After fading in and finding ourselves lurking in a spooky cemetery, we then creep among the fallen leaves and fog-enshrouded headstones until we’re lured into a chapel, where we observe four mourners and the world’s most perkiest priest gathered around the coffin of the late Annabelle Koslow.
And once Father Flamboyant (Keurvorst) finishes off a litany of platitudes for those in mourning -- most of them highly inappropriate, given the circumstances, he escorts them out when the services come to an end. But Koslow’s daughter-in-law, Stephanie (Hanna), lingers behind, saying she’d like to say a few last words to dearest Annabelle in private.
However, it’s not a tearful goodbye she wishes to bestow, but a spiteful curse and a hope the vindictive old bat will now spend an eternity burning in hell. Always one to have the last word, the coffin suddenly bursts open and Annabelle’s corpse reaches out, seizes Stephanie, and pulls her inside. And as the lid slams shut, the coffin is suddenly lowered into the basement, where we discover this is not only a chapel but also a crematorium!
And as Stephanie continues to scream and struggle with the deceased, the dipstick in charge of this place can’t hear or notice this ruckus for reasons dumb enough to only make this scenario work as he pushes the coffin into the furnace, where he finally realizes too late that someone inside it was still alive!
Cut to a drive-in theater, where we quickly suss out that what we’ve seen thus far was just a movie tucked inside another movie as a girl named April (Kiraly) intently watches as all of this plays out on the big screen instead of reciprocating with her grab-fanny boyfriend, Stosh (Coppola), who wants to take things well past third base. Not quite ready to make that mad dash for home-plate just yet, April strategically withdraws to go for some popcorn but finds the snack-bar totally deserted. Everything appears normal enough but there’s an eerie sheen as she calls for service, and then helps herself to a free bucket of buttery goodness when no one answers.
Returning to the car, Stosh isn’t there, which is a bit of a relief at first. But as April resumes watching the movie and munches on some popcorn, her boyfriend suddenly looms into view outside the passenger side window, who raises a knife, grimaces, and starts drooling uncontrollably. And on closer inspection, Stosh really doesn’t appear to be normal anymore as he lunges for her.
Here, April manages to make her escape but starts running into more and more ghouls and zombies, who chase her around with murderous intent until they all suddenly … start … dancing?! And then a hair metal band appears and starts jamming out as the drive-in transforms into a post-apocalyptic wasteland. Wait. What?!
Ah, no, I see. Check this. Not only are we in a movie tucked inside another movie but it’s all been a framing device for a heavy metal music video! And we’re still not done peeling back those meta-layers just yet as White Sister wraps up “You’re No Fool” and we breach one last layer to see a girl named Phoebe (Wilkes) was watching this movie tucked inside another movie that was really a framing device for a music video on her TV this whole time.
Anyhoo, Phoebe is running a little behind when her two best friends, Jennifer and Vivia, show up but they eventually bike on over to the campus of Briggs College, where Hell Week is just about to wrap up for those pledging a fraternity or sorority, including our trio of gals, who hope to make the cut with Sigma Alpha Pi.
And while the bubbly Phoebe and the adorably nerdy Vivia (Willis-Burch) are eager to get in, a wary Jennifer (Johnson) is starting to have second thoughts -- mostly due to the fact the final initiation of Goat Night will take place in the long abandoned and dilapidated Pratt House, from which many a creepy campus urban legend has sprung over the two decades since it was last occupied and shuttered-up for reasons the film isn’t quite ready to reveal just yet.
Meantime, we learn the girls of Sigma Alpha Pi are currently in the middle of a holy war with the boys of Beta Tau -- a war the Betas are currently winning, who just pulled off a very elaborate prank on the Pis that involved a false delivery of champagne, stealing a door-knob, a jar of angry bees, a hot-tub full of naked sorority girls, and capturing the resulting mayhem on film. Realizing they’ve once more been had, Veronica (Fleer), the president of Sigma Alpha Pi, vows to take revenge on Albert Harrison (Brown) and his rowdy, beer-swilling Beta Tau brood.
Meanwhile, Mrs. Henshaw (Hyatt), the house-mother of Sigma Alpha Pi, who reluctantly agreed to allow Veronica to hold Goat Night at the Pratt House as one of her last acts before retiring, pays a visit on the old house -- more specifically, a memorial marker located in the backyard, where she apologizes to a boy named Alan, whom the stone commemorates, saying it’s been 20-years since “the accident” and to please leave Veronica and the others alone because it’s well past time to forgive and forget what happened here and, apparently, to him.
