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Somebody Hostel Me

somebodySOMEBODY HELP ME

1 Stars  2007/18/98m

“There are worse things than dying.”

Director/Writer: Christopher B. Stokes / Cast: Marques Houston, Omari Grandberry, Brooklyn Sudano, Alexis Fields, Sonny King, Brittany Oaks, Chris Jones, Jim Wilkey, John Wiltshire.

Body Count: 6

Dire-logue: “I didn’t expect this when I came here.”


Wow…there was so much wrong with this one. That tagline is spot on, there are worse things than dying, and watching Somebody Help Me – surely a hidden message regarding You Got Served director Stokes’ incompetent storytelling ability – is one of them.

In fact, when I sat down to watch it last week, it induced one hell of a headache that Ibuprofen couldn’t combat. When I caught the second half a few days later, I realised that some higher force was simply trying to warn me.

The only notable aspect of this film is that the primary cast members are black. And there’s this cliche that “the black guy always dies first” in slasher films. Now, I thought about this while the film ground on in the background. Somebody Help Me was my 530th slasher film and of all of those, the only occasions I can think of where this happens are Elm Street 4 and Scream 2. That’s not to deny the mortality rate for black characters in the genre – they rarely survive, but they also rarely buy it first. Same goes for slutty cheerleaders.

Anyway, two couples head out to Lake Arrowhead to celebrate nauseatingly sweet Serena’s 21st birthday. They meet some friends and party overnight and into the next day. Then they all disappear until only two guys are left standing. Everyone else has been nabbed by a loony surgeon who keeps them in cages and carries out various fatal procedures on them one by one… Yes, it’s Somebody Hostel Me, For I Am A Lost Turista.

My dog has a cage like this. He can escape from it in 5 minutes.

My dog has a cage like this. He can escape from it in 5 minutes.

An ear is cut off (fatal?), eyes are plucked out, a girl is scalped, another seemingly dies from being denied her inhaler. It’s soon down to Brendan (Houston, the now-grown-up twins’ neighbour from Sister Sister) to save everyone, aided by a freaky little blonde girl who sings “Ring Around the Roses” whilst on swings.

Final boys rarely work and this is no exception: we just don’t worry about a big guy hiding behind trees or under tables, there’s no fear attachment to his plight. One of several fatal errors the film makes.

Somebody Help Me goes on to pour out cliche after cliche and bothers to explain next to nothing. Who is the little girl? How can the killer survive being stabbed and shot with absolutely no impediments? Why was the phone out of order but working five minutes later?

The “race switch” ensures that all the black kids survive and their white friends all die (bar one who was alive but absent in the obligatory wrapped-in-blankets-outside-ambulance epilogue). The film attempts to make this some kind of running gag: when asked by the sheriff what their missing friends look like, one of them replies “white” having previously been against calling the cops because “we a bunch of black folks in a white town, we don’t want to scare everybody.” Like, seriously, that’s the pinnacle of your creative aptitude?

Agenda or not, I wanted them all to die: black, white, old, young, male, female, transgendered. Save for the weird girl, nobody evoked the slightest bit of interest or empathy and Stokes’ dreadful screenwriting seems only concerned with issues of skin colour over tension, credibility or coherence – it’s like he rented a handful of slasher films and banged out a script in a spare afternoon. Somebody needed help alright and it’s pretty clear it was Christopher Stokes.

Psychic vs. Psycho

friday7newbloodFRIDAY THE 13TH PART VII: THE NEW BLOOD

3.5 Stars  1988/18/85m

“On Friday the 13th, Jason is back. But this time someone’s waiting.”

Director: John Carl Buechler / Writers: Daryl Haney & Manuel Fidelo / Cast: Lar Park Lincoln, Kevin Blair, Susan Blu, Terry Kiser, Kane Hodder, Susan Jennifer Sullivan, Elizabeth Kaitan, Diana Barrows, Jon Renfield, Jeff Bennett, Heidi Kozak, Diane Almeida, Craig Thomas, Larry Cox, William Butler.

