Author Archives: Hud

Class dismissed. Permanently.

DEATH BELL

3.5 Stars  2008/18/86m

Director/Writer: Yoon Hong-Seung / Writer: Eun-Kyeong Kim / Cast: In-sook Choi, Da-Geon, Sung Jin, Yi-seul Kang, Bum Kim, So-hie Kim, Jeong-hwan Kong, Hyeon-sang Kwon, Beom-su Lee.

Body Count: 11


Schoooool’s out for summer. Schoooool’s out forever!

School’s certainly out for some kids at the exclusive Chang-in High School in Seoul, where exams mean everything. Yes, EVERYTHING. Unlike in the flowery West, the students at this hive are publicly ranked so that all n’ sundry know how smart – or how NOT smart – you are.

At the end of final exams, the top twenty or so of the year are to stay behind for some sort of inter-school nerd-off that means everyone else is off campus bar three teachers and the security guard. Good time girl Ina and her friend Myung-heyo sneak off to a club, chat about boys and somehow we’re to believe they’re both in the Top 5 students at the whole academy.

Another kid, Beom, is cracking up. He’s seeing your typical Asian Ghost Girl over Ina’s shoulder, tries to throttle her and winds up being carted off in an ambulance, only to be allowed to return later! No sooner is class in session, a TV flicks on to show the Number 1 student cooped up in a fishtank, which begins to fill with water, drowning the girl if the class does not solve the equation written on the glass.

Panic wins out and the girl dies and a voice over the PA system informs them that more will die if they do not solve the riddles they are being set. They will die if they try to leave campus (as a cocky teacher discovers), the phones are out and they’re stuck there until all questions are answered.

Why? As it goes on, Death Bell slowly reveals a grim past event concerning the previous holder of the Number 1 position, who was murdered sometime before. Is it her ghost setting up sub-Jigsaw traps? Has Beom royally flipped? Ina, her love interest and teachers Ms. Choi and Mr Kim are intent on finding out and stopping the body count from stacking up.

A boy is literally waxed to death and a girl stuffed into a washing machine and put on the spin cycle while the students split into small groups, Battle Royale-style, in attempts to hide or distance themselves from any kidnap attempts.

It turns out that the kids are being offed in order they’re ranked and, once the killer is subdued, it looks as if all is well. Here, Death Bell produces the Ace from its sleeve and a pretty damn good twist on who the killer actually is (and has been all along) is unveiled. In truth, I’ve seen something a little similar before in Slaughter Studios but it’s not nearly as well executed (‘scuse the pun) as it is here. Flashbacks to things we’ve already seen highlight what’s been under our – and the characters’ – noses all along.

I wondered if academic success really is such a big deal in Korea? Would parents REALLY bribe teachers for better grades? As soon as I left school I downplayed my GCSE results quick smart, allowing a nice cloud of college and Uni results to eclipse them into oblivion.

While the end made me go “oh yeah! Awesome!” Death Bell is not without its flaws: characters have to behave quite stupidly in order to be abducted, so some of the cut and dried tropes of slasherdom are played too contrivedly but the Korean cultural backdrop kind of allows this to slide, as it were. It’s way better than both Record and Nightmare. There are some areas where gaps in the plot are left unfilled, such as the ghost of the dead girl going unexplained (maybe in Asia this is just a fact of life, or rather death?) and why the killer is disfigured, and is there really an actor/actress in Korea called ‘Bum Kim’!?

If you’re enjoyment of a film can be unthwarted by such trivialities, I’d totally recommend Death Bell as something that gets good mileage out of an assembly of old ideas – but if like me, you’re crap at mathematics, don’t even bother trying to solve some of the killer’s brain teasers. If it’d been left up to me everyone would’ve died! But then I’d never make the Top 20 *sulk*

Ron Jeremy and the porno lesbian cheerleader massacre

ANDRE THE BUTCHER

2 Stars  2005/87m

A.k.a. Dead Meat

“No matter how you slice it… He’s pure terror.”

Director/Writer: Philip Cruz / Writer: James Hyde / Cast: Ron Jeremy, April Billingsley, Maury Sterling, Faye Canada, Heather Joy Budner, Justin Capaz, Liz Mullins, Alan Fessenden, Terry Mross, Gene Nash.

Body Count: 14

Dire-logue: “Could you please put aside your sexual identity issues for a minute and whip it out?”


