Editorials
Special Feature: ‘The Splat Pack Revisited’
Fear is what draws me to genre. I love the feeling of adrenaline I get when I’m watching a gut-wrenching horror film. The kind of film that gives most other girls I know nightmares. That’s why when I came across the trailer for Wyrd Studio’s documentary The Splat Pack, I knew I had to get my hands on a copy. It gave me a chance to relive the films that made me fall back in love with fear- and ultimately became the inspiration for this trip down memory lane with directors Eli Roth, Adam Green and Darren Lynn Bousman.
THE SPLAT PACK REVISITED: By Andrea Albin
“Ask yourself when was the last time you were truly terrified. I guarantee you’ll remember. Horror stays with you. That’s the beauty of it.” Darren Lynn Bousman, the directorial mastermind behind three of the most memorable SAW films, went on to cherish my admission of becoming physically sick during the pig grinding in SAW III. “Only in the horror world would that be a compliment.”
Bousman, alongside fellow splatter kings Alexandre Aja (High Tension), Neil Marshall (The Descent), Greg McLean (Wolf Creek), Eli Roth (Hostel), Rob Zombie (The Devil’s Rejects), Adam Green (Hatchet), and James Wan (the original Saw), is part of an elite group of filmmakers unofficially dubbed THE SPLAT PACK. Critic Alan Jones of Total Film is credited with coining the term, but it was Roth who took it for a joy ride. “I totally ran with it and posted it on everyone’s IMDB trivia page without their knowing so that journalists would ask them about it- and it worked!”
Fanatical doesn’t even begin to describe my love of the genre. Drawing out my top ten favorite films, six of them are horror. I never had a `thing’ for romantic comedies. Horror has always been my turn on. I live for the type of film that doesn’t make excuses. Unapologetic, unnerving, thought provoking horror. I think that’s why this self-made fraternity caught my attention to begin with. They were different, and at the time they were exactly what horror needed. Directors Mark Henry and Frank H. Woodward’s new documentary gore-fest THE SPLAT PACK brought me back to this moment in time- and gave me an excuse to not only put HATCHET back on viewing rotation, but to also revisit the movement for myself.
And it didn’t take much to convince Henry and Woodward, along with Green, Roth, and Bousman, to take that journey with me.
With the exception of SCREAM, the intense films of the 70’s and 80’s had taken a backseat to studio mockery by the time 90’s horror hit mainstream cinema. “The casts were interchangeable. Films just weren’t hitting. Where did the kills go? Where did the villain go?” recalled Green.
Roth remembered the difficulty he had bringing CABIN FEVER to life. “For years no one would finance CABIN FEVER because they told me ‘horror’s a dead genre.’ My response was ‘horror isn’t dead. Shitty movies are dead. If you make a great film the fans will come and support it.’ And they did.”
CABIN FEVER was one of many films that had started to surface in the early 2000’s that were mirror images of the movies that had, in a sense, gone missing from the genre. “I remember watching a screening of CABIN FEVER for the first time at the Egyptian Theater and thinking wow, this is such a change. A throwback. It reminded me of old horror- the type of horror that had gone dormant.” Henry expressed. “As more films emerged, it was very obvious that these were solid filmmakers that understood the essentials that make horror work.”
CABIN FEVER was only the beginning. Aja’s film HIGH TENSION was up against a non-existent horror movement in his home country of France. McLean set out to impair the world’s vision of Australian natives with his film WOLF CREEK. Marshall brought new meaning to claustrophobia with THE DESCENT. Bousman took over the SAW franchise with a psychological backdrop that hadn’t been seen since the days of Freddy or Jason. And it’s hard to forget Zombie’s dynamic trio in THE DEVIL’S REJECTS or, my personal favorite, Green’s comedic, bloody romp HATCHET.
Each of these filmmakers proved that R-Rated horror really wasn’t a thing of the past. That it could be commercially successful without the high budgets, star-studded casts, and watered down scripts. It was something that hadn’t been seen since John Carpenter or Clive Barker, and it wasn’t just horror fans that were taking notice. Horror had finally gone mainstream- but in return, had set itself up for the inevitable backlash.
