Film Review: PARTY HARD, DIE YOUNG (2018)

A group of graduates go to a Croatian island for the party of their lives until each of them start getting killed one by one by a masked killer in the slasher film Party Hard, Die Young (2018).  Julia (Elisabeth Wabitsch) and her friends have just graduated and decided to cut it all loose with a bunch of other graduates for a week long party that will define their lives moving forward.  Unfortunately on the first night on the island, while drunk and about to pass out Julia thinks that she saw her best friend abducted by a masked person.  While there is no evidence of her best friend being abducted, something is definitely wrong when a second member of her group suddenly dies.  It’s not long before Julia starts to think that someone is trying to kill the members of her class.

 

Julia soon discovers evidence that one of her classmates is behind the members but it isn’t long until everyone starts to believe that the murders has something to do with an incident that happened in their past and they need to discover who the murdered is before they all end up dead.

 

The film is like a sleeker version of I Still Know You Did Last Summer but not nearly as fun.  The film has some amazing cinematography but lacks anything new that would separate it from other slasher films.  The gore effects are also great and the film is a decent time waster but it isn’t anything that will set it above other slasher films with similar story elements.

Film Review: SLEDGEHAMMER (2017)

Original Title of Article: “Violence in Joshua Miller’s SLEDGEHAMMER!”

Originally Published by ScreamFix

If there was ever a film about the dangers of drug use it would be writer/director Joshua Miller’s Sledgehammer (2017).  Yolner (Stephen Miller) is having a bad day.  He is late for work at a construction site because his car is out of gas and he must take the city bus, which he almost misses because the driver forgets to stop for him.  Also, his girlfriend Sibby (Samantha Green) decides to breakup with him over the phone because he is too boring and does not enjoy any of the things she does.

When two co-workers spike his coffee with drugs, he descends into anarchy thinking he is a Nordic God armed with a sledgehammer who must rid the world of generally anyone he comes across.  This leaves killer Yolner on a crazy odyssey of chaos and murder throughout the city with no one able to stop his carnage.

Now, on the surface this might be an interesting idea for a horror film like a warped version of Falling Down (1993) but unfortunately this film lacks all the elements that make that film so enduring.  Yolner is not a very interesting character as he is someone whom you think deserves everything that is happening to him and everyone he kills is so random and haphazard that they just come off as a simple body count of carnage similar to the violence seen in infamous director Uwe Boll’s Rampage trilogy (which I actually do not mind).  Unfortunately, this film decides that because Yolner is on drugs everything needs to be viewed through a drug induced state of CGI filled carnage edited to heavy metal music which if that is what you crave then this is perfectly suited for you.

If you have seen the Neveldine/Taylor directed Crank films then you know that this could have worked out to some amazing advantages but you kind of wish Miller had taken full advantage of the aesthetic. The over use in CGI backgrounds and use of black & white footage for no reason actually take away from the film as does as the side stories of random characters that are not established enough or given any type of back story before they are killed.  Yolner has a great gimmick in the sledgehammer as a weapon of choice and the fact that he comes from the construction job is also inspiring but  once he steps away from all that, the film descends into madness and not always in a good way.

Believable gore effects could have smoothed over the film’s rougher edges but that is lacking as it is done in a cartoony way that after the first few kills it becomes repetitive and less interesting and unfortunately Yolner kills a lot of people so you have to sit through a lot of extraneous cartoon violence.  It is like a Loony Tunes cartoon of violence and depravity which will appeal to some audiences.

One of the bright spots is the use of locations in the film as the sequence where Yolner chases three bike riders across the city streets is quite interesting as is the final sequence that takes place in a rock-climbing quarry.  Some of the film’s best cinematography is used in these sequences which makes you wish that the rest of the film were just as good.

Overall, the best way to truly enjoy this film is to be drugged just like Yolner, which may not necessarily be a bad thing after all.

