Archive for the 'Slasher' Category

Apr

Comments Off on Hellbound: Hellraiser II

Sequels! So often the cinematic equivalent of “second verse, same as the first!” “Hellbound: Hellraiser II” could easily have been “Hellraiser Too.” But the good news is “Hellraiser” is a fantastic horror film, so using the skeleton and generous tissue grafts from the first one means you have at least that much good movie, no matter how silly the ultimate Big Bad looks. Um, spoilers on that last bit.
The movie opens with quick edits of Hellraiser: the story so far. “Jesus wept.” The Scorpio killer from “Dirty Harry” is ripped apart by chains. The Cenobites close on a screaming young woman and almost nab her puffy-haired boyfriend, but the Fat One (not to be confused with Joey Fatone) isn’t quite quick enough. Pinhead: “We have such sights to show you…” “Go to hell!” yells the girl as she brandishes hell’s paperweight at the Cenobites. Cue dramatic choral music and the opening credits start coming at us.
If you didn’t get any of that, don’t worry. “Hellraiser II” will cover all of this material again before the third act. For starters, just like in the first movie, we watch a lone man frowning in concentration over the famous puzzle box, only this time he appears to be an old-timey British army officer in a Quonset hut. And just like with Frank Cotton, the Big Bad of the first film, we see the box bzzzrt to life with CGI, we see the petitioner lean tentatively over the box, and then we see chains fly out of the box to hook into the guy, or at least some sort of Naugahyde we’re meant to believe is the guy. This sequence is a little more interesting than Frank’s transformation though, imho, both because we’ll recognize the officer is being turned into Pinhead, and the sequence does a good job interspersing Pinhead’s screams and shots of the torture itself with glimpses of his creepy smile as he is well and truly Cenobitified.
In the present day, the young woman what banished Pinhead and his fellows to hell before the credits, Kirsty Cotton, wakes up in a psychiatric hospital. She’s told her boyfriend Steve from the first movie was sent home, his wild tale of the Cenobites apparently totally corroborating Kirsty’s, but not to the extent he needs to be institutionalized, too. However, a nice man from the police is there to sort of interrogate her, so there’s that.
Meanwhile, two trigger happy cops investigate the Cotton house, which is now definitely in America, despite being sorta in England in the first movie. They find a jump scare, but also a bloody mattress with chains on it, and so they call their boss to find out what to do with such big time physical evidence. The boss happens to be the officer interrogating Kirsty, and she overhears the discovery, because these are seriously the worst cops since Barney Fife swore in Gomer and Otis.
Then we meet Dr. Channard as he monologues to a rapt operating theater about charting the mind’s secrets while sawing open a patient’s skull. They really do brain surgery like this, you know. I think they discourage actual villainous monologuing, but the sawing a conscious person’s head open is legit. It would not be unfair to think of Dr. Channard as an excellent Hannibal Lecter audition.
Channard drops into Kirsty’s room with his assistant Kyle just long enough to establish that everybody knows each other’s names and for Kirsty to demand the discovered mattress be destroyed. She explains forcefully that since Julia — her stepmother, Frank’s lover, and the Lady Big Bad in the first movie – died on that mattress, she can be brought back from hell through it, just like Frank was in “Hellraiser.” And that gets her bupkus but a sleeping pill prescription.
Later on, Kirsty wakes, seemingly summoned by a patient in another room quietly putting together a wooden block puzzle. The Channard Institute patients are free range, and so Kirsty leaves her room to discover an innocuous blonde teenage girl puzzling her heart out. As Kirsty watches the patient work, Kyle surprises her. He explains the girl never speaks, and that they don’t even know who she is. A nurse calls her Tiffany. The girl just seems to compelled to solve puzzles, which Dr. Channard encourages. Weird coincidence. Kyle gives Kirsty sleeping pills, which Kristy refuses, and at this point he is clearly not a doctor, but has been horror-movie-boyfriend-zoned.
Kirsty goes back to her room and has a vivid visitation by a skinless man, scrawling on the wall of her room, “I am in hell. Help me.” Already terrified and angry that Julia has a potential portal back from hell just waiting for someone to cut their femoral artery over it, Kirsty worries about how she can bring her father Larry, murdered by Julia and Frank, back from hell.
Just as one might have an inkling that Dr. Channard is a less than a caring caregiver, the movie allows us to tour through the “Maintenance” level of the Channard Institute with him. It is every horrible asylum trope you’ve ever heard or seen. It is a Marilyn Manson video. It is dirtier than John McClane’s shirt at the end of “Die Hard” and there is screaming and crying and scrawling in stuff and straitjackets. The only thing it’s missing is Jessica Lange.
Kyle managed to be Channard’s assistant and yet totally oblivious to the entire floor of patient abuse his boss kips down to, I’m assuming, on a fairly regular basis, but he does overhear Channard making arrangements for the mattress to be delivered to his house. Newly clue-having Kyle is a man of action and breaks into Channard’s house, like you do, discovering Channard is quite the Hellraiser fanboy, with a whole study full of mad scientisting and no fewer than three of the infamous boxes under glass. We also learn that Kyle reads aloud and talks to himself, which is weird, but helpful to the audience.

