anthony being a total psycho has some entertaining moments (the filmmakers' interactions with Anthony become more apparent over the course of the film, and they 'show' their true colors in the end). There's also intercuts, in the form of 'interviews' with a couple of other characters, which are often played whenever Anthony is 'working' (some of these have a comedic timing, which I gather is on purpose). The length is on the shorter side, but the pacing is lightning fast (there's almost no wasted time - every scene has something interesting happening).
The cast are mostly good and do deliver on their performances (for this genre, mockumentary, if the cast isn't putting out a 'believable' performance, then the whole movie suffers - Anthony is my favorite, but shout outs to John, Tony Prince, and the Detective (who gives off a particularly convincing performance)). Anthony McAlistar is also the killer in here. He's the primary subject of the filmmakers' documentary, and is indeed a psychopathic, cannibalistic serial killer. His origin and motivation are ostensibly tied to his poor upbringing (with a revelation in regards to his mother confirming this), and he tries to give off an 'everyman' vibe (including doing 'everyday' activities). He doesn't wear a disguise, and seems to prefer using a suppressed handgun as his main weapon. He gets rather in-depth about his entire 'process' when questioned about it (not so much the actual 'murder', but the stalking and dismemberment are shown in shocking detail). Either way, he does prove to be an 'interesting' subject for this film (lol). The kills are fairly straightforward and not too graphic (the first and last kills are the most violent - 'never saw it coming' is my highlight). The climax is pretty predictable, but the ending itself does have a bit more originality (albeit only really being semi-satisfying).
Final thoughts, the makeup and special effects (supplied by Chris Bridges) look very good and, coupled with the found footage presentation, give off a hyperrealistic feeling (the gore, especially during the aforementioned dismemberment scenes, is crazy and sells the premise expertly - specifically in the fast-forwarded 'slaughtertage'). This is well-written, but I saw some places listing this as a 'comedy horror' (lol), and, seriously, the only real comedy comes from the somewhat offbeat moments that Anthony and the filmmakers partake in (like the detour at the pig farm, which also offers a contrast to Anthony's own 'slaughterhouse' tour, or Anthony's beer league hockey match). The camerawork does a good job of portraying the 'documentary' look (the picture quality isn't the best, which adds to it, but they also use plenty of 'candid' angles and natural lighting - there's also some intentional 'video glitches' at several points). The rest of the technical aspects are competent and get the job done well enough. I got one stray shout out going out to the animal friends we made along the way (including the piglets and cows at the farm). This is a pretty good sendup, and does execute its vision, but it didn't really go as far as I thought it would (I guess I expected this to be a bit more 'hardcore', but it does still have enough shocking and grim moments to earn its status).
Although the subject matter is grisly and sometimes pretty ruthless, this is still sold rather well by its convincing performances, gnarly special effects, and nicely executed presentation.
Rating: 7/10 (Good)
Best Character: Anthony McAlistar (Anthony Alviano)
Kill Count: 5 (Overall: 3,051) - DirectorJag MundhraStarsJoseph BottomsAdrienne BarbeauRudy RamosSomeone is killing off nubile real estate agents. A psychologist doing a therapy talk show begins getting calls from the perpetrator, and cooperates with the police to try and stop him. Unfortunately, his lover is a real estate agent, and when it becomes clear that the madman is getting information for his kills from her discarded home listings, they both become endangered.Week 162 - February 6, 2022
Era: Golden Age (1980s)
Holiday Special: Tiffany Bolling's Birthday
Review: A late 80's slasher from Intercontinental Releasing, MGM, and slasher veteran Jag Mundhra here. This is Mundhra's first slasher offering here (I reviewed his second slasher, Hack-O-Lantern (1988), which I enjoyed, in Slasher Sunday 2019). Well, I watched this to see Tiffany Bolling, and she does indeed appear in this motion picture (lol). When real estate agents start to turn up dead, the staff of a radio station work together with a detective to track down the murderer. This story is about as barebones as slashers get here (very simple plotting, and there's hardly any mystery involved at all - as you know, the main 'mystery' element of most slashers is the identity of the killer, and, while there is a reveal, it's very unsatisfying and anticlimactic (more on this later)). The lead characters don't have much of an active part in the story until after one of them gets kidnapped by the killer (before that they take on a rather passive role - the killer interacts with them by phoning into their radio show, and, once they realize who he is, they basically just hope that he calls back, lol). It's a disappointment (well, for me, it's a disappointment for another reason, but the story itself still comes off as largely lackluster). The length is a little on the longer side here (clocking in at almost an hour and forty minutes), but the pacing is decent enough (it rotates between the various plots - the radio staff, the killer's rampage, and the detective's pursuit - in a timely fashion).
The cast is mostly just 'alright' in here with some 'over-committed' performances (over-committed as in, this is pretty schlocky, but they go out of their way to sell it - Adrienne Barbeau, one of the featured players, as Lisa is my favorite, but shout outs to David, Resnick, Yoshida, Pilar, and, of course, Tiffany Bolling's cameo as Judy Roberts). 'Harry', which is the name he uses when he calls into the radio show, is the killer in here. His origin and motivation are revealed in the climax, and they're rather lame (they almost feel like an excuse, honestly, but I suppose I should be happy that there's even a reveal with regards to him at all). He doesn't wear a disguise (well, not really) or have a 'main' weapon either (he does have a stick with razor blades embedded in it, but he only uses it once or twice). His personality falls within the expected 'escaped mental patient' type (even though he isn't one of those tropes - he often lets out a horrible giggle whenever he commits a murder). He does seem to have some kind of increased durability as well (as shown in the final confrontation), but regardless I pretty much hated him. The kills are slightly creative and bloody, but overall pretty weak with some of them being cutaways ('electrocution execution', which is probably the most imaginative, is my highlight). The climax and ending play out like you expect them to, and aren't particularly noteworthy (apart from the killer reveal which, as mentioned, is pretty stupid and uninspired).
Final thoughts, the makeup and special effects are sometimes fine, but mostly mediocre (the blood looks alright, but some of the gore, and specifically the props, looks rather shoddy - get a load of that severed head, which, even watching this in standard definition, looks too unconvincing). The soundtrack is pretty decent and kind of strange at times (I liked Resnick's theme and some of the pieces near the end). The writing and the camerawork are both fairly rotten in this (not even necessarily 'poor', but just really uninspired (some of Resnick's lines are pretty good, though) - I guess the same could be said for the entirety of the movie, frankly). I got six stray shout outs going out to Resnick's 'sex toy' (wtf?), Kane Hodder's cameo (as the 'trailer narrator'), Harry's kitten fren, Resnick and that client's dominatrix routine (or whatever that was supposed to be, lol), Carl ranting while loading his handguns (sure, lol), and David taking a 'shortcut' by driving on the sidewalk. So, yeah, it's safe to say that I didn't get what I wanted out of this movie (lol). I came for Tiffany, and, while she is in this, her role is sadly nothing more than a thankless bit role (they don't even show the thing you'd want to see with regards to her, uh, 'role' in the movie - you'll know it when it happens). If it seems like I didn't have much to say about this, then that's absolutely correct (80's slashers are usually my favorites, and I do tend to go easy on them, but this was mostly just a letdown - and I wasn't even really expecting much from it either). It's gonna get a four for playing it too safe, squandering its opportunities, and not offering much in the way of 'entertainment' (apart from maybe ridiculing it in real-time, lol).
Largely a letdown and too formulaic, this mostly just squanders its serviceable cast, along with any potential the premise could've had, and produces a fairly mediocre showing here.
Rating: 4/10 (Mediocre)
Best Character: Lisa Grant (Adrienne Barbeau)
Kill Count: 8 (Overall: 3,059) - DirectorGeorge MihalkaStarsPaul KelmanLori HallierNeil AffleckA decades-old folk tale surrounding a deranged murderer killing those who celebrate Valentine's Day turns out to be true to legend when a group defies the killer's order and people start turning up dead.Week 163 - February 13, 2022
Era: Golden Age (1980s)
Holiday Special: Valentine's Day
Theme: Extreme & Splatter Slashers
Review: An early 80's Canadian holiday slasher from Paramount and Shout! Factory here. I reviewed this once before in Spooktober 2018, so, for this re-review, I decided to watch it with a commentary track enabled. Now, obviously I also watched the uncut version for this (from the 2020 Shout! Factory release), and this is pretty much just as good as I remember it being. When the yearly Valentine's Day dance is reinstated, the partygoers soon find themselves as the victims of a maniacal miner. Exactly like that, it is indeed a pretty straightforward story here (killer's origin in flashbacks, the whole nine yards - The Prowler, which came out the same year as this, has a similar story). I can't hold the conventionality of this story against it too much, though (well, it is a proper Golden Age slasher here, isn't it?). It's going to get the job done, and then some (this one also prefers to play up the mystery element - so, that gives it a bit more of a 'classic' vibe here). The plot structure, pacing, and length are all up to the standard as well (the flow is smooth, the progression feels about right for a slasher, and it doesn't overstay its welcome - even with the slightly longer runtime).