A slasher flick with porno legend Ron Jeremy as a supernatural killer?

Three college cheerleaders and a guy cheerleader (?) driving around Florida on their way to a contest crash their car and end up at an abandoned house inhabited by a welding-mask-masked wacko who hacks people up, grinds their flesh down and eats it. Throw in a couple of escaped prisoners and the state cops who’re chasing them and there’s plenty of victims for the chop.

In spite of lowest-of-the-low production merits, Andre the Butcher isn’t such a bad flick once; T&A announced at the outset by an old man narrator is fairly minimal and the now requisite girl-on-girl scene is handled just that teeny bit more maturely than you might expect.

The final girl, Jasmine, is actually outed as a lesbian half way through. I know! A gay final girl at last! A sort of back up heroine arrives in the black police deputy. A lesbian and a black woman. What gives?

The characterisations aren’t exactly ocean deep but people turn out a little differently than it would appear. They’re generally sweet natured kids who don’t bitch and fight for a change and the prisoners are also packing a few surprises.

Andre the Butcher is full of sloppy gore and Jeremy is chucklesome as the loony toon but it’s not the kinda thing you’re ever going to watch more than once, so for a film that LOOKS like it’s going to be one 87-minute stereotype, you could waste your time far less interestingly.

Blurb-of-interest: Ron Jeremy played Jesus (!) in Bloody Bloody Bible Camp.

Be careful what you fish for

Vegan Voorhees is going to take a little step outside of the slasher movies only hoop into the dangerous world of… OTHER HORROR MOVIES! Well, killer fish movies – but only for a minute! Promise!!

Being a child fan of Jaws, I’ve always liked me some fish-what-bite-back movies. I don’t really like eating fish but they get a raw deal (‘specially if it’s sushi – ho ho ho) so sometimes it’s nice to see them get their own back on people.

So here’s a quick overview of some of the finny films I love as well as those that I didn’t so much as “love” as “stare open-mouthed at”…

The JAWS films (1975-1987)

The Top Dog of killer fish movies, the original movie has not only never been bettered but it’s rare to find anything that comes within a mile of it. That said, for years I advocated Jaws 2 as my favourite of the bunch – thanks largely in part to A). the water-skiing bit, B). Phantom-of-the-Opera shark and C). the dumb group of teens picked off by the shark. Though not nearly enough of them got chomped.

Jaws III and The Revenge were comparably naff but I still like. I can clearly remember cereal boxes with 3D glasses and little Jaws comic strips on the back; Jaws 2 crisps (pickled onion) and attempting to read and understand the complex plottings of the Jaws: The Revenge novel, aged eight.

But enough about these films – we’ve all seen them, we know they started well and ended up with a fish able to strategize an intricate revenge scheme, but what of the hoards of pretenders?

Tentacles (1977)

A giant octopus eats people at a small Californian beach resort. It sounds awesome and begins fittingly awesomely with the ‘pus snatching a child from a pushchair by the water! Harsh. Some spooky scenes ensue but before long, protracted scenes of scuba diving only serve as a reminder that nothing is more boring than protracted scenes of scuba diving.

The ‘pus eventually attacks a sailing regatta, eats another child and Shelley Winters wears a giant sombrero. At the end, a widowed guy sets two killer whales on the poor creature. Tentacles should’ve been so much more. It should’ve lived up to that AWESOME artwork. Someone remake it.

piranha1978-aPiranha (1978)

Joe Dante directed this playful spoof on Jaws and it swims with ease into second best killer fish film. Despite being a total satire-fest, Piranha is actually quite sad in points: the nice summer camp counsellor (Dante regular Belinda Balaski) falling victim to the ever-trilling fishies is a borderline upsetting moment rare in horror, letalone low-rent killer fish horror.

The film was followed by a bizarre sequel in 1981, directed by James Cameron of all people, in which the fish had developed freakin’ WINGS and could hide out inside corpses long enough to flutter out at close by nurses.

Roger Corman produced a real cheap looking TV remake in 1995, which featured a chick from Baywatch and Soleil Moon Frye and much of the same footage from the original. Fair to say it sucked.

The Last Shark (1980)

Universal successfully sued the producers of The Last Shark (a.k.a. Great White, L’ultimo Squalo) for plagiarism and the film was shut down after only a couple of weeks in theaters in 1980, which is a bit of a shame as, despite its shameless pilfering, it’s not the worst killer shark film around.

