Five campers arrive in the mountains to examine some property they have bought, but are warned by the forest ranger Roy McLean that a huge machete-wielding maniac has been terrorising the ...
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An unknown killer, clad in World War II U.S. Army fatigues, stalks a small New Jersey town bent on reliving a 35 year-old double murder by focusing on a group of college kids holding an annual Spring Dance.
Five campers arrive in the mountains to examine some property they have bought, but are warned by the forest ranger Roy McLean that a huge machete-wielding maniac has been terrorising the area. Ignoring the warnings, they set up camp, and start disappearing one by one. If that sounds too run-of-the-mill, there's a genuinely shocking plot twist half-way through... Written by
Michael Brooke <email@example.com>
An early draft of the script had Jonathan attempting to seduce Merry Kat, instead of Merry Cat flirting with him after putting on Megan's makeup. See more »
At 50:19, When Daniel approaches the cemetery to take pictures a boom mic is visible for a few seconds in the top left of the screen before it is realized and then pulled out of the frame. See more »
[after Warren and Jonathan scare the group]
I knew it was you guys all along.
Oh come on Dan you were more freaked out than the girls.
I just wasn't sure it was you.
So you peed your pants to play it safe, huh?
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The mountainous woods, young happy campers, a warning by a park ranger and a lurking figure. The ingredients are there for a horror delight, and director/co-writer Jeff Lieberman does an adequate job at achieving it. It's formulaic woodland horror, but for most part the execution is at the top the game and the story (which is quite basic in a trimmed sense) is effectively told in certain realism. Maybe a little more exposition wouldn't have gone astray, but Lieberman's craftsmanship makes up for the material's flaws and typical details with rising tension, moody visuals and a smothering atmosphere created by Brad Fiedel's very ominously lingering score. Whenever that very creepy whistling was cued in, it painted a truly unnerving sense that settled in with the beautiful backdrop. Cinematographers Dean M. and Joel King do a striking job too. There's plenty of style abound, even with its minimal scope and the build-up is slow grinding. At times the pacing can become a stop-and-go affair. It's not particularly violent, but there's still a mean-streak evident even if some of it happens of screen. The latter chase scenes and escalating fear is well done, as it has the darkness coming alive with itS burly killer/s and you get actor George Kennedy riding his white horse in a slight, but wonderful turn. There's a likable bunch of performances; Deborah Benson makes for a strong, dashing heroine. Gregg Henry, Chris Lemmon Ralph Seymour, Jamie Rose, Mike Kellin and Katie Powell round off a modest cast of believable deliveries. The final climax is rather twisted, but the ending is one of those types that leave you thinking "Is that it?"
A well-etched backwoods slasher item, which probably plays it a little too safe to truly set it apart from the norm.
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