Film Review: MADHOUSE (1981)

Madhouse (1981) is another one of those movies with an evil twin that saw no shortage in the ‘80s and ‘90s but this one happens to be one of the better ones.  In this film Julia Sullivan (Patricia Mickey) is a teacher of deaf children whose birthday is coming up.  Unfortunately, her disfigured and crazy sister who has been in a mental institution breaks out in order to crash her surprise birthday party.  There are elements of The Omen (1976) with the almost demonic dog in the film, as well as elements of Happy Birthday To Me (1981) but the film stands on its own with the strong performances from Mickey and the rest of the cast.

Writer/Director Ovidio G. Assonitis does a great job in creating atmosphere and suspense in what some would consider more a thriller than a straight slasher film but when people get killed, they really meet a gory demise especially in terms of the dog attacks.  Roberto D’Ettorro Piazzoli’s cinematography is amazing as he creates a character out of the location which creates a creepy atmosphere when there is little violence in the film.

For slasher and horror fans looking for a good ‘80s film that still holds up, Madhouse is one of those few.

Film Review: BLOOD RAGE (1987)

A product of the ‘80s, Blood Rage (1987) is one of those slasher films that you either love or your hate but if you saw it when it was released then you’re probably of the group that love it.  Having (finally) gotten around to seeing the film after years of hearing about it, I’m of the “indifferent” group in my opinion in regards to this film.

Twins Todd and Terry are so much alike except that one of them as a murderous fiend.  As a child Terry kills someone and frames his brother Todd who is put in an institution for ten years.  Terry in the meanwhile grows up a seemingly normal child and a jock beloved by his school peers but when Todd breaks out of the hospital on Thanksgiving Terry gets back into his murderous ways in order to cover up secrets…or just because he likes to kill people.

Mark Soper gets the chance to be two uniquely different characters as Todd and Terry which is the highlight of the film.  The kills are not all that creative but this is a derivative of ‘80s slasher films and by ’87 most audiences had seen everything and there were so many other films with better makeup FX. 

Bruce Rubin does the best he can with the screenplay as does John Grissmer as director but the film lacks its own unique style that differentiates it from the other ‘80s slasher films which is why this film hasn’t reached greater status.  This remains a curiosity for slasher fans but pretty much for everyone else it’s just a highly forgettable film.

Film Review: THE INITIATION (1984)

You will be forgiven if you’ve never heard of the ‘80s horror film The Initiation (1984) as it borrows a lot from many other films including  Alone in the Dark (1982) and Hell Night (1981), to name a few not to mention the fact that elements were better utilized in Chopping Mall (1986) which be released a few years later and become a huge cult classic with horror fans.  This being said, The Initiation is the story of Kelly Fairchild (Daphne Zuniga) a college student in the middle of pledge week who gets tasked with getting the keys for her father’s department store in order for her Sorority sisters to get in for a prank.  Everything goes as planned except that Kelly and her friends get trapped in the store with a deranged killer that has also found his way into the store.  Now Kelly must find a way out of the department store before she becomes the next victim of the night.

Written by Charles Pratt Jr. the film comes off as a product of the ‘80s horror film craze and does a great job of it.  Directed by Larry Stewart the film looks great and horror fans will enjoy all the gore on display.  It’s also a great introduction for audiences to actress Zuniga who would go on to star in such films as Spaceballs (1987),  The Fly II (1989), Gross Anatomy (1989),  and star in Melrose Place (which Pratt was a writer for).

The Initiation is not one of the best ‘80s horror films but it does hold up fairly well.  There just so happened to be too many ‘80s slasher films and this is one of the ones that was over looked and forgotten over time but it’s worth a look for the curious.

Film Review: VICTOR CROWLEY (2017)

Director Adam Green returns to his most famous creation in the third sequel in the Hatchet franchise Victor Crowley (2017).  Designed as a new chapter in the ongoing series since in this film Andrew (Parry Shen) takes center stage from the character of MaryBeth in the original Hatchet trilogy.  This is actually a great idea as it breathes new life in the franchise.

