Edge of the Axe

Decent attempt this one, it's among my personnel favourites. I thoroughly enjoyed this cheapo little feature which I found at my local video store…

Set in a remote tranquil town called Paddock County, EDGE OF THE AXE tells the tale of a violent masked murderer that begins hacking his way through the hapless townsfolk one by one with a large hatchet. The Police are left with no clues whatsoever and at first try to keep the brutal slayings under wraps. As the body count mounts up it becomes increasingly difficult to deny that a maniac is at large, and soon the authorities are forced to leak the shocking truth to the terrified community. Two young lovers are forced to feel the effects of the terror upon their relationship when suspicions begin to grow between them…

This is always slapped with a 1989 date; it was actually made two years earlier by Spanish director Jose Ramon Lorez. He released it in the UK under his alias name of Joseph Braunstein. He was also responsible for that awful 1986 zombie attempt: REST IN PIECES as well as another slasher flick titled DEADLY MANOR aka SAVAGE LUST. Although this is supposed to be set in a small American county, I believe that most of it was filmed on location in Greece. Which, would explain the beautiful and eye catching scenery that adorns the screen throughout the feature.

Although it's obvious to see that the team must have suffered some budget restrictions, it's blessed with two qualities rarely seen in movies of its era and ilk. The first is some surprisingly crisp cinematography showing us some neat shots of the beautiful backdrops. Secondly we have some fairly likeable performances especially from Mosely and Lane. Although they're far from ‘great' actors, I think that they showed potential and were a lot better than most of the ‘riff raff' that's usually cast in slashers! These are the two main ingredients that can lift a standard flick well above average. I checked with the IMDB to see if any of the cast featured within went on to find further fame; and was surprised when I found out that not much had come of them. Eagle eyed genre fans will notice Page Mosely from OPEN HOUSE and THE SCAREMAKER on top form as the lovesick Gerald. Also keep an eye out for Barton Faulks from FUTURE KILL who makes an appearance. The story that surrounds them is neat and easy to follow, although away from seeing the bogeyman chop up his victims we are forced to sit through an amusing sub-Danielle Steele style stormy romance that builds between the aforementioned Gerald and the young attractive Lilly (Christine Marie Lane)! Among other things they engage in idle chit-chat such as `You're not the type to be a sea monster' as to which Gerry replies `I didn't know sea monsters had types' and then Lilly tops it all of with `Do you think it's easy being a sea monster'! And if you manage to sit through that straight faced, then you can sit through almost anything!

On the darker side of things however, the killer does indeed look menacing dressed like a new age Michael Myers, complete with cape and hood. I've also heard that in its unedited form EOTA is quite a gory little feature. Although sadly I'll have to take your word on that, because my copy is the BBFC's 18 certificate, that is sadly missing 26 seconds. Another surprise came in the fact that there was no T&A on display, an extremely unusual case for a late eighties slasher! Shockingly enough all the characters manage to keep themselves fully dressed throughout! There are a few times when Braunstein manages to create a really tense atmosphere in a couple of heated cat and mouse chase scenes, and the ending – although similar to PRANKS' finale – is definitely unexpected.

It's always refreshing to see a decent thriller made on a meagre budget, especially when you've seen as many duff budgies as me. Also if you manage not to pay too much attention to the blurb on the back cover, you get to play a challenging game of who's the killer! Don't get me wrong there is a few minor niggles that could've been ironed out in the finished print, like the way the editing jumps around in the murders. - Ok, so this probably has more to do with the BBFC but well, where would I be without being able to have my little gripes here and there? However, EDGE OF THE AXE still remains a better than average effort and if you can find a copy then I thoroughly recommend it!

"Edge of the Axe", José Ramon Larraz's first proper slasher film, follows a series of brutal axe murders in a Northern California mountain town. A newcomer computer nerd, Gerald, finds himself at the center of them along with his new romantic interest, a local college student, Lillian, who is home for the summer.

