Four college kids are sent to an abandoned mansion to fend for themselves during a hazing ritual gone wrong in "Hell Night." During their stay at Garth Manor, the group deal with pesky pranks from their peers and face off against a "gork" dubbed Andrew. We never find out what a gork is exactly, but it sounds relatively un-PC. At any rate, Andrew "Gork" Garth is a deformed child who has been left alone to his own devices. Now that he's all grown up, he's hellbent on murdering anyone who steps foot onto his property. That's unfortunate for Linda Blair and company, who lack the benefit of something like TripAdvisor. One thing's for sure, though; if they live through the night, this place is getting a dismal one-star review.
"Hell Night" came out in 1981, just as the slasher genre was gaining traction. It is at times derivative, and at others, it surprisingly deviates from the beaten path. The initial set up of four characters who alternate between horny, funny, smart and sympathetic is one we've seen countless times in the genre, but "Hell Night" puts a refreshing spin on things. For starters, its cast has a chemistry and a shared likability rarely seen in the slasher subset. An all-grown-up Linda Blair leads the cast with her charming girl-next-door presence, while pretty-boy Peter Barton ("Friday the 13th: The Final Chapter") plays her good-guy boyfriend. In the next room are the Spicoli-esque surfer dude and his hilariously charming and sexy girlfriend, played by Vincent Van Patten (son of Dick) and Suki Goodwin respectively. Goodwin in particular is a real firecracker, an endless ball of charm. It's a shame she quit acting shortly after this film came out. Her comedic chemistry with Van Patten jumps off the screen and nearly steals the show. That being said, all four actors are quite solid and work together to keep the film going, even through it's duller moments.
Speaking of dull moments, there's more than a few of those here. Since the film is about 15-20 minutes longer than the average slasher, it's only natural this would happen. The atmosphere is pretty well established early on, and while the characters are never a chore to visit, the often-protracted stalking sequences can sometimes feel endless or even pointless. Having said that, when the jump scares hit, they hit hard. The film is a bit of a workhorse in that regard, as by the end, we are treated to a big jump seemingly every other minute. Tim DeSimone, who had previously worked in the adult film industry under the impossibly awesome psuedonym of Lancer Brooks, apes the likes of "Friday the 13th" and "Halloween" quite competently here. There are moments midway through the film that feel like someone traced over John Carpenter's work, right down to the sparse, synth-led score. Yet, for all that it borrows, it never feels entirely redundant. One digression in particular, where a lead character escapes the mansion and goes off to find help, is a welcome curveball. It's little moments like this that give the film its own unique flavor.
While one could probably spend the bulk of its running length nit-picking it to death, there's just something undeniably charming about the way "Hell Night" plays out. It feels familiar, but at the same time, keeps us on our toes. With characters that you actually want to see survive and a killer who is not wearing a mask or wielding a chainsaw, "Hell Night" at least offers something you won't always find in '80s slashers. It's not a classic by any stretch of the imagination, but necessary viewing for any fan of the genre. "Hell Night" is, like the ritual itself: a rite of passage everyone should go through at least once.
"Hell Night" came out in 1981, just as the slasher genre was gaining traction. It is at times derivative, and at others, it surprisingly deviates from the beaten path. The initial set up of four characters who alternate between horny, funny, smart and sympathetic is one we've seen countless times in the genre, but "Hell Night" puts a refreshing spin on things. For starters, its cast has a chemistry and a shared likability rarely seen in the slasher subset. An all-grown-up Linda Blair leads the cast with her charming girl-next-door presence, while pretty-boy Peter Barton ("Friday the 13th: The Final Chapter") plays her good-guy boyfriend. In the next room are the Spicoli-esque surfer dude and his hilariously charming and sexy girlfriend, played by Vincent Van Patten (son of Dick) and Suki Goodwin respectively. Goodwin in particular is a real firecracker, an endless ball of charm. It's a shame she quit acting shortly after this film came out. Her comedic chemistry with Van Patten jumps off the screen and nearly steals the show. That being said, all four actors are quite solid and work together to keep the film going, even through it's duller moments.
Speaking of dull moments, there's more than a few of those here. Since the film is about 15-20 minutes longer than the average slasher, it's only natural this would happen. The atmosphere is pretty well established early on, and while the characters are never a chore to visit, the often-protracted stalking sequences can sometimes feel endless or even pointless. Having said that, when the jump scares hit, they hit hard. The film is a bit of a workhorse in that regard, as by the end, we are treated to a big jump seemingly every other minute. Tim DeSimone, who had previously worked in the adult film industry under the impossibly awesome psuedonym of Lancer Brooks, apes the likes of "Friday the 13th" and "Halloween" quite competently here. There are moments midway through the film that feel like someone traced over John Carpenter's work, right down to the sparse, synth-led score. Yet, for all that it borrows, it never feels entirely redundant. One digression in particular, where a lead character escapes the mansion and goes off to find help, is a welcome curveball. It's little moments like this that give the film its own unique flavor.
While one could probably spend the bulk of its running length nit-picking it to death, there's just something undeniably charming about the way "Hell Night" plays out. It feels familiar, but at the same time, keeps us on our toes. With characters that you actually want to see survive and a killer who is not wearing a mask or wielding a chainsaw, "Hell Night" at least offers something you won't always find in '80s slashers. It's not a classic by any stretch of the imagination, but necessary viewing for any fan of the genre. "Hell Night" is, like the ritual itself: a rite of passage everyone should go through at least once.