Posts Tagged ‘adam green’

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It occurs to me that I’m kind of late to the party with this one, since Hatchet III actually came out last year, but whatever — I’ve reviewed the first two films in Adam Green’s self-proclaimed “old-school slasher” series, and it’s high time I reviewed this one, as well, even if, by all rights, I probably should have seen it sooner than I did (which was just last night, for the record).

It also worth noting that, unlike my usually way-too-verbose ramblings, my reviews of Hatchet and Hatchet II were actually quite short, and there’s probably no reason to break that streak here — after all, you  pretty much know what you’re getting into with these flicks, and even though creator Green has passed on the directing chores this time to long-time camera operator BJ McDonnell, he still wrote the script and he’s on hand (in whatever capacity) as an executive producer, so things aren’t gonna be that much different.

Which, I guess, is both good and bad. It’s good in terms of continuity (the story here picks up at the exact moment the last film left off) and style (it feels for all intents and purposes like Green may as well have directed this one himself), but it’s bad news if you want something a little bit different or challenging (which, admittedly, most fans of the series probably don’t). The blood, guts, innards, entrails, and other various viscera all fly more freely than ever in Hatchet III, to be sure, and since that pretty much represents the raison d’etre of what Green and his cohorts are trying to accomplish here, ya gotta say — job well done on that score. But is it just me, or is all of this starting to get more than just a little bit stale?

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Danielle Harris is back as full-time “final girl” Marybeth, and she’s given plenty of opportunity to do what she does best — you love Danielle Harris, love Danielle Harris, we all love Danielle Harris — and it’s nice to see some familiar genre faces turn up (look for Zach Galligan as the sheriff leading a doomed expedition into the swamps to track down Crowley and Sid Haig in a memorably OTT cameo) for the party, but some of the “second generation” (nice-speak for “nepotism”) casting decisions are questionable at best, like Robert Diago DoQui (son of legendary blaxploitation stalwart Robert DoQui) as a personality-free deputy and Cody Blue Snider (son of Twisted Sister’s Dee Snider) as a typically annoying twenty-something, but no real matter — when the time comes for them to meet their end, they  all do it in style, and we all know that nodoby dispatches his victims better than Kane Hooder (even if he never gets to show his face in any of his most memorable roles). So yeah — for what it sets out to do, this flick does it as well as you’d hope and/or expect.

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Dark Sky Films has done a nice job with the Blu-Ray (and, I’m assuming, the DVD) release, as well —- picture and sound are both flawless, as you’d figure from a new production, and the disc is loaded with extras including a couple of “making-of” featurettes, the trailer (of course), and two feature-length commentaries, one with the cast and one with the crew, that are both pretty fun to listen to. The shoot for this one sounds like it was positively grueling, but all in all everyone’s spirits seem high as they observe their handiwork. Again, job well done here.

So what, you rightly ask, is the problem, exactly? Good question — and not necessarily the easisest one to answer, but I get the feeling that Hatchet is a franchise in serious danger of jumping the shark. We’ve got some “voodoo curse” elements thrown into the mix here that have always lurked in the background, I guess, but become more prominent “crutch factors” this time out; the laughs are a little flatter; the “old school” vibe is not nearly as novel as it once was — lots of little things, I guess. But the most prominent death spiral that Green and Co. have gotten themselves into is one of their own making, and is the toughest one to pull out of : simply put, they’re always having to top themselves.

