SLAUGHTER HIGH - BLU-RAY REVIEW

Set within a dilapidated old high school, a class prank that went horribly wrong years earlier sets the impetus for SLAUGHTER HIGH (1986), a rather ludicrous if quite memorable slasher film which has arrived on Blu-ray in a brand-spankin’-new transfer as part of Lionsgate’s continuing Vestron Video Collector’s Series.

Mark Rantzen (Simon Scuddamore) is the school geek of Doddsville High (or as the U.S. ads proclaimed, “The Dork of Doddsville High”!) who is constantly teased and bullied by his classmates, including class clown Skip (Carmine Iannaccone) and the school’s most popular hottie Carol (Caroline Munro). However, when one of their pranks goes very wrong, Mark gets badly disfigured in a chemistry mishap, which - needless to say! - leaves him yearning for revenge in a big (and hopefully messy) way. As per the usual template for this sort of formulaic fare, years later, Skip, Carol and the rest of the so-called dork/geek’s wrongdoers are mysteriously invited to a school reunion at their now very-run-down old alma mater, where they are - no great surprise there! - ritualistically killed-off one-by-one.

A predominantly-British production with some fleeting American input courtesy of producer Steve Minasian - one of the silent partners behind Sean S. Cunningham’s historical benchmark for the slice’n’dice/jab’n’stab genre, FRIDAY THE 13^TH (1980) - SLAUGHTER HIGH was, like some of Minasian’s other films, such as PIECES (1982) and DON’T OPEN TILL CHRISTMAS (1984), co-produced by exploitationer extraordinaire, Dick Randall. Hoping to cash-in on the last remnants of the slasher boom (which, by 1986, was, for all intents and purposes, very much on its last legs), co-directors Dugdale, Ezra and Litten were hoping to inject something new into a by-then-tired-out genre with some creative—and decidedly vicious—killings and dark humour, while, at the same time, staying true to the film’s type. The killer, although his identity is obvious right from the get-go, wears a rather unnerving jester/clown mask, which provides some necessary extra punch to many of SH’s kill scenes and, in a nice touch, amps-up the tension in others with the faint sounds of jingling bells being heard emanating through the desolate hallways of the derelict learning institution. All the standard archetypes are present, but what sets this movie apart from the rest of the slasher pack are its inventive, over-the-top kills: including one poor guy who shotguns a beer only to realize the can is filled with some sort of green ooze; which, quite literally, makes his stomach explode! In yet another oddball—not to mention completely nonsensical—demise, a female victim takes a bath and is reduced to a bloody skeleton by corrosive-laced water which pours into the tub from the tap.

In an additional connection to FRIDAY THE 13^TH, composer Harry Manfredini contributes a cut-and-paste score, consisting of numerous cues from his earlier, now-iconic compositions, but he also contributes a suitably awful yet wholly appropriate theme song (co-written by John Caribbi), which perfectly establishes SH’s silly tone; although, it must be said, the film does display quite the unabashed mean streak, one which is far more pronounced than is usually seen in your average psycho killer film. In this respect, it is rather akin to Danny Steinman’s FRIDAY THE 13^TH PART V: A NEW BEGINNING (1985), one of the nastier endeavours to be found in the entire stalk’n’slash/cut’n’gut canon.

Originally titled APRIL FOOL’S DAY, a title which had to be nixed when Paramount’s FRIDAY THE 13^TH producer Frank Mancuso, Jr. announced Fred Walton’s same-named slasher spoof that very same year of ’86, Vestron Pictures did release the present film theatrically. However, in all probability, most people likely caught this via Vestron Video’s Beta/VHS videocassette release, which was made available in both R-rated and unrated versions. The film first debuted on U.S. DVD in 2009 via Lionsgate and their ’80s ‘Lost Collection’, and even though it was uncut, it was derived from a less-than-impressive, tape-sourced master. This same edition later popped-up in a 4-Film Collection and an 8-Film Collection, both again from Lionsgate, and which also included numerous other Vestron Pictures releases. Working from the interpositive, Lionsgate’s latest release is obviously their most attractive presentation of SH yet, which has been remastered in 2K for the occasion. The 1080p MPEG-4 AVC encoded Blu-ray is once again presented uncut, while the heightened HD resolution is a vast improvement over all versions that have gone before, exhibiting far more detail, solid black levels and fairly robust colours, latter of which especially come alive during the hallucinogenic, candy-coloured ending. The DTS-HD MA 2.0 audio option also sounds crisp and clear, with no noticeable issues whatsoever, especially given the limitations of the low-budget production, and for anyone that may need them, Lionsgate has once again provided English SDH subtitles.