The cast are all fairly spot on and give authentic performances in here (Howard, as a goofball kind of character, is probably the most animated of them - Don Francks as Chief Newby is my favorite this time around, but shout outs to T.J., Axel, Hollis, and Jack Van Evera as Happy). The Miner is the killer in here. Their origin and motivation is hinted at in the aforementioned flashback sequence (clues at their identity are also dropped throughout the duration). They do wear a mining outfit (along with the now-iconic gas mask) as their disguise, and use a pickaxe as their main weapon (but they do use a couple of different weapons, too). I was a big fan of them and their aesthetic in my original viewing, and I still am in this rewatch, but I didn't really find their reveal (or 'true' motivation') to be especially, uh, 'impactful' (I didn't quite remember how it went down since my previous review is the last time I watched it - the main of it does make sense, though). The kills are absolutely ruthless with some brutal gore (even though I watched the 'uncut' version, according to the director, there's still some murder scenes missing - 'the heart breaker' is my highlight). The climax and ending (which contain the killer reveal) are both largely satisfying, and seem to suggest that there's more to come (and there is, but only 'sort of', lol).
Final thoughts, the makeup and special effects (which are probably one of the main things you're here for) are fantastic and hold up nicely even today (the gore, specifically, ventures into splatter territory (that shot in the laundromat is far more gruesome than I remember, lol) - as I recall, in the original version I watched, which was the Lionsgate release, the newly inserted gore scenes were colored differently than the rest of the film, but here they were cleaned up and recolored to fit in better with the film). The production design (particularly on the built sets, like some of the mines) looks quite good and rather convincing (in addition to the mines, the efforts to create the town of 'Valentine Bluffs' is effective). The soundtrack (supplied by Paul Zaza) fits the bill in here (and features the theme song 'The Ballad of Harry Warren'). The remainder of the technical aspects (camerawork, writing, direction, sound, costuming, etc.) are sharp and give this an attractive, high quality tone here (and, according to the director, also contains some homages to other slashers). I got one stray shout out going out to Howard 'snorting' the beer (of course he does it twice, like an idiot, lol).
About the commentary, it was from the 2020 Shout! Factory release, and featured the director George Mihalka and an unknown moderator. Mihalka kicks off the commentary solo, but it becomes apparent that there's 'someone else' there feeding questions to him (that person's voice can also be heard at several moments, lol). Since this commentary is with probably the main creative behind this film, there's plenty of production details given throughout this (Mihalka points out his Black Christmas (1974) camera shot homages, and also reveals additional information about the gore shots - including the ones that evidently didn't make the cut because the footage is seemingly gone forever (the double impalement is the main one that Mihalka annotates)). Mihalka seems enthusiastic in the commentary, and stays on topic within the subject of discussing his film (he doesn't get sidetracked, but there are some brief moments of dead air sprinkled in here and there - he also mainly refers to the movie as a 'show', lol). It's a fun commentary, with some useful information, and I'd recommend it if you're a fan of the more 'traditional' commentaries. I guess I gave this a nine previously, but I have to upgrade it to the top grade (it's one of the finest slashers, tbh).
A proper classic which lives up to its reputation as one of the highlights of the 80's slasher catalog, and also receives some further enhancement with the restored gore.
Rating: 10/10 (Masterwork)
Best Character: Chief Newby (Don Francks)
Kill Count: 11 (Overall: 3,070) - DirectorHerman YauStarsAnthony Chau-Sang WongYeung-Ming WanFui-On ShingA Chinese restaurant worker wanted for murder in Hong Kong contracts Ebola in South Africa, becomes immune to it, and unknowingly spreads the virus there, then comes back to Hong Kong and continues to infect people with it.Week 164 - February 20, 2022 (Double Feature)
Era: Silver Age (1990s)
Theme: Extreme & Splatter Slashers
Review: A mid 90's Chinese splatter slasher from Vinegar Syndrome here. This is kind of an exotic (and sort of ambitious?) slasher here. A decade after he murders his boss and his boss's wife, a degenerate contracts a deadly virus while in hiding in South Africa and then begins to spread it throughout the world. So, yeah, a real 'globetrotting' story here (something you don't see too often in slashers), which also combines it with this bizarre virus angle (despite that angle, it is still a slasher, though - well, there is a killer who goes around and, sometimes literally, butchers people). The first half, which is where most of the South Africa bits are, is easily the best and most entertaining part, and the second half, which takes place in Hong Kong, plays up the virus portion of the story much more (the first half also contains most of the actual slashing, which is what we're mainly here for). It's a fairly quirky story overall, and I did have a pretty good time with it (it does get mean-spirited in a couple of sections, but it never gets overtly cruel). The runtime is slightly longer for a slasher, but the pacing feels decent (both halves are rather fast and definitely don't dwell on the, uh, 'particular' details, lol).
The cast seems committed overall, but a couple of them do get overly animated at times (slasher veteran Anthony Wong, who is probably better known for his roles in Hard Boiled (1992) and Infernal Affairs (2002), as Kai is my favorite, but shout outs to Kei, Lily, and Har). Ah Kai is also the killer in here. He is just a complete monster, really (like, no redeeming qualities whatsoever - just a straight up social degenerate and he owns it, too, lol). He doesn't wear a disguise or have a main weapon (he does impersonate one of his victims at one point, though). His origin and motivation are basically him just being a total selfish bastard (for example: one of his quests in the movie is to get laid, but he can't, because he's so off-putting, so he rapes an infected woman and that's how he contracts the virus) and screwing everyone else over (they don't really give a 'reason' for his attitude or behavior, but he's a super hateful and vindictive person). Even though he's a huge jerk, he's still the most entertaining aspect of the movie (the hijinks and scenarios that he finds himself in). The kills are sometimes mean-spirited and pretty bloody, but not especially creative ('eye poke with a side of decapitation' is my highlight). The climax and ending are mostly straightforward, but still fairly satisfying (and the final scene ends on a downer note).
Final thoughts, the makeup and special effects are very gnarly and probably the main highlight in here (they're not exactly hyperrealistic, but they're bordering on it - check out the autopsy scene for their nastiest and easily their finest showing). The screenwriting and dialogue is pretty basic, but it tends to get the job done (lots of profanity - sometimes for no reason either - one of Kai's lines is literally just a random string of curse words, lol). There's also some humor peppered in to lighten the mood (most of which I enjoyed - some of my favorite bits were Kei shouting 'Superman!' during his sex scene, Kai's 'Murderin', what?!' response, and the hooker hiding the banana). The camerawork is just alright for the most part in here (it doesn't try to be too 'dazzling', but there are a couple of interesting shots occasionally - like the 'interior' shot of Kai's mouth). The rest of the technical aspects are also rather competent, but not particularly noteworthy (the production design is above average - especially the restaurant set). I got three stray shout outs going out to Kai spitting in the foreigner's tea (repugnant), Kai masturbating into the raw meat (abhorrent), and Kai and Kei's impromptu safari (stellar). To be honest, if you're actually seeking out a film titled 'Ebola Syndrome', then you're probably going to be fairly satisfied with this result (the only parts where it's kind of a letdown are the story structure and writing - it delivers on the gore, debauchery, and it even has a sense of humor about it sometimes, too, lol).
Nasty and gnarly, this serves up a real deal exploitation film that should satisfy anyone who would dare to seek it out.
Rating: 9/10 (Incredible)
Best Character: Ah Kai (Anthony Wong)
Kill Count: 11 (Overall: 3,081) - DirectorKôji ShiraishiStarsKotoha HiroyamaHiroaki KawatsureShigeo ÔsakoA doctor kidnaps a young couple and forces them into a game of torment that slowly extinguishes their hopes for survival.Week 164 - February 20, 2022 (Double Feature)
Era: Remake Age (2000s)
Theme: Extreme & Splatter Slashers
Review: A late 2000's Japanese torture porn splatter slasher from JollyRoger, Media Blasters, and slasher veteran Kōji Shiraishi here. This is Shiraishi's second and final slasher here (I reviewed his first slasher, Carved: The Slit-Mouthed Woman (2007), in Slasher Sunday 2020). I know what you're wondering, and, yes, this definitely lives up to its title (lol). A sadistic doctor kidnaps a couple on a date and subjects them to gruesome and horrific tortures. This story is literally just a torture porn from start to finish (even when it seems like it isn't, too - you'll find out soon enough that it still is). So, in that aspect, there isn't really too much of an 'actual' story here (the majority of the length is nightmarish torture scenes - it's like Saw (2004) and Hostel (2005), but if they just didn't care, lol). I guess, in a way, it's like a feature-length version of a Guinea Pig movie (well, the earlier ones anyway). I usually don't find torture porn to be particularly enthralling, but these Asian ones have a certain style to them that make them more appealing (this also boasts a shorter runtime and a tight pacing, which helps out a good deal).