Years after the events of Hatchet III (2013), Andrew finds himself entangled in controversy whereas the greater public believes he was the true killer of the Hatchet murders.  Andrew is promoting his new book which tells the true story of what happened so that he can better clear his name…and make some money on the side.  Everything isn’t going as well as hoped and when his manager Kathleen (Felissa Rose) suggests that he return to the scene of the crime for a television show for a quick payday he jumps at the opportunity.  Misfortune hits them even harder when the plane carrying Andrew and the team of television host and crew crash lands in Victor Crowley’s (Kane Hodder) swamp.  Also, unbeknownst to Parry is that an independent film crew are also in the swap wanting to produce an indie film about the Hatchet murders; when they unknowingly resurrect Victor Crowley from his watery grave Parry and the television crew and the indie film crew find themselves trapped in Crowley’s swamp whom will stop at nothing at killing each and every one of them.

Despite being a fan of the original film, I wasn’t as big a fan of the first two sequels but that doesn’t mean that they weren’t just as entertaining and gory as anything being produced at the time.  Most of the actual story was in the original film and therefore there was little else to explore in the sequels.  This film is a completely different animal as it is fully aware of the horror fan culture with the addition of swamp tours and Victor Crowley souvenirs that can be purchased by tourists.  The addition of Crowley’s resurrection spell being available on You Tube as well as the “talk show” references to the television crew and Blair Witch Project indie film crew references give this film a lot of material to mine and riff at which makes this film infinitely more engaging and entertaining.  There are just so many great moments in the script that it would take forever to name them all but just let me tell you that this film was made by and designed for by horror fans.  The only real downside is that Crowley becomes nothing more than a force of mayhem and destruction with little time spent on developing his character any more than what we’ve already gotten in previous films but there is just as much gore and utter destruction in this film as in previous films which will satisfy horror fans.

One of the interesting aspects to this film is that it was filmed completely in secrecy and unveiled as a surprise to audiences.  When you view the film, you’’ll realize that most of it takes place in a single location (the crashed airplane) which makes for an interesting homage to Night of the Living Dead, where a group of people are trapped in a single location against a great evil outside the doors.  The film looks great (as usual) but the self-referential references set this film apart from the previous sequels.  This film also has a healthy amount of humor and as also Hodder provides some amazing physical and makeup FX.  This is a great addition to the Hatchet franchise and it opens the world up to different approaches in further sequels.

Film Review: MADISON COUNTY (2011)

It’s hard to describe the film Madison County (2011) without also describing a whole lot of other films just like it.  A group of college kids travel to an old mountain community called Madison County in search of the truth about a killer based on the account of a writer from the town.  The moment they arrive they realize that the town is a place they would rather keep their secrets secret as they have no idea who the writer the kids are looking for is and they claim that there never were any killer or murders.  What they do get is a warning to get out of town as soon as possible.

The group don’t heed the warning and upon further investigating they soon come across a killer wearing a pig’s head who starts to knock them off one by one (or capturing them for later).  There is a subplot involving the writer who has to bring sacrifices for the pig killer but little really makes much sense in this film that strives to give a little more plot to the tire “Wrong Turn” story yet never actually accomplishing it.  The death are pretty gruesome and effective and the film is well filmed but there isn’t anything that really differentiates it from the countless (and endless) Wrong Turn sequels and its brethren.  The characters are not at all that interesting and neither is the killer for that matter.  It’s a pretty dull affair from beginning to end.

Written and directed by Eric England the film tries to bring something new to the backwoods killer film but fails to deliver on the goods.

Film Review: THE STRANGERS: PREY AT NIGHT (2018)

It’s been ten years since the previous film polarized audiences but now, THE STRANGERS: PREY AT NIGHT (2018) seeks to do for modern audiences what the original did a decade ago.  Unfortunately, it’s a little too late.  Dollface, Pin-Up Girl and the Man in the Mask (Emma Bellomy, Lea Enslin, and Damian Maffei, respectfully) have hit the road after the previous massacre to now menace a new family that have found their way to a summer trailer park that’s currently off season.  Their latest victims are husband and wife Mike and Cindy (Martin Henderson and Christina Hendricks, respectfully) and their two children Kinsey and Luke (Bailee Madison and Lewis Pullman, respectfully).