Well, someone disagrees with this assessment as the old woman moves inside the house, digs out a hammer and some nails, and sets about to make a few repairs -- not realizing she has been stalked around the grounds this whole time. And while Mrs. Henshaw seems to recognize whoever it was following her, when they finally make their presence known, she never expected them to promptly beat her to death with a Greek Paddle, setting the stage for the bloodbath yet to come -- well, eventually...
“Everyone thinks of me as a horror director -- exploitation, but it didn’t start out that way,” said writer, director, and producer William Fruet in an interview with David Grove for the June, 2002, issue of Fangoria Magazine. Born in Lethbridge, Alberta, in 1933, Fruet attended The National Theater School of Canada in Montreal and made his big-screen debut as an actor in Don Haldane’s Drylanders (1963), a “moving drama of pioneer courage in the Canadian west."
Then, Fruet shifted behind the scenes, starting as a screenwriter, which first begat Goin' Down the Road (1970), a coming of age cautionary tale, which he co-wrote with Donald Shebib, who also produced and directed, where two friends leave rural Nova Scotia for the big city only to find Toronto wasn’t all it was cracked up to be and start getting wistfully homesick. He teamed up with Shebib again for Rip-Off (1971), which was kind of in the same, navel-gazing vein, where four high school seniors face their last summer together after graduation and a future that will see them spread to the four winds. He also wrote Slipstream (1973) for David Acomba, where the DJ of a remote pirate radio station in the Canadian wilderness faces off against the wheels of progress.
Fruet made his directorial debut with Wedding in White (1972), which he adapted from his own stage-play. A loosely autobiographical period piece set in the small town where he grew up during World War II, the film revolves around a father (Donald Pleasance) who feels he must save his family’s reputation after his daughter (Carol Kane) is raped by a friend of her brother’s while on leave from the army and becomes pregnant. The film would go on to win Best Picture at the Canadian Film Awards. But as Fruet pointed out in that same interview, critical praise and awards doesn’t always equal box-office receipts and, well, I guy has got to eat.
Thus, Fruet’s career took an abrupt left turn into genre filmmaking, beginning with Death Weekend (1976). Released in the States as The House by the Lake, Fruet had actually written the script for this thriller several years prior, which was based on a road rage incident where the screenwriter was harassed by a car full of drunken hooligans who tried to run him off the road. He then combined this encounter with a true crime case involving a home invasion, where a dentist and his family were assaulted and robbed by a group of similar thugs he’d managed to piss off. “I’d written that script and thrown it in my drawer, because I thought it was garbage,” said Fruet.
But when Straw Dogs (1971) was released and became a hit, Fruet dug the script back out. Seeing this type of rape and revenge picture as distasteful but highly marketable, after sitting on it for several years as not to look like he was trying to cash-in, Fruet at last struck a deal with John Dunning and Cinepix for financing, who had just finished releasing David Cronenberg's Shivers (1975) -- a/k/a They Came from Within. They assigned Ivan Reitman to produce the picture, who would go on to produce Animal House (1978), and direct Meatballs (1979), Stripes (1981) and Ghostbusters (1984), and Cinepix would secure distribution in the States with Sam Arkoff through American International Pictures.
To his credit, Fruet weeds out most of the sleaziness and focuses on creating atmosphere and tension instead when an unscrupulous playboy connives to get a pretty model (Brenda Vacarro) all alone at his secluded lake house, only to draw the unwanted ire of a pack of degenerates (led by Don Stroud), who track them down at that house. What follows is a war of nerves as the girl is reduced to a sexual pawn to be used and abused until she finally takes matters into her own hands. The production ran into a bit of a snag when Vacarro was nominated for an Oscar for her role in Jacquelin Susan’s Once is Not Enough (1975) after she committed to this seedy exploitation film, and then tried very hard to back-out at the last minute. Once she got on board, though, she was fine and delivered a very memorable performance.
The House by the Lake proved a hit, Fruet had some traction, and followed it up with Search and Destroy (1979), a tale of a Vietnam veteran who is wrongfully accused of killing off his old squad and must clear his name before it's too late. Next came Funeral Home (1982), which was another in a long line of Canadian Tax Shelter-funded slasher movies -- Happy Birthday to Me (1981), My Bloody Valentine (1981). Shot in 1980, the film’s meager budget of $500,000 allowed for four murders, and so, Fruet went for a Hitchcockian vibe instead but these low-key thrills and a lack of visceral chills found his producers furious, who shelved the film for two years before finally releasing it.