Kyle also gets to be there when Channard brings one of the Maintenance level patients in to be sat on the mattress. Now I don’t want to spoil this for you, but it does not end well for the patient, who I like to think of as “maggot guy” and at the end of it, Julia has indeed come through the mattress, skinless like Frank, and you can just go ahead and cue up “A Strange Kind of Love” for her and Channard while Kyle wets his pants behind a curtain.
Just like in the first movie, the skinless Cenobite escapee is going to need to suck some victims dry and steal their skin. Actually the mechanism for this is kinda odd. It seems to be a combination of sucking on their mouth or face and shoving the plane of your hand into their neck, and I’m not sure how that works, because that’s bone. But Julia sure knows how it works, and she makes quick work of a whole room full of ladies in various states of undress. Please enjoy all the boobs you are going to get in this one.Kyle and Kirsty show up at Castle Channard because barreling into the villain’s lair was Kirsty’s go-to in the first movie and we’re still working off that script. Kyle does not fare much better than maggot guy in the end, but his contribution does finish off Julia’s skin. Kirsty unleashes a powerful banshee scream, but Julia knocks her cold with a patrician backhand, just in time for her new beau to bring Tiffany home as a surprise.
Julia and Channard hide in Channard’s anti-cenobite bunker while Tiffany solves the box. I don’t know why Channard needs a puzzle-solving prodigy to figure the box out. I get that he’s avoiding risking his own hide, but most people seem to be able to figure out the box with minimal montaging. Julia apparently did after she’d been gutted and effectively drained by Frank in the first movie.
It does work. Tiffany solves the box and the Cenobites show up and instantly rezone Channard’s pad into hell. As the lesser Cenobites cluster around Tiffany, ready to do what they do best, Pinhead forbids them. “It is not hands that call us. It is desire.” And Pinhead’s gaze takes the camera into hell after Channard and Julia.
This is the point the movie really departs into its own thing, adding new material to the skeletal and nebulous Hellraiser mythology while upping the ante in terms of threats and effects. And boy does it suck. OK, maybe not suck, but fair warning, nothing is going to make much sense from this point on.
Hell could be many things. Bottomless pit, unquenchable flames, something like a Bosch painting, that “Informer” song on a neverending loop. Hell in “Hellraiser II” took serious inspiration from Jareth the Goblin King’s realm in “Labyrinth.” It’s M.C. Escher matte painting with a little H.R. Geiger flourish here and there, wind machines, strobe lights, and a few themed sound stages for individual pilgrims wandering its otherwise featureless gray maze. Tiffany has a carnival soundstage, for instance. Kirsty’s is the house where her Dad was killed. Mine would probably be a room of monitors showing this part of the movie.
Wandering around the Labyrinth, Kirsty bumps back into the Cenobites instead of muppets. They menace her as usual, insist she clearly wants what they have to offer, but then strangely still don’t take the opportunity to mutilate her when she proves powerless against them. You know, the Cenobites like to imply Kirsty keeps running into them because she wants to be tortured for eternity, but they keep letting her go, so what does that say about them?
Meanwhile, Julia takes Channard to the center of the Labyrinth and introduces him to her god. No, not Satan, and not Jareth either – it’s Leviathan, who appears to be an obelisk screensaver. She then backs him into a Cenobite-making booth, announcing that the entire reason she was allowed to escape was so she could bring Leviathan more souls. And I’ll never believe in true love again. Kirsty ping-pongs from the Cenobites to dead Uncle Frank, who is being tormented on his own soundstage. He tells Kirsty it was he who appeared in her room, not her dad, who is dead. So in the Hellraiser universe (so far) if you’re killed by the Cenobites, you’re not entirely dead? You’re just in hell. But you can come back. But if you’re killed by anything else, including things from hell that aren’t Cenobites, you’re dead and that’s it? What are the eschatological implications here?
OK, then Julia shows up and kills Frank. I guess. Good. Kirsty contends with Julia, both fighting for Tiffany’s trust, and sometimes it’s in the most unlikely moments a movie passes the Bechdel test. Ultimately Julia’s skin is torn off and she falls to her…death? In hell? Man, I don’t even know.
Channard emerges from the Insta-Cenobite booth as the Doctor Cenobite, looking not at all well, but he looks around in wonder and murmurs one of my favorite lines of any movie, “And to think, I hesitated.” But they really should have left Channard in there for another millennia or so because he just looks silly. He’s like a flying tentacle porn Inspector Gadget. The rest of the movie is Kirsty and Tiffany versus the Doctor Cenobite, getting some unexpected help from our O.G. Cenobites, but ultimately it’s going to come down to Tiffany’s puzzle-solving skillz and Kirsty’s ingenuity to stop the Doctor Cenobite’s terrible medical puns.
“Hellraiser II” is a sequel from a more innocent time when horror sequels were really just expected to be the same movie plus boobs and bodycount, and to be fair, they did that. They do try to flesh out the lore, which would be a good thing if the stuff they added wasn’t self-contradictory crap. Clive Barker said that he was afraid people would laugh at the Cenobites in the first movie, but he managed to make something horrifying and cool instead. The Doctor Cenobite is every bit Clive’s fear realized though, which is doubly a shame because Channard was so effective before he got all go-go gadget. It’s still worth a look, but the movie really does go all to hell once they all go to hell.

roadside attractions

  • More piercing fetishes
  • More extreme maggot wrangling
  • More chains
  • More cannibalizing action
  • Asylum of the damned
  • Extreme Cenobite makeovers
  • Cenobite fight!!!
totals

10

blood

BLOOD

Alternate title could have been Bloodspouter.

2

blood

BREASTS


Yes, there are boobs in this one! Not a lot, unless you count Julia’s skinless ones.

9

beast

BEASTS Skinless Julia and the Cenobites deliver the goods, but I’m taking back a point for the Doctor Cenobite being dumb.

8 OVERALL “Hellbound: Hellraiser II” loses coherence in the last reel, but it’s still a good horror flick on its own merits and a decent sequel to the horror masterpiece.
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Watch the trailer to “Hellbound: Hellraiser II”

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Apr

Comments Off on Hellraiser

On May 19, 2015, Clive Barker unleashes the long-awaited The Scarlet Gospels on the world. It’s being billed as the last Hellraiser novel and Clive is spoiling us all by letting us know the Hell Priest Pinhead is getting deader than usual, for reals, forever, run up the curtain and joined the choir invisible.
At this point, I go fully Brainy Smurf and point out there has only been one Hellraiser novel, which was a novella called “The Hellbound Heart.” Although, yeah, Pinhead and his S&M monster sect, the Cenobites, were briefly mentioned in his novel Weaveworld as “the Surgeons.”
Really Pinhead and his homies were fleshed out in the movies, of which there are nine. Same number as levels of hell. Coincidence? We’ll see. In celebration/fearful expectation of The Scarlet Gospels, I’m going to watch all nine of these bad boys and review them all here. Assuming I’m not scrawling crosses on the wall in my own excrement by the time I get to “Hellraiser: Deader.”

