One of the reasons I typically avoid Horror’s more mainstream properties is that it’s been my experience to be disappointed the longer the franchise stays afloat.
In other words, I’ve seen a good many intellectual properties develop a veneer of predictable schtick as opposed to rewarding long-term fans with even a modest bit of freshness. The more chapters the seminal Freddy Krueger got, the goofier and goofier his kills had to grow. The longer Jason Voorhees hung around, the sillier and sillier that flicks grew. (Jason? In space? Really, Hollywood?) Though each successive picture delving into the mysterious and exhaustive backdrop of the Saw universe’s mythology tried to sustain my interest, the more I wanted it all to end: torture porn has its place, but even that concoction grew tiresome somewhat quickly. A solid first picture isn’t only a good start: it should be the first chapter in a developing novel, but producers tend to push creators to deliver more of the same, thinking that’s all the viewers require. I’d argue even meat needs more than just potatoes for every meal … but maybe that’s just me.
Because this trend is very real and very much a force within the wider entertainment industry (meaning it also happens in Science Fiction, Fantasy, and Comedy franchises, too), I think there are those movers and shakers who bake it directly into their new creations right out of the gate. If a picture gets made and experiences break-out success, then the demand for a sequel or two is strong enough for a return to the well of inspiration. At this point, the push is all too often to recapture what fueled Episode One and infuse it into Episode Two. Forget trying a mildly different direction. Don’t even think about undoing anything audiences learned in the founding flick. At best, creatives might add another layer of mystery to the core mythology, but there’s very little room for things like diversity or re-invention. Part II should function like Part I … or else.
It's for this very reasoning that Adam Green perhaps built his Hatchet business: he had watched enough Horror – perhaps even studied enough of the thrills, chills, and spills – that he knew exactly what to do, when to do it, and at what point to leave his followers wanting more. While there’s nothing wrong in doing so, I’d still argue that folks like me – the kind who are more inclined to go elsewhere as opposed to investing in more of the same – aren’t likely to hang around for the long haul. If we do, then the prospects for our finding increased enjoyment with – ahem – the continuing adventures of Victor Crowley grow dim, even if we show up owed to the same efficiency with which the creator builds his next property.
Well … Hatchet II (2010) does end up being more of the same. For better or worse, Green and his merry band of co-conspirators deliver a Part II that looks an awful lot like Part I. Hell, it even begins in the closing moments of the first film; so, yes, I think it’s pretty safe to conclude that Part II more of the same. That’s not a bad thing, but it is what it is.
In other words, I’ve seen a good many intellectual properties develop a veneer of predictable schtick as opposed to rewarding long-term fans with even a modest bit of freshness. The more chapters the seminal Freddy Krueger got, the goofier and goofier his kills had to grow. The longer Jason Voorhees hung around, the sillier and sillier that flicks grew. (Jason? In space? Really, Hollywood?) Though each successive picture delving into the mysterious and exhaustive backdrop of the Saw universe’s mythology tried to sustain my interest, the more I wanted it all to end: torture porn has its place, but even that concoction grew tiresome somewhat quickly. A solid first picture isn’t only a good start: it should be the first chapter in a developing novel, but producers tend to push creators to deliver more of the same, thinking that’s all the viewers require. I’d argue even meat needs more than just potatoes for every meal … but maybe that’s just me.
Because this trend is very real and very much a force within the wider entertainment industry (meaning it also happens in Science Fiction, Fantasy, and Comedy franchises, too), I think there are those movers and shakers who bake it directly into their new creations right out of the gate. If a picture gets made and experiences break-out success, then the demand for a sequel or two is strong enough for a return to the well of inspiration. At this point, the push is all too often to recapture what fueled Episode One and infuse it into Episode Two. Forget trying a mildly different direction. Don’t even think about undoing anything audiences learned in the founding flick. At best, creatives might add another layer of mystery to the core mythology, but there’s very little room for things like diversity or re-invention. Part II should function like Part I … or else.
