Directed by: Kimble Randall
Starring: Molly Ringwald, Jennifer Napier, Erika Walters
Review by Luisito Joaquín González
Funny how opinions change over the years, isn’t it? I wonder if critics like Ebert and the like watch movies for a second time and find something more that they missed initially? I saw Cut when it was released in 2000 and I was nineteen years old. I had followed its production and had hoped it would be as good as the snippets that I’d read had made it sound, because thanks to some brilliant marketing, it had been covered everywhere that I looked. When I received my copy however, the only feeling was one of disappointment. Was it my expectations being too high? I cant be sure, but this time around, some twelve years later, I had a totally different experience.
On the set of the eighties slasher movie, ‘Hot Blooded!’ director Hilary Jacobs gets tired of the constant mistakes from actor Brad and she fires him on the spot and embarrasses him in front of his colleagues. Later he heads over to ask for another chance, but she insults him even more, which makes him go berserk and he kills her. He is prevented from going on a further spree by the quick thinking instincts of Vanessa Turnbill, the lead actress, who gives him a rapid tracheotomy, which ends in Brad being electrocuted. It seems however that his death leaves a curse on Hot Blooded and all who try to watch or remake it.
Present day Australia, a group of drama pupils attempt to finish the film for their graduation. They bring back Vanessa Turnbill to co-star and put together a cast, ignoring the rumours of the hex. Almost as soon as they arrive on the secluded location, a masked killer begins to murder the members of the crew. But how can they kill something that’s already dead?
Interestingly enough, I watched this the day after Fright Flick and coincidentally the two features are quite similar. Both place their story on the production of a fictional slasher movie and they have the same smooth blend of graphic horror and witty scripting. Cut is generally considered as Australia’s attempt at creating an entry in to the catalogue of Scream inspired new age slasher flicks, but it actually takes a slightly different route in the delivery of its plot. Whereas Urban Legend, Cherry Falls – actually almost every slasher released since 1996 – aimed to imitate Kevin Williamson’s heavy use of mystery in working out the killer’s identity, David Warner’s screenplay owes more to its cousins of old by giving us a REAL bogeyman and one that we know about from the start. The killer is blessed with a strong presence, excellent guise and neat weapon of choice (a modified garden shear). He stalks and heavy breathes using the methods of old; the ones that Wes Craven didn’t reference when he relaunched the genre. There’s a great sequence when he attacks two characters that have locked themselves in a car and instead of the usual brick through the window technique or pitchfork through the roof, he just takes some gasoline and sets it on fire!
The film that they are shooting incorporates a maniac that wears the same guise and mask as the actual killer, so there are a few times when the characters mistake the psychopathic stalker for their buddy right up to the moment that he draws his weapon and swipes. This leads to an amusing scene when the two ‘bogeymen’ come face to face (or mask to mask) – Guess who comes off worse? In fact, the screenwriter showed a good flair for black humour, especially by doing something that many people with a dislike of corny pop music have wanted to do for years – cut out Kylie Minogue’s tongue. No, seriously! The few players that do live long enough to realise that they’re facing doom put up a really good fight and it makes the deaths more exciting. I thought Erika Waters’ pre-demise performance was great and I was disappointed that she was written out so quickly. She seemed to be a good actress and by far the most beautiful of the females, so it’s a surprise that she hasn’t done anything else since. The dramatics are slasher-standard, meaning they’re ok for this kind of film, but credit to the producer for getting a couple of big names involved, including of course the ten-minute cameo from Kylie. Jessica Napier was good as the brave final girl and Molly Ringwald shows her ability as the spunky anti-heroine, creating a persona that we wanted to survive despite her non-endearing arrogance.
The movie is slickly produced with a good score and neat soundtrack including classic Split Enz hit, ‘I Got You’. The attempt at maintaining a momentum is continuous and the director pulls off some good stuff. The deaths are numerous and creative, but I was disappointed that they didn’t do more with the make-up effects. Cut plays like a R rated feature and lacks the ambition to put on screen the initiative that had been dreamed up during the writing. There’s a decapitation and a neat death where a girl gets her head squished by a large power tool, but you don’t really see any of it and the effects amount too a gallon or so of fake blood. It also gets very silly toward the climax as a character that was presumed dead reappears despite having a pipe through his throat, but the way that they finally stop the maniac is intriguing and well conveyed.
I don’t expect to get scared by slasher films of modern times and I have said previously, they are a similar cinematic experience to chick flicks. Nowadays, We know what to expect and we realise that the acting won’t be great, but we still want to have some fun and see people get squished. Cut delivers as a good time popcorn flick and it does nothing wrong if that’s what you’re looking for. By no means a classic, but I have most definitely changed my first opinion.
Final Girl: √√√