The 80s gave us so many great monsters – Pumpkinhead, Chucky, the Leprechaun, Michael Myers, the Tall Man, Angela from “Sleepaway Camp” AND Angela from “Night of the Demons” – but Pinhead stands proudly in the winners circle of the greatest monsters of the Reagan years with his arms slung around Freddy and Jason, probably keeping them from going for round 2 against each other. His image is familiar to everyone. He has been on the Simpsons. Your mom knows Pinhead, and for once, that’s not a reflection on your mom. Although time, and so freaking many sequels, clouds the memory, and even if you are a fan, “Hellraiser” might not be entirely the movie you think you saw.
First off, in the novella that spawned it and the first movie, Pinhead and the Cenobites aren’t the Big Bads here, not really. It’s kind of like the first Friday the 13th and Jason’s mom. The real bad guy here is Frank Cotton, a smoldering bad boy hunk and sociopathic hedonist looking for the ultimate in transcendental sexytimes. And so he comes by the box, that iconic Rubik’s Cube of the damned, and retires to his dead mother’s house in London, fingering the box’s faces until the CGI kicks in. The prize inside, however, while not safe for work, is not so much sexytimes as total evisceration, courtesy of the Cenobites. But hey, he asked for it.
If he’s eviscerated, how is he the Big Bad, Angela? OK, fun story. Some indefinite time later, Frank’s brother Larry shows up with his frosty, semi-detached wife Julia in tow. Larry has a great new job in England and intends to reclaim the old homestead, also setting the stage for a fresh start with the pissy missus.
They tour the old house and find lots of Buddy Christ-grade religious iconography, presumably his mom’s, a kitchen given over to maggots, and some of Frank’s things, but no Frank. Not even pieces. The Cenobites love their work.
Larry dismisses it as his ne’er do well, and inexplicably more gorgeous, brother making a smooth criminal exit, but Julia, who was so icy towards her husband, suddenly gets her motor runnin’ and agrees to stay.
On moving day, in a really beautifully-done sequence – have I told you I love this movie? – Julia obsesses over Frank’s picture, and we get flashback mushy stuff as she gets all het up about how he seduced her before her wedding. While she’s, ahem, remembering, Larry and nondescript friends heft the marriage bed upstairs. In the process, Larry accidentally rips his hand open on a nail, and he goes to Julia for help, bleeding all over the floor of Frank’s room. The room Frank was eviscerated in. The floorboards suck the blood up like Karo syrup on a Brawny towel and Frank’s body begins to reconstitute itself underneath the floorboards. It is all very gelatinous and extensively foleyed.
Cut to a dinner party. Larry’s daughter Kirsty is there, and she is about horror movie heroine age and so beautiful. You guys, she is the proto Noxzema girl. Kirsty flirts with one of her Dad’s younger friends, who’s supposed to be British, but speaks with an American accent, and that troubles me at night sometimes. There’s booze and raucous cheer. Except —
Kirsty doesn’t like her stepmother Julia, and while the hostilities aren’t open, Julia is too distracted fantasizing about Frank to be a bitch. She leaves the party to go sniff around in Frank’s things and surprise! Her lover is back, sort of. Some of him. Larry’s blood was enough to bring Frank back to Slim Goodbody suit status, but he needs more. A lot more. Also skin. And he insists Julia help him.
Julia is torn between many competing emotions like so much chain-hooked body, and my God, Clare Higgins deserves an Oscar. Frank is a disgusting monster. But he is also Frank (who is a disgusting monster anyway, but she’s lust-blind to that.) And Frank is a terrifying monster, which both makes him intimidating and something to go screaming to your insignificant other about. And Clare gets all of this across beautifully with wild looks and halted breaths and trembling.
So, Julia consents to help Frank, and the way she’s going to help Frank is by luring men back to the house to bludgeon with a hammer and let Frank suck dry. She starts out very nervous, terrified really, of the men, of herself, and of course, of the thing sucking the marrow out of the guy she just whacked, good old Frankie-poo.
Meanwhile Noxzema Girl Kirsty has troubling dreams with more symbolism than an 80s Heart video, and she begins to worry about her dad. She also has a run in with a really weird guy in the pet shop she’s now working at, and while it’s probably par for the course in New York or L.A. or New Orleans, in England, I gather cricket-eating hobos staring hungrily at you is more of an event.
Kirsty eventually stumbles upon Julia and Frank’s white doughy Englishman abatement service and, after Frank leers at her real good, manages to steal the box and get out. She really does some prime horror movie heroineing here. But then she passes out, and wakes up in a hospital from dreams of a red blooming flower. Mm-hmm.
When a doctor tries to interrogate her, Kirsty insists she remembers nothing. She’s left to recuperate, with the puzzle box as a spur to her memory. So she does what everyone does when they’re left alone with the box and starts feeling it up to reveal its secrets. First, she manages to open a gateway to a fun slobbering, snapping thing that defies physics when it flies and has a stinger for a tail, but after she escapes, she meets the Cenobites. And the only thing the Cenobites want more than to play with Kirsty is to get Frank back.
As gory as it can be, the meat of this movie isn’t effects; it’s Julia turning into a monster for the sake of her love of Frank and it’s Frank being an inhuman bastard who has a 50/50 shot at sticking a knife or his penis in you, and even then probably not where you’d expect. It’s Larry’s marriage turning to ash in front of his hapless, loser eyes and it’s Kirsty being unable to save her father from his own mistakes. The Cenobites are hella memorable, but in this movie, they’re more of a force of nature being invoked by some terribly human appetites.