A rampaging Great White eats windsurfers, boaters and endless people who try and kill it. Borrowed scenes include midnight skinny dipping, the shark crashing another regatta, eating a helicopter, tearing a jetty away and characters which are virtually third-generation Xeroxes of Quint and Brody. The shark resembles a thirtieth-generation copy of a polystyrene junior school art project that more floats than swims.

The Beast (1995)

Proving he was a versatile writer, Peter Benchley penned the novel in which a giant squid terrorises a small coastal community, which was made into a mini-series a few years later. Sounds like Jaws? It virtually is. Shot in Australia with a load of cast members from Neighbours or Home and Away, I can’t remember much of it now, which is possibly a merciful state of mind to be in.

Cruel Jaws (1995)

Love that tagline: “This time it’s even more personal than the last time.”

I encourage you ALL to find a copy of this hilarious patchwork effort that unapologetically steals footage from the Jaws movies and The Last Shark. Another hungry fish – this time trained (!?) by the navy – comes to town to eat folk, the mafia are involved, the marine biologist tells everyone: “Only one species of shark is capable of this…the TIGER SHARK!”

But all the footage is of Great Whites.

There’s a sensational scene when a girl confined to a wheelchair begins rolling down a pier and plunges into the water and we clearly see her legs begin to kick. A girl squeals “I wanna dance!” when she’s already dancing. The main guy looks like Hulk Hogan and the shark is somehow destroyed three times at the end. It’s amazing.

Literally ALL scenes with the shark are lifted from other movies and it had the nerve to try and pass itself off as Jaws 5!!! It’s at least more fun to watch than Jaws: The Revenge though.

Deep Blue Sea (1999)deepbluesea2

Saffron Burrows is a scientist. Ha ha ha! She and Stellan Skarsgaard have been experimenting on Mako sharks to reverse the effects of Alzheimer’s. Ha ha ha! The side effect is that the sharks’ brains swell and they get smarter. Ha h- what?

Said clever fishies rebel against the scientists, crash a rescue helicopter and start to sink the out-at-sea platform, pitting the group of survivors against them as they try to reach the surface.

LL Cool J is a religious chef. Thomas Jane swaggers around, throwing himself all over the show as the macho hero and Burrows plays it all low-rent Ripley, her character so detested by focus groups that they re-shot the end to have her chomped by one of the sharks.

Shark Attack 3: Megaladon (2002)

The first Shark Attack movie in ’99 could send a can of Red Bull to sleep. The second one had roaring Great Whites and a couple of decent laughs but Shark Attack 3 is where it’s at: a giant million-foot prehistoric Megaladon shark comes out of a deep sea trench and eats things. There’s a school of regular GW’s around too, ready and waiting at the bottom of waterslides, eating parasailers and stuff…

As if this were not wacky enough, John Barrowman camps it up as a scientist who turns to his female companion (who played a different role in the first film, evidently hoping nobody saw it or fell asleep and didn’t notice) seconds after she mourns the loss of a friend and says; “What do you say I take you home and you let me eat your pussy?”

Allegedly he was trying to make the actress laugh but it got cut into the film anyhow. See it!

Behold the convincing effects of Shark Attack 3

The Reef (2010)

A subtle Australian export reportedly based on true events. Five people head out on a yacht. The yacht capsizes. Four of them opt to try and swim to land. A shark eventually catches up and begins attacking them.

Open Water has a lot to answer for (not least of all its horrible sequel, Adrift), but The Reef is actually pretty good. Though you could only watch it the once really. Some decent tension mounts in one of those what-would-you-do situation horrors Australia is good at.

Piranha 3D (2010)

Alexandre Aja helmed this in-name-only remake (which would’ve been better off as a sequel), which trades story and character for gore and tits. Lots of tits. So many in fact that I wondered if the film had been part-funded by a Naturist Society.

Dame Elisabeth of Shue tries her hardest to fit things together as the local sheriff who sees Spring Break literally savaged by a massive school of prehistoric piranha freed by an underwater earthquake.

It’s a disappointingly shallow affair but good for squishy demises and 13-year-old boys who want to ogle silicone boobs but the whole thing carries a disturbing undercurrent of misogyny in places, which sees countless pretty girls chewed into chunks only after they’ve ripped their tops off.

