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Special Feature: ‘The Splat Pack Revisited’

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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.

Visit Andrea Albin’s blog and show some love.

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Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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