Think about it : every single one of Victor Crowley’s murders is more bloody, spectacular, tasteless, and physically and scientifically impossible than the previous one. And when you run up the body count as high as ol’ Vic does, that means you’ve gotta find some new way to pull out all the stops about 15 or 20 times in each film. It’s worked so far, but it’s starting to wear pretty thin, and any horror series that has devolved to the point where the only reason you’re watching it is to see just how fucking crazy and outlandish the next killing will be is one that’s starting to run on fumes. Everybody is still giving it their all here, that much is obvious, but it seems like they’ve pushed the whole concept about as far as it can possibly go, and maybe even a bit further. There’s no shame in quitting while you’re still at least marginally ahead, is there? Don’t get me wrong — I had a good time watching Hatchet III. It was pretty much exactly what I was expecting it to be, and that’s just fine. But I think it’s time to let Victor Crowley take a much-deserved rest for a good half-decade or so. He’s a fun, memorable, absolutely over-the-top character, and I’d hate to see him overstay his welcome.

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Then again — most of the ’80s slashers he’s based on did just that, so maybe continuing to milk this cash cow to the point where all it’s got left is a few runny dribbles is part of that whole “old school” thing they’re going for. To be followed, of course, by the inevitable “re-imagining” of the series. The Hatchet fracshise might be starting to feel a bit threadbare, but who knows? Maybe it’s only just begun.

Adam Green's "Hatchet II" Movie Poster

It hasn’t been too terribly long since we took a look at the first Hatchet flick around here as part of our 2010 Halloween 12-pack, but as the sequel, Hatchet II (properly referred to, I guess, as Adam Green’s Hatchet II) just came out on DVD from Dark Sky Films (who also handles its — admittedly limited — theatrical run), and the second movie picks up exactly where the first one left off, we might as well jump right in and review it right it straight away.

So Marybeth (Danielle Harris) escapes the clutches of murderous deformed psycho Victor Crowley (Kane Hodder, everybody’s favorite Jason) and after finding no shelter with a backwoods survivalist (horror EFX legend and occasional director John Carl Buechler) high-tails it back to Reverend Zombie (the Candyman himself, Tony Todd)’s cut-rate French Quarter voodoo shop in the hopes that he’ll have a strong enough conscience to decide to go back and try to retrieve his boat, look for what’s left of his tour guide, and maybe even help her rid the world of the Crowley menace once and for all.

To her (and let’s admit it, our) surprise, the not-so-good Reverend agrees and after assembling a crew of local yokel quasi-fortune hunters to help him in his daring mission, it’s back to the swamp they all go. Marybeth just wants to find the remains of her family members and give them some semblance of a proper burial, but Reverend Zombie, of course, has slimy ulterior motives galore for agreeing to help our young damsel in distress out, and naturally, this being a sequel and all, along the way we’re made privy to some new wrinkles in the Victor Crowley origin story that give him a more firm connection to our intrepid heroine than we’d previously imagined (but no, she’s not his long-lost sister — thank God).

Yup, folks, this is old-school slasher-style horror amped up to the Nth degree again, with more blood, more guts, more kills, more thrills, and more laughs. It’s really not even a sequel so much as a direct continuation, and if you watched both Hatchet films back-to-back (as I admittedly ended up doing later), what you’ve basically got here in one solid three-hour-plus story. And your humble host has to say that it’s a pretty damn good one.

Writer-director Green knows he’s not mining any new ground here story-wise and the only way he can top himself is by going for the jugular more directly, so the violence is more spectacular (and spectacularly funny), the characters are more OTT, and the whole thing just takes on the atmosphere of a straight-up slasher party flick. As always, I’m more impressed by a movie that knows its limitations and just tries to do a damn good job of what it sets out to do than something that’s bury reaching for a goal that’s well beyond its grasp. Hatchet II doesn’t fuck around — it knows why you’re watching it and it sets out to serve you up a heaping helping of everything you love.

My only real beef with this movie, honestly, is that it was show on HD instead of good old fashioned 35mm, but that’s a small gripe — apart from that, everything here is spot-on and it more than fulfills its worthy mission of  bringing old-school horror to an appreciative audience of old-school horror fans. It’s not for everyone, of course, but if your idea of a good time is watching a guy get strangled by his own intestines or a young lady fuck (or getting fucked by, depending on how you look at these things) a dude who gets his head hacked off mid-coitus and she keeps bucking back on him anyway until she figures things out, this is is the movie for you.

