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[Review] ‘Leprechaun: Origins’ Is Painfully Generic
Editor’s note: major spoiler warning.
The only thing funny about the new Leprechaun is how bad it is at killing.
Lionsgate and WWE’s Leprechaun: Origins is the worst kind of horror movie – one that’s so generic and mundane that it’s nearly impossible to not turn off.
The problems begin with the screenplay by Harris Wilkinson, who delivers weak characters, a thin plot, and barely any new mythology.
The new film takes a group of College-bound teens to Ireland where they’re used as an offering to the town’s Leprechaun.
I think what readers most want to know is how this connects to the original Leprechaun franchise. Other than ending with a character screaming, “Fuck you Lucky Charms,” there’s no connection. The Leprechaun itself, played for whatever reason by WWE’s Hornswoggle (Dylan Postl), looks so stupid that director Zach Lipovsky has to keep putting it out of focus just to avoid the audience erupting in laughter. The most bizarre decision made by Wilkinson is that he chose to give Lep no powers. That’s right, Leprechaun is basically a feral creature that makes super annoying growling noises and hops around. But what’s even more frustrating is, if Lep is just a normal physiological creature – like a wild boar – why can’t the town’s people kill it?! This point is driven home even more when the film’s lead, played by Stephanie Bennett, easily decapitates the Leprechaun with a machete.
Beyond the rubber suit looking like shit, someone – presumably Lipovsky – thought it would be a “cool” idea if the Leprechaun had “gold vision”. This is sort of like the Predator’s heat vision, only he sees gold. But, everything is gold, which is why it makes absolutely zero sense. It’s never referenced nor explained.
What really kills the movie, though, is that the filmmakers completely dehumanized Leprechaun. It removed all of the fun, witty charm of the original franchise, and instead turned it into a bleak, dark, and boring horror movie. WWE has proven without a shadow of a doubt that they don’t understand the horror genre. They clearly think we want Texas Chainsaw Massacre-esque movies, but don’t even understand why those work in the first place. Yes, the movie is dark and gritty but, it’s also ugly and stupid, and the violence isn’t entertaining nor fun. It’s easily the most trite “slasher” ever.
Further proving my point: nobody dies after first hour, but the kids are able to escape the grasp of the Leprechaun by flipping a bed on it. For most of the movie, the teens never actually interact with it, other than offscreen leg biting. The only actual encounter takes place when the locals tie the kids to trees – and even then the Leprechaun can’t kill a single person. Other than the removal of a spine, the Leprechaun straight up sucks at killing (the best death scene wasn’t even by the Leprechaun’s claws).
The only positive to the Lep reboot is the DP work and some of the Sam Raimi-inspired camerawork. Otherwise, the audience is tortured with poorly written characters (one of the girls is conveniently a history major – you know, her lifelong dream since she was two years old).
As stated earlier, Leprechaun is the worst kind of horror movie. It’s just so generic and bland that it’s not worth a second of your time. Even the worst of the original Leprechaun films is better than Origins, which will have you thanking your Lucky Charms that you turned it off.
Night School, director Ken Hughes and writer Ruth Avergon‘s tale of a headhunting slasher on the streets of Boston, arrived in the early Golden Age of the slasher film and never quite broke through the endurance test that other films in the subgenre, like Friday the 13th, managed to pass with flying colors. Blame it on a more cerebral tone, a crowded market, whatever you like, but saying it’s a shame that the film didn’t break through doesn’t begin to cover it.
Night School isn’t just an underrated slasher, or an underseen one. For my money, it’s one of the best films the subgenre has ever produced, full stop, and Vinegar Syndrome’s new 4K UHD restoration, arriving just in time for the film’s 45th anniversary, is must-have proof. Stacked with special features highlighting the craft of the film and its place in slasher history, and headlined by a gorgeous restoration showcasing the wonderfully textured production, this is Night School as it’s meant to be seen for slasher devotees everywhere.
So, what makes the film so effective? It starts very simply, with the revelation that a killer with a very cool knife and a motorcycle helmet as a mask is murdering young women in Boston, taking off their heads, and dropping those heads in the nearest body of water (no matter how small).
Solving the case falls on Judd Austin (Leonard Mann), a detective with an academic background who traces all of the victims in one way or another back to a local night school. There, suspicion falls on a womanizing professor (Drew Snyder) who sleeps around on his research assistant and romantic partner, Eleanor (Rachel Ward), whose own death could be right around the corner.
I’m doing my best to stay as spoiler-free as possible here, not just because I think plenty of slasher fans still need to see Night School, but because the film is quite determined to be a whodunit in the classic Italian giallo sense. The kills are brutal and elaborate, the killer deliberately covered head-to-toe in leather and a gleaming black helmet, the knife and the headhunting a disturbing signature. Avergon’s script is well-versed in the trappings of exactly this kind of story, complete with red herrings galore. And yet, by the time it’s all wrapping up, there’s also the sense that the answer was right there in front of you the entire time, something the very best films by legends like Mario Bava and Dario Argento could also achieve.
But on to the restoration: Like the best of the gialli, Night School is also a beautifully engineered film full of colors and delicate camera compositions and sound design. The opening kill, which takes place on a playground carousel outside of a daycare, is rich in exactly this kind of thing, from the cityscapes that lead into the scene to the sound of a motorcycle slowly rolling forward, its engine already dead. Cinematographer Mark Irwin, best known for his many collaborations with David Cronenberg, paints the film in rich reds, absinthe greens, and haunting, chilled blue-white light on wet Boston streets, all of which are preserved beautifully by the restoration team at work on this one.
It’s a movie that very deliberately evokes a specific place – the aging streets of Boston in the 1980s, and the halls of relatively low-level academia – and then takes that place into haunted territory, saturating every frame with color and shadow that suggests a killer lurking just out of view.
Night School is not a massively gore-heavy film, but it does deliver the slasher goods with a series of tense, often unpredictable kills and body discoveries that range from the darkly comic to the flat-out jaw-dropping. That’s thanks to the sound design, the score, the editing from Robert Reitano, and more, all of which add to the film’s giallo soul.
In every case, the scene’s geography is outstanding, and it’s easy to see where the simplest possible kill shot might land, but the film never goes for the obvious. Throw in a surprisingly (for 1981, anyway) feminist bent to the storytelling and some very progressive moments for an early slasher film, and this one fits right in with Black Christmas and The Slumber Party Massacre as a film with depth you can just keep unpacking.
That depth, helped along by a load of featurettes and two new commentary tracks featuring members of the crew, is what stands out the most in this new 4K set. Night School may be a niche film recognized mostly by horror addicts and the slasher faithful, but it deserves to be something more, a landmark on the roadmap of slasher cinema history. It’s one of the best in the genre, and this restoration highlights, underlines, and shouts that from the rooftops.
Night School is now available in 4K UHD from Vinegar Syndrome.
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