In Baker County, USA (1982), a group of friends traveling the back-roads witness a redneck murdering his wife’s lover and go on the run before he catches up to them. Fruet also adapted Brent Monahan and Michael Mary’s novel, Death Bite, where a taipan, the world's deadliest snake, goes on a rampage, resulting in Spasms (1983), where Oliver Reed shares a psychic connection with a living snake god. And while it sported special make-up effects by the legendary Dick Smith, the production was plagued by a mechanical snake that didn’t want to cooperate. Neither did ticket-buyers.
And then, after directing the erotic thriller Bedroom Eyes (1984), Fruet was approached by producers Kenneth Kaufman and Michael Lepiner, who were mostly known for Made for TV Movies up to that point, who wanted him to direct a feature for them, The April Fools. Scripted by Barry Cohen, who had just finished up with Friday the 13th: The Final Chapter (1984), and who would go on to write the pilot Nick Knight (1988), concerning a vampire detective, which spun off into series as Forever Knight (1992-1997), the film would be financed by the stodgy MGM as they desperately tried to find their way into the youth market with films like Strange Brew (1983) and Once Bitten (1985).
And what Fruet and Cohen managed to concoct is a bit of an odd duck. One part boner comedy, one part murder mystery, one part serial slasher, it was already a bit over-loaded, and yet, surprise, their film has yet even more revelations tucked up its sleeve as it moves along in fits and spurts as it tries to be all of those things at once and, to their credit, almost succeeds. Almost.
Where it fails the most catastrophically are with any attempts to churn up some red herring during the build-up to all the blood-letting in the coming third act, starting with whoever is wearing a certain pair of ratty sneakers and apparently suffering from a bad case of athlete’s foot -- so we’ll be referring to them as Itchy Feet, who constantly keeps Phoebe, Vivia, and especially Jennifer under constant clandestine surveillance as Veronica and her sisters put the screws to them as part of the weeklong hazing ritual, requiring them to answer any query for the whole day with “I myself prefer a big fat cucumber” -- be it fellow student or faculty, leading to all kinds of double-entendre with their lit instructor, Professor Zito (Bartel), who is not amused and feels all Greek houses should be banned.
The trio is also required to break into the rival frat house to steal some Beta Tau branded t-shirts to wear during Goat Night. And if they fail, they face the prospect of going through the final initiation ritual wearing nothing at all. They run into some luck when the Beta house proves unlocked and apparently empty. But as they prowl around, Jennifer gets caught by a co-ed named Blake (Hewitt), quickly concocts a story that she’s there to get a kiss as part of a hazing ritual, providing the distraction the others needed to successfully complete their mission.
Later, when Jennifer is trailed all the way back to her apartment, it’s revealed that Itchy Feet was really the nebbish Martin (Seymour) all along, who always sat behind Jennifer in lit-class and finally got brave enough to try and ask her out on a date, where they can discuss the sexual politics of Madame Bovary.
Jennifer is very diplomatic when explaining she’s not interested and asks him to leave, saying she has somewhere to be. But turns out Martin knows all about the Pis holding Goat Night at the Pratt House. He then takes a massive plot-dump, revealing why the old fraternity house was shut down when a pledge was accidentally killed there during a hazing ritual. There’s even a rumor the victim was buried in the backyard and the marker is actually a tombstone. Then, rejected wholesale, before he leaves, Martin asks if Vivia is seeing anyone. And if not, he asks for her phone number before being shoved out the door.
Later that night, as the Pis and their three pledges gather at the Pratt House, the final initiation begins, with Phoebe, Vivia and Jennifer forced to eat “goat eyeballs” without retching, and then catch several egg yolks dropped into their mouths without spilling or swallowing anything -- which Jennifer fails, requiring a mass-spanking. (Hooray!) But between whacks, the lights suddenly start flickering and several doors start slamming shut.
Assuming it’s just the Betas pulling another prank, this notion quickly goes out the window when the poltergeist activity escalates as candles blow out, bottles shatter, and the furniture starts moving around. And then, when an angry voice calls out from the basement, warning them all to leave or else, they’d be happy to oblige but all the doors and windows prove locked.
Trapped, Vivia takes charge, calms everyone down, and then heads into the basement to get to the bottom of this. Others try to follow but the door slams shut behind her, then Vivia screams for help as she is attacked by something below as the door swings back open.