Body Count: 17


It’s important for me to emphasize when reviewing Jason films just how important they were to my transition from aimless dork into slasher flick dork back the 90s – y’know, a decade after everyone else was over it. Friday 7 was the third film of the series that I saw, thanks to a Sky Movies mini-marathon over three nights. At the time I was a bit disappointed (after all the original and the half of Jason Lives I’d seen are both a lot better) but as the years have worn on, I’ve found New Love for New Blood, as you will see…

First though, a quick plot overview: a little girl with telekinetic powers called Tina causes the death of her jar-tapping pop at their summer house on the shores of Crystal Lake. Some years later, the now teenage girl (Lincoln) and her frizzy-haired mom return to the house with sleazy shrink Kiser to ‘get to the route of’ Tina’s mental problems.

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Next door a gaggle of all-American teens have gathered for a surprise party for a buddy which is thwarted when Tina accidentally resurrects Jason from the watery grave he was sent to at the end of Part VI and a new massacre ensues until she calls upon her diet-Carrie powers to put Jay back where he belongs…

For my squillionth viewing of the film, I decided to take notes as I went. So here, in geek-tastic form, are the highlights of my love affair with The New Blood:

00 min – I love this prologue so much. Best part of the film in many ways. Voiceover by Crazy Ralph… “there’s a legend ’round here…” Good choice clips, slightly off edit during one of Thom Mathews’ lines but otherwise a perfect opener

03 min – what does The New Blood actually mean?

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13 min – …what’s that giant train about?

21 minStarlacon sounds wicked. Though I’m not sure what protozoa is/are

28 min – just where would Ben like his coffee?

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31 min – uh…pastels don’t blend with trees

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32 min – this is the film known as Fri-gay the 13th for a reason

33-45 min – *too busy thinking about what I could do with Kevin Spirtas to pay attention*

46 min – David was inside the house before – what’s the point of going into the woods, Maddy? Why the hell would David be there?

47 min – funny how anybody who wears glasses in a horror film is almost entirely blind without them

53 min – how many American teenagers’ last words are “stop screwing around!”

62 min – shadow of the boom guy’s arm in the window’s reflection!!!

63 min – now David is possibly in a closet! What’s with all these chicks looking for him in stupid places? Is he a hide and seek champion or something?

63.5 min – yes, Robin, he brought a cat on vacation with him… Dear Lord

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66 min – what is that bladed hockey stick thing for?

69 min – Jason has a lot of time to make repeated returns to the toolshed in this one.

71 minmore running around amongst trees

75 min – Tina could perform top notch furniture deliveries – she could re-style your living room in minutes!

79 min – If Jason asked me out…I think I’d accept

83 min – does nobody bother recovering bodies from the lake?

84 min – uhh…that ambulance looks a lot like a hearse

I have a lot of questions obviously…

friday7-6

The lovely Maddy sporting the makeover only Jason would get to see

But I truly enjoy this instalment – it tanked a bit and much of the amazing gore was scissored out by our old pals the MPAA – but I really dig some of the characterisations, it’s as if they tried just a little more to carve out a handful of interesting bit-parters.

Maddy, of course, is my choice favourite. Far more supportable than weepy ol’ Tina – she wanted David’s ass big time but got trounced by Robin. Then there’s sci-fi geek Eddie with his B-movie ideas who got manipulated by the evil Melissa, she of steely glares and Hamptons-ready pearl necklaces (“she’s like that with everybody…except boys.”) Finally Nick, the obvious co-survivor who doesn’t get much to do but tag along but does it with an effervescent beauty. Shame Blair and Lincoln didn’t really get along on set.

There are problems; it doesn’t look very summery and the ending is all kinds of desperate but they’d made it to Part VII, man! How much originality or invention can we realistically expect? In truth, the film probably sucks and is direly predictable, but I love it from prologue to creepy ambu-hearse fade.

A cut frame from Buechler's workprint footage

One of many cut frames from Buechler’s workprint footage

Blurbs-of-interest: Buechler has done make-up effects on tons of horror movies and later directed Curse of the 49er, also appearing as an actor in the first two Hatchet movies. Kane Hodder made his first of four appearances as Jason and has turned in cameo appearances in countless genre flicks. Blair had been in The Hills Have Eyes Part II; Terry Kiser was later in Mask Maker; Kaitan was in Silent Night, Deadly Night Part 2 and was the skateboarding chick in Silent Madness; Heidi Kozak was in Slumber Party Massacre II (along with Juliette Cummins); Bill Butler was in Leatherface: Texas Chainsaw Massacre III and later directed Madhouse.

