Reveillon Maldito

This Golan-Globus production is a bit slicker than most non-major-studio slashers of the era, and the polish helps it move along painlessly--except for the onscreen victims of course. Roz Kelly plays an obnoxiously self-absorbed radio celebrity hosting a New Year's Eve "New Wave" bash--we get a lot of generic rock music located somewhere between lesser 70s power pop and 80s lite metal. (The musicians in the presumably fictitious bands playing probably grew their hair out and tried to be "the next Poison" a few years later.) Before her hosting duties begin, she gets a call from an anonymous, vocally distorted man who insists she call him "Eeeeeeeevillllll" and says he's going to kill on the hour each other before midnight, at which point it will be her turn. Trouper that she is--or perhaps just too abrasive to care--our protagonist goes on with the show, while the killer gradually approaches the venue, killing people on the way.

The story is pretty thin, such as it is. There's a late hint of something unsavory going on between the heroine's son and husband (it's unclear whether he's the boy's father), both of whom have cause to hate her guts, but the film doesn't have the nerve to really "go there." It aims mild satire at both the Hollywood and punk scenes, but those caricatures are too familiar to be effective. Roz Kelly was said to be a piece of work offscreen--she acknowledged she was known as "pushy," which is maybe what got her sacked from her most famous role on "Happy Days"--so this role seems tailored to her as a glam, flashy but unsympathetic entertainer who is oblivious to others (even at her own peril) and bosses everybody around. The villain's "scary voice" on phone calls is ridiculous, his dialogue worse, his motivation flimsy, but then you don't go into a movie like this one expecting much psychological depth.

Despite the fair number of deaths, none of them are particularly memorable in deed or staging; the only good idea is a climactic scene in which someone is very unhappy to find themselves dangling from the bottom of an elevator as it rockets up and plunges down the shaft.

In short, more watchable than some more poorly-produced slashers of the time, but just OK, with both a protagonist and antagonist that are a little too effectively annoying as personalities.

My, this has always been one of my faves of the genre. It is really quite ridiculous, but fairly 'twisty' for a run-of-the mill slasher. Kip Niven is in my opinion, very good as the killer who switches personas to fit in different environments in order to kill on his timetable. Grant Cramer, who was destined for nothing more than soap fame, has a handsome yet creepy face, especially after he forces that red hose over it. Roz Kelly does look truly unattractive - but then look at her audience! Those 'LA punkers' bobbing and weaving in the audience are unintentionally reminiscent of George Romero's creations...check out their 'dancing'!

Yet I have always found the best part of the film to occur in the beginning, the first time the killer calls into the radio show. He announces that his name is "Evil" in a very odd voice courtesy of a voice manipulation machine. He is dead serious, and Roz on the other end is slightly chilled, but tries to play along: "Yeah, you're bad, you're real bad." At which point he cuts her off, still deadly serious: "NOOOO! Just EVIL!!!" It's truly hilarious if you appreciate that sort of thing.

Enjoyable for the genre.

This is one of my favorite bad 80's slasher flicks with bad acting and an even worse script. Diane Sullivan, aka Blaze, a television vj hosts a New Year's Eve rock concert. When she isn't working her middle aged, unattractive self onstage, a psycho is calling her everytime he kills someone when New Year's strikes in each US time zone. The director has no desire to hide the killer's face, it's his motive for killing that's the mystery here. If you can't figure out who he really is, you'll be kicking yourself for not figuring it out earlier or because you actually sat through New Year's Evil in its entirety. The average viewer will hate this movie because it is inept, not scary, or bloody or exciting. Lovers of bad 80's slashers can sit back and enjoy this silly horror flick which boasts bad acting, non-believable situations (killer vs. bike gang), and an array of ugly, comical characters (Grant Cramer of Killer Klowns as one of them). If anything, its most redeeming feature is a typical 80's heavy metal theme song that you can rock out to at least three times during the film! (e-mail me if you know where I can find it!)

A rock show host dubbed Blaze gets threatening phone calls during her New Year's Eve gig. The caller informs her that he'll murder a different person each time the clock strikes midnight in one of the four continental U.S. timezones, and odds are that she'll be his final victim.

One of the few slashers to have eluded me over the years, it was nice to finally scratch this off the list. It's far from a top-tier effort in the sub-genre, however. The killer, played by Kip Niven, isn't the least bit threatening. He only dons a mask towards the end of the film, so he doesn't have that to fall back on either. Also, too many scenes of dancing punk rockers and filth masquerading as music for my taste. Now, there are some quality stalk and slash sequences. Most notable is one victim's unpleasant surprise in a garbage dumpster. We also get a hefty helping of cheese, mainly from the killer himself and Blaze's dopey son. The bit with the former dealing with angry bikers at a drive-in is gold.

Overall, I was entertained, but it's not exactly good. Not even close.

... and thus I give it a 7/10 rating among its genre, that being the slasher/horror films of the 70's and 80's. This is not a 7/10 when you compare it to an A-List film from the same year such as "Raging Bull". The worst of these slasher films are practically biology lessons as hot to trot teens in some remote location find themselves being bumped off one by one by some unknown lunatic with a literal ax to grind. These films are boring and predictable. That's where this one is different, even with a cast so anonymous you have to wonder why they bothered giving their characters names different from their actual names.

The primary character is a red-headed buxom D.J. who looks north of 30 but MUST be north of 35 since she has a grown son, which she ignores completely and probably has for a long time - she is very self involved, and tonight on New Year's Eve she is supposedly going to get her big break if she can pull off hosting a rock and roll New Year's Eve celebration. It's a phone in show, and at 9PM she get's a phone call telling her that this is EVIL and he has just killed someone close to her and intends to kill someone every hour on the hour until midnight - when he intends to kill her.

At first our self-involved D.J. blows this off as a crank, but when the calls keep coming and bodies start piling up, she and the police become increasingly concerned. You see the killer right from the start as he runs around L.A. killing random strangers in rather novel ways, but the twist in this film is you have no idea who he is and why he has a bone to pick with the D.J. The killer has his own problems along the way, and this film gives you a good idea of just how rough L.A. was even 35 years ago, as the killer runs into some characters who are as bad as he is, and plus there are more of them.

On the dance floor of the New Year's Eve rock show, the dancers are shown moving like mindless zombies among the fog. These guys and gals do not look like Rotarians, so when the police say rather late in the film "I wouldn't be surprised if he walked right up on the dance floor and killed you", I had to wonder - how do you know he isn't already there? There is plenty of suspense right up to the end that still leaves you hanging, and I recommend it if you are a fan of the low budget horror genre. So transport yourself back to not a simpler time, but a different one - when phones still had cords, when there were still drive-in movies, when people still smoked in public places even in California, and when electronic devices were large enough to be shorted out with a screwdriver rather than being controlled by one self-contained microchip.