After the Prior brothers’ “The Final Sanction”, reviewed the other day, I thought it’d be fun to go watch the entirety of their ouevre. But you probably don’t think that, or you may just not want to watch every single movie from a director you sort of half-liked, so you come here to find out if it’s worth bothering with. Well, yes and no. But read on, please!
Back in 1983, people just didn’t make shot-on-video slasher movies. “Boardinghouse” had come out the year before, widely regarded as the first full-length movie to take advantage of the new technology, but “Sledgehammer” was hot on its heels – and if you’d like to be pedantic, as “Boardinghouse” actually played in a few cinemas, this could be said to be the first to ever be made specifically for the home video market.
From the little information I can gather, Ted Prior moved from New Jersey to LA sometime in 1979 to become an actor, and ended up bodybuilding, becoming a fairly popular model for “Playgirl” magazine well into the 80s. Presumably, David followed him out there, and rather than shlupping himself round the studios trying to get work, he just made one himself, shot almost entirely inside his own apartment, in 7 days, for under $50,000 (probably significantly under, if we’re being honest). Apparently, the cameras were borrowed from a training-video company, so while they’re not just average normal ones bought from a shop, they’re still significantly fuzzier than even 16mm was at the time. The opening credits are surprisingly creepy / great, with some chilling synth score playing over the sort of credit font that I imagine the cameras came pre-loaded with. I’m a sucker for a good bit of synthy music.
If you’ve seen “Halloween”, you’ll recognise the opening scene, where a kid is locked in his room by his scumbag mother, who wants to have sex with her new boyfriend, only for the kid to emerge from the locked room, grab a sledgehammer (not just a clever title!) and beat them both to death. This scene has the best gore effect (the lover’s extremely fragile skull being split open) and also, I suppose, gives the kid motivation – which our old friend Michael Myers never really had. But, the scene might just be shot weird, or it might have been some indication that the kid didn’t really do it – how on earth did he swing a large hammer that hard? How did he escape from the room?
I was about to write “we don’t really have time to ponder that” but we do. We have a lot of spare time, as Prior, possibly to pad his movie out to feature length, has a quite staggering number of slow-mo scenes, including such non-essentials as a door handle being turned, a couple walking down a path, and so on. It’s ten years later, I think, and a group of hard-partying guys and gals in their late 20s turn up with one cooler of drinks between 6 of them – it’s not even all beer! – and they make sure to insert a scene where a mechanic takes their van away to be serviced, just so we know there’s no getting out of this mountain retreat. Yes, they say it’s up a mountain, 50 miles from anywhere, and no, we aren’t ever told why the family from the beginning would choose to live in such a remote location. In fact, the family at the beginning worry about what the townspeople would think of their union! Anyway, can’t get bogged down in minutiae that none of you care about.
Ted Prior, as Chuck, is the commitment-phobic boyfriend to final girl Joni (Linda McGill, although I have no idea why I’m listing any of these actor names as apart from Ted, none of them did much of anything in the industry). There’s also other people, who I’ll call Cannon Fodder 1-4. Because that’s what people do, apparently, they have a food fight in a room which might comfortably seat three; there’s one moment where an off-screen character tells them to stop, and I honestly thought for a moment it was the director and they’d just forgotten to edit that bit out. Then they have a séance, after a not-exactly-eventful first half-hour, and as Chuck relates to them what happened in the house long ago, things begin to happen, developing into a traditional “spam in a can” movie with a bunch of weird trimmings.
I love watching first-time directors doing low-budget genre movies, as they’re always unique in their own weird ways. The “this isn’t the way you do things” people hadn’t gotten to Prior by this point, so we get all sorts of weird stuff happening. The killer ghosts his way through closed doors, and sends other people through them too, but later on is seen messing with handles like he can’t get through. He’s the same kid from the beginning, impervious to damage, at one point, then he transforms into a man and suddenly becomes vulnerable. There’s a pentagram drawn on the wall in blood, but if it’s got a Satanic theme to it then it’s extremely under-developed. Chuck ignores slasher movie law and tells everyone to stay together, in the one room, and wait til morning (it doesn’t do any good, but it’s still sound advice).
All this is hidden under a layer of slow motion, and weird periods of silence like he ran out of incidental music, making everything seem slightly surreal, otherworldly. It actually reminds me a little of all-time worst movie “Things”, but not in terms of quality, acting, or plot, just that enclosed location and the washed out tones of a video camera. The lighting and the blankness of the walls begins to get to you after a while, and it’s creepy almost despite itself.
I think the Final Girl wasn’t given enough character, as it feels all the way up to the penultimate fight that it’s going to be mostly about Chuck; but they stick to that one bit of slasher law, almost set in stone even by this early point. Prior, by the way, was a canny guy, and even though he knew the slasher movie was on its way out (although it’d be revived by Freddy Krueger a couple of years later) he figured if he made it cheaply enough he’d still turn a profit. And he was right – he parlayed this into bigger budgets, peaking around 1990 with his movies for AIP, before slowly tailing off (he took a decade off, coming back with Ted for a bunch of movies starting again in 2007).
I felt quite clever during the final credits, thinking to myself “some of these names sound fake. Is it union guys working under a pseudonym?” I think it’s more likely to just be the same three or four people doing all the jobs, but eventually the names become so ridiculous anyone could spot it – right at the end we’re treated to “Jac Meough” and “I.P. Phreilee”. Well done, Mr Prior!
It’s boring, slow, and ugly, with a ton of basically amateur actors – but all truly bad movies fail in their own weird and wonderful ways, and “Sledgehammer” is worth watching to see how it fails.
Rating: thumbs down