Dark Sky does a nice job with the DVD, too — the picture and sound are great, as you’d expect from a new release like this, and it’s loaded with some nice extras including the theatrical trailer, a making-of featurette, and two full-length commentaries (one cast, one crew) that are both a lot of fun(my favorite part being where Green points out all his horror-director friends that he got to e extras or take on minor parts in group scenes,  just in case you might be a horror geek like myself who wonders what some of these people look like) if a little bit in-jokey at times.

Anyway, Hatchet II — it’s exactly what you think it is, on steroids. And that’s a very good thing indeed.

"Hatchet" Movie Poster

“Old School American Horror.”

Shit, that sounds good, doesn’t it? That’s what writer-director  Adam Green’s 2006 indie-horror mini-sensation Hatchet (which has now spawned a sequel that came and went in ultra-limited theatrical release pretty fast, but should be available on DVD in the hopefully-not-too-distant future) promises, and I’m pleased to say that it delivers.

Need some evidence? How about cameos from cult horror icons Robert Englund (as a backwoods redneck), Tony Todd (as a French Quarter witch doctor/tour guide), and Richard Riehle (as a loudmouth tourist/soon-to-be-victim)?

Not enough for ya? How about most people’s favorite Jason, Kane Hodder, as the slasher (or hatcheter) himself, Victor Crowley?

Shit, how about that name — Victor Crowley, that’s got “iconic horror character” written all of it, doesn’t it?

Shit, I can see you’re still not convinced.

How about a healthy serving of bare boobs (not all of which are that great)? How about a simple-ass plot about a dumped-and-heartbroken college schmuck name Ben (Joel Moore) who goes down to Mardi Gras to forget his troubles but can’t get his mind off his ex so he heads out on a guided “haunted bayou” tour with a buddy and ends up hearing about the Crowley legend — the story of a horribly deformed young boy who was protected by his father until the locals came to kill him and Victor’s dad, while trying to save him, accidentally puts a hatchet through his skull — only to find that the legend is real, Victor survived, and now he’s hunting down and killing anybody who comes into his neck of the woods (or, in this case, swamp)?

Still not enough? Dear God you people are tough to please.

Okay, how about awesome effects by none other than John Carl Buechler himself, who also puts in a cameo in the film?

How about a huge body count and gruesome-as-hell deaths?

How about a totally insane non-ending of an ending that rips off both the original Friday the 13th and the original Texas Chainsaw Massacre at the same time?

How about I shut the fuck and you see Hatchet for yourself and come back here later and tell me about how right I was?

Now that sounds like a plan! Hatchet is available in an unrated director’s cut on DVD from Anchor Bay and features a flawless anamorphic widescreen transfer, a terrific 5.1 surround audio mix, and a great commentary by writer-director Green and co-producer Scott Altomare that’s well worth a listen, among assorted other extras. It clocks in at right around 90 minutes just like you’d expect, and while it does nothing — and I do mean nothing — new, that’s sorta the point.

Hatchet isn’t about breaking new ground, defying convention, subverting audience expectations, redefining the slasher genre for a new generation of fans, or any of that shit. Hell, it’s not even trying to be particularly scary, and its tongue is planted firmly in its cheek pretty much the whole way through. It’s more funny than it is frightening, but it never loses sight of what it’s trying to achieve and retains an attitude of playful respect toward all the horror conventions it’s aping throughout.

Simply put,  this flick  is about one thing, and one thing only — delivering the goods. And damn if it doesn’t do that in spades.

Hatchet is the kind of movie that could only be made by hard-core 70s and 80s horror fans, and it’s only made for hard-core 70s and 80s horror fans. If you love Michael, Jason, Leatherface, and Freddy, rest assured you’re gonna love Victor Crowley and Hatchet — and it’s gonna love you right back.