When a bumbling pair of employees at a medical supply warehouse accidentally release a deadly gas into the air, the vapors cause the dead to re-animate as they go on a rampage through ... See full summary »
Eight college students traveling to Florida for Spring Break stumble into a remote town in Georgia where they are set upon by the residents who are out to avenge their deaths by Union troops over 100 years earlier during the Civil War.
A group of men head to a remote village to help one of their friends get over his divorce; when they get there, though, they discover that all the women have been infected with a virus that makes them man-hating cannibals.
A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
A motley crew of tourists embark on a boat ride of the haunted Louisiana bayous where they learn the terrifying tale of local legend "Victor Crowley"; a horribly disfigured man who was tragically and accidentally killed with a hatchet by the hands of his own father. But when the boat sinks and the ghost story turns out to be real, the group tries desperately to escape the swamp with their lives...and all of their pieces. Written by
When actor Joel David Moore vomits on screen, it is real. Director Adam Green did not want the actors spitting out fake vomit like most films do. Though Joel managed to throw-up on his own for the first take, he was supplied with a mixture of cold clam chowder and orange juice for the second take. See more »
During the scene in the bus, it is obvious that the bus is in park (pointed out by the director in the commentary). See more »
[two men are on a boat in a swamp at night]
Come on, Pa. We've been out here over three hours. I mean we don't even know where the hell she went.
She's at least... 12-footer if I ever saw one. No, I ain't leavin' here without her.
Man, I'm cold.
[Sampson notices brief activity with the water]
Shh. Shut your hole.
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Writing a review for Hatchet is almost pointless. Devotees of the horror genre will see this no matter what is written. In fact, a certain rhetorically named fan-boy website that prides itself on cool news has already lauded the movie's villain as the next horror icon. While I wouldn't be too sure about that, Hatchet does make one thing clear at least, and that's that writer/director Adam Green has undeniable talent.
Structured largely as a parody of the Friday the 13th films, Hatchet casts legendary Jason Voorhees stand-in Kane Hodder as Victor Crowley, the deformed son of a backwoods Louisiana bayou fisherman (also played by Hodder), who was presumed killed years earlier in a house fire started by a bunch of tormenting local kids.
Green follows the stock formula for such movies: take a bunch of folks, find an excuse to strand them in monster country, and let the audience revel in watching them get picked off one-by-one.
Where Green excels, however, is in his smartly written, comically-paced script that is chalk full of genuinely funny inside jokes that are blatant winks at the audience and along the way establish more of a bond with Sean of the Dead than Halloween.
In terms of horror movies, there's nothing going on here that is particularly inventive or even scary, but Green clearly isn't out to achieve that. Rather, he's paying homage to a genre that he grew up with, as is clear by the cameos he's given to icons Robert Englund (Nightmare on Elm Street) and Tony Todd (Candyman and numerous others).
Bolstered by good acting, top notch production values, and intentionally rubbery costume effects, Hatchet panders to the fan-boy crowd in glorious revelry. Clearly Green knows his audience likes to sit back, kick the Fangoria magazines off the couch, and watch somebody take a belt sander in their kisser.
While I think labeling Victor Crowley as the next horror icon in the same vein as Jason, Michael Myers, and Freddy is complete preposterousness, saying Adam Green is someone to keep an eye on is a more realistic, and complimentary laurel.
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