And when the others head down the steps to investigate, they find Vivia tied to a guillotine, who tries to warn the others to stay away too late as the rigged blade falls, decapitating her. And while the others scream, the loose head bounds down the steps and is picked up by whoever was down there, who turns out to be none other than … Vivia?! Let her explain:
See, this was all part of a very elaborate prank staged by Vivia, with some help from Phoebe and, I think, Jennifer, as a bit of revenge for all the shenanigans they were put through during Hell Week -- and the only thing to lose their head was a dummy made up to look like her.
Surprisingly, Veronica is not all that upset by these turn of events. No, quite the contrary. In fact, all three will be accepted into Sigma Alpha Pi -- only Veronica makes it perfectly clear to Vivia that the only reason she got in was because Veronica wants her to pull the exact same stunt on the Beta Taus next spring during the annual April Fool’s Day mixer, which is also scheduled to be held at the Pratt House.
Thus, time passes, rather clumsily, and we pick things up at a meeting of the Greek Council. In attendance among others are Veronica and Albert, representing their houses, and the meeting is presided over by Professor Zito, who has just taken over this role and promises a crackdown on all of the hazing and pranks. Seems he was a witness 20-years ago when Alan was killed, revealing he was accidentally decapitated by a guillotine as part of an April Fool’s Day gag gone terribly wrong, which was confiscated by the college at the time but has since gone missing -- I think we’re supposed to assume Vivia stole this to use in her prank, which is kinda vital to the plot to come, but the film is a little vague on that.
And this incident left such a bad impression on Zito, along with all the other strange occurrences that have happened at the Pratt House ever since, he was against reinstating the Greek system altogether when it was revived several years ago after being banned in the fallout of this tragedy. Once he’s done speechifying, the meeting then ends with a safety film on the Horrors of Hazing but Albert had someone sub-in a copy of the bee prank from earlier, drawing the wrath of Veronica, who once again swears vengeance is coming on him and all of his fellow frat-rats.
Thus, as April 1st draws near, Vivia, Phoebe and Jennifer head to the Pratt House to set-up the prank. Seems after her talk with Martin, Jennifer has been busy researching both the house and the pledge who died, saying he was into the occult and echoes Zito’s claims of strange and evil things happening here, even stories of people entering the house never to be heard from again! But Vivia scoffs at this, saying it’s just campus scuttlebutt and ghost stories to frighten freshmen with, no more, no less.
But as Vivia keeps tinkering with her equipment, Jennifer seems to come under some kind of spell as her eyes roll back and her body spasms only to quickly snap out of it when Vivia hears something and fears its rats. But it's only Blake, there to make sure the electricity is working. And it should be noted over the last few months Blake and Jennifer have been seeing each other -- again, at least the movie wants us to assume so, I think. Maybe. Whatever.
Once they’re done, they leave, though no one happens to notice the body of Mrs. Henshaw tucked away in the corner of the basement. (You’d think after five months the smell would be pretty atrocious.) But don’t worry, she won’t be lonely as Zito shows up after the others clear out. Suspicious of what those pesky kids were up to, he finds the guillotine and the electrical switches to make it work. Then, someone joins him in the basement. Again, Zito recognizes whoever this is before they stick a live-wire into his ear, electrocuting him instantly.
When the night of the big shindig arrives, Vivia sneaks in Martin, dressed in drag, into what turns out to be a masquerade party. (Seems these two have also become an item in the interim, though Martin is still clearly hung up on Jennifer.) Since the Pis are hosting this shindig, it falls onto their newest members to handle the menial tasks, with Phoebe sent to the kitchen, Jennifer on litter patrol, and Vivia is herded into the basement to make sure everything is ready for later.
Both Jennifer and Phoebe goof-off with Blake and Albert respectively, the latter getting caught by Veronica, who warns Phoebe to stay away from Albert because they are a thing, too? Maybe. C’mon, movie. Help a guy out a little, here?! Aw, screw it. It’s not gonna matter in about five minutes anyway.
Thus and so, as the party progresses -- one could argue degenerates, Veronica announces it’s time to vote for the King and Queen of the Masquerade. But then things go awry, just like before, as bottles break, doors slam shut and lock, and furniture starts moving on its own. A mass panic ensues, where they all discover they’re trapped inside the house. Then, Jennifer hears a demonic voice calling her name, before she is seized by some form of malevolent spirit, knocked to the ground, and then sucked into the basement with the door slamming shut right behind her.
