In theaters right now are two movies that demonstrate what works and what doesn’t in modern mainstream horror. HATCHET 2 works, whereas CHAIN LETTER does not. Both films have the requisite amount of sex and gory violence, but while HATCHET 2 is a smooth combination of irreverent jokes and bloody horror, CHAIN LETTER is clumsy and grim.
A sequel to Adam Green’s 2006 goofy gory hit, HATCHET 2 continues the funky Louisiana bayou story of Victor Crowley and his ghostly rampages. This time around, Green, back as director and writer, steps up the killings and the level of graphic comic violence. And while it is certainly not for all tastes, if the mood strikes you and you know what you’re in for, you can have a downright dirty good time.
And where Green goes for jokes and over-the-top comic violence, the more familiar CHAIN LETTER goes the other way. Sure, there are laughs to be had in LETTER as the horrible mysterious villain uses a vicious combination of chains to saw and tear apart his shapely nubile victims. But the laughs don’t seem to be intended and everything in CHAIN LETTER appears to be aimed at shocking the conscience and grossing the viewer out. And if that is the goal, CHAIN LETTER nails it.
But the trend in modern horror takes a page from Wes Craven and his SCREAM franchise—be self-aware, very self-aware. Without diving completely into parody, HATCHET 2 manages to overcome its narrative shortcomings and keep us interested long enough to deliver delights in the inventive gore-fest that it ultimately becomes. Tony Todd (remember him as the lead in the CANDYMAN films) is given much more to do this time around and at one point his exposition goes on a little too long (even in a sub 90 minute feature). But when the action moves to the swamp and the characters start dropping like freshly cut cordwood, the laughs and thrills are a plenty.
CHAIN LETTER by contrast is the more traditional variety of horror with a mystery that must be uncovered through more mainstream investigative techniques and old-school detective know how. In between, the killings grow ever more violent and pointless. CHAIN LETTER refuses to lift the dour pall covering the characters and ends up an unpleasant mess. And it is a shame because the special effects are convincing and the cast talented and known.
But neither HATCHET 2 nor CHAIN LETTER capture the right vibe that makes a modern horror film truly transcendent. And to be fair, emerging horror auteur Adam Green is perfecting his craft while making commercially viable films—HATCHET 2 will be a moneymaker. Compare Green’s collaboration with Paul Solet on the arty GRACE that was released last year. A smart film, GRACE proved to the odd ball out, but certainly a move in the right direction for the entire genre. Exploring fear has rarely been so personal as the young mother in GRACE had a ROSEMARY’S BABY type problem on her hands.
But if Green and Solet learned anything from GRACE it was that intellectual horror has to be tempered by a fair amount of baseness to attract a broad enough audience. Careers of directors like Jesus Franco stand as a constant reminder that business and art can co-exist just not always in the movie. And while capturing a big audience is rarely what niche horror filmmaking is all about, it will be unlikely that another GRACE will find its way to the big screen without more HATCHET 2 successes. Thankfully when Adam Green pays the bills horror fans have a great time at the movies.
HATCHET 2 and CHAIN LETTER are in theaters this month. Green’s FROZEN and Solet’s GRACE are available on DVD.