The abundant extras begin with an affable audio commentary care of co-directors Dugdale and Litten, which is nicely moderated by Red Shirt Pictures’ Michael Felsher. Working with Dick Randall, they were given the opportunity to direct this FRIDAY THE 13^TH clone and were asked by both Randall and Minasian to create something that was (quote) “the same, but different”, and that much of the film was (quote) “driven by what they could afford.” They discuss many of the cast members who, outside of veteran scream queen Caroline Munro, were all in their mid-twenties while trying to portray high-schoolers, and that many of the actual U.S.-born-and-bred actors were criticized for their ‘unconvincing’ American accents (?!). Much of the film was also (quote) “very loose” in its conception. Many of the ideas for the killings were simply thought up when Dugdale and Litten (quote) “met-up in a pub and had a chat.” In a surprising revelation, they explain how they had no input whatsoever into the music, and that fully half the film’s budget was used to hire Manfredini. The pair also discuss SH’s main shooting location, an actual still-standing if disused Victorian asylum which doubled for Doddsville High, along with the ‘accidental’ full-frontal nudity from Scuddamore and his unfortunate and very sad suicide soon after completing SH (which, despite rumours, was not a result of appearing in the film). They go on to discuss plenty of other anecdotes, including the killer’s signature jester/clown mask, which was simply purchased at a costume shop and used as-is; Randall’s brief cameo in the film, which they insist was not intended as a caricature; that Caroline Munro’s Soho apartment in the film belonged to London strip club magnate Paul Raymond; and that the extended chase sequence which concludes the film was helped along by (quote) “Steadicam guru” John Ward. Both Dugdale and Litten prove to be excellent raconteurs, and they span the film’s ninety minutes with ease. In a second audio commentary, or rather audio interview (21m01s), Felsher talks with composer Manfredini about the unavailability of his music, and how the only track they could locate was a (quote) “Mono Music and Effects Track”, which is included following the interview. Manfredini also discusses his early career and film work, such as Sean S. Cunningham’s HERE COME THE TIGERS (1978) and the cultural impact of FRIDAY THE 13^TH, which generated a lot of work for him. He also admits that he was initially attracted to SLAUGHTER HIGH simply for the money, as well as how the film’s ostensible if obviously non-U.S. setting (quote) “threw him for a loop.”

Other no less significant extras include Red Shirt Pictures’ Going to Pieces (18m29s), an interview with co-writer / co-director Mark Ezra wherein he discusses, among other things, his recollections of Dick Randall, who was (quote) “a very funny and interesting guy”, and the problems which arose from trying to shoot an American film in London. He also goes on to discuss co-directors Dugdale’s and Litten’s different responsibilities, and how they almost got ex-“Rat Pack” star Peter Lawford to play the coach. In Red Shirt Pictures’ My Days at Doddsville (14m35s), Caroline Munro discusses how she became involved in the production and the challenges and benefits of working with three directors; in particular Dugdale, whom she was dating at the time. She also talks about the locations used and the physical demands her role placed on her. In addition, the disc includes an extensive still, poster and promotional artwork gallery (6m55s), as well as the film’s quite graphic theatrical trailer (1m43s) and a couple of radio spots (1m50s).

Although it has been readily available over the years, SLAUGHTER HIGH has, thanks to Lionsgate’s Vestron Video Collector’s Series, finally arrived in what can easily be touted as THE definitive presentation of this fan favourite. Order it from Amazon or DiabolikDVD.

THE UNHOLY - BLU-RAY REVIEW

Released during the tail-end of the ’80s horror boom amid a glut of horror sequels, THE UNHOLY (1988) tried to accomplish something a little different, but in spite of the solid turns from the impressive cast, this sincere attempt at a thought-provoking religious-themed occult horror film eventually falls a little flat; but those wishing to reassess one of Vestron Pictures’ more successful releases of the time will be more than happy with Lionsgate’s latest Vestron Video Collector’s Series Blu-ray.

Archbishop Mosely (Hal Holbrook) and Father Silva (Trevor Howard), an elderly priest who specializes in demonology, are secretly agonizing over a series of murders which occurred at the St. Agnes Parish in New Orleans.  Believing this to be the work of some malefic supernatural entity, they grant this cursed Parish to Father Michael (Ben Cross), whom they believe to be (quote) “chosen” after he miraculously survives a fall from a high-rise building completely unscathed.