As everyone freaks out upstairs, downstairs we see this was a new, and highly elaborate, wrinkle in Vivia’s prank -- though she has no idea what Jennifer is talking about when asked how she managed to pull that spooky voice off; not realizing Jennifer has once more come under some kind of spell. Meantime, upstairs, the panic has escalated to the point that it has come to blows between Blake and Albert, which escalates even further when Blake pulls a knife and stabs the other man to death.
Well, turns out this was all deliberately staged as the Beta Tau boys were several steps ahead of the Pis once again and hijacked their prank with one of their own. But as everyone gets back to their beers, or pairing off and snogging, Jennifer is starting to get a little freaked-out about the voices she’s been hearing all night, fearing they’ve stirred something up in this house and feels they all need to leave but she’s quickly shouted down by Phoebe and Vivia, who encourage her to find Blake and have some fun.
Meanwhile, upstairs, someone dressed-up in a deep-sea diver’s rig uses his trident to stab an unsuspecting Pi. And with that, the body count in this "alleged" body count flick at long last begins in earnest as the killer moves on and harpoons a couple of Taus, and then beats Veronica to death with a hammer.
Elsewhere, in his efforts to find Vivia, a drunken Martin notices the marker in the backyard has been broken in half. In the basement, Albert impatiently waits to meet up with Phoebe -- only the killer shows up instead, and he winds up stuck on the chopping block as the blade falls, decapitating him.
In the kitchen, Vivia, looking for a snack, makes a grisly discovery in the fridge, which is chock full of dismembered pieces of Martin. She then flees into the living room and runs into Phoebe, who doesn’t believe her at first until they slowly discover more bodies or body parts as they desperately look for Jennifer; only to realize everyone else who attended the party is now dead, including Blake; drowned in the bathtub; last seen with Jennifer, who had lured him into the bathroom.
Speaking of which, the other two finally find Jennifer, who reveals she was possessed by Alan this whole time and she was the one who killed all the others under his demonic influence.
And as the host rages, screaming for them to get out of this house, she flexes her psionic muscles by tearing the interior of the house apart and then scurries up the walls and along the ceiling as Vivia and Phoebe desperately search for a way out.
And whenever they seem to get the upper-hand on their pursuer, Jennifer reverts to normal and begs for their help.
But this is always a trick as the chase continues up to the roof, which the possessed Jennifer knocks Vivia off of, who plummets to the ground, shattering both of her legs.
Meanwhile, Phoebe manages to scramble down and tries to help her friend, but Jennifer jumps from the roof and lands unharmed in between them. Here, Phoebe takes up a piece of wood and uses it to beat Jennifer until she collapses.
Once more, Jennifer seemingly reverts to normal, but I believe it’s sincere this time when she begs her friend to finish her off before Alan once more takes control. With that, a tearful Phoebe plunges the splintered wood into Jennifer, killing the host and her best friend.
But just when we think it's finally over, it isn’t as Phoebe asks why Alan chose to possess Jennifer. Vivia isn’t sure. Maybe because their friend was the only one who didn’t want to be here in the first place. With that, something comes over Phoebe, something bad, just like Jennifer, as she starts chastising Vivia, saying this was all her fault for bringing the guillotine back to the house and awakening the spirit of Alan, who is now possessing Phoebe.
But before she can kill Vivia, the cops arrive, who then mistake them both for victims of some deranged killer, saving Vivia for the moment. Until she is strapped to a gurney and loaded into the back of an ambulance with Phoebe, despite her pleas not to be left alone with her, who smiles sinisterly as the doors are slammed shut and the vehicle speeds away.
I guess if you looked at it in the broadest of terms, you could kind of frame what Fruet and Cohen were shooting for as an all-out spoof with The April Fools, poking fun at a lot of well-established and by now well-worn Slasher Movie tropes: keeping a suspect’s identity a secret by only showing their shoes, but in this case they have athlete’s foot; taking the layers within layers opening of He Knows You’re Alone (1980) and adding several more layers on top of it; making the killer’s signature look somewhat ridiculous -- and also turning him into a Scooby-Doo villain, who sure looks like the Ghost of Captain Cutler to me; and keeping the killer’s signature kills completely off-screen. Yup. Except for Professor Zito, we don’t see a single person killed in this movie as the camera consistently and constantly cuts away from the carnage the exact moment “Alan” struck.
Of course, there weren’t a whole lot of deaths to begin with until that climactic bloodless-bath, where the film takes another abrupt left-turn, where it abandons its Boner Comedy and Slasher Movie set-up and jumps straight into what Joe Bob Briggs always referred to as a Spam in a Cabin flick, as we head into Evil Dead (1981) territory when Alan or a demon summoned by Alan possesses our heroine. A bold move, that I can respect -- though Briggs, apparently, did not.