Before you die you see…The Cow

psycho98PSYCHO

3 Stars  1998/15/100m

“Check in. Relax. Take a shower.”

Director: Gus Van Sant / Writers: Robert Bloch & Joseph Stefano / Cast: Vince Vaughn, Julianne Moore, Anne Heche, Viggo Mortensen, William H. Macy, Philip Baker Hall, Robert Forster, James Remar.

Body Count: 2


With all the horror community hoo-hah over the endless stream of remakes n’ such ruining our favourite classics, it’s easy to forget that the most classic of classics got refunked back at the arse end of the 90s.

Although calling Psycho ’98 a remake isn’t strictly true, it’s more like a cover version without any stamp of ownership. You know when Simon Cowell drones on about “you made that song your own” (even though they quite clearly bastardized it), Gus Van Sant’s strangely hollow project to simply re-shoot Psycho in colour with very few modifications of era is similarly perplexing. Cowell, of course, would’ve made it into a musical and cast Leona Lewis as Marion Crane so she can keep bleeding, keep, keep bleeding… OK, crap joke. I’ll slap myself in the face with a custard pie for that one.

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And so it came to be… Various filmians moaned before the project even went into pre-production and now it’s all but forgotten and it’s easy to see why – it’s been asked a gazillion times but, Mr VS – what was the point?

Besides being in colour, and updating some dialogue and the amount of money Marion Crane makes off with, Psycho ’98 re-treads the boards down the composition of shots, angles, effects work (Arbogast’s backward tumble down the stairs) and characterisations. All I remember of the “new-ness” was that Norman Bates cracks one out watching Marion take a shower and Julianne Moore utters the batty line “hold on while I get my Walkman,” upon which the audience decided to start laughing.

Curiously, Van Sant adds a surreal little montage right before Marion is stabbed, which, I assume was supposed to represent life flashing before her eyes, which included a cow (or possibly a sheep?) in the road. Whassat about? Did she run it over? Was it a foreshadowing? Is it Psycow?

Norman's moo-ther? Har-de-har-harrr

Norman’s moo-ther? Har-de-har-harrr

Otherwise, things otherwise clunk along in a Xerox of 38 years before but the dialogue now sounds out of place (Walkman line excepted) and the almighty cast of players is reduced to imitation rather than expression, making me wonder why any of them would’ve signed up to star in something where there’s so little ‘acting’ for them to do…

Vince Vaughn wasn’t the big star he now is (and possibly now was) back then and does okay with the role but is simply too hulking and broad to play a cross-dressing mama’s boy convincingly. While les hasbian Anne Heche (where’d shego?) is acceptable as Marion and the always lovely Moore is equally fine with being Lila, as is Macy as the detective. Herein lies the blandness of it all – they’re all just fine. Nobody’s gonna win anything for tracing a masterpiece and then painting by numbers.

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That said, a ‘re-imagining’ would’ve only incited more wrath. I recently read an amusing analogy on the IMDb where somebody wrote: “If I put balls on Grandma, that doesn’t make her a ‘re-imagining’ of Grandpa!” I’m not sure what his point was but the carbon-copying does not make the story any less intriguing – it’s still a good yarn and therefore I award ye, strangely pointless remake, three stars.

Blurbs-of-interest: Heche played Missy in I Know What You Did Last Summer; Viggo Mortensen had been in Leatherface: Texas Chainsaw Massacre III; Robert Forster was also in Uncle Sam and Maniac Cop 3; James Remar (Dexter’s dad!) was in coma-inducing med-stalker Exquisite Tenderness.

Knock, knock, knockin’ on psycho’s door

butcherTHE BUTCHER

2 Stars  2005/15/84m

“Rest in pieces.”

Director: Edward Gorsuch / Writer: Ellis Walker / Cast: Catherine Wreford, Tom Nagel, Myiea Coy, Alan Ritchson, Bill Jacobson, Nick Stellate, Ashley Hawkins, Tiffany M. Kristensen, Anne M. Mackay, Leila Garvyier.