It's for this very reasoning that Adam Green perhaps built his Hatchet business: he had watched enough Horror – perhaps even studied enough of the thrills, chills, and spills – that he knew exactly what to do, when to do it, and at what point to leave his followers wanting more. While there’s nothing wrong in doing so, I’d still argue that folks like me – the kind who are more inclined to go elsewhere as opposed to investing in more of the same – aren’t likely to hang around for the long haul. If we do, then the prospects for our finding increased enjoyment with – ahem – the continuing adventures of Victor Crowley grow dim, even if we show up owed to the same efficiency with which the creator builds his next property.
Well … Hatchet II (2010) does end up being more of the same. For better or worse, Green and his merry band of co-conspirators deliver a Part II that looks an awful lot like Part I. Hell, it even begins in the closing moments of the first film; so, yes, I think it’s pretty safe to conclude that Part II more of the same. That’s not a bad thing, but it is what it is.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Marybeth escapes the clutches of the bayou-butcher Victor Crowley and returns to the swamp with an army of hunters and gunmen, determined to end Crowley's reign of horror once and for all.”
Picking up right after the closing moments of Hatchet (2006) was, at best, a risky proposition.
Of course, I saw this knowing full well that a good many Horror franchise follows that kinda/sorta seminal rule. When you leave them wanting more, what better place is there but to begin right there? The upside is that – as a storyteller – you’re both relying on and expanding the linkage between successive films; the downside is that – in this case – it’s four years later, and those of us who watch closely might notice some of the details have shifted. As an example, lead actress Danielle Harris – as luminous as she is in the guise of our heroine Marybeth Dunstan – looks a bit more grown-up than she did in Part I. Gone is that hint of youthfulness that fueled her first foray into the swamp; and – in its place – is a young woman who looks a bit more like she’s taken on the world with some small costs.
Again, this isn’t a complaint. It’s only a critical observation. As I said, some of us notice these things, and they are a reality that can plague a production whether that be good or bad. In this case, some might suggest that Marybeth has understandably aged as a consequence of what she experienced from Crowley in that first picture. I’d be quick to argue that – ahem – that’s not quite how the world outside works, and – whether you like it or not – it can spoil the fictional aesthetic. Small things like this matter, but I’ll leave that as it is.
Sticking true to the oft-practiced development of a Horror franchise, writer/director Green tries to flesh out the folklore a bit. What we come to learn new from the whole affair is that Victor’s curse – introduced in the previous film – is tied to three young men whose names are now fully known by Reverend Zombie (played by the late Tony Todd). Believing that since he knows how the torment began he can bring it to a close by affording the adult Crowley the chance to kill those who offended him, the good reverend concocts a scheme to draw the bad men onto a journey into the Louisiana swamp. The mission also serves to give Marybeth the chance to recover the bodies of her fallen family members, and – lo and (conveniently) behold – her uncle just happens to be one of the aforementioned tormentors.
So, yeah, without beating a dead horse, it’s pretty clear that Hatchet II – for all intents and purposes – is little more than a formula piece. There’s no room for creativity here – unless, of course, you want to talk about a few new creative kills – and it shows from start to finish.
From the film’s IMDB.com page citation:
“Marybeth escapes the clutches of the bayou-butcher Victor Crowley and returns to the swamp with an army of hunters and gunmen, determined to end Crowley's reign of horror once and for all.”
Picking up right after the closing moments of Hatchet (2006) was, at best, a risky proposition.
Of course, I saw this knowing full well that a good many Horror franchise follows that kinda/sorta seminal rule. When you leave them wanting more, what better place is there but to begin right there? The upside is that – as a storyteller – you’re both relying on and expanding the linkage between successive films; the downside is that – in this case – it’s four years later, and those of us who watch closely might notice some of the details have shifted. As an example, lead actress Danielle Harris – as luminous as she is in the guise of our heroine Marybeth Dunstan – looks a bit more grown-up than she did in Part I. Gone is that hint of youthfulness that fueled her first foray into the swamp; and – in its place – is a young woman who looks a bit more like she’s taken on the world with some small costs.
Again, this isn’t a complaint. It’s only a critical observation. As I said, some of us notice these things, and they are a reality that can plague a production whether that be good or bad. In this case, some might suggest that Marybeth has understandably aged as a consequence of what she experienced from Crowley in that first picture. I’d be quick to argue that – ahem – that’s not quite how the world outside works, and – whether you like it or not – it can spoil the fictional aesthetic. Small things like this matter, but I’ll leave that as it is.