The cast is limited (only three main characters), but they all give extremely committed and convincing performances (they sell this thing so good, even the over-the-top climax - the Doctor is my favorite, but shout outs to both Aki and Kazuo). The Doctor (who is unnamed) is also the killer in here. He's a sadist's sadist, and gets off from torturing and murdering people (and also mentions that he's a 'good doctor', as you do). His origin and motivation are pretty flimsy and feel like an excuse (it seems like it's revealed in the final confrontation between him and Aki - although it's a really bizarre, and kind of hilarious revelation, so it's hard to tell if it's actually 'serious'). He also claims to get some kind of gratification from the torture, and, once he reaches this 'climax', makes a promise that he'll free his victims (and that goes about as well as you think it would, lol). He uses a medical garb and surgical mask as his main disguise, and seems to prefer a chainsaw as his primary weapon. The kills are extremely bloody, super gory, and fairly creative (the actual tortures are far more graphic than the kills, though - 'goodbye to romance' is my highlight). The climax is, as mentioned, very gratuitous, but they pull it off (lol). The ending itself is rather dark, but the final scene contains a brick joke (with the Doctor spraying cologne on himself).
Final thoughts, this being a torture porn means that the makeup and special effects have to be top notch, right? (abso-lutely - the gore and injuries are crazy and hyperrealistic). The props and other prosthetics are also high grade (the body parts and other organs that get splattered across the canvas more than fulfill the title's promise). I did enjoy the camerawork for the most part (the composition doesn't try too hard, but still gives a stylish look, and the coloring makes a significant use of filters - mostly blue and green, which gives the cinematography a Saw-like look). On the other hand, I did spot a crew member in one shot (or rather, I'm almost positive that I did - keep your eyes peeled just after the rape scene). The foley and sound work are very over-the-top and properly enhance the gruesome happenings (the score, supplied by Kazuo Satō, is unnerving, but also sometimes kind of humorous). This is a full-on exploitation film, so there's also plenty of nudity and sex scenes (but not the good kind of sex scenes, no, I'm talking more like upsetting extended rape scenes - with bodily fluids galore, of course). The writing is pretty good, but not great (the highlight is the hope spot near the end with the couple). I got two stray shout outs going out to the myriad of urination shots (speaking of bodily fluids) and the Doctor eating that cake (simply scrumptious). Like I said at the top of this, this goes above and beyond to live up to its title (and fully succeeds with its aspirations). If the narrative had more to it, and it wasn't just a straight up torture porn, then this probably could've been incredible (the special effects and production design give this the extra boost needed to make up for its lacking story).
While its narrative is flimsy and lacking, the tremendous gore and vile villain more than deliver on the title's repugnant promise.
Rating: 8/10 (Great)
Best Character: The Doctor (Shigeo Ōsako)
Kill Count: 2 (Overall: 3,083) - DirectorArthur CullipherStarsShane BeasleyKelsey CarlisleEllie ChurchAfter unearthing the lost slasher film from 1978 in Found (2012), the now-grown-up skull-masked boy abducts and tortures helpless women. Now, he needs one more victim. Will her blonde-haired head end up as the Killer's latest trophy?Week 165 - February 27, 2022 (Double Feature)
Era: Bronze Age (2010s)
Theme: Extreme & Splatter Slashers
Review: A mid 2010's indie period backwoods splatter slasher from Forbidden Films, which is a pseudo-prequel to Found (2012). So I've never seen Found, but I guess this is 'based' on a fake film inside of the Found film (a film within a film as it were). Evidently, Found is an ultraviolent flick, and this is also extremely graphic and gruesome. A demented serial killer goes on a gory rampage as he succumbs to his mental damage. A very light story for the most part, and it sort of has a similar problem to many of these other splatter slashers (like Gutterballs (2008) and Terrifier (2016)). The main of the story is actually the Killer's descent into insanity (with a subplot about a woman and her life troubles), and that story didn't really do much for me (lots of mental breakdowns with bizarre visions - I also didn't care for the subplot, either). The only sort of interesting angle with the plot is Skull Boy, but the resolution to his presence is a letdown. The runtime and pacing are both fine-ish (lots of screentime is devoted to the murder and mutilation scenes), but the finale sort of drags on.
The cast is limited but seems pretty amateur in here (the main victims show the least skill - Skull Boy is probably my favorite and the Killer is probably the best, but shout out to Betsy). The Killer is also the killer. His origin and motivation is revealed in a series of flashbacks (a pretty typical trope for slashers - these flashbacks usually occur just after he's murdered someone). His backstory is the usual troubled upbringing and the abuse he endures shapes his murder rituals in the present (like him beheading his victims). He also has psychotic episodes throughout the movie (which tend to involve him having sex with a faceless, eyeless white 'corpse' - yes, they do explain what it is, lol). He's just a total maniac, though, and only speaks once during the entire movie (at the end, when he confronts the final girl). There's not much to say about his companion (Skull Boy), and, sadly, even though he's one of the more interesting aspects of the movie, he's never truly given any sort of proper explanation (he just sort of appears from nowhere and that's it). The kills are extremely gory, very violent, and brutally mean-spirited ('slow death: the dismemberment' is my highlight). The climax and ending play out probably how you think they will, and, as mentioned, go on for a bit too long (especially after it becomes apparent where it's headed).
Final thoughts, it's the main highlight, and it's also the makeup and special effects! (and, yes, they are pretty glorious - most of the time they look fairly realistic, but sometimes they border on comical (especially the face rip, with skull exposure, near the end, lol)). This, obviously, tries to present itself as a 'lost film' from the 70's, but, if I'm being honest, it doesn't come off that way (it's not genuine enough, and looks too clean and modern - usually these older movies have a grimy, grainy look to them, and this does try to do that sometimes, by implementing fake film scratches and cigarette burns, but it comes up short in this regard, ultimately). The writing is also too 'modern' (slang-wise), and fails to sell the premise (it's also just rather bland, frankly). The camerawork is 'stylized' at times (the framing and use of Dutch angles), and the coloring makes use of some drab filters (I guess they thought this would add to the 'immersion', but it didn't do much for me). The soundtrack (supplied by a trio, which includes the director and someone named 'Magician Johnson', lol) is pretty understated, but suitable (it's one of the few things that does fit the aesthetic). I got two stray shout outs going out to the fake trailer before the movie ('Wolf-Baby') and Skull Boy doing that hand rub (lol). I hate to say it but I actually had high hopes for this movie (it had been on my watchlist for a while now), and this was kind of a disappointment (it was pretty gnarly, but the story was too weak and uninteresting). However, if you're looking for weirdo gore, then look no further because this should satisfy your hunger (it's good for that, lol).
A talented showcase of special effects, unforgiving kills, and skull kids, which mostly makes up for the flat and predictable story.
Rating: 7/10 (Good)
Best Character(s): The Killer & Skull Boy (Shane Beasley & Kaden Miller)
Kill Count: 11 (Overall: 3,094) - DirectorSean DonohueStarsKrystal Pixie AdamsAmethist YoungBailey PaigeThere is no heaven without a hell..Week 165 - February 27, 2022 (Double Feature)
Era: Bronze Age (2010s)
Theme: Extreme & Splatter Slashers
Review: A mid 2010's indie splatter slasher from Gatorblade and The Sleaze Box, which is the first installment of the Death-Scort Service series. ALL. DAY. SLAY. But seriously folks, it's just a murder montage movie for the most part here (lol). In Las Vegas, a maniac targets and slaughters various call girls in order to use their body parts to craft a grotesque mural. Yeah, you know the deal, heavy on the murder, light on the story (as I'm discovering from reviewing more of these splashers). And sure, it doesn't do much with what it's given, and the final girl's plot is rather dry (she herself being uninteresting and underdeveloped doesn't help, either). The killer's portion of the story reminds me of Pieces (1982) (substitute puzzle pieces with body parts, anyway). Overall, it left me feeling apathetic (the characters are hardly even there - even the final girl, and the killer's reveal comes out of nowhere). The length is on the shorter end, but the pacing is alright (the 'whatever' plot is adorned with elaborate kills evenly enough).
