Familial relationships are an excellent foundation for any horror film. Jason and his mommy issues, Myers and his obsession with his sister Laurie, and the shall we say interesting family dynamic between Leatherface and his clan in the Texas Chainsaw Massacre franchise, have all had us glued to our screens for years, and earned them cult status in the eyes of movie goers everywhere.
Now not all families are as messed up as those psychotic examples (90% of them maybe ..), but anyone that’s had a spat with a loved one knows that no one in the world can hurt you more than someone you’ve grown up with. They’ve seen the best and the worst of you and they know things about you that could really hurt a hard earned reputation – like the fact that you still watch Hollyoaks at the age of 28, and you own all of S Club 7’s back catalogue.
Embarrassing stuff yes, but not quite murder worthy. Now jealousy – there is a reason to kill, and people do. A lot. Most of the motives for murder in the slasher sub genre have been iffy at best, but this little low budget minx, has kinda worked its magic on me and given me a sibling rivalry splatter fest that I could sink my fangs into.
About flipping time.
Marcus Miller aka The Orphan Killer has had it tough. Parents murdered, sister adopted, and left to rot in an orphanage, where the nuns put the Mass in masochistic. Naturally, he feels a tad resentful towards his sister Audrey – she’s had a nice non abusive life and is now teaching at a convent school (which apparently is very lax on the attire of its teachers when they’re dressing like Ho’s, but whatever ..), and he is, well he’s wearing a creepy mask and killing folk, so that’s a kick in the balls from the fates right there.
The Orphan Killer is without doubt the best slasher I’ve seen in recent years, it’s slick, original, and has a mythology that it would be criminal not to expand upon. I fully expected disappointment from this and nothing else, but as the end credits rolled I realised I was in love. With echoes of Carpenter’s Halloween and Zombie’s directorial flair, writer/director Matt Farnsworth has managed to create a gore icon for the new generation to rival Myers and Voorhees. It’s got blood splattered churches, originality and a pretty awesome soundtrack to boot – what’s not to love? Blasphemy, barbed wire, and bone crunching FX give this all the makings of a modern classic.
I am a fan.