Echoing John Carpenter’s seminal slasher, Jimmy Huston’s almost-forgotten Halloween wannabe Final Exam (then an unconscious subversion of the slasher genre), is an audaciously soiled exercise yet comes to dissatisfying fruition. The film may also be viewed as a gesture to boycott what is to come upon the release of Friday the 13th, the film that inaugurated the mold the genre filled in and with which spawned a relentless plethora of moot successors. The logic of that mold appears pretty forward: if you give in to your humanistic desires, you will at some point face the wrath of a rampant blade-wielding killer — a grieving matriarch or otherwise.
This is true for the genre; it was interesting to start with, until it was taken at face value.
Which, then, is something that Carpenter must have clearly understood: Halloween, incidentally, is one of the better character portraits in genre cinema since Hitchcock’s Psycho. Carpenter’s focus is undoubtedly centered on Michael Myers, a vessel of causeless evil — all his preys be damned. They are somewhat irrelevant. Huston, in a reciprocating effort, turns the focus on the killer’s victims, allowing them dimensions that elevate them from being mere bodies tossed and slashed around.
Past the sensitively paced first half, Huston winds us through the killer’s spree one student murder after another. The students’ deaths are not mere deaths, not strictly, but a reflection of the students desires and insecurities: of masculinity (, among others. The killer (played by Timothy L. Raynor) is a completely random figure: a tall man with a kitchen knife and the impulse to kill a college student at his first opportunity. Which is true, considering the fact that psychopaths require no motivation in doing their killings.
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And with this finally, we have a film that past its schlock is at best a muddled, potentially condescending effort; and with its schlock, is one too hard to take seriously.