The cast is largely amateur and range from mediocre to pretty bad in here (the killer is probably the best of them, but my favorite is the 'Mysterious Driver', who is the real MVP of the movie (lol) - light shout out to Evan Stone's cameo as himself (obviously)). The killer wears a rather boring disguise (and are also shown in POV shots sometimes), and seems to prefer a switchblade and power drill as their main weapons (they also use some other power tools). Their origin and motivation is of course revealed in flashbacks (in the climax), and, like I said, it's one of those that pretty much appears from thin air (there is an attempt to swerve, with the other flashbacks, but it just ends up being a, uh, 'quick change', lol - you'll know it when it happens). I actually kind of liked the killer after their reveal, though (and them being probably the only competent actor in the movie also helps). The kills have lots of blood and gore, and are somewhat creative and very mean-spirited ('Psycho shower tribute' and 'effed to death' are my highlights). The climax and ending aren't predictable, but they also aren't particularly satisfying (lol - and the post-credits scene suggests that there's more to come, which there is).
Final thoughts, well, we know what we're here for, and that's the makeup and special effects, which are mostly good (plenty of guts and other elaborate gore pieces, and it all looks rather nice given that this is a low budget picture - it also never seems to resort to shoddy CGI, either, which is impressive). This also being some exploitation filth here means that there's got to be filled to the brim with sex and nudity, right? (yes, and it is! - tons of it, in fact, both male and female (with full frontal from both), and it happens in nearly every scene (and if it doesn't, then it's probably lingerie or ass shots, lol)). It's kind of overwhelming at first, but you get used to it (LOL). The soundtrack is kind of cool, but also kind of stupid (the majority of it is appropriate, but the killer's theme is crazy campy and really madcap). I got nothing about the remaining technical aspects here (it's a low budget indie, so it looks like you expect it to, lol). I got four stray shout outs going out to the random extended strip dance show (so gratuitous), the classic breast slice exploitation standby (been seeing that in these a lot lately - happens in Grotesque (2009) and The House That Jack Built (2018)), that guy's 'redjob' (gross, lol), and Julie's reaction to the killer brandishing the tire iron (LOL). Listen, if you're looking for a 'check-your-brain-at-the-door' gorefest, then this'll do the trick (a decent offering if you don't expect much in the way of story and characters).
Even though it does skimp on the plot and characters, this does not skimp on the nudity and gore, and altogether manages to achieve a decent showing here.
Rating: 6/10 (Decent)
Best Character: Mysterious Driver (Joe Makowski)
Kill Count: 11 (Overall: 3,105) - DirectorMichael MillerStarsGerrit GrahamMichael LernerFred McCarrenIt's been 10 years since Lizzie Borden High School's class of '72 graduated, and the preppies, the hippies and the in-crowd have returned to reminisce over good times past. Classmate Walter Baylor has returned too, but with a vengeance.Week 166 - March 6, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Comedy & Parody Slashers
Review: An early 80's parody slasher from Fox and Kino Lorber, which is the third film produced by National Lampoon. Well, this is more of a comedy than a horror, and the slasher portions are more downplayed in here. At their ten year reunion, former classmates are attacked and knocked off by an escaped mental patient. I think you get the idea: same popular setup being used here, just like its fellow slasher parodies (namely Pandemonium and Wacko, which both released the same year as this). There isn't much of a mystery going on with this story, and the parody aspect is mostly on face value (such as, they present the goods, but they never really capitalize on them). It's also a pretty choppy plot with there being a couple of moments that are just back to back strange segments (which almost comes off as feeling like non-sequiturs). Anyway, I didn't think too much about this story (the opening and ending are both kind of quirky, but it doesn't go as far as you'd probably want it to). There's some filler stuffed in here, too (like the entire sequence of Chuck Berry performing - you know, I suppose I didn't 'hate' most of this filler, but it sticks out like a sore thumb). The length is about right for a slasher (and maybe a comedy, too), but, as mentioned, the pacing suffers due to the filler and structure.
The cast is rather good and they do play their roles fairly well (Gerrit Graham, slasher and horror veteran, as Bob is my favorite, but shout outs to Meredith, Bunny, Iris, Delores, Egon, Walter, and Michael Lerner as Dr. Robert Young). The killer's disguise is evidently the same as the one worn in the prologue (how they got it is anybody's guess, lol), but they also wear one other, uh, more 'elaborate' disguise (I guarantee you won't see it coming, LOL). They don't have a main weapon, but they're shown wielding the usual bladed objects. Their origin and motivation is shown in the opening prologue (they apparently want revenge for a cruel prank), and, after the time skip, they're basically the typical 'escaped mental patient' trope (they've got a couple of interesting shades to them, but, like with much of this movie, it doesn't go as far as I'd like with regards to them). The whole reveal with them is very poorly handled, and, while you'll be baffled by that one part (which literally comes out of thin air), the final reveal about them is the least surprising and most evident thing, perhaps ever. The kills are comical in nature and without any blood or gore ('silhouette strangling' is my highlight). The climax features the blatantly obvious killer reveal, and the ending itself, true to the 80's, ties it off with a 'Dance Party' ending (I'm not kidding, even the prison guards are breaking it down, lol).
Final thoughts, most of the makeup and special effects actually go toward portraying Delores' supernatural powers (she's a witch or something, and briefly transforms into a demon, lol - she also casts spells, like making her thumb into a lighter, causing a drink to foam up, and breathing fire). Those are the extent of the effects showcase, and they're fairly adequate for the most part (yes, no blood or gore, unfortunately, but this is a parody, though). So, despite not being too violent, this is rather 'adult' with its dialogue and humor (plenty of profanity and sex jokes to make up for the lack of violence - I guess they had to earn that R rating somehow, lol). Speaking of the humor, it's pretty weak, sadly (largely a miss with me, but I did like some of the bits, like Iris 'outplaying' the killer, Gary getting dragged away by that dog, and the bizarre interplay of the funeral and that car ride). The rest of the technical aspects seem competent, but not especially noteworthy (the score seems fine, but the camerawork, sans a couple of shots, felt uninspired). I got three stray shout outs going out to Egon 'possibly' being a vampire, Delores making the animal noises, and the Lunch Lady using the table saw on the petrified bread. This missed the mark for me, and it actually disappointed me (I guess I worked myself up too much, but I genuinely thought this looked cool, lol). Still, I can't trash this because I did have a relatively fun time with it (and my rating will reflect that, lol - goodnight everyone!).
The amusing performances and a few fun and quirky bits somewhat redeem the poor pacing and the rather disappointing execution.
Rating: 6/10 (Decent)
Best Character: Bob Spinnaker (Gerrit Graham)
Kill Count: 4 (Overall: 3,109) - DirectorDominick BrasciaStarsAshlyn GereSteven BaioTony GriffinA group of Med students fix up an old house over a weekend. Where a mass murder occurred 10 years earlier. Mayhem ensues.Week 166 - March 6, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Comedy & Parody Slashers
Review: A mid 80's comedy slasher from Program Power here. So, I thought this was going to be a 'parody' (or even just a purely comedic) slasher, but it really wasn't (it's more of a standard slasher with some attempts at humor). A group of medical students arrive at an abandoned orphanage with the intent to reopen it, but they end up facing the wrath of a masked maniac hidden there. Anyway, yeah, pretty abysmal story here, but it also contains something of a 'meta' angle (Barney is a slasher movie fan, and tries to 'educate' some of the others about survival, lol). Whatever the case, it's just the usual 'bimbo young adults in secluded location getting knocked off' plot (there's also and attempt to add dimension to it with the 'origin story' relays, but it still fell flat with me). Despite all that, the plot does still conform to the tried and true slasher formula here (which makes it go down well enough). The length isn't too long, but the pacing is pretty rotten in some spots (there's a couple of useless scenes that drag and brutalize the pacing - two of the worst, and also unfunny, examples are the cops' conversation over the radio and Mr. Burns driving in the car).
The cast feels like amateur hour (and probably is) with the caveat that they do seem to be trying to the best of their capabilities (they still aren't good, but it's the thought that counts, right? - Barney, the aforementioned horror fanatic, is probably my favorite, but shout outs to Mark, Tina, and Mr. Burns). The killer, 'Evil Laugher' (which is what they're referred to as in the credits), wears a super crappy and crummy looking disguise (it doesn't look like the Grim Reaper or anything close to that, and it's basically just a ski mask with duct tape over it - or something to that effect, lol). They prefer to use a kitchen knife as their main weapon, and their origin and motivation are discussed by a couple of characters at several points (them origin stories, like you said). And, yes, they do have a pretty cheesy 'evil laugh' after they commit a kill (I hated them, lol). The kills are a lot more violent and bloody than I thought they'd be, and are actually sort of creative (well, it's like half-and-half, with half being imaginative and the other half being lame cutaways - 'the crotch chopper' and 'microwave massacre' are my highlights). The climax and killer reveal are both pretty weak and unsatisfying, and the ending itself is kind of weird (but also not particularly satisfying, either, lol).