Mike and Cindy are driving Kinsey to a new school after being kicked out of the previous one as she has become unruly and uncontrollable.  Kinsey’s attitude has finally tested the resolve of the family for the very last time.  They plan to stop overnight at the trailer park which is run by other family members but right off the back things are strange as no one greets them upon their arrival and everything seems to be too quiet.  When a strange girl shows up at their doorstep looking for someone else their nightmare truly begins as they must find a way to escape the trailer park when there is a killer at every turn watching and waiting.

Written by Ben Ketai and directed by Johannes Roberts the film retains the atmosphere and dread of the previous film even though the location has been opened up to more than just a single house.  What the film lacks are compelling characters as all the characters either make bad decisions or (regularly) act like victims instead of fighting back in a logical way.  Most of the film’s visual and suspenseful techniques are wasted on clichés and things done better in other similar films.

Not a completely horrible film but you expect more from a sequel that took a decade to finally see the light.

Film Review: TERROR ON TOUR (1980)

There’s nothing like a film that tries to mix horror with rock ‘n roll which is exactly what you get in TERROR ON TOUR (1980).  Written by Dell Lekus, the film follows a rock band called The Clowns that are on tour when several prostitutes start getting killed by someone looking in their iconic clown get up.  While not the most engaging of characters, the band members just want to play good music while someone keeps killing random people and fans alike.  As the killings get closer to home it becomes very clear that someone in the group or associated with the group is at the center of the murders.

The film itself is pretty bland and has aged horribly.  In addition to the bad acting and mediocre gore, none of the characters are at all interesting and neither are the deaths on display.  The film was released at the height of the slasher boom of the ‘80s and was released before ROCKTOBER BLOOD (1984), TRICK OR TREAT (1986), and BLACK ROSES (1988), to name a few, and therefore doesn’t have the gloss of those more cult films.

This is not a film that you need to seek out, not even for horror fans as it is completely forgettable.

Film Review: THE MAJORETTES (1987)

High school girls start showing up dead in THE MAJORETTES (1987) based on the novel by John A. Russo (writer for the original NIGHT OF THE LIVING DEAD).  Here, Russo also writes the screenplay with another alumni of NOTLD Bill Hinzman taking over here as director.  Like many derivative slasher films of the late “80s, The Majorettes has sex and gore and nudity, but little else.  The film lacks the ambiance of Halloween or the sheer (implied) brutality of Texas Chain Saw Massacre.  It lacks the originality of Hellraiser or the makeup FX of The Burning.

In fact, there is very little to The Majorettes other than the star talent behind the camera as the cinematography is lacking as the iconic music.  It’s interesting that this is the first of the only two films Hinzman directed (the other is FLESHEATER, which also is not that good of a film either).  Russo, on the other hand, wrote the screenplay for the film based on his novel and went on to write, produce, and direct other films based on his novels.

The Majorettes is a film for Russo and Hinzman fans and little else even if you can appreciate the the trash cinema of the ‘80s slasher boom.

Film Review: LEATHERFACE (2017)

The latest prequel/remake/reboot to the Texas Chain Saw Massacre arrives with the origins of our favorite killer Leatherface (2017) which strives to tell the story on how Leatherfae became the infamous killer we now know and loathe.  Verna (Lilli Taylor) has been taking care of her boys for a long time until one day they end up killing Sheriff Hal Hartman’s (Stephen Dorff) daughter.  As punishment, he takes Verna’s youngest boy away from her and places him in a halfway house. 

Years later, Verna is still trying to get custody of her boy when a break out at the halfway house leaves several people dead and nurse Lizzy (Vanessa Grasse) prisoner to three of the children from the halfway house.  Now Lizzy must find a way to stay calm as she finds herself in the middle of a murder spree and a deranged Sheriff will stop at nothing to recapture the children at any costs.

