With a name like "The Last Horror Movie", you'd expect something akin to the be-all, end-all of horror films. Well, I don't know if
Julian Richards' serial killer extravaganza quite achieves those lofty heights, but it does stand as not only one of the best
horror films to come out of Britain in a dog's age, but also as one of the most downright devious, brutal, acerbically witty, and shocking horror
films in years.
The synopsis...
Under the guise of being yet another "horror" film with a good-looking "teenage" cast that gets picked off one-at-a-time in standard
slasher ways, "The Last Horror Movie" opens with a well-filmed and strikingly-lit sequence involving a waitress in a diner who meets an
unfortunate end at the hands of a creepy, knife-wiedling maniac. But, the screen goes fuzzy, and we cut to the smiling mug of one Max Parry.
He informs us that he has "recorded over the movie" that we "hired" (rented for you non-anglocentric fuckwits), but that we shouldn't worry.
We, the viewer, were in the mood for a horror film, and as Mr. Parry informs us, we're going to get one. What follows can be summed up by saying
that it is a cross between many notable films: "Henry: Portrait of a Serial Killer", "Peeping Tom", "C'est arrivé près de chez vous ("Man Bites Dog")", and
perhaps a bit of "American Psycho". However, it should be stressed that this film is the equal, if not the better, of each of those films, and it
stands alone as a great piece of psychofilm guerilla moviemaking. As with some of the mentioned films, "The Last Horror Movie" draws
the viewer into the action, using forced perspective and a "quasi documentary" technique. The result is that the viewer takes on a role in
the proceedings, first as unwitting accomplice, then as would-be victim. I can't say too much more about the plot or chain of events, as this would
spoil the film. Let's just say that there is a "twist" that helps make this one of the more powerful, nerve-shattering experimental films this reviewer has
ever seen. Of course, the "twist", in and of itself, is not the model of originality. However, it's pulled off here with such aplomb that
you really have to hand it to the filmmakers: they carefully crafted a work of stunning, eerie force that just oozes with dread and general creepiness.
As would be expected, the success of a film of this nature hinges on its ability to suspend our disbelief...a responsibility that falls largely on the shoulders
of the cast; if the main character or characters cannot give convincingly realistic performances, then all is lost. Thankfully, all concerned pull off this feat
admirably, especially Kevin Howarth as Max Parry. His performance is a truly astounding one...he constantly walks the line between suave ladies-man, would-be
philosopher, righteous social cleanser, witty drinking buddy, and total sociopath. It's honestly been a long, long time...too damned long, if you ask me...since I've
been witness to a performance more nuanced, effective, and chilling. Massive kudos are due Mr. Howarth...enough really can't be said of the skill and talent on display
here. Likewise, while the role of Max is by far the meatiest one, the supporting players hold their own. Worth particular mention is Antonia Beamish, who plays Max's would-be
girlfriend Petra. She provides and interesting couterpoint to the "real" violence on display, as her character is a "stage actress" who during the course of the film seems to be
up for a role in a rather violent period piece wherein she is to be "strangled" by two assailants. I hate to get sidetracked on this point, but I can't help but noting that at one point,
Max's camera shifts suddenly to a close-up shot of Petra being brutally strangled by Max's "assistant" (also played well by Mark Stevenson, who pulls off the bumbling Scots git role
remarkably well). This sequence is quite shocking and unexpected, and it's interesting that in this shot, we have the longest, most lingering "death scene" in the entire movie. Of course,
it turns out that Petra was just "rehearsing". She lies still...stone dead for all the world to see...and after several agonizing seconds lingering on her dead face, she suddenly sits up and goes "How
was that?" It's a funny, twisted, and wholly appropriate moment that perfectly underlines one of the whole fuckin' points of the movie...that the differences between "real" violence and "reel" violence
is a foggy one, and our desire to see such violence up close, real or not, makes us de facto accomplices to the acts themselves. Anyway, Petra is a hugely important character in the film. She allows us
the chance again and again that Max is not insane...not "out of control"...he can and does make (successful) efforts to maintain interpersonal relationships. Whereas his friends and family see Max as being
a bit irresponsible and "odd", they accept him for who they think he is. Max proves that even the most brutal sociopath can maintain a more or less normal life...except for all the killing, of course.