Final thoughts, the writing in here feels like something written by a slasher fan, but that doesn't necessarily make it any good (there's multiple references to other, more popular, slashers like Friday the 13th and Halloween, and the humor is mostly a miss with me - I did like a couple of bits, though, like Barney 'pranking' Mark in the bedroom and Mark offhandedly mentioning his vasectomy). The soundtrack (supplied by David Shapiro) is pretty jaunty, and inappropriate for the most part (and when it tries to be spooky it comes up short). The makeup and special effects look alright at worst, and actually fairly good at best (I'm watching this in standard definition from a DVD source, so I'm not getting the 'full effect' of the image, but it looks fine for this - the gore, in particular, looks adequate, and the blood has a vibrant coloring). The camerawork didn't leave much of an impression on me, and came off as fairly plain (not especially bad, but it didn't have much of a 'character' to it). The sound work gets a little over the top sometimes, but I guess it works out? (for comedic purposes, anyway, lol). I got two stray shout outs going out to the Fangoria magazine appearance (supplied by Barney, of course) and the gratuitous cheesy dancing and 'fun' 80's 'worktage' (including bizarre mini-montage of each character shaking their asses for 'some reason', lol). Look, I get the intent of this, but it didn't do much for me (it doesn't do enough to stand out, but the gore and meta angle will give it some slight elevation, though).
The vibrant gore and the novel meta angle give this a boost to keep it slightly ahead of some of the more ordinary 80's slashers.
Rating: 5/10 (Average)
Best Character: Barney (Jerold Pearson)
Kill Count: 12 (Overall: 3,121) - DirectorDavid WintersStarsJ'Len WintersJohn KellyJoe SpinellA New York taxi driver stalks a beautiful actress attending the Cannes Film Festival, which coincides with a series of violent killings of the lady's friends.Week 167 - March 13, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Comedy & Parody Slashers
Review: An early 80's satire slasher from Troma here. Right, so, this is pretty much a satire version of Maniac (1980) (with a similar plot, which also stars Joe Spinelli and Caroline Munro). When a delusional cabbie travels to Cannes to get his favorite scream queen to star in his indie horror movie, multiple film crew members start to turn up dead after his arrival. Indeed, this story has a bit in common with Maniac (what with the protagonist, played by Spinell, having mental issues and a creepy obsession with the final girl, played by Munro). It actually plays this story straight (with the 'meta' angle being that it concerns the making of horror films and filmmaking in general) until the literal final scene (not including the mandatory slasher 'plot twist'). I had a pretty good time with this story overall, but, for evidently being a 'comedy' slasher, it has very little humor in it (well, until the ending - more on this later). The runtime is average (coming in at just under an hour and thirty minutes), and the pacing is good until the final act (it divides its time up evenly, and only really starts to lag in the climax).
The cast is fairly good and give, apart from like one or two of them, convincing and committed performances (Vinny's Mother, evidently played by Spinelli's real-life mother, is probably the most over the top in there - Joe Spinelli as Vinny Durand claims my favorite spot, of course, but shout outs to Alan, Bret, Susan, and Caroline Munro as Jana Bates). The killer wears a pretty cheap looking and unremarkable disguise, and favors a kitchen knife as their main weapon (their overall presentation is pretty lame, frankly). Their motivation and origin is only really alluded to early on until the finale when it all becomes clear (in yet another meta reveal). Their gimmick involves them filming their victims and then defiling the film stock of them with their blade (usually slicing the film apart). The kills are very gory and somewhat creative ('off with his head!' is my highlight). The climax does have a pretty fun killer reveal (which I didn't guess), and the ending itself is actually rather lighthearted and humorous (like I mentioned earlier, this is the main comedic point in the entire film - and it sort of calls into question the events of the whole movie, lol).
Final thoughts, I enjoyed the writing in here for the most part, but I guess I sort of wished that there was more humor in here (LOL - there is still some, but it's largely offbeat and awkward moments, like Vinny's conversations with his mom and Vinny randomly getting humiliated at the beach). The soundtrack (supplied by the pair of Jeff Koz and Jesse Frederick, who is mainly known for his sitcom work) is very good and fits the film wonderfully (I especially loved Vinny's rattlesnake theme). The makeup and special effects are also quite nice and convincing enough (including the 'fake gore' in the movie, which appears more often you'd think - the highlight is probably the graphic murder scene in the 'Caller in the Night' fake movie). There's plenty of nudity and other 'suggestive' shots (it's mostly topless shots, but there's also some bikini, thong and bathing shots - it's 80's Europe, so it's all very casual, lol). I can't really comment on the remainder of the technical aspects because of the quality of the transfer I watched (it's from Troma's Blu-ray release, and they preface the movie with a title card, which explains why the transfer is in a poor condition - I will say that the cinematography is sometimes rather stylish). I got four stray shout outs going out to Jana's 'fancy' hairdo (lol), Vinny voguing with Jana's face on his chest (LOL), the meta movie being called 'Scream' (now we know who did it first), and Vinny's stripper hallucination (WTF?). This probably won't satisfy you if you're looking for a comedic outing, but it's still a fairly entertaining Golden Age slasher here (with a rather amusing ending).
Suspiciously similar, yet surprisingly satisfying, this works its unusual meta angle well, and wraps it up with a pretty fun and lighthearted ending.
Rating: 8/10 (Great)
Best Character: Vinny Durand (Joe Spinell)
Kill Count: 5 (Overall: 3,126) - DirectorJim MallonStarsMark JacobsLisa Jane ToddPatrick DanzDuring a local fishing contest, people are being violently dragged into the lake and killed by a giant fish hook.Week 167 - March 13, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Comedy & Parody Slashers
Milestone: '300th Watched' Film
Review: A mid 80's comedy slasher from Troma and Vinegar Syndrome here. Here's yet another one that I expected to be more along the lines of a full-on parody, but it ended up being a rather straightforward deal here (I suppose it's sort of similar in a way to Killer Workout (1987) - not quite a parody, but it has shades of it). A man ventures out to inherit a lakeside house with his friends, and they soon discover that a maniac is murdering people there with a large fishing hook. I'd say that about the gist of the setup (there is a short prologue, set in the past, which relates to the killer's origin, but that's about it). Once again, I expected more humor than there ended up being, but the story itself didn't necessarily disappoint me (it's pretty longwinded, but I'll cover this more in a second). It's not exactly anything you haven't seen yet (there's a sizeable amount of the runtime dedicated to showcasing the various suspects for the killer). I suppose the main letdown for me was the conventionality of it (the story doesn't have much going for it apart from the comically oversized fishing hook and the offbeat character interactions). So, I watched the 'Uncut' version of this movie (from Vinegar Syndrome's 2018 Blu-ray release), and this thing boasts nearly a two hour long runtime (rather unusual, especially for an 80's slasher). Now, I don't mind a slasher with an extended length as long as the pacing is good (well, an intriguing story or characters helps, too, lol). This pacing is pretty quick up until the end of the second act (which is where the killer reveal happens), but after that it slows down and spends about forty minutes building up to the final confrontation (the characters being boneheads really dragged it out).
The cast doesn't really shine or stand out, but they do seem serviceable and, uh, 'mostly' convincing (or '80's good', like I like to call it - Don Winters as Leroy Leudke is my favorite here, but shout outs to Ann, Kiersten, and Sandy Meuwissen as Bev D.). The killer doesn't really wear a disguise (well, not exactly - they do wear a 'fishing outfit', which includes rubber gloves), and does indeed use a fishing rod with an oversized fishing hook (they literally cast out and hook their victims, yank them into the drink, and then reel them to them, lol). Their origin and motivation are alluded to in the prologue, and also hinted at multiple times throughout the various conversations in there (if you've seen enough of these slashers, then it should be easy to spot - it's made very obvious that the killer arrives because of the music being played). I'd say that they were a 'decent' villain, but, after their reveal, when they received a large boost in screentime, I found them to be less impressive (their actual 'reason' for killing is pretty dumb - and not to mention beyond irrational, lol). The kills are very bloody, but not very creative or especially gory (there is some gore, which Vinegar Syndrome claims to be restored for this transfer, but it's not a large amount - 'lend me your ear', which is one of the more gorier ones, is my highlight). The climax actually has a pretty cool setup (the final confrontation with Peter trying to 'beat' the killer at their own game), but it ultimately disappointed me (lol). The ending itself ties it up on an upbeat and mostly satisfying note (with the final scene seemingly suggesting that there's more to come - there isn't, though, obviously).
