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[BD Review] ‘Ceaser and Otto’s Deadly Xmas’ Is Quite Lively
There are many layers to the horror genre, and there are multiple subgenres within it. Horror comedies that are executed well have always been few and far between. Now, take a horror comedy based around Christmas, and name one successful film that encompassed it all. Exactly. The latest to this sub sub genre is Ceasar and Otto’s Deadly Xmas.
Ceasar and Otto are actually characters portrayed by Dave Campfield and Paul Chomicki. Ceasar and Otto’s Deadly Xmas was also written, directed, edited and produced by Campfield. Normally the combination of this sub sub sub genre and the star also being the complete creative team behind it amounts to a bad movie. But, take all of this and make the film aware of itself and its premise, throw in familiar faces like Linnea Quigley, Brinke Stevens, Lloyd Kaufman, etc, and well, it’s still not a masterpiece, but it’s not claiming to be – right?
The story is simple. Ceasar is terrified of Christmas because his father once told him that kids have their penis chainsawed off by Santa Claus if they have been bad. Over the course of the film, he must overcome this fear because a killer dressed as Santa (CKY singer Deron Miller) is chopping off people’s heads. Add the idea that Ceasar is going to write and produce a movie with this exact premise within the movie and you have a camp fest that produces laughs, albeit cheap ones. Within the hokey realm it calls home, the fact that the CGI is downright awful and atrocious doesn’t even register and, interesting enough, the acting is actually really good despite the constant green screen backgrounds and other distractions. The entire production value is pretty damn nice, again, even with the premise being completely ridiculous.
The DVD includes three commentaries – one with Dave Campfield, one with Cast & Crew, and one with producer Joe Randazzo. There is a Behind the Scenes feature which shows how all of those involved were really dedicated to the film. Seeing this actually makes the movie a bit better – as Linnea Quigley states in the piece, the filming experience was “passionate”. There are also five minutes of extended and deleted scenes that, if you enjoy the humor of the film, are fun to watch. There are a few shorts included, as well. Piggyzilla is a minute long short that is just downright dumb, but it really is so bad you have to laugh a little. The same goes for Otto’s First Job which runs 2 minutes. The Perfect Candidate is a 15 minute short that is included as its own separate bonus. A bit long winded, it actually has two commentary tracks along with it. If you end up really enjoying the feature film, it’s worth a watch.
Ceasar and Otto’s Deadly Xmas is basically what would happen if Troma produced a John Waters film. So, as stated before, it’s not bad and it’s not that great either – but for that sub sub sub sub genre it lies within, it is probably better than the majority of films it is surrounded by.
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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