Editorials
[We Love ’90s Horror] Cartoonish Spirit Makes ‘Buffy the Vampire Slayer’ a Fun Comedy-Horror
The ‘90s often get a bad rap with horror fans. After the numerous successful slashers and creature effects films of the ’80s, the ‘90s offered a different variety of horror fare. Though there were plenty of hits, hidden gems, and misunderstood classics, the ‘90s usually don’t get the kind of love that other decades get when it comes to horror. It’s time to change that.
I never watched the hugely beloved television series Buffy the Vampire Slayer during its original run. Only recently have I decided to give the show a look — as of this writing, I’m in the middle of the second season — and it’s living up to all the affection its supporters have shown it over the years. However, whenever a discussion about the 1992 feature film comes up, it’s often met with instant dismissal from the show’s supporters. With the tragic death of Luke Perry, I felt it was time to revisit Buffy’s first outing.
To be frank, Buffy the Vampire Slayer is no misunderstood masterpiece. It’s well known that screenwriter Joss Whedon was unhappy with the numerous changes that were made to his original script once production started. And though those darker elements would find their way into the show, the film ends up being a very broad comedy that borders on outright spoof. That’s not inherently a bad thing, but it’s in constant contention with the movie’s desire to actually land some bigger emotional beats and effective horror. Also, this movie is clearly a victim of choppy editing. The pacing never finds a smooth flow and scene transitions rarely feel propulsive and motivated.
That all said, there is still a lot to really enjoy about Buffy the Vampire Slayer. Though it wasn’t its creator’s intention, the movie finds a bubblegum tone that’s unique and cheerful for this kind of story. The bright color palette and glib sensibility actually make the movie seem like it got made in the ‘80s but was shelved for years before getting released in the early ‘90s. It’s not hard to see this movie as a double feature with Teen Wolf. Though the actual direction is frequently flat, there is some sense of knowing vapidity that makes Buffy the Vampire Slayer stand out in comparison to its peers.
By far, the best aspect of Buffy the Vampire Slayer is its casting. Yes, Sarah Michelle Gellar would go on to define Buffy as a character and be able to treat her as a fully fleshed out person. But, Kristy Swanson is having a lot of fun with what she’s being given. Her version of Buffy is a sketch instead of a portrait, but that allows her to be cartoony in ways that are genuinely entertaining. Buffy does get an arc in the film — a basic but functional one — and it’s never a bad time to watch Swanson be totally over all this vampire nonsense. If she had been given more time and material to make Buffy a well-rounded character, I believe her performance would have supported that.
There are also a number of tongue-in-cheek turns from a bevy of notable character actors. Though Donald Sutherland is probably the weakest link in this ensemble, the villains get a number of moments to shine. Best of all is probably David Arquette as the recently transformed Benny. Arquette is channeling the Joker in his look and attitude, and it’s a delight whenever he shows up to mug for the camera. The dependable Paul Reubens camps up the joint as head henchman Amilyn. He maybe goes too overboard with a few gags, but its hard not to jive with his purposeful cornball behavior. And Rutger Hauer doesn’t get the kind of screen time he deserves, but his few bits of hammy acting are welcome when they happen. The shot of him hovering in the air and whipping his cape open before feeding on a young girl is a simple but cool effect.
And then there is Luke Perry as Pike. Of all the cast members, Perry is the one who really clicks with the material and character. Pike is the stereotypically shiftless bad boy that ends up as Buffy’s beau, but Perry knows just the right balance of smarm and sweetness to bring to the role. What’s great about Pike is that he’s the only other character besides Buffy that realizes what’s going on with all these vampires. When Buffy refuses her destiny as the Slayer, Pike is there to support her, give her the tools she needs for the job, and stand back while the hero goes to work. It’s a clever and progressive role that would be broken apart and reshaped for several characters in the series, but I think Pike is probably the one character that comes out looking the best from a writing standpoint.
When all is said and done, Buffy the Vampire Slayer ends up coming off as a pilot for a Saturday morning cartoon show more than a self-contained film. That sounds like a dig but it isn’t if you’re someone who likes Saturday morning cartoon shows. The movie makes up for its lack of depth with a perky spirit, vibrant production design, and a kooky cast that often keeps the ship from sinking. I’m glad that the premise and character got to find new life on the small screen, but Buffy’s big screen adventure isn’t without merit. If the series is a full-course meal, then the movie is a sugary breakfast cereal. And I’m always down to have a bowl of that when I can.
Editorials
‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel
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.
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.
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.
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