Also, the Cenobites aren’t clearly Satan-based demons here, despite the title. The Lead Cenobite (Pinhead to you) announces them as “angels to some; demons to others.” That was on the posters, and it’s pretty damn apt. They get to be both in this movie, and while there’s an oblique acknowledgment of hell, it’s arguable whether it refers to a literal Judeo-Christian hell. I’m making that point, because later films are going to go backsies on some of this. But as far as we know in the first movie, they’re just supernaturally-endowed swingers from another dimension.
This is a film Clive Barker made after seeing other filmmakers butcher material from a couple of his other short stories, and he basically said, [bleep], I’m going to do this my way, and it’s going to be awesome. And then he said, oh, [bleep], I don’t know what I’m doing. But he was wrong about that. It’s a tight script and he directs the hell out of it, including some really clever shots and setups. All the actors give it everything they’ve got. There are no limits. So decades later, it’s still scary and there’s not much like it; Phantasm probably is the only series I can think of with a similar feel. I do still have eight movies to go in my Hellraiser-a-thon, but I feel pretty safe saying if there’s one Hellraiser you should see, it’s this one.

roadside attractions

  • Piercing fetishes
  • Extreme maggot wrangling
  • American-dubbed British people because U.S. market
  • Chains of love
  • Guys getting hammered
  • Lots of ectoplasm. At least, I hope it’s ectoplasm.
  • Cannibalizing action
  • Full backal nudity
totals

10

blood

BLOOD

Everything that is inside eventually comes outside in this movie.

0

blood

BREASTS


…Except boobs. No boobs. If you don’t look away in time, you may see Frank’s junk though.

10

beast

BEASTS Big slobbering stinger-equipped monster, big flying pterodactyl-like monster, skinless Uncle Frank, and Cenobites for the win.

9 OVERALL Even with some dated SFX, the movie holds up and is still scary, provocative, and – why not say it? – artistically fulfilling. Check it the hell out.
dripper

Watch the trailer to “Hellraiser”

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Jan

Comments Off on Silent Night, Deadly Night 5: The Toy Maker

Silent Night, Deadly Night 5: The Toy Maker
“He’s Home… But He’s Not Alone.”

1991 – R – 90 Minutes – Lionsgate
Starring William Thorne, Mickey Rooney, Jane Higginson – Directed by Martin Kitrosser

Let’s take a moment to consider what Christmas is really about; toys. The newest and coolest toys. If you don’t have the latest and greatest toys, then you suck, you’re dead to me. Get better toys. Much like video stores, the mom and pop toy stores were run out of business for not carrying the ‘Tickle Me Elmo’ or the latest Pokeman’s. It’s all big business now and they lack any heart. It’s the little guy who knows your kid’s name and will leave him killer toys anonymously at your doorstep, then head back to his filthy apartment to beat his kid. At least this is the case in Silent Night, Deadly Night 5: The Toy Maker.

Silent Night, Deadly Night 5: The Toy Maker stars Mickey Rooney, a well known actor who wrote a letter of disgust in protest against the original film stating that the “scum” who made the movie should be “run out of town.” That is until he needed a paycheck. Change of heart suddenly, Mickey? It also stars a bunch of other people that aren’t worth noting, so does this make it a bad film? Nah, it’s alright.

Like EVERY Christmas-horror movie, some kid named Derek is watching their mom going at it like a pony out to stud, but for a change of pace, it’s not with Santa Claus this time. His peeping tom time is interrupted by the doorbell, which to his surprise when he answers, is a gift for him. Before he can open it, his dad, a very shirtless and hairy man, sends him off to bed for opening the door so late by himself! After all, what if it were a killer Santa? Feeling greedy, he opens the gift to find a musical orb painted up like Santa. It’s charming, until he literally flips the kill switch on the thing, which proceeds to strangle the gangly, hairy man as he falls on a fireplace poker. Double kill!

sndn5_2Two weeks pass and Derek hasn’t spoken a word. His mother, Sarah, on the other hand, is annoyed that Derek hasn’t moved on. She is on vacation mode while this kid does odd things like squish his eggs at breakfast, for which she smacks him around a bit. Geez kid, your father was brutally murdered in front of you by a Christmas toy, get over it! But if there is one thing to get a child’s mind off a witnessed homicide, it’s a brand new toy. Sarah takes him down to Petto’s Toy Store run by Joe Petto (played by the aforementioned Mickey Rooney) and the odd Pino. Pino is the type of odd that makes you feel uncomfortable in daylight… in public. Pino offers Derek the hottest toy they have to offer, Larry the Larvae! That’s right, all the kids are clamoring for the latest, hideous looking and sounding insect toy. All this time, some guy named Noah disguised as Kyle Reese has been following Sarah and creeping around Petto’s store. Who on Earth could he possibly be? For one thing, he’s the world’s biggest (and most likely only) Larry the Larvae enthusiast, cause he scoops that hunk of plastic up after Derek and Sarah leave and he seems to be in a rush. I can tell ya, he’s not in any rush to pay his rent at the local seedy motel he’s staying at, wherein his room is littered with toys from Joe’s shop. The landlord (or whoever runs motels) shows up demanding money or Noah will be evicted and manages to talk the landlord into taking the Larry the Larvae toy until he can get him his money. Wow, this thing must’ve been a hot commodity! It’s worth more than a handful of them Beanie Babies!

