Showing posts with label creative kills. Show all posts
Showing posts with label creative kills. Show all posts

The Mutilator (1984)

Okay, I think I finally realised something. It's taken my entire history of watching horror movies for this to click, which is kind of embarrassing, but I think I just figured out that my approach to slasher films has been all wrong.

So my main complaint with a lot of these movies always seems to be the interminable downtime between the kills. For me to really enjoy a slasher film, there has to be something interesting happening to bridge the gaps between the blood being spilled. It doesn't have to be Citizen Kane over here, it just needs to hold my attention and, ideally, lay the groundwork for actually giving a shit about who survives and who doesn't. I don't necessarily mind a conveyor belt of victims steadily making their way toward death; I just want to care, just a little bit!



The Mutilator (original title: Fall Break) is a perfect example of the giddy highs and woefully bad lows of films like this.

Written and directed by first-timer Buddy Cooper - a film reviewer for a newspaper who wanted to make movies, so he did. I have to respect that! - this is part of what must have been a bloody cascade of films made after the success of Friday the 13th in 1980. In it, we see a group of college kids staying in a beach house and being murdered using a different weapon each time (hence that awesome tagline).



And the gore, courtesy of SFX man Mark Shostrom (Videodrome, A Nightmare on Elm Street 3: Dream Warriors, Evil Dead II, a couple of Phantasms) is really good, but the price of admission for it is TERRIBLE dialogue, DELIVERED TERRIBLY for extended amounts of time. 



At one point, we follow the worst character in the entire film (the "joker" of the friend group 😐) for fucking ages as he walks around looking for his mates. He cracks jokes and does voices and funny walks to no one in particular for soooo looooong until he's finally killed. There's no tension here at all, and just like in The Prowler, it gets boring and frustrating waiting through these slumps.

I found myself wishing I were a) more drunk, b) with a group of friends, or c) drunk with a group of friends. And that's when I realised that my sitting alone or with my husband just chilling and watching this stuff isn't how it was originally meant to be consumed. Stuff like this was meant to be drive-in fodder; where you're laughing and goofing around with friends and/or making out while the movie is playing. That's what passes the time while you're waiting for fucking Ralph to die. You're meant to be throwing popcorn, cracking open another beer or making snide comments - that's what makes this stuff bearable.

So, mental note for the next 80s stalk and slash that I suspect might be like this: cheap beer, funny friends are essential.

Unless you're coming to it armed with the above, I'd say The Mutilator is a "fast forward between the kills" kind of situation, as everything else is painful to sit through. The odd, melodramatic feel, the sluggish pacing, frankly insane theme song, the appalling acting... it's a lot.

Streaming on Shudder right now. What a waste of such an amazing tagline.

No One Lives (2012)



From director Ryûhei Kitamura (Midnight Meat Train), No One Lives is a nonsensical, nasty little WWE production that has everything you'd expect from such (truly terrible dialogue, fight scenes involving a lot of throwing, tits) and it may have solidified my aversion to the output of this studio. I've now seen this and See No Evil, which was similarly just about okay.

Um... and the killer totally lets someone live at the end, so the title is a big fat lie.

The Collection (2012)


If you thought The Collector was a nasty, blood-soaked exercise in suspension of disbelief, then hold on tight for The Collection: its far less subtle brother!

I literally said "this is insane" about four times within the first half hour of this.

We rejoin The Collector and Arkin (once again played by Josh Stewart) not long after the end of the original film, and this time Arkin and spunky teen Elena (Emma Fitzpatrick) have to escape an entire hotel - "Hotel Argento"...! - filled with booby traps, dissected bodies and insane fellow prisoners. 

Fans of The Wire will also be happy to see Andre Royo, who played "Bubbles", as a member of a team of mercenaries sent to retrieve Elena!



This is dialed up to the point of absurdity, with the "Saw" mindsets of writers/director Patrick Melton and Marcus Dunstan on full display - even more so than before. There are brutal, batshit devices executing victims via (including but not limited to) meathooks, ceiling spikes, and giant fucking lawnmower blades.



A simple film requires a simple review. So leave your need for any semblance of plot believability at the door and just sit back and enjoy the grisly madness.

Streaming on Netflix at time of writing!

Hatchet (2007)



This was swapped with Creepshow for tonight's viewing, as I thought it would make an interesting next day bedfellow to The Final Girls

Both are a more modern day homage to "old school American horror", but whereas last night's was heavy on the comedy and light on the gore... Hatchet is heavy on both. We see someone get disemboweled in the opening scene!

Well look who it is!

Even though it's a comedy, Hatchet is darker both literally and figuratively than The Final Girls. Taking place in a New Orleans swamp largely at night, it's nastier, dirtier, wetter and more gory. We get guts and tits within the first 5min.

This ultimately became the first of three films set over a period of a few days, and this one introduces us to the legend of Victor Crowley: the Jason Voorhees character of this franchise. And just who is Victor chasing around the swamp?



The group is full of tropes (bimbo, heartbroken college dude, middle aged couple from the Midwest) but the dialogue is quick and witty enough that they don't irritate or appear too on the nose. Besides, the kills come thick and fast too, so there's no time to get bored. If there's one thing that drives me crazy in slasher films, it's too much talking!

What recommends this film and makes it stick in the mind more than anything else I think, are the creative kills. Director Adam Green and special effects artist John Carl Buechler went far with these, and with no CGI! So every snapping bone and tendon, and every spurt of blood was right there in front of the camera. These kills are bonkers, and I was reminded tonight that I giggle like an idiot when I see this stuff. Is that weird?

Hatchet is one of those rare films that you can tell is horror made by a horror fan. And an attack by belt sander, plus cameos from horror movie royalty make me a very happy one whilst watching this.

Fun fact: IMDb trivia tells me that there's actually only one death by hatchet in this film.