Sticking true to the oft-practiced development of a Horror franchise, writer/director Green tries to flesh out the folklore a bit. What we come to learn new from the whole affair is that Victor’s curse – introduced in the previous film – is tied to three young men whose names are now fully known by Reverend Zombie (played by the late Tony Todd). Believing that since he knows how the torment began he can bring it to a close by affording the adult Crowley the chance to kill those who offended him, the good reverend concocts a scheme to draw the bad men onto a journey into the Louisiana swamp. The mission also serves to give Marybeth the chance to recover the bodies of her fallen family members, and – lo and (conveniently) behold – her uncle just happens to be one of the aforementioned tormentors.
So, yeah, without beating a dead horse, it’s pretty clear that Hatchet II – for all intents and purposes – is little more than a formula piece. There’s no room for creativity here – unless, of course, you want to talk about a few new creative kills – and it shows from start to finish.
As tends to happen with Horror franchise, that may be enough for casual audiences, the kind of folks who show up knowing full well in advance that A, B, and C will happen in order to pave the way for D, E, and F to then take place, and there will be X number of increasingly bloody murders before all Hell breaks loose in the final reel. Unlike other genres, a great many terrors both function on and rely on this forced reality, meaning that producers no ago learned how to minimally deliver just enough to whet the proper appetites and deliver said feast. Yes, some find it bland. Of course, others find it satisfying. But the point remains: Hatchet II is – at its core – what the entertainment industry does uniquely well at the cineplex. It is it’s very own good, bad, and ugly all rolled up in a single film.
What I can say is that even though the script doesn’t capitalize on his involvement to any great degree, Todd was nothing short of fabulous doing his duplicitous thing once more. Reverend Zombie – while initially a bit cartoonish – evolves from Hatchet to Hatchet II, and having a proven commodity like Todd in the role was a big plus to this universe. Mind you: he – like everyone else – makes some really stupid decisions when running up to face evil in the last reel, but those kinds of flaws are intrinsic to Horror. No one else but Kane Hodder could (and should) ever inhabit the character of Victor Crowley, and he continues to show why he’s considered one of the very best in the business here. Funnyman Parry Shen is back as well, playing the twin brother to the incarnation who died in Part I; and – if nothing else – he does more of the same, eeking out a bit of comic relief in the first half of the film before suffering a grim fate once crap hits the fan. While it would’ve been interesting had Green come up with more than a mission of vengeance for the lead actress, Harris hits her marks capably and even rises to the challenge in the closing moments to serve Crowley the gloriously depraved departure that only he so richly deserves. As I’ve always been a bit smitten with the actress, dare I suggest that I’d follow her anywhere?
Also, Hatchet II waits its sweet time to get to the good stuff.
Though I rarely complain about such things, the set-up here stretches on much longer than was absolutely necessary, and the poor pacing weakens an otherwise good second half. There’s a bit of blood and guts in the flick’s preamble, but viewers have to wait a mild, mind-numbing 50 minutes before the real reason we all bought tickets begins. It isn’t as if everyone and every moment in here was so central much less pivotal to the plot that Green and company couldn’t have spaced a few of their deaths for entertainment’s sake. Once our big baddie hits his stride, it is a fairly appreciable body count that, ultimately, saves the day … if you can forgive the irony.
What I can say is that even though the script doesn’t capitalize on his involvement to any great degree, Todd was nothing short of fabulous doing his duplicitous thing once more. Reverend Zombie – while initially a bit cartoonish – evolves from Hatchet to Hatchet II, and having a proven commodity like Todd in the role was a big plus to this universe. Mind you: he – like everyone else – makes some really stupid decisions when running up to face evil in the last reel, but those kinds of flaws are intrinsic to Horror. No one else but Kane Hodder could (and should) ever inhabit the character of Victor Crowley, and he continues to show why he’s considered one of the very best in the business here. Funnyman Parry Shen is back as well, playing the twin brother to the incarnation who died in Part I; and – if nothing else – he does more of the same, eeking out a bit of comic relief in the first half of the film before suffering a grim fate once crap hits the fan. While it would’ve been interesting had Green come up with more than a mission of vengeance for the lead actress, Harris hits her marks capably and even rises to the challenge in the closing moments to serve Crowley the gloriously depraved departure that only he so richly deserves. As I’ve always been a bit smitten with the actress, dare I suggest that I’d follow her anywhere?