Such a hot commodity that the landlord needs to play with it and take it out of the packaging while driving at unsafe speeds. First of all, who takes their child’s toy out of the package to give to them and secondly, why in the car? The guy is barely paying attention to the road that his death is unavoidable at this point. Larry the Larvae acts in natural selection’s place and crawl into his mouth, sucking in his eyes as he inevitably crashes his car and being early 90’s movie law, the car explodes! All this guy wants for Christmas is his two front eyes!

sndn4_3Maybe taking Derek to see Santa will help him out (with another anonymous present to be found on their way out), even if Santa turns out to be a creep, since it’s Noah in disguise. What are the odds he happens to be a mall Santa, spotted them in line and talked Ricky (Clint Howard reprising his role, but not the same role) into giving him his shift? The stars must be aligning.

While all of that was going on, Pino is breaking into Sarah’s home with a key he keeps hidden under a brick with the writing, “Pino ’75”. Wow, it’s a good thing those locks haven’t been changed nearly twenty years. Wait, why is his name dated from that long ago? I’m getting ahead of myself and that question will be answered, but Derek and Sarah arrive home early thanks to Santa Creep and Pino bolts from there, scaring Sarah half to death. She immediately storms down to Petto’s Toy Store and demands answers and that answer is… they use to live there. That’s it. Still, it feels like there is something more to it…

That night, Sarah decides to let Derek open the mystery gift, thinking it’s from her friend Kim and to answer your question, yes the same Kim from Silent Night, Deadly Night 4! She has apparently adopted Lonnie and they both seem to have forgotten all about the crazy bug cult, kidnapping and spontaneous combustion and now live in a town with killer toys. As Kim is distracting Sarah, Derek takes the present out to the trash since the last time he had a gift left on his doorstep, it didn’t turn out so well. Lonnie happens upon this discarded present and opens it up to find himself a brand new pair of rollerblades! But these rollerblades were secretly rocket powered, enabling Lonnie to go at uncontrollable speeds of about 5 miles per hour! He smacks right into a car, which I’m sure he could have done faster by going down a slight incline, and ends up mummy wrapped in the hospital.

Back at Petto’s place, he does his typical dad stuff, like gets drunk and starts wailing on Pino, who it turns out is much stronger than he looks and accidentally tosses Joe right down the stairs.

Sarah heads off to visit Kim and Lonnie in the hospital, leaving Derek to a pair of promiscuous baby sitters. Just this kid’s luck. You remember what happened the last time this kid heard people going at it? As odds would have it, it happens again. Joe appears dressed as Santa and drops off a sack full of deadly toys for a (what seems to be) heavily cut gore buffet! He uses this opportunity to snatch up Derek and flee the scene, cause nobody would be able to connect who left all these toys from a specific store in the middle of a bloodbath.

sndn5_4Meanwhile, the connection between Noah and Sarah is revealed; he left for the military, they were dating and that he is actually Derek’s real father. Wow, that’s a lot of unnecessary and predictable exposition. But we can’t move on the the finale yet, there is more. Noah explains what he was doing with all the toys; making sure they weren’t boobytrapped! That’s right and there’s more. Turns out, Joe was arrested for boobytrapping some toys in the past after his pregnant wife died in an accident. That explains that, but then who is Pino?

And we do find out in an eye popping moment when Pino reveals he is actually a robot built by his father! He strips his costume right off and resembles a Ken doll, full size and come to life… and just as smooth, if you catch my drift. Turns out he grew quite an affection for Sarah and wants to kill her son to replace him. He expresses this by lifting up her legs and dry humping her, making for a very merry Christmas, I’m sure.

Silent Night, Deadly Night 5 not only (kinda) brings back the killer Santa gig, but also goes back to the series more exploitation roots, opting more for bizarre and disturbing sci-fi that was popular during the early 90’s rather than the then not so popular slasher elements. As you may have noticed, the plot for a type of film like this seems needlessly complicated, but I assure you, it’s not. Everything is explained in a couple lines of dialogue and they move on. Earlier I stated that this film stars nobody at the expense of a joke, but that is underselling it. Everyone actually puts in a fine performance, especially the actor playing Derek, who barely has any dialogue throughout the film and even Noah resembles somewhat of an almost as talented Stephen Dorff. Pino is downright creepy and when his true nature is revealed, you look back and realize he was kind of robotic in hindsight. Come to think of the casting, you have to assume casting Mickey Rooney and putting him in a Santa costume as a killer was intentional. Also, the Pinocchio nod with Joe Petto and Pino and Pino being a toy created by Joe was a very cool, dark twist on a fairy tale.

I can’t help but shake the feeling the MPAA wanted this one cut down, as there seems to be quick cuts away from gore, which is a shame since it’s done quite well. Yeah, this film has more blood than the previous two, but less ickiness than Initiation. The onslaught scene of the toys massacring the babysitters is outstandingly bloody and perhaps a bit comical.

Silent Night, Deadly Night 5: The Toy Maker
The film certainly captures the holiday spirit (you know, decorations, Santa and murder) much better than Initiation and doesn’t feel like the title was a last minute inclusion, but rather it’s part of an anthology series with the same theme. I found it to be a lot of fun from the concept, right down to the performances, you will have a jolly ol’ time. It made me wanting for a sixth installment, but what we got instead was a less than mediocre, copy and paste modern day slasher. Maybe we will take a look at that next year.

Check out this review and plenty others at Goon Reviews.

roadside attractions

  • Don’t open till Christmas… or else.
  • Killer toys.
  • Keep your eye on that toy!
  • Drunk Mickey Rooney dressed as Santa and smacking people around.
  • Battle of the bedroom.
  • Robo-Pino.
totals

6

blood

BLOOD

It wouldn’t be Christmas without a whole lotta red.

4

blood

BREASTS

Two pair are better than one.

7

beast

BEASTS

Drunken Mickey Rooney with an army of killer toys and a creepy, perverted robot kid!

