When Hatchet introduced us to gash-faced slasher star Victor Crowley back in September 2007, critics seemed to appreciate it on a level genre films rarely experience, but horror fans appeared to be split. Most adored it, but a few members of the horror community felt that the film’s wry sense of humor had a holier-than-thou way about it – a sentiment my original review for the film attempted to dismiss.
Hatchet required some extensive clipping to achieve an R rating, but for Hatchet II, the folks at ArieScope Pictures, Dark Sky Films, and AMC Entertainment are releasing the film unrated. It’s completely uncut and uncensored. This is unheard of for a genre picture at a major theater chain in this century, but more importantly: Hatchet II doesn’t suck.
Hatchet II is not simply another exercise in going through the slasher flick motions. To rudimentarily hit the beats and deliver what’s expected from these films in an efficient ninety-minute package would not have been enough. With most of these movies that get released doing very little “wrong” anymore (be it out of respect or necessity), Hatchet II is, structurally speaking, way more clever.
From the first frame on, Hatchet II is not only engaging, but smart. In the very strictest sense of the word, it’s a very smart movie. It’s not content with going though the motions without maintaining an expertly designed, evocative theory. Every line in the film serves this purpose, as well as every kill. The violence is plentiful and gratuitous, yes, but never senseless.
Equally impressive are the expansions to the legend of Victor Crowley, which are handled with a bewilderingly buyable panache. Some of the story developments in the movie would have crippled every last bit of believability under a less steady hand, but writer-director Adam Green sells it all, sometimes with a grimace, but usually with a grin.
Playing for laughs in a backwoods slasher flick while attempting to pull a few heart strings isn’t easy, but each minute of Hatchet II builds upon the previous minute’s momentum like so few modern filmmakers can handle. The exercise very easily could have ended up devolving into a convoluted mess by movie’s end, but it doesn’t. Hatchet II ramps up and releases the tension in such a confidently flowing rhythm that every seasoned horror nut in attendance at my theater rarely stopped cheering for the duration of the picture. Though it’s nearly fifteen minutes longer than the lightning-quick Hatchet I, the sequel feels even faster, never, ever letting up. Ever.
It also should be noted that Hatchet II is a stunningly gorgeous movie to look at. While the first Hatchet was shot in 35mm, the sequel was done in 4K HD, and shines in a way horror typically does not. It’s got a distinct look and feel I’ve never experienced in the genre before, but more importantly the look of it aids its sense of kinetic energy. The film’s disorienting at times, but always easy to follow. It never shows any distracting anomalies or artifacts that can arise from an HD source, and uses the image quality as its canvas – never as a crutch.
Hatchet II is clearly a labor of love, but first and foremost, it’s a four-star motion picture. Though at times almost bewilderingly self-indulgent, it’s never boastful, always staying true to its vision – a film that deserves to be seen.
It sometimes amazes me how so many excellent movies ruin their theories and worthiness with a stupid missed beat or a wholly unbelievable climax. Having viewed hundreds upon hundreds of films of this ilk, it’s so rare, so distressingly seldom I get to experience one I don’t have any qualms with at all. While the star ratings I’ve awarded it should indicate, obviously, that it is not the unattainably perfect film, Hatchet II is an awesome ride of a flick. It's bloody as hell, and proud of it, but it gets the highest recommendation I can give not because it’s proud, but because it damn well should be.
"Hatchet II" opens October 1, 2010 and is not rated. Horror, Indie. Written and directed by Adam Green. Starring Danielle Harris, Kane Hodder, Parry Shen, Tom Holland, Tony Todd.
