(Note: This is actually the 32nd Movie of
Horror-Ween, but I had a little extra time on my hands this month, so consider
this one a bonus.)
Victor
Crowley is the fourth film in the uneven Hatchet series. It was made in secret by director Adam
(Hatchet 1 and 2) Green and sprung upon an unsuspecting world. (Kind of like the new Blair Witch movie.) It’s a step up in quality from the last two
entries in the series, but still isn’t quite up to snuff with the original.
The
opening sequence, set in the ‘60s, is my favorite part. Part of the reason is because it features Jonah
Ray from Mystery Science Theater 3000 and Kelly Vrooman from The Sunny Side Up
Show. They have a good vibe together and
it’s a shame they’re totally dismembered before the opening credits roll.
Well,
it’s ten years after the Victor Crowley murders. Andrew (Parry Shen), the paramedic who
survived the ordeal, has written a tell-all book on the subject. As he makes the talk show rounds, people make
it abundantly clear they think he’s the real murderer. While on his way to revisit the scene of the
crime for a true crime show, the plane crashes into the swamp. Meanwhile, a group of filmmakers trying to
make a movie about the murders, happen by the plane crash and offer
assistance. Naturally, Crowley (Kane
Hodder) is prowling around the swamp with his trusty hatchet in hand waiting to
turn everyone into chopped liver.
There’s
more comedy this time out, and much of it is successful; something that can’t
be said for the other entries in the series. (I liked the constant interruptions by the
captain on the PA system during the flight.) Felissa Rose steals a handful of scenes as a
mouthy publicist and Dave Sheridan is on hand to do impressions and act as a likeable
goofball as the tour guide/aspiring actor.
Shen also gets to show off his comedic chops, especially in the scene
where he is forced to sit in on what has to be the most awkward book signing in
history.
Speaking
of chops, the gore is solid this time out.
There’s plenty of eye gouging, decapitation, face-hammering, scalping, and
head stomping to go around. The best bit
is a nod to Cannibal Holocaust but updated for the smartphone era.
Despite
doing a better job at combining the gore with the comedy than in any of the
other sequels, Green never really finds a way to tie it all together. It’s not bad or anything, but the movie often
feels slight and unnecessary. There’s really
nothing here that builds upon the established lore of the character, which is
odd because it’s called Victor Crowley. Because
of that, I was expecting it to at least focus on him a little more instead of keeping
him in the shadows for most of the film.
Maybe I wouldn’t have felt this way if they had just called it Hatchet 4.
AKA: Hatchet:
Victor Crowley.
(There
might be a few more reviews on tap before Halloween comes to a close tomorrow,
but if for whatever reason I don’t post any, fear not: I’ll continue the horror-movie-watching
project throughout November with a little feature I call “Halloween Hangover”.)
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