5.6 OVERALL
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Dec

Comments Off on Christmas Evil (aka You Better Watch Out)

Christmas Evil
“Better Watch Out… Better Not Cry… Or You May DIE!”

1980 – R – 100 Minutes – Vinegar Syndrome
Starring Brandon Maggart, Jeffrey Demunn, Dianne Hull – Directed by Lewis Jackson

The idea of Santa Claus is pretty creepy once you start to think about it. I mean, a man who wears the same suit every day of his life and shakes like a bowl full of jelly watches kids and everything they do every single day of the year, then if they are “good”, he breaks into their home to leave them gifts. And we actually let children believe this! That’s pretty horrific, but perhaps something more horrific than that would be a man driven so insane by the cheerfulness of jolly ol’ Saint Nick that he starts to believe his is Santa Claus!

Oh yeah, there’s a movie for that. Christmas Evil or as the title card would suggest, You Better Watch Out. Actually, that’s the title of the film. It was later changed before release to Christmas Evil to seem more appealing to the slasher crowds that were booming at the time. This debately only hurt the film over time, but luckily due to Synapse putting the DVD out a few years ago and now Vinegar Syndrome just recently releasing it on Blu-ray, it seems to be finding a bigger audience every year. It’s what John Waters calls “the greatest Christmas movie ever,” so let’s check it out.

On a totally unrelated note, star of the film, Brandon Maggart, is the father of Fiona Apple. Remember her?

ce_2Late Christmas Eve in 1947, young Harry sneaks from his room to see Santa, which is really his father dressed up, licking his mom’s leg like a lollipop. This sight is so traumatic that he smashes a snow globe open and gouges his hand with a shard of the broken glass. Cut to (non pun intended) present day 1980 and Harry is obsessed with Santa. You know those older guys that still collect toys (guilty) or are so obsessed with Spider-Man or something and they still wear the pajamas, watch the cartoons all day and hum the little jingles? That’s Harry. Thankfully, the guy doesn’t go around in public wearing his Santa jammies. He does, however, wear them inside his all year around Christmas decorated home. It’s kinda like the Cracker Barrel if they decorated for Christmas every single day of the year.

Harry also happened to land himself a supervisor position at the toy factory he works at, Jolly Dreams. It’s a non-union job, so nobody listens to him, treat him like crap and look down at him for taking the position, like he betrayed the other workers. But he’s still a good guy that he even takes crummy worker Frank’s shift for him that evening. Luckily, he has his hobbies to take his mind off things, like spying on the neighborhood kids from the rooftop with binoculars, jotting down who’s being a good or bad boy or girl in his naughty or nice books, of which he has several. Oh yeah, he’s been doing this for a long time. You may want to take a break from the film to scrub yourself clean right now.

Heading home from a long day at work, he spots Frank, the co-worker who shift he covered, getting nice and drunk and calling Harry a shmuck. Harry heads home in a hurry for some therapeutic squeezing a toy soldier until it breaks while humming a Christmas tune as he increasingly becomes more anxious doing so. Ah, doesn’t that feel better?

ce_3Thanksgiving passes, Harry blows off his brother Phil (played by Jeffrey DeMunn) and his wife and two kids, and his company’s Christmas party is in full swing. And brother, is it swinging! White people be getting drunk up in there! Through a televised announcement, Harry learns that Jolly Dreams will be donating toys to less fortunate kids, but only if profits increase. Harry asks his supervisors about how many toys are being donated and if all of the kids will receive something, but they don’t seem to care. But what of the little children and their toys? Harry decides to step in and take action! While the party is still in full effect, he marches right on down to the assembly and steals toys to give to the good boys and girls. Call the guy a shmuck all you want, but he has a good heart.

But if you are gonna play the part of Santa, you may as well become Santa. Harry finally melts down, making toys down in his basement, gluing a beard to his face and dressing in full Santa garb. He packs the toys in his van and does what would be considered the most charitable thing a man could do, if you didn’t know he was totally bonkers, and drops off toys to Willowy Springs State Hospital. It’s actually a very heartwarming moment to think those kids were just given a Christmas by a total stranger who cares about their well being, but then you start to dial that thought back once the night further unfolds.

Stopping by at a nearby church after mass where a few of his supervisors are attending, Harry waits outside for the place to empty with a glare Jack Torrence would shudder at. As the crowd exits, Harry starts to make a move toward his bosses, but is stopped by some yuppies, none of which are Patrick Bateman. They taunt and tease Harry, but he has more than toys in his sack! Jabbing one of their eyes out with a toy soldier, he then proceeds to hack them to death with a rather festive looking Hatchet and darts off into the night, taking cover in a Christmas party and giving the most chilling Santa speech to some children. Good thing Billy from Silent Night, Deadly Night was someplace else.

ce_4The night is still young and Santa’s work isn’t over. Harry stops by Frank’s house, first by trying to squeeze through the chimney, further validating his insanity and giving a claustrophobic like me anxiety. Realizing that won’t work, he breaks into Frank’s home like a normal person, through the door, dropping off some toys for his children under the tree… then paying a visit to Frank himself, who is tucked in bed, fast asleep next to his wife. Harry gives another dark speech, then tries to smother him to death with a pillow, but ultimately slashing Frank’s neck with a Christmas ornament, which is more fitting. Tis the season afterall.

Phil knows something is wrong when Harry (who is busting up toys at Jolly Dreams) is absent on Christmas day and comes to the realization that his brother is the psycho-Santa he heard about on the news. Later in the evening, Harry’s van breaks down on the wrong side of town… the kind where apparently they have frequent Frankenstein’s monster problems as he finds himself being chased by a torch carrying mob after his cover is blown. He manages to escape and seeks help from Phil, who greets him by strangling Harry over what he’s done and drags him back into his van. However, Harry isn’t dead and knocks his brother down with a punch and speeds off just as the lynch mob is catching up. Phil chases on foot only to witness what is debateably among fans either a miracle or a tragedy; Harry swerves to dodge the mob, only to have his van crash off a bridge as it soars into the sky as he recites the final lines ‘To All a Goodnight’. Did his van crash off the bridge, killing Harry or did he actually become Santa and soar into the sky? The sound certainly sounds like a crash, but the look on Phil’s face says otherwise… that is left up to the viewer, which ultimately makes for a better ending.