It might’ve also been interesting to spread those kills around a bit, and maybe have Alan possessing a few more people to do his bidding to sow even more confusion. Of course, this would’ve short-circuited the film’s twist ending as they stuck another tired trope in the Slasher Movie’s ear by making the normal Final Girl the villain all along, and Alan jumping to Phoebe when his original host died would’ve been spoiled, so, we’ll call that a wash.
Well, whatever you want to call it or whatever they were thinking with all these subverted expectations, it wasn’t at all what MGM had wanted. “They had no idea what kind of movie we were making,” said Fruet. “When they found out, they dropped it like a hot potato … Basically MGM thought it was a comedy and when they found out it was horror, what with the guillotine scene and all, they just buried the film."
Shot in 1984 along Sorority Row in Toronto, The April Fools was shelved until 1986 by the studio, where it finally received a very limited theatrical release. But before it hit theaters, a title change was in order due to the subsequent release of Fred Walton’s April Fool’s Day (1986). And after it was advertised briefly as Fool’s Night the title was officially changed to Killer Party (1986) for its brief time in theaters before being sold off to home video and basic cable, where it soon became a staple on USA’s Up All Night, where I first became acquainted with the film and kinda fell in love with it -- mostly due to the likeable characters and its totally bonkers ending.
Star Joanna Johnson was about to embark on a ten year run on the daytime soap, The Bold and the Beautiful, and she’s pretty fearless as Jennifer and totally committed to the role when the shit hits the fan, when we all become very well acquainted with her tongue as she wags it around, drooling over everything. Hard to tell where her work ends and the stunt woman takes over, too, as she takes a lot of punishment. Sherry Willis-Burch only has two credits according to the IMDB, this and Final Exam (1981), a more traditional slasher, and I wish she had done more as she is completely adorable as the multi-talented, industrious, and no time for bullshit, Vivia.
I think the production’s “big get” was top-billed Martin Hewitt, who starred opposite Brooke Shields in the somewhat notorious, Endless Love (1981). Elaine Wilkes is a bit of a third wheel as Phoebe, but is plenty creepy once the big twist on the twist hits. Always fun to see Paul Bartel lurking around, too, who duels with Ralph Seymour as the film’s comedy relief. As for everyone else? Well, they’re just kinda there to be nothing more than cannon fodder when the film starts making up for lost time, and at ludicrous speed, too, which I guess could be considered yet another dig on Slasher Tropes because who these people are / were wasn’t important, just how they died.
But! It should be noted that mass slaughter pile-up at the end and the cutaway kills weren’t what they had originally intended. Seems when Killer Party was completed back in 1984 it got caught up in the MPAA’s backlash on horror films after the ruination of Christmas with the release of Silent Night, Deadly Night (1984), among others, who hammered the film, requiring many cuts to get the needed R-Rating, which also went a long way in getting it shelved.
Originally, the deaths were spaced out a little better and more elaborate -- at least according to the press materials, which showed a character skewered on the trident and a dismembered hand. But once they were all neutered, they decided to just re-edit the whole film and have them all happen en masse to clear the house for the climax.
As I said before, I kinda love this movie, but I also kinda want to really love this movie, too, but can’t. Not quite. I can respect what Fruet and Cohen pulled off, here, but they might’ve been a little too clever for their own good by saving almost everything for the last twenty minutes of Killer Party, where the film excels as something strange and truly unique in terms of genre. And they should thank their cast, too, because they’re the only real reason why anyone would even bother sticking around long enough to see what they had been holding up their sleeve this whole time.
Well, if you don't know what Hubrisween is by now, Boils and Ghouls, I don't think I can help you. Anyhoo, that's 11 films down with 15 yet to go. Up next, Beware the Booger!
Killer Party (1986) Marquis :: Polar Entertainment :: Telecom Entertainment :: Metro-Goldwyn-Mayer (MGM)/ EP: Kenneth Kaufman / P: Michael Lepiner / AP: Grace Gilroy / CP: Marjorie Kalins / D: William Fruet / W: Barney Cohen / C: John Lindley / E: Eric Albertson / M: John Beal / S: Joanna Johnson, Sherry Willis-Burch, Elaine Wilkes, Martin Hewitt, Ralph Seymour, Alicia Fleer, Woody Brown, Pam Hyatt, Elizabeth Hanna, Derek Keurvorst, Danielle Kiraly, Scott Coppola, Paul Bartel
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