It’s odd. While I’m more than ready for Hollywood’s obsession with the 80s to end, I really dig the general aesthetics of it, especially in its use in horror. The Strangers: Prey At Night was a great example of taking a no nonsense slasher, and utilizing all the old tricks to a really great effect. Hell Fest is a little different though. It’s a total, unabashed slasher, but it never feels obligated to adhere to those old school aesthetics. It’s honestly kind of refreshing.
The film is super straightforward. A group of friends go to a big, extravagant Halloween-themed carnival. However, once they get there, they notice something off. A masked man seems to be following them. At first, they think he’s just one of the employees, but once bodies start piling, they realize the stalker is a killer who has his eyes set on them.
That’s it. That’s the movie. The simplicity of it reminds me of a lot of slashers that kept things as simple as possible, and focused more on using either a gimmicky killer or a gimmicky environment to take advantage of. In this case, the film takes advantage of the carnival setting. It not only provides a really fun atmosphere, it gives the filmmakers a lot of room to play around with scares, kills, and tension building. Although, I wish the kills were as creative as the first big kill from the group. It’s still really satisfying and absorbing. The characters are often lit by the harsh lights of the various attractions, often smothering them in blues, reds, oranges, and sometimes in shadows. It definitely looks like the location has been well planned and thought out.
The characters are also engaging, and they are distinct. At least, the female characters are distinct. They do lean on certain slasher archetypes, but it’s done in a way that feels like it’s meant to bring the audience in on it, which – given the context of the carnival – feels oddly appropriate. Natalie (Amy Forsyth) is the one the audience is meant to follow, the sort of awkward girl who is reuniting with her best friends, Brooke (Reign Edwards) and Taylor (Bex Taylor-Kraus), after a long time. The friendship feels natural, and we have enough to get invested once shit goes down. The film makes a really smart move in (um…spoiler alert?) keeping the killer this mysterious force of nature with no reveal as to what motivates him and why he targets who he targets. It’s a great response to modern filmmakers who seem to obsess over backstory and lore, and the restraint to keep the killer a mystery is very appreciated.
There seems to be a slasher resurgence happening right now. It was kicked off with the success of Happy Death Day, and this year we had three high profile entries that are each very different in terms of approach – The Strangers: Prey At Night, Hell Fest, and Halloween. Hell Fest stands out in not being a throwback, and merely brings the thrills of the genre to modern day in the same way Happy Death Day did, and doing so without resorting to forced throwback qualities. Though, this does feel like it could’ve easily been released back in the day, and play in a double feature with Tobe Hooper’s The Funhouse.
I had a really great time with Hell Fest. Anyone who considers themselves to be a fan of slasher films definitely owe it to themselves to see it, not necessarily in that it does something totally original or mind blowing, but in terms of just being a very well executed take on the genre that keeps things moving, and raises the suspense from scene to scene, which has – up until recently it seems – been a rare thing. Director, Gregory Plotkin, and writers, Seth Sherwood, Blair Butler, and Akela Cooper, play things smart, and they know how to milk an environment for maximum impact. Plus, a Tony Todd cameo is always welcome. It’s also the perfect way to get into the Halloween spirit this year, coming in just before the beginning of October. And given how the film ends, I totally wouldn’t mind a sequel. Hell, if this came out in the 80s, we’d already be on the second installment of the reboot series by now.