by Ryan Lewellen
The Archivist
Welcome to the Archive. Following the infamous “Format Wars” (R.I.P. VHS), a multitude of films found themselves in danger of being forgotten forever due to their admittedly niche appeal. Thankfully, Warner Bros. established the Archive Collection, a Disc On Demand & Streaming service devoted to some of the more idiosyncratic pieces of cinema ever made. Being big fans of the label, we here at Cinapse thought it prudent to establish a column devoted to these unusual gems. Thus “The Archivist” was born — a biweekly look at some of the best, boldest and most batshit motion pictures the Shield has to offer. Some of these will be recent additions to the collection, while others will be titles that have been available for awhile. With over 1,500 pictures procurable on Warner Archive (and more being added every month), there’s no possible way we’ll get to all of them. But trust me when we say we’re sure going to try.
Give me a break, guys. I had to move, and Halloween insisted on coming and going without me. Yet, here we are, with the final round of The Archivist’s October horror cycle. I may not be bringing you this installment in time for the big day this year, but at least you will have these five articles for future reference. The Warner Archives are, after all, home to some rather prestigious (in their own right) horror titles. This week, two good ol’ slashers from the bloody genre’s golden era, and the first film up for discussion boasts the dubious honor of a “Video Nasty” dubbing, courtesy of some squeamish folks in The UK.
NIGHT SCHOOL (1981)
Bodies are showing up all over Boston… bodies without heads. The heads are also showing up — nearby in whatever water-filled container is most convenient. A pair of detectives is on the hunt for the deranged killer, and all signs seem to point to a philandering anthropology professor. As they turn up the heat on their lead suspect, the Dr. is trying to keep his latest affairs just under the radar of the all-female College’s administrator, and the only woman he wants for anything more than a fling, Eleanor Adjai (Rachel Ward in her debut).
I was surprised to discover this film made the list of Video Nasties. It’s really not particularly violent, considering its disturbing premise. Most of the mutilation is barely visualized, or not shown at all, but there are a couple sequences of head discovery which must have lured the censorship. Not coincidentally, they were the only two scenes capable of garnering much reaction from me. I won’t go into much detail in case you’re thinking you want to track this one down (I don’t recommend you do — it’s dull, poorly-written and the acting is mostly bad), but one scene really brings the squirms as it repeatedly plays your expectations. It also features another uncommon and commendable “surprise”, but the script isn’t nearly so deft at misdirection as the shooting. You know right out the gate what character is the red herring, and who the killer must truly be. Check it out only if you’ve run out of the capstone entries in the genre. In spite of what could be an interesting exploration of gender politics…or something, it just doesn’t add up to much of a watch.
KILLER PARTY (1986)
Thankfully, the week wasn’t a complete waste, because the powerfully bug-nutty KILLER PARTY offers a mother load of practical effects, bizarre 80s trends, only semi-successful humor, and the perfect slasher tone. Three college girls are dying (ahem) for induction to an exclusive sorority. Unfortunately for them, the disrespectful Greek leaders have chosen an allegedly haunted old frat house as hazing-ground-zero, as well as an April Fool’s party (somehow the movie encompassed the school year from October to April, and I never figured out how… one day it’s almost Halloween, and then it’s spring). It seems this party is the perfect place for a vanished frat brother to take his revenge.
The film opens with a movie, within a music video… within a movie. As soon as the music video began, which would best be described as, “The 80s, with The 80s shoved up its ass”, I was hoping this was actually a musical and I had missed the memo. The hair metal might only stick around for one vignette, but KILLER PARTY isn’t exactly all downhill from there. Our three heroines are just appealing enough to get us earnestly rooting for them, so watching them navigate the gauntlet of ritual sorority psychosis is grosser than usual, and when all hell breaks loose at the climax, their predicament is surprisingly unsettling. This might be the perfect party movie for your Halloween season. It’s a riot, and practically begs to be watched in a group under the influence.
Happy belated Halloween, everybody.
