Text © Richard Gary / Indie Horror Films, 2015
Images from the Internet
Mass Grave Pictures / Devarez Films
Wild Eye Releasing / MVD Visual
113 minutes / 2013 / 2015
www.wildeyereleasing.com
www.mvdvisual.com
Images from the Internet
Blood Slaughter Massacre
Directed and edited by Manny SerannoMass Grave Pictures / Devarez Films
Wild Eye Releasing / MVD Visual
113 minutes / 2013 / 2015
www.wildeyereleasing.com
www.mvdvisual.com
One subgenre of the recent trend of
slasher films is homage to the “video nasties” of the 1980s, when video was
king and horror and porn were the top renters. Most do a decent job, but it’s
rare that anyone gets it this accurate. It’s obtuse (he’s killing them why?), with a large body count of mostly
teenage girls (think Slumber Party
Massacre [1982]), a masked and silent killer of some girth who likes to
pose in hallways, and cops with issues.
Smartly, the introductory murder(s)
scene (you think I may be giving too much away? Have you ever seen the genre before?) takes place around
1974 in a town called Havenwood (a perfect ‘80s film locale name), so that way
the “10 years later” main story could actually take place in the ‘80s rather
than just referencing it. With the exception of some small LED CSI-style flashlights, the sets are excruciatingly
accurate, which is also wonderful.
Matt W. Cody |
For the main part of the story, we
meet Shaft-style leather jacket-wearing, 5-O’Clock shadowed, alcoholic
detective James Fincher (Matt W. Cody, who looks familiar though I don’t
recognize any of his credits from IMDB), recently separated from his wife
(Melissa Roth, who does a convincingly great job in the role), and daughter.
Fincher had been injured as a beat cop by the killer 10 years before, and now
he’s an on-and-off the wagon drunk. His partner is Cobb (Byron M. Howard) who
sticks by his pal, but has a secret, natch. And the head cop is angry at them,
of course.
Now, this next part is both good, and
creepy in real life: the actresses who play the teen girls are supposed to be
15, and for once most actually look the part, even though (as the director
states in the commentary) they are all in their 20s. What’s disturbing is that
most of them appear topless if not nude, including some sex scenes, so it’s
sort of ”barely legal” stuff for which I was not comfortable. On a lighter
note, but just as seriously curious, that they managed to find this many young
actresses without tattoos is admirable, unless they removed them digitally. [I have been informed by the director that only one female cast member had a tattoo and it was physically covered with make-up. I love the Internet... - RG]
That brings us to the next point: as
far as I can tell, being an “’80s film,” the effects appear to be all
appliances, with no digi, which is what I like to see. Digital effects are
fine, but I like the physical challenge of carnage. Just take a look at
Carpenter’s version of The Thing
(1982); it’s a stunning piece of work without any CGI. There’s a lot of gore here
with that ‘80s syrupy kind of blood, and enough spray and blades to make Tom
Savini say, “You welcome.” The film also stays true to the look of the ‘80s with
just enough fuzzy images to imply VHS – especially with the blurry red-lettered
credits at the end – to make it cheesy, fun, and respectful at the same time.
Danielle Lenore, Carmela Hayslett-Grillo |
The two teen female leads are also wonderfully
cliché (i.e., modelled on the period). The focus of the clown masked killers
attack at the party is Danielle (Danielle Lenore), the “Jamie Lee Curtis” of
the film, if you will. She’s the shy girl who you know is gonna get “(wo)man-up”
by the end, as these things tend to follow. Her best friend, the tough and hot
girl with the heart of gold, is Carla (Carmela Hayslett-Grillo) in the “Rose
McGowan” (Scream) sidekick position.
If anyone survives the night (most of the film takes place in a single day
rotation) of the blood slaughter massacre (the more I say that title, the less sense
it makes, but still is a totally wicked-cool
name), it’s going to be one of these two.
While the soundtrack is new, they did
well in getting that piano-plinking sound for the anticipatory moments (e.g., “let’s
go check out that strange noise…”), and gathered a bunch of long-hair rock
songs that so fit into the ‘80s motif that you’ll swear you’ve heard it – or something
like it – before. Again, excellently executed (pun intended).
No matter how I describe any one
element of the story (including the ending, which I will not give away), you’re seen it before if you are a fan of the genre,
and that’s part of both the point and the charm of the film. And yet, there are
some nice unexpected twists and turns. This is one of the rare releases that if
I saw it without any previous knowledge, I would have said it were from that
period. It’s that bad, which is a very high compliment coming from where and what
I’m trying to say.
There are a stack of extras, some
successful, some not. There is a Behind the Scenes featurette (not), some extended
and deleted scenes (mostly not) and some fake trailers that inspired this film
and music video (successful). There is also a nice commentary track with the director,
the cinematographer Louis Cortes, and SFX / make-up / AD Lindsay Serrano.
This is definitely a hoot for a Throw-Back-Thursday,
or a Saturday Night get-together for some laughs, some memories of
videos-gone-by, or just a chance to see a three-second cameo by director James
Balsamo. No matter what the reason, if you’re a VHS horror junkie from or of
the period, this’ll hit the ahhhh
spot.
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