As a seasoned cinephile who’s seen more than his fair share of horror flicks, I can confidently say that “Stream” is a delightful dive into the world of the gorehound genre. Having watched my share of low-budget, high-violence films, I appreciate the craftsmanship and professionalism that Fuzz on the Lens productions bring to the table.
People who believe that self-reliant sleepers no longer exist should pay attention to the “Terrifier” movie series. Despite having a narrow, hardcore horror fanbase appeal, these films have managed to generate substantial profits from modest budgets, which is quite impressive. A third installment will be released this fall, but in the meantime, there’s “Stream,” an independent production primarily by the crew of “Terrifier 2” (with the exception of writer-director Damien Leone, who serves as a co-producer). “Stream” successfully leveraged the original’s cult following to earn nearly $16 million two years ago. Similar to its predecessor, “Stream” is being released as a limited theatrical event in the U.S. and Canada from August 21 to August 25, with further territories to be announced later.
Although it deviates from its expected narrative structure, “Stream” shares similarities with the “Terrifier” films in terms of overall theme and certain strengths and weaknesses. Both belong to a higher-tier category of films that focus excessively on gruesome violence and graphic special effects, often neglecting essential elements like plot and character development. Many poorly executed, lifeless films have been made in this niche genre. However, Fuzz on the Lens productions stand out due to their vivid production values within their limited budgets. They are visually appealing, feature professional actors, maintain a reasonable pace, and incorporate humor. Unfortunately, they lack innovative ideas to keep viewers engaged who aren’t already drawn in by abundant displays of gore.
The setting for “Stream” is the picturesque Pines resort in Pennsylvania, often referred to as a pearl in its advertisements, preparing for its reopening this weekend. Regrettably, the proprietress Linda (Dee Wallace) may not make it to witness that. A mysterious intruder will tragically cut short her hospitality career prior to the start of the opening credits.
The Keenan family, comprising mom Elaine (Danielle Harris), dad Roy (Charles Edwin Powell), their 11-year-old gaming enthusiast Kevin (Wesley Holloway) and rebellious teenage daughter Taylor (Sydney Malakeh), are heading off in that direction. Years ago, they had spent joyful times at this very vacation spot. It is Taylor’s mischievous antics that bring about this enforced family bonding time. Joining them at The Pines are two charming young French men who attract Taylor’s attention (Andrew Rogers, Jadon Cal), a couple on their horny honeymoon (Isla Cervelli, Chris Guttadaro), an overly intoxicated individual (Daniel Roebuck), a trio exploring polyamory, and other transient characters who barely make an appearance but serve to increase the overall count of individuals.
The unusual behavior of Mr. Lockwood, the front-desk staffer (played by overly dramatic Jeffrey Combs), foreshadows a violent turn of events. He vaguely explains that the system is malfunctioning as a justification for requiring cash payments and ignoring the broken wi-fi. However, what he fails to disclose is that the entire establishment will soon be locked down, trapping unfortunate guests in a deadly game where they are hunted by four masked assailants. These events are recorded by security cameras and broadcast live for betting spectators around the globe.
In this ambiguous business, the rules are questionable at their best and it appears to be a brutal massacre. However, there seems to be a reward for added cruelty – some victims continue to endure pain even when consciousness persists, which allows for further torture. Once Roy recognizes his family is in peril, he finds an ally in another guest, Dave (Tim Reid), who used to work for the LAPD and is armed. Yet, even these occasional power shifts don’t prevent the dwindling of this captive community at an alarming rate.
In “Stream,” numerous well-known figures from the horror genre, such as Bill Moseley, Felissa Rose, Tony Todd, and others, make brief appearances. This film is clearly designed and executed as a heartfelt tribute to an audience familiar with the intricacies of every previous slasher series. The movie often evokes a strong sense of déjà vu, which appears to be its main objective. The only unexpected twist is that some characters who seemed indestructible meet their end prematurely.
The “game” lacks a substantial history, and its main characters, who are all silent and violent, don’t have much distinct personality. One is muscular like a bodybuilder, while the other two form a dance duo, although this aspect is rather uninteresting. As a producer, Leone focuses on the special effects makeup, which involves a lot of gore. However, regardless of how long the action lasts, the killings are rarely creative or noteworthy. These acts are inflicted upon stereotypical characters whose dialogues are filled with cliches, providing the actors with limited opportunities to shine.
Despite some drawbacks such as a lighthearted tone lacking tension, an even pace, and somewhat monotonous hotel ambiance, director and co-writer Michael Leavy, along with Steven Dalla Salla (cinematographer), Jason Leavy (producer), and Robert Privitera, have skillfully crafted a polished, engaging film that generally meets viewer expectations. The lengthy runtime of two hours may make the movie seem overly prolonged at times, especially when it includes an ending that appears to be added merely for the inclusion of additional guest stars.
Despite being quite similar to other movies in its genre, this film doesn’t try to hide its simplicity and instead focuses on delivering enjoyment for fans of slasher films. Let’s cross our fingers that a potential sequel will develop the rather basic plot idea further, as the creators of “Terrifier 2” were able to do.
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2024-08-21 02:17