“Comedians don’t get criticized for being too funny. Drama doesn’t get criticized for being too dramatic. It’s horror directors who get penalized for their vision,” said Bousman, who had to turn to Zombie for advice when battling the MPAA for an R-Rating on SAW III. “The ratings board wants to feel like they helped satisfy the public.”
But it wasn’t just the ratings board that had an issue with the public’s sudden, insatiable thirst for blood. Roth is no stranger to criticism. When HOSTEL was released, many critics said that the film proved the genre was one step above porn- or worse.
“The term `torture porn’ was created when HOSTEL opened at #1 and people couldn’t explain how fans were flocking to these films. I think it says far more about the critic’s lack of understanding of these movies and their fear of them than the film itself. I don’t go out of my way to upset people, but you cannot make movies like this and be afraid to offend.”
Green added: “When you start to take off you have about fifteen minutes until people start gunning for you. They want you to fail. In this business, you can’t not have thick skin. If you’re going to worry about what other people think, make studio films. They’re safe.”
By the time Zombie’s remake of HALLOWEEN hit theaters, the emotion had fizzled out, but the movement had effectively changed the way the genre is perceived. It did what it was supposed to do- slit throats, took names, and pissed people off, all while bringing horror back into the forefront of Hollywood.
When I asked each of the filmmakers their feelings on being a part of THE SPLAT PACK, the answer was universal.
Green: “We all do what we do. No one likes a label, but to be associated with THE SPLAT PACK is nothing but a compliment. I had no idea anyone would like something like HATCHET. To this day, I don’t understand it- a whole generation of people was missing this type of film.”
Roth: “When CABIN FEVER came out, it felt like we were at the beginning of what would be a perfect storm of horror. You had an amazing group of talented directors all over the world making incredibly smart, creative and violent horror films. It was time for new blood.”
Bousman: “It’s an honor to be among this group of people. Two years later, two years earlier this never would have happened. If I never make another film I’m just happy to know I was there for the rebirth of horror.”
When Henry and Woodward took on THE SPLAT PACK idea as a full-force project, they embraced the movement with open arms. Compiling everything from memorable, imbrued clips to compelling interviews, they effectively capture the impact of these films while staying true to the vision of the filmmakers. I got my hands on the piece a couple of weeks ago and have watched it several times- hell, it was the inspiration for this long-awaited tangent. It reminded me why I loved horror in the first place- and why I still bought SAW III on DVD despite my less-than-orgasmic reaction.
“The Splat Pack was responsible for a new age of horror,” said Woodward. “They know horror can be great. It was hard not to notice the films that were being brought out.” Mark added “They liked what they were doing- and it showed.”
Against an offbeat backdrop with an intense soundtrack penned by Mars of Dead House Music, the guys at Wyrd did a fascinating job in a compact, one-hour feature that’s more than worthy of even the most casual horror fan’s time.
The video is currently available for download on Wyrd’s website: www.wyrdstuff.com. It can be directly purchases or viewed as a rental. A limited supply of DVDs will hit sometime soon.
So what’s next for the crew?
Roth’s highly anticipated THE LAST EXORCISM will be released this Friday, coinciding with Marshall’s CENTURION, while Aja’s PIRANAH 3D hit theaters over the weekend. McLean is taking on RED HILL while Green wraps up HATCHET 2 (which I will plug until the end of time) and Bousman tackles the remake of MOTHER’S DAY (another film on my radar). And what about those nuts at Wyrd? They’re working on MEN IN SUITS, an in-depth look at the men behind the monsters. (The trailer can be found on their website.)
And what’s next for horror?
Green: “I’d like to see what happens five years from now when the kids who grew up on the SCREAMs and I KNOW WHAT YOU DID LAST SUMMERs and URBAN LEGENDs come up with. I’m curious to see if they’ll react the way that we did.” If that means another wave of breathtaking horror- I say `yes please.’ Just don’t leave out the gory details.
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College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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