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[BD Review] ‘Voodoo Possession’ Will Take Over Your Mind
Voodoo Possession has a tagline of: “There Is A Fate Worse Than Death.”
There is. It is watching this movie – but I’ll be damned if it isn’t worth it.
I am almost certain that the humor aspect of Voodoo Possession is not on purpose. What does that mean? It means that the story of a group of individuals stuck in a decrepit old hospital and being taken over by demons from the past (think Flatliners guilt flashback scenarios) but those demons are actually being caused by a demon – the ‘Tormentor’ – and that we learn about the past of this hospital via a character portrayed by Danny Trejo AND typical Jamaican accented voodoo people – isn’t a joke. It is to be taken seriously. However, the ability to do so is absent, and instead of being left with a soulless tale (there is a pun here with the plot of the film in case you end up watching it) we get a movie that is absolutely hilarious yet is completely well done technically.
Hilarious how? I found myself in a cycle of laughing in that “Are you serious? Oh my god that is absurd! What?” sort of way. Watching the overacting that, again, is questionable as to if it is supposed to be that overdramatic and ridiculous, I felt myself engaged, even if it was to get to the next electrified element of the film that would have me in that chuckle. I honestly wasn’t sure I knew the exact storyline, which, again, focused on a group of individuals, mainly an emotionally troubled man, Aidan Chase, but watching the thespian abilities of not only Ryan Caltagirone as Aiden, but Danny “Machete” Trejo as the hospital administrator, truly had me sucked in. Perhaps you find Trejo’s ‘acting’ questionable, but what else did I refer to as questionable? Right! This entire movie.
Voodoo Possession isn’t a bad movie. I can almost see it tiptoeing that line of films of the past like The Gate. Is it actually good – good? Or is it some sort of nostalgia of it being absolutely questionable in terms of acting and overall storyline – yet somehow the film quality and the visuals of it overall are kind of great and if you think even harder, the story is actually so out of control it’s good – good? I’m going to have to say, for me, it’s the latter – and that, to me, says that it is actually pretty awesome.
First of all, for comparison with the above reference to The Gate – Voodoo Possession had two nemeses that left me incredibly unsettled despite their hokey nature. A corpse-paint-wearing-voodoo-mumbling man wearing a wifebeater and carrying a machete, and the cross-between-alien-and-demon-looking Tormentor, whose voice alone is alarming (think Frank in Donnie Darko before you realized it was a dude in a suit).
From the opening shocking death (that I will not spoil, but I will say it involves a guilt ridden mother, a butcher knife, and a ladder) to the constant guilt ridden obstacles that Aiden battles, Voodoo Possession had me involved in the story on a weird nostalgic level of enjoyment – even if said involvement, again, was a series of weary laughs. The storyline works if you want to take it seriously, too. I would personally just suggest not suspending disbelief – and enjoying it like those Univision soap opera clips they show on The Soup.
You won’t regret it – even if it means death is your fate.
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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