Stage Fright (2014): A macabre musical?

The Slasher is truly a lost art: Evolving from earlier “splatter films,” these gore-drenched sex romps emerged in the late 1970s with groundbreaking entries like Halloween and Black Christmas before reaching their peak in the 1980s, where the market was quickly over saturated. The premise of this particular sub-genre of horror is simple: A killer, usually masked, wreaks fatal havoc over a group of horny teenagers in an isolated setting; Rinse and repeat. The mold is simple, bloody fun that doesn’t have to be broken, just done well. As the 80s ended, though, something about the magic of these movies seems to have been gradually lost in the ensuing decades. Even Scream, the quintessential 90s entry im the genre, is more of a parody than a real contender (though it is fantastic.)

Perhaps it was something about the 1980s that produced the unique blend of trash and art that is the Slasher. A carefree generation compared to today, despite the political atmosphere of the time, the 1980s felt almost like a sequel to the economic boom of the 1950s; America was recovering from the debacles of the previous decade, and spirits were high. For Christ’s sake, our president was a Hollywood actor; and though this actor would later ensure that it would be a long time before the United States saw a similar boom, that didn’t change the fact that the mood of the country was more lighthearted than currently. While there have definitely been a smattering of gems since the heyday of the Slasher came to an end nearly 40 years ago, they have been few and far between, and usually forego the inherent silliness of the genre for starker, darker tones that just don’t produce the same level of entertainment. 2014’s Stage Fright, however, is a notable and worthy exception.

Taking place at a summer camp specifically for theater kids, Stage Fright is a wonderfully twisted little slasher that has one major difference to set it apart from its fellow films: it is also a musical. Yes, you read that right; and not a half-assed one, either. Not only are the song and dance numbers well done, they are integral to the plot. They’re also cheery and bright, reminiscent of a Disney Channel production like Camp Rock; the sharp contrast between the two sides of the movie creates almost a parody effect that is incredibly entertaining.

The plot is straightforward: In 2004, Opera Star Kylie Swenson (Played by Minnie Driver!) is brutally murdered after starring in the broadway production of Haunting of the Opera. Ten years later, her children Buddy and Camilla work as cooks at a theater summer camp run by Roger McCall, a former boyfriend of Kylie’s played by none other than one of the greatest rockstars of all time, Meatloaf. McCall took the children in after the death of their mother. This year, in a desperate bid to save the camp from bankruptcy, McCall is reviving Phantom; while Camilla is thrilled, wanting to play her mother’s role, somebody at the camp is determined to stop the show by any means necessary.

Though the movie does have a lower body count than some movies of the genre, those who are dispatched are done so brutally. The opening scene in particular is rather ghoulish, and reels you in with an immediate dose of ultraviolence before settling down to a relatively slow pace until the final act of the film. Though incredibly bloody, the kills are a little run of the mill at times. However, the extremely well-done practical effects make up for the weak styling. In addition, The gore and violence is almost jarring as it follows cheery songs about teamwork and facing obstacles, adding to the comedic and slightly disturbing aspects of the film. Stage Fright also attempts to shine a rather weak light on the plight of upcoming women in show business, and the abuse they suffer to make it in an industry largely ruled by misogyny. While the points it tries to make are valid, it just doesn’t seem to quite fit with the rest of the film.

The killer, though extremely funny at times, is a little over-the-top even for a film such as this. Clad in a white kabuki mask and robe, he continually screams in a death metal rasp, riffing on a guitar and spinning around in circles in some kind of hidden bunker. Though there are several obvious ploys to deter the viewer from the killer’s identity, it is fairly apparent by the halfway point of the film who the murderer is. This is usually the case in movies such as this however, and so this is more of an observation than a complaint. In addition, we are so solely focused on the killer’s identity that the final twist of the film comes entirely from left field, putting a neat little bow on the story.

Silly, over-the-top, and just different enough to set it apart, Stage Fright is easily worth any fan of macabre comedy’s time. It is currently available to stream on Youtube for free, if you don’t mind ads. Check it out.