Again, that duality is what makes "The Last Horror Movie" so particularly effective. The concept of "forced participation" is driven brutally home time and again, and by the mid-way
point of the film, we are taken in so completely by Max's actions and philosophy that it becomes almost impossible to judge him without judging ourselves at the same time. Max is so completely void of
regret, conscience, and accountability that he strikes this reviewer as almost a quasi-Nazi in his utter contempt for human life. If a person doesn't serve his purposes directly, that individual ceases to be "human",
and becomes a victim. Max's assistant, at one point, is given the opportunity to consummate his proverbial commitment to Max's little project. Like a harsh school teacher, Max berates and cajoles the assistant to
"just do it...", and when the assistant can't "get it up" ("I thought I could do it, but I just can't!"), Max's retribution is swift and brutal. Other than those few individuals Max deems worthy of staying alive, the human race
is basically cattle to Max; constantly ready for the slaughter. You've got to hand it to that Max...he sticks to his guns.
Of course, I must tell you that this film takes your mind to places where you probably don't want to go. Remember that scene in "Henry: Portrait of a Serial Killer" where Henry and Ottis videotape themselves mercilessly
slaughtering a family? Well, this film duplicates that atmosphere and that diseased mentality over and over again. Also, while it's never pleasant to be reminded of how insignificant our individual lives are in the grand scheme of
things, when a suave monster like Max does it repeatedly, well...it's downright numbing. By film's end, it's clear that Max will never, ever stop. And, if he is stopped somehow, someone else will take his place.
That's the nature of this brand of sociopathy, and it's disturbing stuff, folks. Ultimately, that's why this film more than lives up to its title. This is, indeed, the last horror movie...at least in Max's world.
This disc, distributed by Fangoria/Gorezone Video, is quite barebones. There are no "special features" to speak of, but honestly, it's just as well. Any "director's commentary",
"behind the scenes footage", "cast interviews", or the like would not only serve to shatter the near-perfect illusion the filmmakers have so carefully crafted, but they would ultimately be
more than a touch redundant. This is one of those rare cases when everything that needs to be said about the film is said by the film itself. Seriously, how boring would a "documentary" about the making of a "documentary" be, anyway?
In fact, in an ideal "artisitic integrity" situation, this film would only be available on scratchy videotape, and available only as a rental through your local video shop. You'll understand why once you see it.
Beyond those comments, there's precious little to say about this release other than it serves its purpose, and sufficiently well at that. The transfer, due to its shot on digital video origins, is crisp throughout (except where "scratchy" cinematography serve the
story), and the sound, likewise, is sufficient.
Honestly, there's nothing left to say. "The Last Horror Movie" speaks for itself. Go see it. Rent it, if possible, but if not, buy this DVD as soon as possible. It's a decision you may or may not regret from a "moral" perspective, but it's a film that
belongs in every horror-lover's collection. Note, of course, that it ain't for the faint of heart. You've been warned.
Oh, and if your doorbell rings shortly after watching "The Last Horror Movie", I would strongly urge you to run and hide in your bathroom.
If you liked "The Last Horror Movie", Atrocities Cinema Also Recommends the similarly-themed "Henry: Portrait of a Serial Killer" & "Man Bites Dog".
With a name like "The Last Horror Movie", you'd expect something akin to the be-all, end-all of horror films. Well, I don't know if
Julian Richards' serial killer extravaganza quite achieves those lofty heights, but it does stand as not only one of the best
horror films to come out of Britain in a dog's age, but also as one of the most downright devious, brutal, acerbically witty, and shocking horror
films in years.
