|
Review:
The
art of the slasher movie is a subtle one. It's difficult to tell
one from another in most cases and that's because they generally
follow specific rules, which have been explained far better in
some of the genre than I can do here in this short review. But
just because one of these things follows the rules and does
nothing especially original doesn't mean that it doesn't do the
trick, far from it, this is actually pretty good for what it is,
and does in fact give us a couple nifty scares here and there, and
it's really icky.
The film begins sometime in the past, where a certain officer
Williams(Steven Vidler) and his partner arrive at the door of a
run-down suburban house to follow up on a complaint.
What they find, of course, is our supernatural psychopath, Jacob
Goodnight(WWE star Glen “Kane” Jacobs), having just finished
ripping the eyes out of some bit player. Our villain rips off our
hero's arm, but Williams gets Jacob in the head…or does he?
Cut to the present, With the surgery a failure, Williams now has a
prosthetic arm, and a job as a prison guard. Today, he's going to
shepherd a bunch of reprobates to a work release program where
they're going to help renovate an old hotel, which is going to be
a homeless shelter.
Of course, Jacob managed to survive a bullet to the brain, and is
using the hotel as a base, and here we are with a bunch of nubile
young things ready for the pickings.
While Dan Madigan's script is very careful to follow all the rules
of the genre, he does have some bits of original thinking. The
order of the victims is mixed up from the usual “Assholes first,
let the virgin survive” order. In fact, the nastiest jerk of the
bunch(Luke Pegler) winds up being…well, if you actually care about
such stuff, you're going to see the movie anyway and if you don't
there's no reason to go on any further.
Although there's not nearly enough jolts, this is a workmanlike
job, and porn director Gregory Dark [he also did some music
videos] now has a leg up in real movies. For fans only.
Eric Lurio
|