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Whilst celebrating a graduation at a secluded vacation home, a group of college students find themselves targeted by a sadistic killer who forces them to play a deadly game of killing one another in order to survive.
Three sisters and a group of their friends take a trip to the home of the recently deceased grandfather -- who died a particularly grisly death -- to learn more about the promise of an inheritance, only to encounter a family of psychos who have taken up residence in the old man's cabin.
Faith is a young woman who is on the run from an abusive boyfriend, and who settles in Atlanta to make a new life for herself. While settling down, Faith meets Lola, a free spirited young woman who lives on a nearby rural farm with her family - her distant father, older brother, and younger brother. Faith moves in with Lola, who resides in the nearby barn on the farm, to help out with farm work. Every night, the two young women go into the city to party, and Lola brings home a different man to be with. But when the men start disappearing, Faith begins to suspect that Lola's family is killing the strangers in the nearby slaughter house they keep on the farm, and her quest for the truth uncovers some very disturbing facts about Lola's childhood that she seeks to keep a secret at ANY cost. Written by
Yet another low budget horror encountered by some strange mix of chance and curiosity, Slaughter is a film I happily put on with no knowledge of what to expect.
Following the young Faith as she flees the paranoid clutches of her apparently unstable ex-boyfriend, Slaughter sees her leave the big city to escape to the rural beauty of a farmhouse with friend Lola. The fear of the life she left behind catching up to her combines with the oddness of the neighbouring slaughterhouse farmer to create an uncomfortable strangeness...
This one decides to start us off with some hand-held dark jump cut shots of a girl being dragged across a farm and dumped in a lake before introducing us to our main character. And that's fine, for now. After some hideously clichéd caricatures are thrown at us, we move from the city to the farm: a farm where the ladies are sure to do some heavy work in skimpy clothing, of course. Already things are vacuous and ghastly. Cue a shady farmer, some slight mystery, and our main character's sudden development into the type of person who wanders repeatedly into areas she shouldn't go. Let's have some more vacuousness and ghastliness in the form of an utterly unnecessary lesbian kiss, pandering to the brigade of eager males we obviously should expect to find amidst our audience. The "slow building of tension" is really just a lack of decent plot, as evidenced by the film's apparent indecision in choosing its antagonist. Why not hold at least two in waiting, just in case? We get to see just about every over-used element of cheap horror cinema as the film drags on, provoking our slow slip from our chairs as the eyelids begin to droop, simultaneously welling with tears of despair and hope that this will all soon end. But no, the slow beginning appears not to have consumed enough of the running time to prevent a deliriously drawn out last act of "twists": silly turns in plot making little sense, and even less surprise. By the final resolution of the story, a painfully pathetic attempt at finishing a woeful piece of unending rubbish, I was almost weeping in agony. This was a truly testing experience; one which demanded a tremendous amount of resilience and restraint to keep my fingers separated from the eject button. Oh, and if the lack of tension, characterisation, fear, plot, dialogue, interest, emotion, or any form of artistic merit wasn't enough for you, the film flips daintily from looking like a television programme to a video game to something resembling a film, and back again and again and again.
With absolutely nothing, and I do mean nothing, to assuage the pain of wasting however long that apparent infinity actually lasted, Slaughter is, perhaps fittingly, pigshit. One of the very VERY worst films I've ever had to sit through, it's just angering in its awfulness.
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