Written by Seth M. Sherwood and directed by Alexandre Bustillo and Julian Maury this is a violent and unforgiving film in the same vein as the latter Chainsaw films.  The film pays homage to the legacy of the original film (while ignoring most of the previous film Texas Chainsaw 3-D) which is to be expected from Bustillo and Maury who crafter the film Inside (2007).

Keeping the true identity of who ultimately becomes Leatherface among the four hospital escapees is a new added level to the franchise but I’m not convinced it was needed but that is a small gripe for a film that does a good job of trying to appease fans of the franchise.  The film may not succeed on all levels but it does do a good job of keeping the legacy alive and relevant at a time when most horror “old school” horror franchises have already seen their final days.

FILM REVIEW: JUST BEFORE DAWN (1981)

Five young campers are warned from going into the mountain wilderness by the local forest ranger Roy McLean (George Kennedy) in the ‘80s horror gem JUST BEFORE DAWN (1981).  The young campers are just trying to enjoy the weekend while also surveying the new property that one of them now owns but they soon run afoul of some locals and a killer that will protect and kill anyone that comes into his territory.  Now they must keep their wits and find a way off the mountain before they all become victims.

Jeff Lieberman directs and writes (with Mark Arywitz from a story by Jonas Middleton) this suspense filled horror film.  Lieberman’s other films include the popular SQUIRM, BLUE SUNSHINE, and SATAN’S LITTLE HELPER.  The film is very typical of other ‘80s horror films and has some creative kills but most memorable is the twist that comes halfway in the film that audiences aren’t expecting.

Kennedy is great as the “voice of reason” who tries to warn the campers and he’s given lots to work with as he returns during the third act.  Kennedy was a horror film fixture of the ‘80s with such cult films as CREEPSHOW 2, THE UNINVITED, THE TERROR WITHIN, DEMONWARP, and DEATH SHIP, to name a few.

JUST BEFORE DAWN isn’t one of the greatest horror films of the ‘80s but Lieberman crafted a film with ambition and therefore is an easily digestible time-waster.

FILM REVIEW: DON’T GO IN THE WOODS…ALONE! (1981)

Written by Garth Eliassen DON’T GO IN THE WOODS…ALONE! (1981) is your typical horror film of the ‘80s…or at least it tries to be.  A maniacal killer is loose in the woods killing people for no other reason than he wants to.  The film is filled with card board characters that get dispatched fast and relentlessly but there is no main character that really draws you into the story and keeps you engaged.  It also lacks the fun and gruesomeness of a FRIDAY THE 13^th or THE BURNING or MANIAC.

Directed by James Bryan whose other films include SEX ALIENS, WHAT EVER TURNS YOU ON, LADY STREET FIGHTER or BOOGIEVISION you can kind of get an idea of what you are in for.  Bryan doesn’t really direct a horror film but instead puts victims in front of the camera to be killed one by one in not all that original or creative of a way.

This is not a gem of the ‘80s horror boom but an easily forgotten misstep of straight to video fluff.  The most interesting aspect of the film is the original one-sheet poster.

Web Series Review: HELL’S CIRCUS Part 1 – “Playing in the Woods”

I love web series when they are done right.  What’s not to like about a serialized story broken up in many different parts that keeps you on the edge of your seat from one episode to the next?  Web series remind me of the old serials that ended in a cliff hanger that had you on the edge of your seat until the next episode was released and you (finally) got to see how the main characters get out of their cliffhanger from the previous episode.  Unfortunately, the first episode of the web series Hell’s Circus (titled “Playing the Woods”) does nothing to set up the premise of the series or present a story that you haven’t already seen a thousand times before.

The story starts with a group of friends arriving at their camp site ready for a night (or maybe longer but it isn’t really made clear) of drinking and fun.  They wonder around a lot aimlessly until that night when they have a campfire drink-fest which has three of the guys venture off into the woods (briefly) only to return claiming that one of them heard footsteps in the woods.  As two of the friends go to their car to grab the gun they have stashed in the car, the episode ends before reaching the five minute mark.

