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Friday the 13th: Halloween Night 1994 Review

Friday the 13th: Halloween Night 1994

Directed by: Chris Seaver

Starring: Brad Gough, Zach Allen, Chris Seaver


Review by Luisito Joaquín González

So peeps, it’s Halloween, let’s make it a good one! What are y’all up to? I’m taking Oliverio and Kalinka trick-or-treating with two of the scariest women I know (I need to be careful with my words 78476478348939838939839848748938933here – żartuje dziewczyny przysięgam) and then most likely going somewhere Friday in full psycho garb. It’s the only time that slasher fans can get away with dressing like their heroes and fit in with everybody else. I’m not going for my traditional Jason Voorhees outfit this year because I believe that I’d make an excellent vampire. I mean, I have78474783893893983983 the chiseled dark good looks and the unrivalled ability to pull the ladies, right? Are you all in agreement…? Erm… Any of you? Just one? HELLLLLLLOOOOOOO? Oh ok…

Anyway, as it’s our favourite day of the year, I wanted to take this opportunity to post a real rarity from my collection and break the a SLASH above mould somewhat. You see, my A-Z list of slasher movies is a fairly good reference point, but it doesn’t include any of the fabulous ‘shorts’ that can be found all over the globe in multiple formats. I did post a review of Death O’ Lantern recently, but aside from that, I’ve overlooked them more than I ignore my flat mate when she keeps telling me that the coffee table is not the best place to leave half-empty bottles of vodka. But you can teach an old dog new tricks, so here we have a real interesting entry… (Excuse me, I have some bottles in the living room that I need to clear up)

After a horrific massacre on a campsite, a local enthusiast heads to the location to survey the aftermath. He discovers Jason’s notorious hockey mask and feels an unavoidable urge to put it on just the once. Suddenly, he becomes possessed by the spirit of the notorious murderer and heads to a town on Halloween night where Michael Myers is already out on the prowl for teenage victims. 7847647643783783893983What happens however when the pair come face to face?

I mentioned  the cheese treat Death O’ Lantern earlier and interestingly enough, this is an extremely early production from the same director, Chris Seaver. I have met him and unfortunately, he is a bit of a rude dick head, but he does make slasher movies, so I didn’t floor him lol. I can’t say for sure whetherthis was his debut movie, but I did find out that it was most definitely amongst the first that he scraped the funds together for. It’s a fan boy video through and through, shot on a camcorder with Beastie Boys and the like playing in the background just for good measure. In terms of visual quality, my iPhone can create better footage during a fog-laden blackout, but that doesn’t mean that you’re not going to have a giggle whilst watching the events that unfold herein.653563563653763763

At thirty-four minutes, there’s not a great deal that I can write in terms of critical appraisal, but I will say that there’s some really good ideas on display. One moment that i thought demonstrated a fine level of creativity, was when a teen is butchered under a strobe effect, which really does look the business. Taking on board the total amateurism of the setup, I must say that the editing was actually quite slick in places and the guys playing Jason and Michael did a credible job at mimicking the renowned horror icons.

Where the film really stands out is in the high amount of gore. One cut throat is that impressive that it wouldn’t have looked out of place in a much bigger budgeted picture 7478478389389398398393and each kill scene is lively, bloody and fun. Jason and Michael are finally shown on screen together for (arguably) the first time in video history and although the budget restraints restrict a super battle between them, it’s still cool to watch.

There’s no doubt that the cast are just a bunch of mates and funnily enough there’s not one female amongst the characters. You would have thought that they could have convinced the local prom queen to put in an appearance, but instead we get to watch Seaver’s buddies get slashed gorily, which is a subtle up yours to the ‘feminism against 78476476478437839833slashers’ movement. We get some periodic references for eagle-eyed viewers (OJ’s trial is mentioned and we see posters of Jason goes to hell on one guy’s bedroom) and they even pinch the original Halloween score for good measure.

Friday the 13th: Halloween Night is an interesting (and confusingly titled) little obscurity that needs to be seen by slasher fanatics who can forgive shoestring budgeting. Whilst technically it’s at the level that you’d expect for $200 (the POV through eye-hole shots are clearly just a mask placed on top of the camcorder) there’s enough cheesy fun to be had by forgiving fans. If you got through Day of the Reaper without screaming, then you may just be able to survive this.

