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[BD Review] ‘Machete Kills’…Sort Of
Machete Kills is the follow up to the 2010 film Machete. Originally conceived as a faux trailer that was part of Grindhouse in 2007, the original was a campy action flick starring Danny Trejo as an ex-Federale skillfully wielding a machete, of course. This time around bigger names like Amber Heard (Remember, Machete is suave with the ladies!) and Lady Gaga join the cast, making it sound like it may be even more epic than the original. However, the sequel is more or less the same thing, only campier.
Much like Mr. Disgusting stated in the review of the original, it is hard to rely on Danny Trejo to carry an entire movie. Of course, along with the above-mentioned ladies, Mel Gibson appears as ‘is he good or is he bad?’ Voz, Michelle Rodriguez returns as Luz, and Charlie Sheen (billed as his birth name, Carlos Estevez) is the President (he even throws in a “winning”). Machete Kills still simply caters to a specific audience. That is: fans of the original.
Yet, Machete Kills delivers exactly what you would expect of it. It is like a Telemundo production of an over the top James Bond-esque spoof…on acid. The action includes plenty of gore but, like the film’s villain El Camaleón’s constantly changing his face, this story still has many layers to think through. There are multiple storylines that are happening that all play into Machete’s mission in the movie, though all of it seems to be overshadowed by Trejo. Right from the beginning when the film starts with a trailer for Machete Kills Again…In Space, Trejo’s looming, weather worn presence fills the screen. Yes, he is the title character, but combined with the goofy storyline, it is hard to even begin to take Trejo seriously, let alone Machete. He is somehow just larger than life.
Despite the ridiculous premise and characters, Machete Kills is obviously much loved by writer/director Robert Rodriguez. The film is shot and edited well, even with a large amount of green screen used. Everything from sets to weapons are elaborate and vibrant. The Blu-ray release captures the movie at the theatrical value and includes a few extras. The “Deleted and Extended Scenes” bonus is exactly as titled. Numerous sequences, some of which are indeed longer than they should be. Definitely best they cut some of them down. There is also a making of featurette which is enjoyable and offers some insight.
Machete Kills is just slightly better than mediocre, compared to the original. While it did evolve from a spoof trailer, the concept simply is goofy and has to be taken with a grain of salt, or perhaps a couple of shots of tequila. If you are a fan of the original, and can laugh at something even more hokey, then definitely give it a watch.
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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