Also, Hatchet II waits its sweet time to get to the good stuff.
Though I rarely complain about such things, the set-up here stretches on much longer than was absolutely necessary, and the poor pacing weakens an otherwise good second half. There’s a bit of blood and guts in the flick’s preamble, but viewers have to wait a mild, mind-numbing 50 minutes before the real reason we all bought tickets begins. It isn’t as if everyone and every moment in here was so central much less pivotal to the plot that Green and company couldn’t have spaced a few of their deaths for entertainment’s sake. Once our big baddie hits his stride, it is a fairly appreciable body count that, ultimately, saves the day … if you can forgive the irony.
Now, without spoiling it, I’ve absolutely no idea how one progresses from the closing moments of Hatchet II to the sequel I’m fully aware came about in 2013. That last shot was – ahem – pretty final, if you ask me, so I’m at a loss to know just how Crowley might’ve been in any shape to continue this franchise. (Maybe he, too, had an unmentioned twin brother?) Thankfully, I have the complete collection on DVD, so I will be making my way into that chapter in the foreseeable future. At this point, I’m just hoping that it wasn’t all a dream …
Hatchet II (2010) was produced by ArieScope Pictures and Dark Sky Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Dark Sky Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights and sounds to be very good from start-to-finish: it’s clear that they had to recreate a few key locations from the first film for the second, and – sigh – some of the magic was lost in the process as the production details aren’t nearly as interesting in this installment. If you’re looking for special features? The disc boasts not one but two commentary tracks – one highlighting the more technical process of creating some key sequences – along with the usual assortment of trailers, images, and whatnot. It’s a solid collection.
Alas … only Mildly Recommended.
Writer/director Adam Green employs an almost clinical efficiency to sticking precisely to his formula for Horror with Hatchet II (2010); and – for what it’s worth – that simple fact is as much as strength as it is a weakness to this follow-up installment. In other words, it delivers most likely exactly what audiences expect, a reality that can be as frustrating as it is fulfilling. Would it hurt to throw the watchers a bone (not literally) and introduce some unanticipated twist? It’s easy to appreciate the workmanship to the whole fiasco; and once this one finds its groove again (after a 50-minute wait) it certainly delivers. Yet … I feel empty, much like Crowley’s battered and bloodied skull in the closing moments. Not a good look … for either of us.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Sky Films provided me with a complimentary Steelbook Blu-ray of Hatchet: The Complete Collection by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Hatchet II (2010) was produced by ArieScope Pictures and Dark Sky Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Dark Sky Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights and sounds to be very good from start-to-finish: it’s clear that they had to recreate a few key locations from the first film for the second, and – sigh – some of the magic was lost in the process as the production details aren’t nearly as interesting in this installment. If you’re looking for special features? The disc boasts not one but two commentary tracks – one highlighting the more technical process of creating some key sequences – along with the usual assortment of trailers, images, and whatnot. It’s a solid collection.
Alas … only Mildly Recommended.
Writer/director Adam Green employs an almost clinical efficiency to sticking precisely to his formula for Horror with Hatchet II (2010); and – for what it’s worth – that simple fact is as much as strength as it is a weakness to this follow-up installment. In other words, it delivers most likely exactly what audiences expect, a reality that can be as frustrating as it is fulfilling. Would it hurt to throw the watchers a bone (not literally) and introduce some unanticipated twist? It’s easy to appreciate the workmanship to the whole fiasco; and once this one finds its groove again (after a 50-minute wait) it certainly delivers. Yet … I feel empty, much like Crowley’s battered and bloodied skull in the closing moments. Not a good look … for either of us.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Sky Films provided me with a complimentary Steelbook Blu-ray of Hatchet: The Complete Collection by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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