Final thoughts, it's only really a partway comedy slasher here, so the writing doesn't go all in with the humor (there is still some of it peppered in here, though - such as, Ann trying to negotiate with the killer or Kiersten and Rodney's quirky and 'totally 80's' dialogue). The structure, while mostly fitting to the formula, gets a little wonky in here (this version is uncut and supposedly a 'director's cut', but it spends a bit too much time with the supporting cast - this makes the main plot move too slowly, and extends the length). The makeup and special effects are good enough in here (and feel above average for an 80's Troma slasher - the blood and gore does shine when it rears its gruesome head). The camerawork looks fairly pedestrian, and the only real thing that stuck out to me was the (over?)use of closeup shots (done in a sort of POV style - there's also plenty of crew reflections in windows and glasses, which looks rather sloppy after a certain point, frankly). The soundtrack (supplied by Thomas A. Naunas) has some good themes on it, and it gives the picture a fairly 'lively' feel to it (the killer's theme blends in cicadas crying and a loud screeching in an, uh, 'effective' way - I also enjoyed the couple of cassette songs). The other technical aspects (sound work and production design) seem fine, but not too remarkable (the main lake house has some decent decoration). I got four stray shout outs going out to that enormous 'muskie' statue (that's a big fish), Ann being a total moron and fumbling with that gondola (proper braindead moment), that weasel statue behind Ann (weird shot, lol), and the killer pulling along those zombified victims (don't tell me that those guys didn't just look like zombies, lol). And now for my 'concise' final opinion (LOL): it's good enough, nothing too special, but if you're an 80's completionist (like myself), then you'll probably end up watching this.
Despite being rather longwinded and slightly too pedestrian, this does still have just enough crowd-pleasing elements in it to be a worthwhile offering here.
Rating: 7/10 (Good)
Best Character: Leroy Leudke (Don Winters)
Kill Count: 6 (Overall: 3,132) - DirectorRichard FriedmanStarsPatty MullenRuth CollinsKristin DavisA horribly disfigured lawyer, wrongfully pronounced dead after a terrible car accident, is taken to an asylum for dissection, only to come back alive, kill everyone, and make the asylum his killing grounds.Week 168 - March 20, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Comedy & Parody Slashers
Review: A late 80's video comedy slasher from Arrow Video here. Well, this is a comedy slasher, but it does almost feel like a parody here (or maybe a satire). A group of friends venture into the woods for a picnic, and soon face the wrath of a disfigured killer at an abandoned asylum nearby. And that story is sort of an inversion of the typical 'escaped mental patient' trope (with the hapless teens 'intruding' on the mental patient's territory - except, also, he's not really a 'mental patient', either). Regardless, the manner of how this plot plays out gives off a satirical vibe (both the killer and the teens are over-the-top and do absurd things - the teens, in particular, seem to deliberately make all the wrong decisions on purpose). It's going to work out for something like this, but it isn't anything you haven't seen before (it also opens with a prologue, which details the killer's origin - so, almost the whole nine yards with this, lol). There are some strange intercuts of other (older) films, which appear at certain points (these sequences are often fairly drawn out, and tend to end with showing that the killer is watching these movies - the sequences usually do offer a contrast to what's happening in 'real-time', though). I didn't really care for these intercuts, ultimately, however (they feel like filler, bog the pacing down, and don't add enough to justify their inclusion). The length runs fairly average, and the pacing is mostly fine (with the exception of the aforementioned sequences, obviously).
The cast, well, at first, I thought they were trash and way too gratuitous, but then I realized that their performances are likely intentional (for example, Mike's acting is wooden and his delivery is robotic, but it seems to be on purpose - Kiki is probably my favorite, but shout outs to Tina, Darnell, Godiva, Mike, Mitch, and Kristin Davis (perhaps better known for her role in Sex and the City), in her film debut, as Jane). Mitch Hansen is also the killer in here. He doesn't really wear a disguise (although he does wear those doctor's clothes, and his appearance is 'altered'), and prefers to use surgical utensils and doctor's equipment as his main weaponry (including a stethoscope, lol). His origin is shown in the prologue, but his motivation is revealed in the final confrontation (and it is of course connected to Kiki since she resembles his deceased girlfriend, Judy). He often makes puns and jokes after, and during, his kills (which I suppose is par for the course here, but I wasn't actually expecting him to be so 'lively'). I can't say that he impressed me much, but he's fine for this. The kills are bloody, sometimes very gory and graphic, and mostly creative (I also wasn't expecting the murders to be that graphic, either, lol - 'impromptu lobotomy' and 'million dollar smile' are my highlights). The climax and ending aren't too predictable, but also aren't especially satisfying (the killer 'reveal' and final confrontation between Kiki and Mitch were pretty quirky, but I didn't care for the resolution of them).
Final thoughts, as far as the writing and humor are concerned, they're both rather decent, but not great (the characterizations and the dialogue is ultra stupid, but it just works - I enjoyed some of the visual bits, like Mike walking in on the skeleton, and I loved most of the banter with Mike and Kiki (the whole thing with Kiki calling Mike 'mom' was hilariously bizarre)). There isn't much nudity in here (apart from one topless shot with Tina), but there are plenty of skimpy outfits (Tina's 'punk' attire, and Kiki and Jane spending nearly the entire film in their swimwear - I'm not even sure why, either, because there wasn't a beach or any body of water in sight, lol). The makeup and special effects are about fifty-fifty in here (half good, and half mediocre - the gore, like that guy's chopped toes, looks good and convincing enough, but some of the makeup jobs, like Mitch's ripped apart face, look a little too fake). The structure of this is kind of strange, especially in regards to those film intercuts (Mitch is watching those films, so he's expected to be present after the scenes, but sometimes it cuts from Mitch watching the movie straight to Mitch stalking a victim - it almost makes it seem like Mitch just teleported to the victim's location). The remaining technical aspects were either competent or they didn't stand out enough to be noteworthy (Mitch does get some of the classic POV shots in his camerawork). I got three stray shout outs going out to Darnell's chain with his own name on it (obviously), Tina's disgusting studded bra (seriously), and Mike and Kiki saying a prayer (wtf? lol). I had a pretty great time with this overall, but it could've been incredible if they trimmed out the unnecessary filler and doubled down on the weirdness.
There's some great and gory fun to be had with this, but it's still somewhat held back by a clumsy structure and unneeded filler.
Rating: 8/10 (Great)
Best Character: Kiki (Patty Mullen)
Kill Count: 10 (Overall: 3,142) - DirectorCindy ShermanStarsFlorina RodovJason BrillEddie MalavarcaA mousy office worker accidentally kills one of her coworkers, then proceeds to bump off a few others.Week 168 - March 20, 2022 (Double Feature)
Era: Silver Age (1990s)
Theme: Comedy & Parody Slashers
Review: A late 90's comedy slasher from Strand Releasing, Miramax, and Emon here. This one is kind of a, uh, strange blend of comedy and horror here (it gets progressively weirder and more humorous as it goes on). A mousy office worker accidentally kills one of her coworkers, and then starts to knock off the rest of her colleagues to satisfy her newfound bloodlust. There's not much else to it from that point (it's not structured like a typical slasher, but there is still a killer and 'final girl' - the killer is the main character, though, so she gets the most screentime). A good deal of the story centers on the killer's psychological damage (and her sanity unraveling over the course of the movie), and, in that way, it sort of reminds me of The Driller Killer (1979) (the killer in this also has bizarre hallucinations). It's all easy enough to follow, and (as weird as it sounds) it does try to remain rather lighthearted about the killer's mental damage (apart from the flashbacks to her childhood, which get fairly dark). The length is adequate (just under an hour and thirty minutes, and it also includes about five-to-six minutes of overall credits), and the pacing is fine, too.
The cast is pretty good to actually great in here (it's led by slasher veteran Carol Kane (who I also enjoyed in Pandemonium (1982)) as Dorine, who is also my favorite - shout outs to Norah, Virginia, Gary, Michael Imperioli (who you may know better from his role in The Sopranos) as Danny Birch, and Molly Ringwald as Kim Poole). Dorine Douglas is also the killer in here. She's largely an awkward, reclusive individual (she seems fearful of most encounters, and it's what leads to her accidentally killing her first victim). She doesn't wear a disguise or have a main weapon, and her origin and motivation are alluded to in a series of flashbacks (which tend to involve her parents). I enjoyed her for the most part (even after she goes off the deep end in the climax), and she also provides much of the comedic moments in the movie. The kills aren't too bloody and imaginative, or even especially gory (they're mostly pretty tame, and most of the gore is in aftermath shots - 'go for the jugular', which is easily the bloodiest and goriest, is my highlight). The climax wasn't quite what I expected (with regards to the final confrontation), and the ending seems to imply that there's more to come (but there isn't).