Good work again from Señor Seaver, a filmmaker who is really just one of us. Enjoy…

Slasher Trappings:

Killer Guise: √√√√√

Gore: √√√√

Final Girl:



Eyes Without a Face1994 Review

Eyes Without a Face 1994

aka Madness aka Gli Occhi Dentro

Directed by: Bruno Mattei

Starring: Monica Seller, Gabriele Gori, Emy Valentino


Review by Luisito Joaquín González

If you look at the majority of films from the Italian exploitation directors of the late seventies and early eighties, many of them worked within similar – if not identical genres. After Fulci’s ‘Zombi 2’ was a major box office success, Umberto Lenzi (Nightmare City), Marino Girolami (Zombie Holocaust), Andrea Bianchi (Burial Ground) Claudio Fragasso (After Death) and Joe D’Amato (Erotic Nights of the Living Dead) all jumped on the bandwagon to helm their own gory genre-additions. The same could be said about Ruggero Deodato’s Jungle Holocaust, which led to the production of movies like Cannibal Ferox (Umberto Lenzi), Mountain of the Cannibal God (Sergio Martino) and Antonio Margheriti’s Cannibal Apocalypse.

By far their biggest contribution to Horror cinema has been the Giallo, which to those that don’t know, is basically the Italian version of the American slasher movie – only the Giallo came first. You can blame Mario Bava. His 1963 and 1964 murder/mysteries (The Girl who knew too much and Blood and Black Lace) are in fact credited with launching the cycle. If you check through the filmography of any of the Euro exploitation titans that were working throughout the years that followed, then you’re sure to find a Giallo lurking in there somewhere.

It came as a surprise then when I learned that Bruno Mattei (arguably the sleaziest filmmaker of them all – and the first to jump on the bandwagon) – hadn’t blessed the genre with his own contribution right up until 1994. Now I know that the Italians kept working with the slasher/Giallo category long after the Americans had realised that the cash-cow had been well and truly milked – but by 1994, pretty much the entire world was aware that masked killers were truly a thing of the past. Perhaps that explains why Eyes without a Face or Madness (Gli Occhi Dentro – surprisingly NOT a remake of George Franju’s classic of the same name) has become such a tough little cookie to track down. Even the copy that I eventually found was coverless, subtitled in French and was almost unwatchable due to the poor quality.

Artist Giovanni Dai (Monica Seller) comes under fire from the media when a masked maniac begins emulating the murders committed by the lead character in her comic Doctor Dark. It tells the tale of a murderous schizophrenic that spends his days working as a Pagan professor, but spends his nights murdering babysitters. The assassin then removes his victim’s eyeballs and places broken glass over the bleeding sockets. Before long the slaughters begin getting closer and closer to Giovanni and her boyfriend and it’s left up to the dedicated detective Callistrati (Anthony Zequila) and his squad to stop the psychopath before he finally reaches her…

Madness begins with a surprisingly engaging scene, which hints at the argument that violence in home entertainment has a huge effect on behaviour in the community. This is a popular debate that has stretched from books to cinema and more recently video games and it still rages on even today. “If they kill someone with a power drill, do they take it out on Black and 6458934674674749833Decker?” Giovanni asks sarcastically. I guess that it depends on your own personnel views whether you agree with that statement or maybe you look at it from a different perspective. Perhaps the biggest surprise of all is that this topic is being discussed by a character in a movie directed by Bruno Mattei; a filmmaker that has never been credited for showing intelligence in his works. In fact, this feature does a fair amount to disprove the fallacy that Mattei doesn’t have a shred of talent in his body and is just an exploitive hack – something that his critics will always leap to acknowledge. Some of the photography is smartly planned and exciting, the score’s brilliantly orchestrated, the gore’s fairly restrained and he even manages to create a large amount of suspense in a number of the stalking scenes.

The mystery is fairly well constructed and should keep you guessing up until the slightly over ambitious climax. There are also a few moments when Mattei unleashes a few of his trademarks. The first murder victim suffers a particularly graphic eye impalement, which brought back fond memories of Margit Evelyn Newton’s infamous fate in Zombie Creeping Flesh. It doesn’t take too long either for Monica Seller to rip off her clothes and jump on top of her boyfriend – another of Mattei’s necessities. That’s all you’ll get in the gore and nudity department, even if the other murders are hardly ‘family viewing material’. The inspiration for the feature looks to have stemmed mainly from Umberto Lenzi’s Eyeball; however the killer dresses in a black mask and fedora like a more familiar Giallo bogeymen. He also heavy breathes like an American ‘slasher’ – so it’s obvious that Bruno had taken a dose of the genre’s American counterparts before production.

After a promising start the pace does huff and puff somewhat until the climax and a few more murders would have been nice. It’s also a shame that this was yet another victim of abysmal dubbing for the English speaking market, which made the movie even tougher to appreciate.

Even so, the net result is a fairly decent murder mystery that should push the right buttons for fans of the slasher/Giallo genre. It’s only a shame it’s as rare as a bus in the rain, because it may have done a fair bit to boost Mattei’s debatable cinematic reputation. Give it a try if you can manage to track it down. You may even find that you’re pleasantly surprised…

Slasher Trappings:

Killer Guise:√√√

Gore √√√

Final Girl √√