Back before Wes Craven and Kevin Williamson unleashed Scream on an unsuspecting genre public, no one would have fathomed linking fear and funny business together. Certainly there were specific spoofs of the fright film, and some directors believed instinctually that small amounts of comedy actually aided the dread. But to essentially make the humor as important as the horror seems a filmmaking feat of impossible parameters. Too much wit, and the suspense dries up. Too much fright and the jokes appear intrusive. Heralded by ‘Net head as the second coming of satiric scary splatter, Hatcher has lots of good things going for it. Unfortunately, they do tend to serve the same old slice and dice that hasn’t been relevant since a certain Mr. Reagan left the White House.
We are greeted by your standard spookshow premise – a pair of college friends visiting New Orleans for Mardi Gras decide to go on a haunted swamp boat trip. It’s not a mutual decision – Ben is trying to get over being dumped by his girlfriend, while Marcus just wants to look at as many bead-less boobs as possible. Eventually, they make it to the launch, and there, among the various archetypal tourists and mysterious passengers, they learn of Victor Crowley. A legend among the bayou people, the story goes something like this – born with a horribly disfigured face, young Victor was kept sheltered from the world by his dad. When a Halloween prank by some local kids caused their shack to catch fire, the sad child’s father tried to save him. Unfortunately, the title implement he used ended up in Victor’s skull, leaving a massive scar. Now, decades later, an undead Victor supposedly stalks the bogs, looking for victims to satisfy his sense of justice.
Now, if this all sounds very Jason Voorhees and/or Freddy Krueger to you, that’s because Hatchet is cut from the same threadbare 1980s creepshow cloth. It is clear that writer/director Adam Green is a big time hack and slash fan, a fervent believer in the cinematic staying power of blood and buffoonery. While a tad too reliant on the post-modern notion of inherently ironic quips (the characters here don’t joke as much as provide a Mystery Science like nod and wink to everything that’s going on), Green does give us some mighty fine gore. In fact, it’s safe to say that Hatchet has some of the most satisfying anarchic arterial spray this side of a Romero zombie flick. This is the kind of film where heads are pulled apart, arms are severed from torsos, and – yes – axes cleave people in two - literally. While there is an over the top nature to the nastiness, it will provide lovers of repugnant liquidity more than enough sluice.
In fact, excessive claret may be Hatchet’s sole strong point. Green’s direction is good, if a tad generic, and he stages everything like one of those Disney Channel Halloweentown titles. There is very little invention, and his stock shocks are obvious and sort of embarrassing. Similarly, his cast offers nothing but stereotyped stops. They’re decent, but stuck essaying standard fright night fools. There’s a chubby Midwestern couple that stumbles around like mashed potatoes looking for the gravy boat, while a pair of pathetic bimbos and their pseudo softcore porn producer provider resemble outcasts from a Girls Gone Mild shoot. Even our evasive chick with a vendetta and a weapon turns into a whiny tart by the time Crowley starts wielding his sharpened stick.
Granted, our Goonies gone gonzo icon is a semi-impressive heavy, the kind of killer that immediately gets us thinking back to a dozen trips to the bottom shelf of a local Mom and Pop video store. But Green doesn’t give him a lot to do. All the set-up, with its sympathetic tone and temperament, never results in this maniac being anything other than murderous. And since a great deal of the action occurs at night and in shadowy locals, we never really get a good look at his fearsome fright mask. In some ways, Green goes to such lengths to keep Crowley in darkness that we never get the eerie epiphany his appearance mandates.
Still, it has to be said that Hatchet’s homage to the goofy, gloppy vivisection-fests of two decades before has a strange way of satisfying. The self-conscious wit actually works most of the time, and the inevitability of the deaths makes the character’s personal standoff seem that much sillier. Also, the bayou backdrop provides a nice amount of local color. Even the opening trips through the side streets of NOLA – and a few funny voodoo shops – puts us in the proper, pro-pus mood. Indeed, Hatchet has to screw up big time in order to have us hating it. When you toss in the production history (it was one of the last movies made in Louisiana before Katrina devastated the area) and the good nature attempt at recreating the genre, this film fairs very well.
Still, one has to wonder if the modern horror fan is ready to return to the days of creaky cat and mouse games followed by mindless mayhem without style or finesse. Over the 30 years since the slasher discovered its sage (either Bob Clark or John Carpenter – you decide), theatrical evil has strived to remove itself from the format’s rote realities. It’s wanted to avoid the carbon copy crappiness of the endless stream of splatter to reintroduce mood, narrative, characterization, and overall creativity back to the macabre medium. Still, when you can’t offer anything cogent, you go for what’s available. Scream substituted satire. Hatchet is hoping that humor pulls it through. The grand gore quotient does elevate an evaluation, but some will see it as noxiousness for novelty’s sake. In fact, that’s a perfect way to sum up this horror hilarity – outrageousness substituting for originality.
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article