Body Count: 8

Dire-logue: “Leave her – she’s dead now, she’ll be dead when we get back.”


When road trips go bad… Don’t they always? Even if you don’t run afoul of hillside cannibals, motels run by transvestite mama’s boys or rusty old tankers hell bent on running you off the road, the people you’re stuck in the car with will inevitably piss you off and make you wish for any of these distractions, as will local radio and the dull scenery that tumbles by.

In this instance, six teenagers on their way to Las Vegas to celebrate their graduation take the short cut from hell and, whilst fooling around, have an accident that kills one of them: they hit a tree while one of the girls is dancing out of the sunroof. Needless to say, they end up calling on the local malformed psycho’s house for aid.

This no-budget second-gen photocopy of Wrong Turn is competently enough put together and has a handful of decent, likeable characters as well as traces of what could have been a nightmarish sequence of events had it been in more professional hands or in possession of more moolah but it ultimately moves too slowly and looks too cheap to leave a lasting impression.

It also has a mean streak with all black or gay characters meeting particularly nasty ends at the hands of the truck-driving loon but this kind of minimalist approach is usually pretty effective, it just leaves very little to say about it.

Blurbs-of-interest: Catherine Wreford was in the similar (and slightly better) Wrestlemaniac; Tom Nagel was in Jolly Roger: Massacre at Cutter’s Cove and directed ClownTown.

Return to sender

ripper3RIPPER 2: LETTERS FROM WITHIN

1.5 Stars  2004/86m

“Back from the grave to redeem his soul.”

Directors: Lloyd A. Simandl & Jonas Quastel / Writers: Evan Taylor, Jonas Quastel, John Sheppard & Pat Bermel / Cast: Erin Karpluk, Nicholas Irons, Richard Bremmer, Mhairi Steenbock, Jane Peachey, Daniel Coonan, Colin Lawrence, Myfanwy Waring, Andrew Miltner.

Body Count: 6


My BFF Grace auditioned for a role of “black girl with attitude” in this movie. “Cool!! Ripper‘s a really good little film!” I cawed. She didn’t get it. We were sad. Sometime later, sadness blossomed into a joy of relief. And there was no sign of “black girl with attitude” anyway.

The 2001 Anglo-Canadianian original was a neat little knock-off of Urban Legend with a confusing ending that sort of nodded in the direction of a possible sequel, which resulted in this dismal British feature, the quality of which is alluded to by virtue of the fact it’s never been released in the UK in any way, shape or form to date.

This hackneyed marriage of ideas from A Nightmare on Elm Street 3 and the left over jetsam from the previous film sees Molly Keller (now played by Karpluk) in an institution following the intangible twist ending(s) from the first round. Her shrink recommends her for a trip to a specialist clinic near Prague where Egor-like doc Bremmer carries out questionable treatments on a group of troubled youths by exploring their subconscious while they sleep – how or why he does this is something we’re apparently not meant to ask about.

Molly’s schizoid brain transmits a cloaked fiend – possibly Jack the Ripper, who we’re told is an ancestor of hers – into the groups’ collective dozing and he begins doing away with them one after the other while they roam about in their fantasies / nightmares.

Even with two directors and four scribes, the creative team fail to even muster the most basic of chills given the gothic castle setting and while away the running time with endless ‘dream’ sequences, including some sexual deviant ambling around a fetish club, serving no purpose other than to visualise soft-core lesbianism and an excess of tits.

Otherwise, criminally undeveloped sub-characters are blandly killed off before Molly confronts the dream stalker (though not before aping Jennifer Love Hewitt’s “what are you waiting for?” moment from I Know What You Did Last Summer) and the film ends as confusingly as the first one did, with absolutely no confirmation of who did what or if any of it happened at all to a group of people who might not have even existed.

Nothing but a mass of empty shells and no gun powder, Ripper 2 is the equivalent of Root Canal Surgery: The Musical, starring Justin Beiber.

Blurb-of-interest: Lloyd Simandl had already directed the even worse Possession: Until Death Do You Part back in 1987; Erin Karpluk later had a role in the TV series Slasher.

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