Thanks to Arrow Video for unearthing this minor entry in Larraz's career, I've had the pleasure of seeing this film for the first time, and in a glorious print no less. While a far cry from a perfect film, "Edge of the Axe" is an odd entry in the slasher subgenre, not only because it is a late one, but also because it features an unusual blend of styles and tones. A co-production between the United States and Spain, the film boasts a strong slasher Americana disposition, while its hard-edged murder sequences and mystery plot recall European giallo films. The result is a strangely intoxicating crossbreed between national styles and aesthetics.

The bulk of the film was shot in Big Bear Lake, California, and the mountain town atmosphere is laid on thick here, though there are some sequences (including one brutal murder along a train track) that were ostensibly filmed in Madrid, where photography also partly occurred. The murder sequences throughout the film are by and large rather brutal, and Larraz never cuts away from the carnage. The killer, donning a plaster-white mask and a black poncho, is also quite menacing looking, and there are some fantastically-played sequences between the killer and the victims.

The acting is actually rather good for a slasher film, and the two leads (Barton Faulks and Christina Marie Lane) make for a spunky, offbeat couple. The technology angle (the two characters use an incipient computer and terminal system to communicate and research the killings) is completely odd, but adds to the late-'80s charm of the film. The screenplay does veer off course a bit in the last quarter, and at times starts to feel directionless, but the conclusion throws a nice curveball by making the audience think they've seen all its cards when they actually haven't. It's not profound, but it does end on a clever note.

All in all, this is a solid entry in the slasher genre. Its international cross-pollination leaves it with an indelible flavor somewhat reminiscent of 1982's "Pieces" (also a Spanish-American co-production), and the woodsy, small-town northern California setting provides a nice ambiance and setting for all the Euro-influenced slashing to unfold. 7/10.

That was the question I was faced with. The answer? A little of both. I guess my comments will be a mixture of both of those that I followed. This film is a good mixture of horror and mystery. I liked the pretty scenery and the identity of the killer was certainly a mystery. The identity of the killer is not who you think! Jack Taylor (Pieces '81) was good as always. He always seems to play a mysterious weirdo, is that a hint towards his private life? Maybe! The problem with this film is it is strictly formula. It has been done a million times before and will be done a million times again! While this is an interesting twist on my favorite genre, it is also a cliche. Some slashers, though, could learn from this one. Not bad! ***out of****Good acting, directing;writing is formula.

Computer geek Gerald Martin (Barton Faulks) moves to a rural California town and quickly falls for Lillian Nebbs (Christina Marie Lane). So much so that he gives a computer on their second date. But the little town of Paddock is on edge because some guy in a white mask is running around killing women with an axe. Is it this new guy in town? Or does someone else...wait for it...have an axe to grind? Middle entry of three unrelated slasher films that Spanish director Jose Larraz (VAMPYRES) made in the late 80s. This might be the best of the lot (other two being REST IN PIECES and DEADLY MANOR aka SAVAGE LUST) as Larraz gives us some well shot and gory axe murders. Also noteworthy for its depiction of 80s computers. Did anyone very portray computers accurately during that decade? There are so many red herrings that you might actually be surprised to find out who the killer is. I know I was. Spanish horror vet Jack Taylor has a few scenes as a choral leader.

I wish this was one of the slashers that fell into the public domain, if only so it could distributed on DVD. I mean really. There is only one bad thing about this movie, and that's the lame song they made for it (also, the fact it plays louder than all the other music). The acting is actually pretty good, not feeling too stiff, the story is intriguing and fun, and most of the music is pretty good. Just the beginning to this movie feels brilliant, building up unreal amounts of tension with so little effort (sadly, this tension seems to go to waste). I love the look of the killer with the distinct, skull-like mask that would have worked well in the Halloween sequels. The gore is nice and the axing is satisfying. Hopefully it will get a nice restored release one day.