A search and recovery team heads into the haunted swamp to pick up the pieces and Marybeth learns the secret to ending the voodoo curse that has left Victor Crowley haunting and terrorizing Honey Island Swamp for decades.
Two friends, Adam and Steve, struggle to get their morning radio program off of the small town air waves of Holliston and into the big time. Meanwhile, Adam struggles to get over a break up... See full summary »
Steven C. DeWitt Jr.,
"ChromeSkull" is the sequel to the 2009 horror hit "Laid to Rest." It brings back ChromeSkull, who barely escaped death in the first movie and is hell-bent on continuing where he left off..... See full summary »
Brian Austin Green,
A terrifying story of a young girl who wakes up in a casket with a traumatic head injury and no memory of her identity. She quickly realizes she was abducted by a Deranged Serial Murderer ... See full summary »
The survivors are saved by the mysterious prophet, Short Bus Gus, who seemingly has the ability to control the beasts. He leads them into the sewers as they travel to the big city. Along ... See full summary »
Carl Anthony Payne II
Marybeth escapes the clutches of the deformed, swamp-dwelling iconic killer Victor Crowley. After learning the truth about her family's connection to the hatchet-wielding madman, Marybeth returns to the Louisiana swamps along with an army of hunters to recover the bodies of her family and exact the bloodiest revenge against the bayou butcher. Written by
In Canada, the film was scheduled to play in Toronto and Montreal theaters on October 1, 2010. However, because the film was not rated by the cities' provincial rating agencies, the theaters were threatened with fines if it still played and, thus, it was pulled from release. On Twitter, Adam Green referred to the occurrence as "sad". See more »
Come on, you hatchet-faced fuck!
See more »
Written by Bobby Ellsworth (as Robert Joseph Ellsworth) and Carlo Verni
Performed by Overkill
Courtesy of E1 Music Entertainment U.S. LP
Published by Warner-Tamerline Publishing Corp. (BMI) o/b/o Blood and Iron Music Co. See more »
With 80's slashers, their effect on me is actually relaxing. We have a bunch of characters who the filmmaker generally deems worthless (except a few, who make it to the end) so that we don't have to actually invest anything until their inconsequential deaths, clear, simple-minded notions of good and evil, and contrived mechanisms that explain them away (the evil presence is usually described by some kind of simplified trauma). None of this happens in real life, so none of this actually has potential to breach the divide and actually unsettle. It's a movie fantasy, one oddly espousing deeply conservative values (prudence is generally rewarded) that fly in the face of the crowd that avidly sees them.
Like the first Hatchet, this is a knowingly cartoonish version of this. The deaths are delightfully absurd. At some point the baddie in this, Vincent Crowley, shows up with a chainsaw six feet long. The film knows what part it plays in the tradition and has fun with it.
What is actually problematic about these films is that, for all the parody, they still posit themselves as straight slasher films. It doesn't work, the hackneyed plot above all where a band of mercenaries is hastily assembled to venture into the bayou. Or what they aim to do once there.
The Japanese as usual are more savvy about this kind of thing. In films like The Machine Girl, they put together all kinds of cultural stamps they have produced and obsessed over the years (video games, anime, martial arts, extreme violence, erotica) and obliterate one against the other.
Here, I assume the filmmaker doesn't have a grasp of how the pastiche can be made to work. Probably because he doesn't understand or care to anything other than this kind of film. The splatter works, what's around it not so much.
3 of 5 people found this review helpful.
Was this review helpful to you?