Shark Night 3D (2011)

The more family friendly alternative to Piranha, college kids take a vacation at their rich friend’s lakehouse and soon discover it’s teeming with various species of dangerous sharks put there by a group of money-hungry rednecks who want to sell footage of real life shark attacks to the Discovery Channel. Seriously.

No reason is given for the fishes aggression and I was more sad that the teens captured and killed a cute Hammerhead than when any of them died. It’s funny how the lead guy is supposed to be the ultimate nerd but is seen comfortably shirtless with the body of a Jersey Shore extra. The dog is the only character who matters and is the one to save the day when it counts.

Other ponds to paddle in:

  • Devilfish (a.k.a. Devouring Waves) was another scientists versus their own creation-fest, just really boring
  • Red Water had a Bull shark eating various people – and Coolio – in a river
  • Frankenfish set Bayou-dwellers against a giant leaping mutant thing that eats Muse Watson among others
  • Spring Break Shark Attack was a made-for-cable flick that predated the Piranha remake but was otherwise the same, memorable only by the fact that I watched it in China and some schmuck kite-surfing right into a Tiger shark’s gob.
  • Malibu Shark Attack is just that: lifeguards at the beach are attacked by Goblin sharks that float in on a tsunami.
  • It’s Daryl Hannah versus contaminated and angry fish in Shark Swarm, an epic three-hour affair with a body count to rival Jason’s.
  • Mega-Shark vs. Giant Octopus and Sharktopus are no-budget Asylum affairs with mucho hype and little thrill, crappy effects work, ridiculous plots and washed-up 80s singers like Debbie Gibson and Tiffany. The first is infamous for a scene in which the giant shark randomly leaps 35,000 feet into the air to eat a Boeing 747 and the second features a shark with tentacles and an attitude.
  • And coming in 2012, this:

Can I burst into tears now or do I have to actually see it first?

You can’t pole dance without hands

HATCHETMAN

2 Stars  2003/15/93m

“He’s got an axe to grind…with you!”

Director/Writer: Robert Tiffi / Writer: Steven Jones / Cast: Cheryl Burns, Jon Briddell, Mia Zottoli, Nina Tapanin, Chris Moir, Darren Keefe Reiher, Racquel Richard, Elizabeth Ryan, Fonta Sawyer.

Body Count: 7

Dire-logue: “Mommy taking her clothes off isn’t as bad as hurting people!”


It’s curtains for the working girls at an LA strip joint – because there’s a masked maniac on the streets with a rather funky looking axe who wants to chop off their hands!

This seen-it-all-before boobs n’ blades fest is certainly handsomely pieced together and has an appealing heroine in Courteney Cox-a-like Burns, but practically re-runs sequences from every other cop vs serial killer and slasher flick ever made. Most obvious is the killer-in-the-backseat motif ripped from Urban Legend.

Naturally, the cop on the psycho’s tail happens to be dating the final girl and imparts crappy advice about security while all her colleagues (who all live in the same apartment complex, which is also plagued by a pervert who breaks in and tries on their underwear!) drop dead around her. Furthermore, he places just ONE cop to sit outside and watch over the shrinking group of strippers.

The pantie-perv and a paroled ex-boyfriend of the first vic are transparent red herrings, while the real killer can only therefore be one of the other ancillary cast members.

Annoyingly, most of the irritating male characters avoid the killer’s blade while the voluptuous girls fall by the wayside and the director fleshes out proceedings with plenty of flesh indeed.

Hatchetman is a schlocky number with the nerve to take itself seriously for the kind of schlocky men who are likely to frequent the clubs seen in it. There’s a hilariously last second motive glued on and a final ‘twist’ delivered as passing dialogue: “Do you think they’ll ever catch him?”

Roll credits and roll eyes.

Blurbs-of-interest: Jon Briddell was also in Midnight Movie; Darren Keefe Reiher was also in Slaughter Studios.

Home is where the horror is

HALLOWEEN 4: THE RETURN OF MICHAEL MYERS

4 Stars  1988/18/85m

“Ten years ago HE changed the face of Halloween. Tonight, HE’S BACK.”

Director: Dwight H. Little / Writer: Alan B. McElroy / Cast: Donald Pleasence, Ellie Cornell, Danielle Harris, Beau Starr, Kathleen Kinmont, Sasha Jenson, Michael Pataki, George P. Wilbur.