Unfolding like some colourful late-entry noir, Camilo Vila’s THE UNHOLY accents dialogue over horror for much of its running time, and features some spirited performances from a number of old-school veterans, also including Ned Beatty as a determined detective (“I don’t like unsolved cases.”).  Both Holbrook and Howard do what they can with the formulaic dialogue they’re given, delivering it with their customary professionalism, as expected.  Prolific TV actor William Russ also adds significantly to the roster of talented cast members (he also appeared in Gary Sherman’s WANTED: DEAD OR ALIVE [1987] the year before), playing the owner of The Threshold, a nightclub where he stages hokey Satanic rituals for people’s entertainment and edification, but whose admitted (quote) “gimmick is turnin’ into a nightmare”; this when, as similarly happens to Father Michael, he also begins experiencing some vividly horrific visions.  Skillfully shot by DP Henry Vargas using lots of coloured lighting and shadowy textures, the film looks great, and it musters-up plenty of atmosphere, emphasizing the much-touted “mystery” element.  However, this aspect is squandered away when, during the film’s exciting opening, it’s clearly revealed who is killing these priests: namely, a beautiful – and frequently nude – redheaded succubus (Nicole Fortier), who continually tempts Father Michael with the pleasures of the flesh up until the somewhat out-of-place special effects-laden finale.

As revealed in the disc’s audio commentary with director Vila, THE UNHOLY was never intended to be a full-blown horror film, but rather a (quote) “whodunit” instead.  The film was eventually recut in hopes of upping its commercial appeal, which also included a complete – and exceedingly unnecessary! – reshoot of its original ending without director Vila that added some (quote) “demonic oompa-loompas”, plus extra gore and nudity.  Although far from horrible, the F/X laden finale with its rubbery monsters and gratuitous gore is more akin to an Empire Pictures film, and it all simply feels out-of-place amidst the rest of Vila’s more smoothly/stylishly-done material.

As with all of these Vestron Video Collector’s Series entries, the 1080p HD transfer is superb, and this increased quality/clarity at last allows the glossy ’80s-style photography to reveal more of its subtler details.  The DTS-HD 2.0 Mono Audio also sounds excellent, without any discernible issues.  Overall, the disc looks and sounds pretty great.  The extensive extras begin with an informative audio commentary with director Camilo Vila that is moderated by Mondo Digital’s Nathaniel Thompson who keeps things moving along nicely.  The Cuban-born director has plenty to say about his potential (quote) “ticket to Hollywood” and how his original story was planned to unfold during Lent, an idea which was quickly dropped.  He also has nothing but praise for his cast (“It’s like having a Rolls Royce with a driver.”) and casting director Carol L. Dudley.  In spite of some of the film’s similarities to Michael Winner’s shocker THE SENTINEL (1977) – of which Vila is also a big fan – he admits he never had a good ending, but the new finale (quote) “horrifies me and is the same concept but badly done.”  As an added bonus, the disc also includes an audio interview with composer Roger Bellon (41m21s - conducted by Red Shirt Pictures’ Michael Felsher), who was brought in at the last minute to re-score the picture.  They discuss his time in France as a youngster; his time at Berkeley; and making sure (quote) “everything was moving in the right direction” when he improvised the entire score in just 10 days! A second audio interview with production designer and co-writer Fernando Fonseca (16m09s) is also included.  As promised on the packaging, Bellon’s score is also included as an isolated audio track, but the disc also includes Fonseca’s unused score as well!

In association with Felsher’s Red Shirt Pictures, the disc includes three separate featurettes, which begins with “Sins of the Father” (19m09s). In it, English actor Ben Cross talks about how work brought him to the United States, and that he had (quote) “no ambitions for Hollywood.”  He too talks about his (quote) “utmost respect for his fellow cast members”, as well as the infamous nightmare sequence involving snakes, which he describes as (quote) “very uncomfortable.”  In “Prayer Offerings” (18m35s), production designer and co-writer Fernando Fonseca talks about his extensive contributions to the film and how he became attached to the project via its producer, Matthew Hayden.  Fonseca freely admits that he wore (quote) “too many hats” on the production, and actually becomes quite emotional when discussing Trevor Howard.  In the last Red Shirt Pictures produced extra, “Demons in the Flesh – The Monsters of the Unholy” (22m26s), Jerry Macaluso discusses his initial involvement in the production, his influences – including legendary F/X artist Dick Smith – and his many mistakes during the production… but then again, he was just a teenager at the time, after all!  Also interviewed is Steve Hardie and Neil Gorton, who were part of Bob Keen’s (an F/X guru best-known for Clive barker’s HELLRAISER [1987]) crew for the extensive reshoots. 

Thankfully, the disc also includes the original – and less F/X-heavy – ending (15m02s), which showcases much of Macaluso’s work and is more in touch with the tone of the rest of the film.  Rounding-out the extras are the film’s original theatrical trailer (1m17s), a pair of TV spots (2m15s), one of which includes audience reactions; a couple of radio spots (2m25s); an original storyboard gallery (18m40s); and an extensive still gallery (11m51s), which highlights numerous behind-the scenes photos and promotional material.

For all of the film’s initial hyperbole (“What in hell has taken over this place!”), THE UNHOLY doesn’t quite live up to expectations, but Lionsgate’s newest Vestron Video Collector’s Series Blu-ray certainly delivers the ecclesiastical extravagance.  Order it at DiabolikDVD.