Final thoughts, the makeup and special effects are pretty nice looking and convincing enough (the blood, gore, injuries, and assorted body part props are largely good albeit sometimes kind of quirky looking, lol - case in point: the severed hands in the kitchen). I enjoyed the soundtrack (supplied by Evan Lurie), which really shines in the final act (particularly during the last chase sequence). The cinematography (by Russell Fine) occasionally has some interesting angles to it, but doesn't try to be overtly 'stylish' (I suppose it finds a good enough balance between 'style' and 'subtly'). The writing is sharp enough to deliver the goods, and I liked most of the humor in here (the highlights are Dorine's various antisocial antics, like; playing house with those corpses, fumbling with those cups, and taunting the cats with those severed hands). I'd say the rest of the technical aspects (soundwork, lighting, production design, etc.) give off a competent and professional presentation (which already puts it ahead of most other slashers, lol). I got five stray shout outs going out to the creative opening credit sequence (with those shadows), Dorine putting cocoa in the tea (hot tip), Dorine peeling that lady's fingernails off (sheesh), those severed fingers placed on the clock hands (grim, lol), and all. these. FREAKIN'. cats (so many cats). This one has the ingredients to achieve a higher rating, but it doesn't quite go as far as I'd like it to (it's still a rather great offering here - especially for the 90's).
A very eccentric, yet solidly acted comedy slasher that makes a great use of its various components, but could've been even better if it went a little further.
Rating: 8/10 (Great)
Best Character: Dorine Douglas (Carol Kane)
Kill Count: 8 (Overall: 3,150) - DirectorKeenen Ivory WayansStarsAnna FarisJon AbrahamsMarlon WayansA year after disposing of the body of a man they accidentally killed, a group of dumb teenagers are stalked by a bumbling serial killer.Week 169 - March 27, 2022 (Double Feature)
Era: Remake Age (2000s)
Theme: Comedy & Parody Slashers
Review (Theatrical Cut): An early 2000's parody slasher from Dimension, which is the first installment of the Scary Movie series. I've actually seen quite a few parody slashers by this point (I'd say I've probably seen almost all of the major ones), and this, which I have seen before, is still probably the best of them all. A group of teens are stalked and picked off by a masked maniac. That might sound like a simple story, but it gets pretty convoluted (in a very deliberate way - this is a spoof after all). Unlike many other parody slashers that I've seen, this actually directly spoofs a couple of other movies' storylines (mainly the Scream and I Know What You Did Last Summer series). So, if you've seen those movies, this story is pretty familiar, and most (if not all) of the plot points align with those other movies (they even take the time to throw in a full flashback just to parody the origin scene in I Know What You Did Last Summer). I'd say that this story is a total success in spoofing the movies that it intends to, but it also adds some of its own 'original' content to the mix (like most of Shorty's subplot, which isn't, from what I can tell anyway, based on anything from those other movies). There's a couple of additional movies that get parodied (including some which aren't even horror movies), but this does manage to keep its main spoofs from the horror genre (they're usually one-off gags from movies like Halloween (1978), The Sixth Sense (1999) and The Blair Witch Project (1999)). The length is on the 'average' side, but the pacing is very fast (like once it starts it never really slows down).
The cast is almost pitch perfect and they all play up their roles very well (obviously you're not supposed to take this seriously, but these guys deal with this absurdity rather nicely - Cindy is probably my favorite of them, but shout outs to Bobby, Ray, Shorty, Brenda, Ghostface, Gail, Greg, Buffy, Doofy, and Kurt Fuller as the Sheriff). Ghostface is also the killer in here (they're not the 'same' Ghostface from the Scream series, but they're implied to be 'inspired' by them). Their disguise looks nearly identical to the one from Scream (and they even straight up use the same mask in one scene), but they seem to favor a hook as their main weapon (which, as you know, is what the Fisherman from I Know What You Did Last Summer uses). Their origin and motivation is hinted at a couple of times before their reveal, but, because their actual reveal is also a parody, it's kept relatively mysterious until the time is right (even after their reveal, their motivation is only glossed over briefly - it does coincide with some of the hints shown earlier, though). I really enjoyed Ghostface's antics in this (they have fun, literally, with their victims), and they even seem to befriend Shorty and his crew over the course of the movie (they're shown prank calling them originally, but they, essentially, join Shorty's crew by the end, lol). The kills aren't too gory, but sometimes bloody, and largely inspired from other movies (they're played up for comedy, of course, so that's to be expected - 'audience participation' and 'lost and found', which is probably the goriest, are my highlights). The climax features a 'final battle' with Cindy versus Ghostface (which is parodied from The Matrix (1999), complete with gratuitous slow-mo), and the ending itself (with killer reveal) is also a spoof of another movie (they're both pretty stupid, but I enjoyed them, lol).
Final thoughts, the writing is actually quite sharp, and the humor is very fast (lots of rapid fire jokes and gags - the opening alone is jam packed with jokes and visual gags (the huge popcorn, tied up Prince, Drew's implants, Drew falling on the chalk outline, the banana, and the 'Safety or Death' signs)). I enjoyed the majority of the humor in here (even the dated stuff, like the Budweiser commercial spoof which is just stupid enough, lol - there's lots of sex jokes as well, and I enjoyed most of those, but I still don't really care for the toilet humor). This also gets super meta at certain moments (such as, fully breaking the fourth wall with stuff, like; having the cameraman run into Cindy and her shoving him away, them directly calling out the plots of Scream and I Know What You Did Last Summer within the dialogue, and Bobby literally pointing out the fact that they're in a movie by acknowledging the film crew). The soundtrack feels appropriate, and is some proper 90's cheese (at this point it just adds to the aesthetic of this, frankly - plenty of cheesy pop rock and such). The makeup and visual effects look decent enough in here (the blood and gore is convincing enough, but there's some chroma key and CGI, which looks dated). The camerawork and other technical aspects look fine, but they didn't really do much to stand out (this being a spoof means that a good deal of these compositions and fixtures are lifted from their parody sources - and they do indeed do a great job of emulating their intended subjects, lol). I got twelve stray shout outs going out to Dawson's cameo (complete with soundtrack), Cindy's 'PG-13' topless shot (gnarly, lol), Shorty's news interview (love it), 'Black TV' reporting live (LOL), Greg's gratuitous beatdowns on Cindy (including the elbow drop), Ghostface's interview with Gail (watch out!), Gail's Blair Witch closeup spoof (so much snot), David L. Lander reprising his role from Laverne & Shirley (this time it's 'Principal' Squiggy), Ray's reasoning for his, uh, 'brutal attack' (The Wayans Bros. being canceled, lol), the mid and post credits scenes (lovely), Ghostface's freestyle (straight killer), and the Sheriff's vanity photos (Abso-Lutely). Like I said at the top of this, this is just about as close as a 'perfect' slasher parody as you're gonna get (and it's gonna earn the top grade for that - extremely strong and hugely entertaining showing here).
Jam packed with rapid fire humor and some fun, albeit usually dated, spoofs, this provides a largely enjoyable outing and might just be the definitive slasher parody.
Mini-Review (Workprint Cut): A late 90's parody slasher from Dimension, which is the original cut of the 2000 parody slasher of the same name. So, I watched the 'leaked' workprint of this movie as well (since I'd never seen it before), and thought I'd add a quick 'mini' review for that version, too. A group of teens are stalked and picked off by a masked maniac. So, same story as the Theatrical Cut, but a couple of things happen slightly differently in this workprint (it's mostly just somewhat extended scenes, and an alternate conclusion for the final scene). It all still plays out just like the Theatrical Cut (no new characters or anything like that - there is some 'new' footage, but none of it is particularly significant apart from the last scene), though, and is about the same length as that version, too (the pacing is also rather similar).
The majority of the differences are related to the jokes and gags in here, for example; it's Michael Jackson (instead of Prince) tied up in the opening, Cindy's 'PG-13' nudity is a set of utters (which is so gross that it borders on body horror, lol), 'Black TV' is now just straight up BET, Greg's report card is formatted differently (but the result is the same, lol), and Cindy does a different dance during the final fight. There's also some jokes which get extended (and elaborated on), such as; Buffy mentioning that Drew was wearing a Gucci sweater with Payless shoes (this gets a callback later on with Buffy in the Lost & Found bin and mentioning Kathy Ireland), Buffy's doughnuts becoming a bulimia gag, Shorty getting lunch (with the screwy menus), and Ray adding a jockstrap to his foreplay.
Some stray observations I got are that Brenda's name is 'Brandy' in this version (I guess they changed it because they thought it was a little too close to Randy Meeks? Or maybe they thought the actual Brandy would get mad, lol), that one character's death in the locker room is extended and actually a lot gorier (this kind of caught me off guard with how graphic it got - Ghostface literally rips that person's guts out), Ghostface's prank call to Shorty isn't in this version (which is sort of disappointing), and, yeah, the last scene plays out differently (and actually, uh, 'spares' a certain character, lol). Overall, I'd say this version is nearly just as good as the Theatrical, and some of the extensions and differences are good, but the Theatrical is still superior (it's easy to see why those scenes got trimmed, but this is missing some content from the Theatrical, which holds it back).
