The
  Backlot
     Murders 

Slasher Trash with Panache?

Review:JA Kerswell

Sidney Prescot could have been talking about David DeFalco’s THE BACKLOT MURDERS when she said in SCREAM (1996), “Some stupid killer stalking some big-breasted girl who can't act, who's always running up the stairs. When she should be going out the front door.” A rock band and the crew of a music video being shot on the backlot of Universal Studios are stalked and killed by someone wearing a demon Elvis mask. DeFalco’s slasher romp arguably satirises Hollywood in a more entertaining way than the similarly themed SCREAM 3 (2000)—and is certainly more in keeping with the subgenre’s more exploitative roots.
 
The Wiseguys, a rock band on the verge of a major deal, has to fire an unstable member, Bobby (Dayton Knoll), after he attacks a woman in a bar. The only problem is that he was the only talented one in the group. However, the band’s cocky good looks and the fact that lead singer Dez (Brian Gaskill) is dating Janey (Jaime Anstead), the daughter of a music label head honcho, mean that they secure the funding to shoot their first music video. Utilising the expansive real-life backlot at Universal Studios, the video’s waspish director Henry (Charles Fleischer) constantly clashes with the band’s manager Stephanie (Priscilla Barnes)—who he refers to as “The Wicked Bitch of the West”.
 
Henry and his assistant director, Arlene (Lisa Brucker), have trouble corralling the chaotic band members and their bosomy backing dancers as they keep sneaking off to make out and explore the backlot. However, this isn’t the shoot’s only problem, as someone is lurking in the shadows and starts bumping off everyone associated with the production one by one … 

Although not entirely successful, the film is an entertainingly fun time that plays more to comedy than horror. This is helped by Fleischer and Barnes’ knowing powerhouse performances. Both actors give it their all and chew the scenery and the backlot with relish. Fleischer is delightfully funny as the gay director, who, although jaded with the business, throws out pointed barbs and can’t help make witty remarks about the airheads surrounding him. He says things like: “I want fog that seems like it’s coming from Satan’s ass.” and tries to reassure someone he is trying to talk into doing nudity: “No pubes, just your butt.” He is equalled by Barnes as the hard-nosed manager who wants the video to be as controversial as possible and whose take-no-shit attitude goes to gonzo extremes by the end of the picture. They both look like they are having a blast and that enthusiasm is infectious. 
 
The Bates House from the PSYCHO movies located on the Universal lot provides the backdrop for much of the film—and leads to some clever nods to the series, such as one character being killed in a very similar way to the Milton Arbogast character in the 1960 original. Whereas the SCREAM series sought in part to satirise the 80s slasher movie, it tended to sidestep its sometimes more exploitative elements. David DeFalco has no such qualms and packs his movie with amply endowed women and bared breasts (he also references FRIDAY THE 13TH: PART 2 (1981) with the double impalement of a couple having sex). Also, whilst SCREAM took a meta approach to the subgenre, THE BACKLOT MURDERS revels in its campy approach—complete with some howlingly bad line readings (that you just hope were intentional). That, too, goes for a corpse that blinks multiple times during a climactic scene. It isn’t simply satirising so-called B-movies; it is actively trying to be one. And that’s part of the fun. Where it does fall down compared to Craven’s original trilogy is its lack of suspense. The film never takes itself seriously enough to work as a slasher thriller, as such. However, there is a great chase sequence near the end of the movie where the killer pursues the would-be Final Girl as her boobs jiggle up and down and side to side in her tight crop top.
 
Corey Haim is rather wasted in a supporting role as one of the band members—who does little more than stand around and utter a few lines before dying. Charles Fleischer had a small part in Wes Craven’s original A NIGHTMARE ON ELM STREET (1984)—and his character says how much he admires Freddy’s “nails” in this. Another connection to that series is the appearance of Ken Sagoes as a handyman and first victim, who played Kincaid in the third and fourth ELM STREET sequels.
  
THE BACKLOT MURDERS was made in late 2001. Given it was shot on 35mm it is likely that a theatrical run (at least overseas) was considered, but it went straight to video in 2002. It is likely because other big scream slashers, such as Jamie Blank’s VALENTINE (2001), underperformed at the domestic box office, signalling the end of the post-SCREAM boom. Despite an ending that blatantly invites a sequel that never happened.   

BODY COUNT 16: 
Female 6 / Male 10

1. Male is whacked with a mallet
2. Female is impaled on wood
3. Male is slashed across the face with a knife
4. Male is crushed under a truck
5. Female has her neck snapped
6. Male is hit in the chest with a flying saw blade
7. Male is run through with a spear
8. Female is run through with a spear
9. Male is run through with a spear
10. Female has her throat cut
11. Male is garotted
12. Male is stabbed to death
13. Male has his tongue pulled out of neck wound
14. Male is stabbed in the back
15. Female is stabbed repeatedly in the back
16. Female is hit in the stomach with a battle axe

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