Galesberg, Illinois is a sleepy, small town where brutally strange murders are occurring. Sheriff John Brady believes it has something to with some secret experiments being performed on the local teenagers by a collage's psych department led by Dr Gwen Parkinson. Also unknowingly to John, his son Pete has signed up to the program in the hope the money he earns off it, would go a long way for him getting into his preferred collage.
Slashers hey. God love 'em! Well this was around the same time when the craze for it was huge in the horror genre. But that in mind, while I found the New Zealand/Australian co-production "Dead Kids" to follow the conventional methods and clichés. It still manages to hold its own within the sub-genre because of its quirky charm, realistic touch and overall edgy style that sets it apart from many rancid entries. There's something quite compelling about it all, even though the fractured story could have been far more fulfilling in its matter.
Mainly it comes off because the sterling performances are very convincing in setting up their characters, the story's progression is unforeseeable with a unique premise (that could be lifted right out of those early horror 30's and 40's features of mad scientists) and Michael Laughlin's pastel direction has a freshly polish tinge about it that comes off very well in some superbly choreographed scenes that are stylishly unusual (loved the inspired party scene with Lou Christie's "Lighting Strikes"), unnervingly creepy (the scarecrow scene) or just plain suspenseful. If there's one downer to Laughlin's direction though, it's that the most of the imaginatively nasty death/or attack scenes are executed rather sloppily and can look silly. At least they were grisly and had some splatter to spare, but in the long run it wasn't trying to be pointlessly gory or wanting to up the body count.
It's a moody atmosphere that slowly engages the viewer with its mysteriously offbeat vibe and nail biting jolts created from its wholesome reality. Streaming through the script is a welcome slice of humour that has the right sense towards its material. The production is that of low budget, but it doesn't show up prominently with many professional elements working in favour on the project. While the film is set in US, it was actually filmed in New Zealand with a mostly American cast. The picture-perfect setting authentically comes across and makes good of the atmosphere. Louis Horvath's wide scope Panavison cinematography is gorgeously framed with such hypnotic verve and the Tangerine Dream's effectively airy music score has that alienating awe to it.
Australian producer Antony I. Ginnane backed this one and has some other great films under his belt that he managed to get the screen, like "Turkey Shoot", "Patrick", "Harlequin" and "The Survivor". Michael Laughlin would go on to direct "Strange Invaders" and screenwriter Bill Condon would be recognised for penning and directing "Gods and Monsters (1998)". Though, he first kicked of his flair for direction with effectively minor southern Gothic shocker "Sister, Sister (1987)". The performances are particularly fine. Dan Shor is ideal as the Pete and Dey Young has a very appealing presence on screen. Michael Murphy holds it together with an admirably focused turn as sheriff Brady. Fiona Louis really eats it up as the icy Dr Parkinson. Making up the rest in bit parts are Marc McClure, Johnny Guitar, Charles Lane, Arthur Dignam and very warm-hearted Louise Fletcher.
A definite oddity that works a treat in what it sets out to do. Recommended.
Slashers hey. God love 'em! Well this was around the same time when the craze for it was huge in the horror genre. But that in mind, while I found the New Zealand/Australian co-production "Dead Kids" to follow the conventional methods and clichés. It still manages to hold its own within the sub-genre because of its quirky charm, realistic touch and overall edgy style that sets it apart from many rancid entries. There's something quite compelling about it all, even though the fractured story could have been far more fulfilling in its matter.
Mainly it comes off because the sterling performances are very convincing in setting up their characters, the story's progression is unforeseeable with a unique premise (that could be lifted right out of those early horror 30's and 40's features of mad scientists) and Michael Laughlin's pastel direction has a freshly polish tinge about it that comes off very well in some superbly choreographed scenes that are stylishly unusual (loved the inspired party scene with Lou Christie's "Lighting Strikes"), unnervingly creepy (the scarecrow scene) or just plain suspenseful. If there's one downer to Laughlin's direction though, it's that the most of the imaginatively nasty death/or attack scenes are executed rather sloppily and can look silly. At least they were grisly and had some splatter to spare, but in the long run it wasn't trying to be pointlessly gory or wanting to up the body count.
It's a moody atmosphere that slowly engages the viewer with its mysteriously offbeat vibe and nail biting jolts created from its wholesome reality. Streaming through the script is a welcome slice of humour that has the right sense towards its material. The production is that of low budget, but it doesn't show up prominently with many professional elements working in favour on the project. While the film is set in US, it was actually filmed in New Zealand with a mostly American cast. The picture-perfect setting authentically comes across and makes good of the atmosphere. Louis Horvath's wide scope Panavison cinematography is gorgeously framed with such hypnotic verve and the Tangerine Dream's effectively airy music score has that alienating awe to it.
Australian producer Antony I. Ginnane backed this one and has some other great films under his belt that he managed to get the screen, like "Turkey Shoot", "Patrick", "Harlequin" and "The Survivor". Michael Laughlin would go on to direct "Strange Invaders" and screenwriter Bill Condon would be recognised for penning and directing "Gods and Monsters (1998)". Though, he first kicked of his flair for direction with effectively minor southern Gothic shocker "Sister, Sister (1987)". The performances are particularly fine. Dan Shor is ideal as the Pete and Dey Young has a very appealing presence on screen. Michael Murphy holds it together with an admirably focused turn as sheriff Brady. Fiona Louis really eats it up as the icy Dr Parkinson. Making up the rest in bit parts are Marc McClure, Johnny Guitar, Charles Lane, Arthur Dignam and very warm-hearted Louise Fletcher.
A definite oddity that works a treat in what it sets out to do. Recommended.