Miner’s Massacre 2002 Review

Miner’s Massacre 2012

aka Curse Of The Forty-Niner’

Directed by: John Carl Buechler

Starring: Alexandra Ford, Karen Black, Richard Lynch

21

Review by Luisjo González

What with Штольня and XP3D a few years back, I’d been coincidentally ‘digging’ through the mine-based slashers with a pick-axe at 45an impressive rate. Here we have one that I’ve wanted to add for some time, but there’s always been a title in front of it… until now. Curse of the Forty Niner or Miner Massacre as it’s known round these parts, was the second slasher film from John Carl Buechler after he directed arguably the most ‘gutted’ of the Friday the 13th sequels (part 7). He also provided special make-up effects for a number of eighties stalk and slash films including The Prey and Demonwarp. Known for his visceral gore scenarios, Buechler was something of a cult hero throughout horror’s most cheesetastic decade. Although his directorial efforts never really put him on a level with Carpenter or Craven, he still played an important part in the1 production of numerous entries. After the Scream-inspired slasher rebirth, he returned to the cycle that he had heavily contributed to with this overlooked inclusion.

A group of young adults head off to a remote Southern location where it’s rumoured that a murderous outlaw named Jeremiah Stone stashed a pile of gold. The area is surrounded by the legend of the ‘Curse of the Forty-Niner’, which dictates that if anyone searches for the treasure, the spirit of Stone will return from beyond the grave and murder those responsible. Guess what happens next…

Is sticking consistently to your stereotype always a bad thing? To be honest I’m not so sure. If we erase the past twenty years, I’m a massive Robert Deniro fan. I loathe his politics, but I honestly believe that his Vito Corleone in 9Godfather 2 and his Leonard Lowe in Awakenings are (along with Sean Penn in Dead Man Walking) amongst the greatest performances ever captured on celluloid. His critics will say that he can only play a gangster or a villain, but I disagree, because the best of his work from the past two decades is Silver Linings Playbook and Everybody’s Fine, which are everything but dark characters. It’s a shame that the roles that he’s most renowned for are violent or aggressive, because he has more strings to his bow than he is given credit for. Despite accusations of churning out anything for the paycheque of late, his quality has been mainly evident when he’s played against type.2

In the case of John Buechler though, Miner’s Massacre has the opposite effect. If you’ve got a slasher film from a guy that’s known for making ‘the goriest continuation to Friday the 13th, I guess you build a certain level of pre-view anticipation. Then when said movie has about as much blood as I Know What You Did Last Summer, you kind of feel, well, a bit disappointed. It certainly looked as if, stung by the censorship issues that plagued his entry to the Voorhees saga, Buechler had re-invented himself as a filmmaker more focused on suspense. In honesty, I much prefer the Carpenter methodology and value style over substance, so was keen to see how he’d get on with such a stark change of approach.

On first glance, Miner’s Massacre starts fairly limply, with pancake personalities and plot branches that have minimal 8exposition. Our antagonist is brought back from the grave rapidly with no real explanation and the gang know exactly where they’re going to seek treasure after receiving only half a map and a chunk of gold(???). It could have been a prank by a friend or a marketing gimmick from Walmart, but they merrily pack their stuff and off they go without a second look. Thankfully, when they reach the secluded location, the film drastically improves, due to a tighter pace and an aura that’s subtlety reminiscent of inclusions from the late entries of the eighties. Buechler outshines many of his contemporaries by capturing the charm and wit of the genre heavyweights without over-emphasising the fact in neon lights. He fills his film with archetypal slasher personalities, but I did like a couple of them, which made a real difference to the egotistical tosh that fills other modern slashers. I think that my favorite was the ‘moan-a-lot-bitch-girlfriend-from-hell’ that became the first victim of the zombie assassin. Her OTT Brooklyn ‘My Cousin Vinny’-lite accent really gave her some spark and I was fairly disappointed when she checked out prematurely. She may not have escaped her stereotype, but because she was played with fire, I really thought that she stood out.4

Looking like a cross between Freddy Kruegar and Jack Sparrow from Pirates of the Caribbean, the killer stalks and slashes his way through the group with impressive menace and the murders build up to a tense conclusion in an underground mine. Its fair to say that Buechler directs with endeavor, but there’s nothing outstanding that genuinely transcends the norm. The decision to shoot the night scenes with a tint of blue was a poor one and the lack of visual clarity is surprising considering the budget. That’s not to say that the production had extensive funds to play with, but there were a handful of explosions and OTT effects, which could have been substituted for a better lighting rig. One of my readers, a cool dude from the Philippines posted a comment on Death Valley. He correctly mentioned that it was one of the only slashers that had a Western slant, but I guess that you could say that Miner’s Massacre also counts as a genre entry that owes 7something to outlaws and gunslingers from America’s Wild West.

The movie eventually goes where you expect it to, with most of the cast getting killed off, aside from the final girl and her beau, who end up facing off with the maniac. The main issue I had with Massacre is that it felt incredibly tame. I would’ve never expected subdued and harmless horror from señor Buechler. I guess you can compare him to an elderly rocker like Mick Jagger or Steven Tyler. They were all 24/7 drugs and alcohol in the swinging sixties/seventies, but now that they’ve got their eyes on their health at their ages, it’s shandy, healthy food and cocoa before bed.48

I guess that you could call Miner’s Massacre the slasher equivalent of a film like Con Air. It’s an entertaining stroll that takes the expected route, but doesn’t attempt to uncover an adventurous shortcut. There’s a cute, but flat chested chica (Eve), some exciting stalking scenarios and an authentic antagonist, but I couldn’t help but think that this director is capable of delivering so much more.

I was saying to my mum recently that it’s amusing how so many heavy metal groups from the eighties have ‘reunions’ when the bank balance is looking a bit on the light side. I suppose that in the case of Buechler, he just accepted the odd director’s gig for the exact same reason. Sadly Mr Buechler caught cancer in 2017 and despite valiantly battling with it, he died in March 2019. A real disappointment. Not many of the maestros from the original slasher boom are left alive… it’s a huge shame…

Killer Guise:√√√

Gore:√

Final Girl:√√

RATING: a-slash-above-logo11

874

Posted on September 18, 2021, in Slasher and tagged , , , , , . Bookmark the permalink. 2 Comments.

  1. ¿Esta entrada no la habías hecho ya? Recuerdo algunas cosas de la misma, no sé si hay algo nuevo aparte de mencionar lo de la muerte de Buechler.

    Lo vi hace unos meses, y en lo personal me gustó. Fui a mirarlo con el cerebro apagado… Eso sí, las muertes no son la gran cosa, salvando la de pala. No recuerdo que siquiera tuviera sangre. El asesino en mi opinión está bueno, aunque le pudieron haber sacado más jugo.

    En general es una película floja, pero si la miras sin demasiadas pretensiones está más que bien.

    ¡Saludos, Luisito!

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