That’s generally it.  No real set up for the premise.  None of the characters are established.  No one does anything to make the whole story interesting or at least suspenseful or scary (this is, after all, a horror web series with clowns).  It’s all a bland set up for (hopefully) something more sinister to come (because at least the web series has a great title in Hell’s Circus) but there is no indication in this premiere episode why I should even bother to wait for any more.  This episode lacks the drive and determination of a suspenseful horror story and its cluttered with clichés and barely established characters.  The rest of the production values aren’t much better as the audio levels are all over the place and the harsh red lighting of the campfire scenes call attention to themselves, and not in a good way.

The series is from Sitrep Productions and is written and directed by Francheska Arroyo who has a rough road ahead in terms of getting audiences hooked on this web series.  This being said, the entire cast do seem like they’re having fun and if future episodes do start to focus on character and suspense then when the clowns finally show up it may have been worth the wait.

You can catch the latest episodes of the web series on the Sitrep Productions Facebook page - https://www.facebook.com/sitrepmovies/

Film Review: THE HORROR SHOW (1989)

Max Jenke (Brion James) is a cleaver and ruthless killer responsible for more death and killing than any other known serial killer and he’s just been captured by Detective Lucus McCarthy (Lance Henrickson) and this is just the beginning of what is to come in The Horror Show (1989).  After capturing Jenke and seeing his partner die, McCarthy’s professional and personal life begins to unravel and he thinks that being present for the execution of Jenke is the only way for him to get his life back. 

There is more to death then just dying as pure evil such as Jenke just doesn’t die but can transform into something else.  Jenke becomes a being of energy that manipulates the things around him to tease and torture McCarthy.  Now McCarthy, with the help of an eccentric scientist Peter Campbell (Thom Bray) who understands what Jenke has become, must find a way to destroy Jenke before he continues on his killing spree.

James, as usual, knows how to play to his strengths as a crazed killer with menace in his blood.  Henrickson gives 110% and the two of them together make for formidable opponents.  As produced by Sean S. Cunningham (the man behind the Friday the 13^th franchise and House films (of this was originally conceived as the third film)) and directed by James Isaac this is a fun and entertaining film that should appease fans of ‘80s horror films.

Film Review: DIGGING UP THE MARROW (2015)

Director Adam Green is a believer in monsters.  He has been ever since he was a small child.  When he meets eccentric William Dekker (Ray Wise) he is taken on a journey he will not soon forget.  In Digging Up the Marrow (2015), Adam is intrigued by Dekker’s story of a place beneath the ground called the Marrow in which monsters have retreated from the eyes of man in a place safe to them.  Adam and his camera man and frequent collaborator Will Baratt to decide to document their journey with Dekker hoping that Dekker is telling the truth so that they will have definitive proof that real monsters do exist. 

Adam is a believer who wants to see the truth in the stories that Dekker tells him even in the face of

contradictions that leave him believing that Dekker is not telling him the full truth but when he doesn’t heed Dekker’s warnings to proceed cautiously when facing the monsters of the Marrow he gets more than he bargained for and the truth will be a horrifying revelation more dangerous than anything that he could have ever imagined.

Green (the director) crafts a very smart documentary style fiction film which utilizes interview footage and actual documentary-style footage to tell a tale unlike anything he’s ever done before.  Green has made a career at crafting films that appeal to horror fans from his slasher hit Hatchet (2006) and its first sequel Hatchet II (2010) to the psychological thriller Spiral (2007) and the man versus nature film Frozen (2010).  With Digging Up the Marrow he gets to the heart of the ultimate question that all horror fans have which is “Do Monsters Exist?”

Although this may be one of his most reserved films (especially when you put it next to the Hatchet films), it is nevertheless an amazing addition to his oeuvre and career and one not to miss.   You are warned.  You are warned.