Although it retains most of the good bits from its 'final' cut and some additional 'new' scenes, the extended scenes and 'missing' bits keep it from reaching its absolute peak.
Rating (Theatrical): 10/10 (Masterwork)
Rating (Workprint): 9/10 (Incredible)
Best Character (Both Cuts): Cindy Campbell (Anna Faris)
Kill Count: 20 (Theatrical) + 19 (Workprint) (Overall: 3,189) - DirectorJay ChandrasekharStarsJay ChandrasekharBill PaxtonKevin HeffernanWhen a serial killer interrupts the fun at the swanky Coconut Pete's Coconut Beach Resort--a hedonistic island paradise for swingers--it's up to the club's staff to stop the violence...or at least hide it.Week 169 - March 27, 2022 (Double Feature)
Era: Remake Age (2000s)
Theme: Comedy & Parody Slashers
Review: A mid 2000's comedy slasher from Searchlight and Broken Lizard here. I watched the 'Unrated' cut for this review. I guess this is supposed to be billed as a 'parody' slasher, but it seems more like a typical comedy slasher (with some absurdist humor). The staff of an island resort are targeted and knocked off by a machete-wielding maniac. It doesn't stray too far from that logline, and mostly plays its story straight (the comedy is where it injects the bizarreness, but the actual plot is handled in a fairly conventional way). I suppose they were trying to go for a hybrid of I Still Know What You Did Last Summer (1998) (with the tropical island setting) and some type of mishmash of the Friday the 13th series (with the machete maniac murderer), but that story didn't really do much for me (it's not egregiously bad - it's just a little too basic, and not especially enjoyable, either). Because of the version I watched, the length is overextended here (clocking in at nearly two hours), and the pacing is sort of rotten (this really didn't do the bland-ish story any favors - the third act in particular takes its time, but they recover it with a grandiose climactic battle (more on this later)).
The cast seems comfortable and competent in here for the most part (their timing is good enough, even if the actual bits themselves weren't too great - Brittany Daniel, who I recognize as Carmen from It's Always Sunny in Philadelphia, as Jenny is my favorite, but shout outs to Putman, Sam, Hank, Penelope, and Bill Paxton, the featured player, as Coconut Pete). The killer, 'Machete Phil', is portrayed as something as an urban legend (well, around the island, anyway, lol). His disguise is sort of the raggedy 'wild man' variety, and, as his name suggests, he prefers a machete as his main weapon (he seems like he's supposed to be a play on Jason). His origin and motivation are both relayed by Dave in a campfire story (which reveals that he went crazy and chopped his own genitals off). He doesn't have much of a personality at first, but gets one after his reveal. He's alright, but didn't strike me as particularly noteworthy. The kills are bloody, sometimes gory and creative, but also sometimes cutaways and off-screen ('blown sky high', 'a good head off her shoulders', and 'half the man he used to be' are my highlights). The climax is fun and pretty exciting, and the ending, whilst absurd, is fairly satisfying.
Final thoughts, the makeup and special effects, in this 'Unrated' cut anyway, look pretty good and convincing enough (the blood and gore looks largely good, but sometimes the props and puppets look too unconvincing - if you've seen how the full-body puppets go limp and flop around, then you'll get the idea here). The writing and humor is more of a miss with me, unfortunately (the dialogue feels stale, and the jokes weren't really hitting to me - I didn't dislike all of them, like, they're pretty quirky, but not quirky enough, frankly). I did like the production design in here (these sets are well decorated and nicely assembled). The soundtrack (supplied by Nathan Barr) works out fine for this, and plays off the camerawork fairly well. Speaking of the camerawork, it's just alright (it didn't impress me, but, then again, it doesn't seem like it's really trying to be 'impressive' - the darker scenes have some adequate lighting, though). I got seven stray shout outs going out to Wilkie the Welcome Gorilla (r a r e), that freakin' spider monkey, the Mariachi band playing after the explosion, Putman putting on the shower cap, Putman's weirdo nightmare (wtf?), the random chaotic orgy (sure), and the Friday the 13th (1980) homage (you'll know it when it happens). I mean, maybe it's the cut I watched, but this wasn't it for me (just too long, and didn't make a valuable use of its time). It's a decent watch, but it would've benefited from some sharper writing and, to me, it also would've been better if they took the 'quirky' aspect a lot further.
While it is a decently amusing and pretty zany overall package, this didn't seem to take it as far as it could have and came off as being a tad too ordinary.
Rating: 6/10 (Decent)
Best Character: Jenny (Brittany Daniel)
Kill Count: 15 (Overall: 3,204) - DirectorMichael AndersonStarsRichard ChamberlainJohn HousemanSara BotsfordA disgruntled phone company employee develops a device whereby those answering a phone can be murdered, and it's up to Nat Bridger to stop the killer.Week 170 - April 3, 2022 (Double Feature)
Era: Golden Age (1980s)
Theme: Sci-Fi Slashers
Review: An early 80's Canadian Sci-Fi slasher from New World here. Given how early this came out (between the years of 1978-1984 - the so-called 'Golden Age' of slashers), I have to give this some credit for trying something a little different here (a tech-based killer who commits murders from afar). A man tasks himself with investigating a series of bizarre murders involving victims who were apparently killed after answering their telephones. Well, the main angle here is the killer and their method of killing, so the actual story is fairly standard (kind of a typical 'revenge'-based deal). The main plot follows Bridger, the protagonist, and intercuts with the killer and their carnage (Bridger is very active toward his pursuit of the killer, so that plot is always moving forward, but the killer's subplot mostly just involves them picking off their enemies - including, well, pretty much everyone who slights them in their everyday activities, lol). I did enjoy this story, and the only part that didn't really work for me was Bridger's subplot with Ridley (which did have a payoff in the climax, but those sections are where the plot slows down the most). Speaking of that, the length is the usual hour and thirty minutes, and the pacing is usually pretty good (the kills, especially, are nicely spread out).
The cast is above average and seem to be giving committed performances in here (I guess it needs to be like this considering the premise - Nat Bridger is my favorite of them, but shout outs to Markowitz, Clayton, Lt. Meara, and the Repairman). The killer doesn't really wear a disguise (they're mostly shown in POV shots before their reveal). They commit their kills by calling their victims and using a device that first emits a piercing bell noise (that causes the victim to bleed profusely), then shoots a lightning bolt through the phone receiver (which violently explodes in the victim's face, killing them). Their origin and motivation is, as mentioned, revenge-based, and it isn't really too impressive or noteworthy (they spill their guts to Bridger in the final confrontation, though, lol). I actually kind of liked them after their reveal, but they were pretty unremarkable before that (it is sort of amusing watching them having meltdowns over petty stuff, and deciding to kill the people who slighted them). The kills are fairly bloody, quite violent, pretty creative, but not too gory ('blown up and put away wet' and 'blood on the Mickey' are my highlights). The climax and ending are both fast and pretty furious (in more ways than one). It's gonna give you what you want - probably (and it wraps it up on something of a sequel hook - the killer's 'bells' are heard again).
Final thoughts, I enjoyed the writing in here for the most part (there's some humor and offbeat moments sprinkled in, which lighten the mood - some of my favorite bits; Bridger 'acting like he belongs' by using that lab coat and clipboard 'disguise' and Bridger saying that 'he's got a PHD', which has some Frank West energy to it). The makeup and special effects look low budget, but they seem fine enough (the blood, gore and pyrotechnics are their best showing, and the hand-drawn stuff, like the 'glowing' effects, look pretty dated). The soundtrack (supplied by John Barry) is largely good, but the killer's theme (which is actually my favorite piece on the score) usually played a little too loud (and drowns out the dialogue in most cases). The camerawork and other production details are adequate, but they don't do much to make the picture 'stand out' (the lighting is sometimes moody, and the set design, especially anything dealing with the tech, is pretty neat). I got three stray shout outs going out to Gordon chomping the pencil in half (full tilt), the Bag Lady putting on that lipstick (okay?), and that girl's Mickey Mouse telephone (that's probably the most 'stylish' shot in the movie, too). So, yeah, this is a pretty unique blend, and it is a fun watch, but it's just a rather 'good enough' offering here overall (maybe if the budget were higher than this could've got more out of its material, though).
A fairly unique and sometimes silly early 80's Sci-Fi slasher, which is pretty fun and seems to make the most of what its got, but could have benefited from a higher budget.
Rating: 7/10 (Good)
Best Character: Nat Bridger (Richard Chamberlain)
Kill Count: 6 (Overall: 3,210)