Body Count: at least 16

Dire-logue: “Jesus ain’t got nothin’ to do with this place!”


If you deduct Halloween III from the equation, Michael Myers’ franchise plays quite beautifully through parts one to six before Dimension pretended half of it had never happened and then the remakes took over. Despite all this meddling, Halloween 4 remains the best film of the series after the original.

Nicely occurring on the tenth anniversary of Michael’s kill-a-thon through Haddonfield, both he and Dr Loomis (again played by Pleasence as a part of his presumed pension plan) survived the explosion at the end of Halloween II and there’s some garb about Myers being a federal patient so his comatose body is carted off somewhere else.

Of course, Michael’s sense of Halloweeny-ness kicks into play and he wakes up, offing the paramedic crew and going on the run. This begs the question – does Michael just ‘deactivate’ on November 1st each year for 364 days? Dr Loomis, ever with the Evil on Two Legs similes, totters off in the direction of Haddonfield to stop the inevitable, whilst everyone else says he’s deranged.

In Haddonfield, Laurie’s orphaned daughter Jamie (Danielle Harris), lives with the Carruthers, her adopted family, and suffers the nasty torment of cruel classmates who like nothing more than to remind her she’s A). an orphan and B). niece of The Boogeyman, despite none of them being old enough to remember “ten years ago.”

Jamie is also tormented by The Nightmare Man. In Halloween 5 it’s established that she has a psychic connection to Michael. Her half-sister Rachel (Cornell) is having boy trouble and reluctantly has to babysit Jamie on Halloween Night, thwarting her plans with all-American jock Brady, who instead calls on the Sheriff’s slutty daughter Kelly for his happies.

Meanwhile, Loomis crashes into the cop shop shrieking that Michael is coming back after encountering him at a rundown gas station on route. The police don’t take any chances and begin to search for Jamie, hoping to get to her before her uncle does.

In spite of appearing as a reaction to the success of the Friday the 13th and Nightmare on Elm Street franchises, Halloween 4 is a remarkably restrained, almost mature affair. Bloodletting is minimal in favour of creating a similar tension to the ’78 original, with many of the 16 plus kills occurring off screen.

While that can never be recreated, Halloween 4 succeeds in coughing up some excellent scenarios, most notably the rooftop chase, where Rachel and Jamie escape from Michael for the 43rd time by climbing on to the roof of a two storey townhouse. It’s a simple yet effective scene, keying on the dangers of scrambling away from a psychotic maniac and not falling to their deaths simultaneously.

Tossing in a group of gun-toting rednecks anxious to avoid a repeat of “ten years ago” (the number of times they say this evades me, but it’s fair to say the residents go on about it a fair bit, as you would), Michael has apparently achieved the ability of teleportation in his decade off, appearing right where he needs to be at the right time, from the power station to cause a town-wide blackout to the underside of the very truck Jamie and Rachel escape in.

So it’s stupid at times, but what slasher franchise isn’t? Halloween 4 is still better than most just in terms of its production and reluctance to resort to cheap thrills to resurrect the series. Its shock ending grinds uncomfortably with how the next film begins, concerning the link between uncle and niece and they never really state why Michael is so hellbent on killing his entire family… What’s that about?

A solid production, arguably the thinking man’s alternative to the really cheap end of the market, recapturing as best possible the spirit of the flawless original. It’s just a shame that they got greedy as the series went on, because a few more sequels like this would’ve been awesome.

Blurbs-of-interest: Pleasence, Cornell, Harris and Starr all returned for Halloween 5; George P. Wilbur returned to play Michael again in Halloween 6; Danielle Harris was also Annie in the 2007 remake and it’s 2009 sequel and featured in Urban Legend, Blood Night, ChromeSkull: Laid to Rest 2, Hatchet‘s II and III; and Natty Knocks; Kathleen Kinmont was in Rush Week; Michael Pataki was in Graduation Day and Sweet Sixteen; Pleasence was also in Alone in the Dark and Phenomena; the wacky priest who gives Loomis a ride (Carmen Filpi) was also in 10 to Midnight; the female nurse at the start was one of the doomed toy store employees in Silent Night Deadly Night. Dwight H. Little directed Robert Englund and Jill Schoelen in the slashy version of The Phantom of the Opera in 1989; writer McElroy also wrote Wrong Turn and its 2021 reboot.

1 145 146 147 148 149 186