Christmas Evil is kinda like the Taxi Driver of Christmas. You watch as a man being bullied by coworkers, surrounded by greedy people who don’t care about the less fortunate, basically completely overwhelmed by the scum of the Earth as the needy are laughed at, loses his mind. He goes so far over the edge to actually believe he is Santa, much like Travis saw the same atrocities and believed himself to be some sort of equalizer or cleanser. Brandon Maggart’s performance as Harry is downright unnerving, as you watch a normal man who isn’t all there, be pushed over the edge to the point of no return. You feel sad for him, but your feelings are put to question once you begin to realize how sick he is and what he is doing is wrong. You want to help him, then he murders a few people and you aren’t sure how to feel. But that’s what the filmmaker was going for. This is more of a character piece than it is a slasher. And that’s a common misconception most people have with this film and as I stated earlier, it could be due to the way the movie was marketed, is that it’s viewed as a slasher, when it really isn’t. Sure it has slasher like elements and he slashes a few people, but the overall arch is about Harry’s fall into madness.

Christmas Evil
It’s a great film, swimming with two kinds of mood; the kind that gets you geared up and excited for the holidays and the other kind that sends shivers down your spine and cautious of anyone that is dressed like Santa Claus. The festive Christmas lights against the dark sky as Harry stands in the cold night, breath visibly exhaling from his body, in a dirty Santa suit is one of the scariest images I can think of. Although the pacing itself is slow and there isn’t much gore, there is still a chilling and shocking story to find here. Give yourself a gift this year and watch what is probably the best Christmas movie of all time. Eat it, A Christmas Story!

Check out this review and plenty others at Goon Reviews.

roadside attractions

  • A Travis Bickle Christmas.
  • Fiona Apple’s dad.
  • Crazy-Claus
  • Eye see toy soldiers.
  • Hatchet induced migraines.
  • Christmas star throat slashing.
  • Full size van sleigh.
totals

6

blood

BLOOD

The eye gouge and hatcheting are heavily cut, but there is still some there to be enjoyed. Someone’s on the MPAA’s naughty list.

2

blood

BREASTS

No bewbs this Christmas, but a little leg.

10

beast

BEASTS

You better be good or else Santa will come for you.

6 OVERALL
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Aug

Comments Off on Slumber Party Massacre II

Slumber Party Massacre 2
“The party begins when the lights go out!”

1987 – R – 74 Minutes – Shout! Factory
Starring – Crystal Bernard, Atanas Ilitch, Heidi Kozak – Directed by Deborah Brock

So we have this really controversial, popular film that has some clever jabs about women in horror films… what should we do? Make a sequel, but this time let’s tone all that down and make up for that with a silly villain. Oh and get that chick who played Helen in Wings. Also since the first one had a female director, so we’re gonna need one too. Throw in some topless pillow fights and rock and roll and now we have Slumber Party Massacre II!

I think just about every slasher film in the 80’s had a sequel. After all, it was basically like printing money. But there was something those sequels were all missing that the original had; heart. Is that what I want to say? The original would often have a lot of style or something about it that would stick out and make it popular, so the sequels always tried to repeat that, often making for a bland rehash of the first film. So is Slumber Party Massacre II an exception?

Rather than give us a disposable random character, the film actually centers on Valerie’s sister Courtney, who seems to be suffering from nightmares ever since the events of the first film. Her nightmares consist of… and I kid you not… a Rockabilly serial killer with a drill at the end of his guitar as he torments Valerie in the institution where she now resides and warns Courtney not to “go all the way.” Courtney should consider herself lucky. My nightmares consist of an endless date with Miley Cyrus, only she has the voice of Steve Urkel and won’t shut up about which guy from Supernatural she thinks is cuter.

spm2_2Courtney is (now) a real shy and quiet girl, which kinda seems like the polar opposite of her character from the first film, who has a crush on a super hunky dude Matt and invites him over to watch her all girl pop rock band practice. Oh yeah, she’s in a band now too. Are we sure this is the same girl? Seems like quite a departure from the foul mouthed, bratty pervert. Courtney finally gathers up the courage to invite Matt out to Sheila’s dad’s condo for the weekend. Just a few days of R&R, partying, rocking out and definitely not getting butchered or have premarital sex. Hopefully she can convince mom.

Although the weekend would be her birthday and they are suppose to visit Valerie, Courtney actually makes a solid argument that she doesn’t want to spend her birthday in an institution, so off to the condo to get wasted with the other gals from the band and an all girl band calls for a roll call! There’s the oversexed lead singer Sheila (Juliette Cummins who played Robin in Friday the 13th Part V), the drummer Sally (Heidi Kozak who would go on the next year to be in Friday the 13th Part VII) and the timid, but not as timid as our heroine, Amy. Now that we have these girls in a room isolated from any authority figures, it’s time to pay ever so discreetly to fan service by having the girls deepthroat corndogs and stripdown for a topless pillow fight while spraying champagne all over each other, complete with some slo-mo!

