The film in question, whose title can be translated as “Spring Holiday Massacre”, is originally a semi-amateur low-budget production, but even with such components everything could be much better than we have in the end.
It turns out that even the most banal (incredibly secondary in artistic specifics) slasher needs to be able to shoot, so that he was at least a clear representative of his narrow direction, not gravitating to a note of originality. The plot is typical: on spring holidays, girls are left alone in a spacious house without adults to chat about anything in their company, guys break their heads, how to be among them, and not loitering around the bush, and when there is a dead night, along the way someone who begins to kill young people is announced. The base is primitive, for the subgenre - rubbed to holes, but it has a purely visual entertainment-meat grinder, but the director simply does not know how to handle many nuances.
Firstly, chronologically, history is fragmented, which makes the narrative constantly jump into the past, now, then yesterday, then into the “far, far” 1997. Definitely for screen carnage, this erases the effect of intrigue, because when frames-insers from the epilogue, the viewer already sees which of the heroes survived and who fell at the hands of a maniac, and purely technically expressed everything is naive with multiple transitions to a black and white “picture” with cheap computer special effects, trying to somehow deliberately age the film.
Second, there's no rhythm. The beginning is protracted, where the viewer simply drowns in girl gatherings, which clearly gathered, not knowing what to do, so boredom is necessarily produced. Some attempts by the authors to convey the degree of discomfort, showing false hints of the identity of the killer in the background secondary character, will be deliberately failed, with clumsy dexterity acting within the framework of the cliché.
Thirdly, and this will be the most impressive executioner of the film, there is no basic sham massacre, which provides absolutely any slasher with an important fundamental support at least somehow brightening up the most dull course of affairs. The director frankly does not understand how to shoot such shots, making them too crumpled-short, coupled with the desire to catch up with suspense. That is, the actions of the killer take place ... behind the scenes! It looks like this: the character approaches the house, turns away for a second, and then, turning his head back, notices friends already lying in puddles of fake blood. Having dissatisfied such a key condition of the subgenre, the tape loses the last saving chance to exclusively lock itself in the endless faded gatherings of girls.
Finding something attractive, you can point to the appendage in meaning of the tandem of two recognizable actors of many horror films, mainly the category of b-movie. This is Reggie Bannister (Reggie Bannister), known from the franchise “Phantasm” (“Phantasm”), as well as Linnea Quigley (Linnea Quigley) – “Queen of the Scream”. One performs the sheriff, who is nervous that even smoking in the personal office is impossible because of the hanging signs “Smoking is forbidden”, and she is his assistant, whose endless conversations aggravate the situation. As you can see, the elderly couple and a lot of timekeeping are not given to them, but with regard to the new generation, they are unknown and, in general, they do not know how to play: the main character constantly bulges her eyes and twists, the guys are exposed as buffoons, the girls exist only for the sake of trivial nudity, walking back and forth in a half-naked state. That's by the way, everything is fine with her - teenagers rejoice. The cameraman is constantly shooting from the bottom up to capture the angles with the ass of actresses, and they for no reason part with the clothes that are in the house, that outside it. Also somewhat fresh is the motivation of the prescribed secret villain, giving the production a bit of semantic novelty.
As a result, a modern cheap slasher according to the classical canons was obtained, but with a clearly missed degree of bloodthirsty and deprivation of the genre’s inflating atmosphere. Personally, I was viewing at times pleasant, but purely due to the presence of the mentioned episodic couple of “old men”, who prompted little interest in the film, however, if their names do not cause any associations for you, then the final result promises to turn out not more joyful.
4 out of 10