aka Night Crew: The Final Checkout aka Intruso en la Noche
Directed by: Scott Spiegel
Starring: Elizabeth Cox, Sam Raimi, Renée Estévez
Review by Luisito Joaquín González
Every decade creates its own individual cultural characteristics that are easy to look back on and distinguish as key to that era. Even though perhaps there has been little invention during the last fifteen years or so, the tail end of the twentieth century delivered a multitude of creation within the entertainment industry. The fifties will always be remembered for the birth of rock and roll, whilst The Beatles, Bob Dylan and the introduction of the ‘make love not war’ anti-Vietnam mentality of Western youth signified the cultural identity of the sixties. Vivid images of white suited, medallion sporting men and disco divas became synonymous with the seventies, but it was the eighties that will be remembered for launching the most memorable generation landmarks.
Slasher films also played a strong part in defining the personality of those (in)glorious years. Despite the invasion of titles during the post-Scream outbreak of 1996, there will never be a time that can compete with the genre’s initial overkill period. It all began with the notorious, “kill her mommy” lines of Friday the 13th and despite a fall in popularity as the decade progressed, studios were still producing cycle entries consistently right the way through. I have said previously in my review of Maniac Cop that despite many believing that 1981 was the peak of the entire cycle, 1988 also should be acknowledged, if not only for the sheer amount of releases that hit shelves. Intruder is easily one of the best of those…
It tells the tale of a group of staff in a super market that are asked to work through the night, pricing down all the stock as they all have been made redundant due to the closure of the store. As they lock the shutters for the last time, it becomes apparent that an unwelcome guest has crept in amongst them. Before long, they are being stalked and killed one by one by an unseen maniac.
In film, as in life, timing is everything. Whether it be that of a screen comedian or the understanding of the span of suspense by a director, the clock can be a vital tool in the creation of cinematic perfection. The reason I write this is because as it stands, Intruder is an obscure slasher movie that is highly regarded by those that have seen it. If, however, it had been released eight years earlier, I would be writing the review of an out and out horror classic. Spiegel’s opus has enough wit, gore, audacity and creativity to be ranked amongst the best of its ilk and it is only purely due to the multitude of titles that it was released with that it has been so unfairly overlooked.
If Sam Raimi’s adventurous direction makes him the outlaw of Hollywood sensibility, then Scott Spiegel should be Billy the Kid. The Jesse James of eccentric cinematic vision. Here is a man whose modus operandi seems to be to imagine the most audacious and outrageous camera angle possible and then in the same breath attempt to shoot it. Although, much like mayonnaise on chips, you’ll either love his flamboyant approach or hate it; kudos should be given for his brazen audacity and outlandish vision.
What we have here is a pie-eating contest of slasher clichés, which add up to a mega-feast of tongue-in-cheek over-indulgence that leaves you begging for more after the final curtain. The gore is Intruder’s biggest selling point. Heads get lopped off, crushed and sawed in half; and much like the work of Fulci, everything is filmed in loving close-up. A movie can sometimes become an extension of the film-maker’s personality and having watched Scott Spiegel’s interviews many times, this, his signature feature, is truly a case in point. It’s a shame that such a modest, down-to-earth and clearly talented director has never reached the heights of his high-school buddies, Sam Raimi and Bruce Campbell.
Paramount Studios– the enemy of all gore hounds after their stringent censorship of countless genre classics – were responsible for changing the name of Intruder from the much better Night Crew: The Final Checkout. Their VHS release also, characteristically, cut out all the gore. The first copy that I watched was the BBFC’s rated version, which in all fairness was still a well-produced and competent slasher – but it’s the uncut print that is the real gem. Obviously Spiegel’s effort is no Halloween and it’s something that the director is well aware of. If, however, you asked me to pick the best fifty – hell, best twenty – genre classics, Intruder would certainly be amongst them somewhere alongside Carpenter’s seminal favourite.
Very few know that Intruder is a remake of an old Spiegel 8mm feature that he shot during the early eighties, titled Night Crew. Credit has to be given to Lawrence Bender’s slick production skills, which turned an equally gory, but ultimately mediocre Halloween-clone (which the aforementioned short most definitely was) into a stand-out slasher classic. This project would act as a learning curve for Bender who would go on – through Spiegel’s introduction – to become one of the most important producers of the last twenty years. It’s strange to think that this low-budget stalk and slash flick would be the first step on the career that would bring us Quentin Tarantino and a host of Hollywood hits including, Good Will Hunting.
OK, so the cast were never going to turn up at the academy awards, but they do enough to get the job done and a nod to Dan Hicks, who delivers a highly committed performance. One change that I would have made would be to have given Renee Estévez (sister of Charlie and Emilio) the lead role over Elisabeth Cox, who I felt was the weakest link in places. The ‘twist’ ending – which I really enjoyed – has been seen before, although I am convinced that it was just coincidental rather than Spiegel borrowing from other genre pieces. There’s also a decent whodunit plot running, which is stupidly ruined by the packaging on many versions that gives away the killer’s identity on the front cover. Doh!
Intruder is by far one of the best slasher movies of the eighties and should be a member of every avid fan’s collection. It mixes black humour and gruesome slaughter outstandingly well and basically takes the guide book to making a slasher movie, reads it and then blows it out of the window by maximising every damn page/trapping. This is how slashers are supposed to be and Señor Spiegel is welcome back here anytime to have another crack at a genre classic…
Final Girl √√