For some reason all I can think is dirty thoughts. This movie was being so subtle, it must have been messing with my mind!

spm2_3And it wouldn’t be a traditional 80’s screwball horror flick if two of the boyfriends didn’t arrive just in time for the show. These two doofuses are Jeff and TJ, the latter of which is that stoner, raspy voiced guy who can’t stop chuckling at all his stupid jokes and says “dude” way more than any human being should be allowed to. Anyone can do his voice. Just ask your friend to do an impression of an 80’s surfer and that’s TJ’s voice. It’s like Keanu Reeves and Spicoli had an illegitimate child. Jeff is that non-defined 80’s guy in a polo with teased fluffy hair that has no personality. You see this guy in every film of that decade and you can’t for the life of you figure out why the characters would hang out with him. You know this pair; the leather jacket wearing slacker that hangs out with the preppy dude in sweaters. Even Matt stops by, so now that our buffet of victims is full, we can kick our exploitation film into high gear.

Courtney’s nightmares are becoming more intense and increasingly more difficult to deal with. Her friends blame it on the hangover, but Courtney can’t shake the feeling that something terrible is about to happen and she couldn’t be more right… TJ offers to heal her like a televangelist and tosses her in the pool, watching her kick and scream until she nearly drowns. The jerk even has a stinger prepared after he apologizes. Seeing as how that friendly traumatic experience didn’t help, Courtney is now having wide awake nightmares, envisioning things like blood pouring out of the bathtub and one of the sickest, gross out moments a film could pull, a giant zit growing on Sally’s face and then exploding, soaking her. This is a moment that should include a barf bag.

After this, Sally winds up missing and further drives Courtney mad. She tries to convince the others that the hallucinations are real, until Officers Voorhees and Krueger show up to ridicule her mental illness. As they finish up their top notch police work, Sally appears with the excuse that she met “some hot guy.” Case closed. Courtney is feeling ashamed and full of low self esteem, which is perfect timing with Matt to go all the way! Just as they are about to, he is ‘penetrated’ with that guitar drill and our rocker pulls his arm off, cackling. Courtney panics and runs to warn the others in an incoherent, blubbering way. At a glance, they don’t believe her, but why on Earth is she covered in blood? They are soon about to find out why! Like ducks in a row (is that the expression?), they meet their demise at the end of the drill, including TJ who gets a leg injury first, forcing him to hobble around like a wounded animal.

I was rooting for TJ to get killed the entire film and when he finally did, I was filled with glee. Not Glee the TV show, that would be stupid, but happiness. But this was a different feeling that you get when there is an obnoxious character you want to get the axe. You see, I actually didn’t mind TJ, mostly due to all the cliches his character played up to. The actor Joel Hoffman was clearly having a blast and as intolerable as a character like that can be, he still manages to make you chuckle with his idiot antics. It’s not like something like Hostel where every character is that character and it makes watching the film insufferable.

spm2_4As Courtney and the survivors dwindle down in numbers, the moment you knew would happen (and hoped for) finally happens… a sing and dance number! It’s surprisingly a catchy little tune and the scene is lit like a giallo film as the killer performs his act, even breaking the fourth wall. But like all musical number, they must end, as Courtney is chased to the roof of a building under construction and she sets him ablaze with no resistance, like he accepts his fate. Either that and he realized he wants out of the movie.

The sun rises, it’s now morning and the police are cleaning up the mess. Courtney, looking understandably in total shock, stops to look at Amy’s body who rises to life with laughter! With a gasp of air, Courtney wakes up next to Matt naked. It was all a dream and she is plagued with guilt after having nightmares about her sister telling her not to go all the way (?). But WAIT! It’s not really Matt! It’s the killer! Now she wakes up… again… in a small room shrieking at the top of her lungs as a drill boars through the floor, symbolizing the danger of sex? Maybe? So… she’s crazy just like her sister and it’s hereditary? The ending has so many twists that even M. Night would tell them to tone it down. I don’t think the ending was trying to be symbolic of anything or have a deeper meaning, but just a twist for the sake of a twist. This was at a time where a twist ending would come along and work, so the next several dozen movies would try to do the same thing even if it made no sense or didn’t fit.

To be honest, I didn’t like this film the first time I saw it. I thought it was stupid and didn’t make sense and was too goofy, like nothing fit together. I can admit when I’m wrong and I must have been watching this movie with my eyes closed because after a another viewing, I actually liked it. Do I like it as much as the first film? Definitely not, but I think my opinion was misguided the first time. For starters, having the girls in this home doing very stereotypical 80’s teen girl sleepover stuff and being in a slasher film, the whole thing feels like Night Trap! I keep expecting to see Commander Simms pop up and pull the plug on me for not protecting them. For me, that feeling is a good thing and it’s resonates throughout the film. What I at first thought to be a cornball, half heart shlocky attempt at cashing in on a sequel to a slasher (it is, but hang on…) turned out to be this massively fun, highly enjoyable slasher that gives you exactly what you are looking for out of an exploitation film.

Slumber Party Massacre 2
Minus the incoherent mess of an ending, Slumber Party Massacre II is a lot of fun, which comes to no surprise from a Roger Corman produced movie. It’s evenly placed and doesn’t run on too long. It’s a popcorn flick filled with exactly what you want: nudity, blood, humor and all the great ingredients to make that perfect cheesy flick. Although it’s evident it wasn’t the filmmakers intention to make a goofball horror-comedy, that’s how it turned out. Nine times out of ten, that is a bad thing, but everything here works. So invite the girls over, slap each other silly with 100 goose down pillows and pop the cork on that champagne! Watch this flick for a good time.

Check out this review and plenty others at Goon Reviews.

roadside attractions

  • A Nightmare on… whatever street Slumber Party Massacre II takes place on.
  • Rock-a-billy nightmare!
  • Pillow fight!
  • TJ.
  • Driller killer.
  • Poppin’ a zit!
  • Slumber Party Inception Massacre.
totals

7

blood

BLOOD

Blood splatters and sprays, limbs fly and zits pop!

7

blood

BREASTS

It wouldn’t be a Corman flick without ’em.

4

beast

BEASTS

The killer is far too enjoyable as a performer than to be scared of him. Still, pretty cool.

6 OVERALL
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