The Toolbox Murders

Director Tobe Hooper once entered the horror-hall of fame at the top position back in 1974 with his undeniable masterpiece of imaginative terror, the Texas Chainsaw Massacre. Ever since that, his career only went downhill. In the nineties he simply…well…sucked with a repertoire of titles like The Mangler and Crocodile. The tide seems to be turning a bit now, as his version of the Toolbox Murders is surprisingly decent and well made. This is a remake of a vicious 70's slasher that is overall gory and disgusting (the original was even included in the `video nasties' – list of banned horror movies in the U.K) The plot and motivations of the murdering nut are slightly different in Hooper's version of the Toolbox Murders. The story is about a young couple that moves to Hollywood and homes in an old, spooky building. Inhabitants of this building – mainly wannabe actors and other scum – brutally die one by one…As the title implies, the butchering is achieved by hammers, drills, screwdrivers and a bunch of other tools. And I bet you can imagine how badly things can get messed up if you're using tools on people, no? Indeed, this films is rather gory and extremely violent with a few gruesome killing-highlights such as a (semi-)decapitation with a sawing machine! Angela Bettis, the girl who stole every horror fan's heart since `May', plays the screaming heroine who slowly gets to the bottom of the murder mystery. She receives good feedback from the beautiful Juliet Landau (Martin Landau's daughter) . The script and story-development isn't always logical and most of the interior shots are under-exposed. Also, the Toolbox Murders seems to give the impression we're guessing fro the identity of the killer initially…like a good old-fashioned ‘whodunit' slasher, but the mystery and detective aspects abruptly come to an end as the plot opens up a little more. Far from being an intelligent (or even clever) horror remake, Tobe Hooper's film is entertaining and perfectly suitable for an evening of scares and loud yells.

This is such a great horror-film, and it has some original-twists to it too. The story centers-around the "Lusman Arms" (really the Ambassador Hotel, once THE place for the Hollywood elite and the site of the RFK assassination), a decaying-Hotel in a seedy part of Los Angeles. It seems after recent-renovations to the structure of the building there have been some strange-occurrences: a workman hurt in an unexplained-blast, and strange electrical-surges. There is a constant-sound of hammering, even when the workmen are gone. Tenants have gone-missing, and a strange aura of oppressiveness has descended-upon the building. It seems the place has a reputation that the building manager (a concierge) doesn't want known. It's just a great film, with a bunch of oddball-characters, unlike the log-jam of boring, PG-13 pseudo-horror. The characters in this film feel real, and I like them. Because I like them, I fear for them, and that is what horror is about.

Enter Nell (Angela Bettis of "May") and Steven, two new tenants. We get to know them and some of their backstory, and the decaying-Lusman is literally filled with oddities. For those who have lived in a 1920s-era apartment building, a lot of the funny-parts about maintenance (or the lack-of) will be familiar! If you have ever lived in an old-building, you can attest to the impressions of the past within-the-walls. The ghosts of "old Hollywood" haunt this film, just like they do the films of David Lynch or Kenneth Anger. Let's face it, with the legend of the Black Dahlia (mentioned in the film), the constant-battle for the control of the water-supply (an engineer once controlled L.A. His name was William Mulholland, and designed the Owens Valley Acqueduct), the Manson Family, gangs, poverty, the desert air, all the Hollywood deaths and scandals, cults, Scientology, the Mexican Day of the Dead, Chinatown, drugs, the Ramparts scandals, decades of obscene-corruption--Los Angeles is creepy.

Nell notices a lot of hammering and other strange-phenomena, and eventually begins to probe the mystery of the Lusman Arms. This descent-into-hell is what makes this not merely a slasher, but an Occult-horror piece. The Lusman has a strange, esoteric architecture and a storied-past. It also has mysterious symbols covering it's walls in key-locations. The logical-sequence of room numbers are missing some rooms. Some have commented that the symbols are "Masonic", even calling the film "Masonic-horror", which is false and misleading. The symbols are ancient, and have been around for thousands of years, and most should be familiar. I noticed absolutely nothing "Masonic" in the film whatsoever, which is odd. I guess they were reviews by Nazi-skinheads.

The best-part of this story is that it connects the enigmatic-tale of Jack Parsons, an occultist Crowley-devotee who founded the Jet-Propulsion Lab, being an early rocketeer. It is said that Parsons claimed to have created an "homunculus", an artificial human-being, so there is a genuine-connection with L.A.'s strange-relationship with occultism here. Parsons blew-himself-up in an alchemical experiment in the late-1940s--exactly where the "Lusman-mythos" begins. Without Jack Parsons, there would be no Scientology: L. Ron Hubbard ripped-him-off in a business-deal and used the money to fund the publishing of "Dianetics". I think the occult-backstory of the killer was Tobe Hooper's idea, and it really draws-you-in. "Occult" comes from archaic-Greek, and merely denotes "hidden", nothing-more. There are many hidden-secrets at the Lusman.

The murderer in the film is great, and one could consider it Parson's homunculus in-a-way, though the "coffin-birth" masks this element. I actually thought the "coffin-baby" backstory was interesting, and had the ring of occult-lore to it. Frankly, I would have to agree with some reviewers--if you aren't familiar with occultism, you aren't going to get a lot of the premise here. So, get-familiar kids, study the occult, hah-hah. Nonetheless, it's still a film you can watch superficially, enjoying the many mysteries that Hooper and his writers treat us to. Also, the murders-themselves are pretty original and thrilling, some even gruesome in a way that would do Argento proud! Go-figure, reality isn't what you thought it was! Without giving-away too much, this is a tale of the undead, kept-active by sacred-geometry in the structure of a building. It is a story of the darkness and mystery that surrounds-us, and a story of magic and curiosity. There are so-many incredible images of horror in this film, it is just excellent and intriguing. With a budget of less-than $1 million, Tobe Hooper has created a new classic horror that is likely to be imitated. It is surely "better" than the original film, and is simply his and his writers' take on the source (with major-revisions and additions). It is a re-imagining. The score by Joseph Conlan is very good, and atmospheric, hitting all the right marks. It makes the film feel larger. Toolbox Murders has a lot on-offer for such a little film, and is a great return-to-form for Mr. Hooper. Here's to more from him.

I like bad horror movies. But at the end of this film I was left with a "huh?" resounding in my brain. Just unanswered questions:

1.) The old guy, Charlie (?). How did he know about the killer? Why was he allowed to live?

2.) The killer- okay so he "clawed his way" out of his mother's body. Then what? He was in a fire? He drank Ponce de Leon's fountain of youth juice? Whats with the face and the homicidal tendencies?

3.) Why was Ned and Byron allowed to live so long?

4.) Did Saffron eventually die, nailed to the ceiling? Or was she finished off later on?

5.) If there was no apartment 4 on any floor, why did they make their attempts to "hide" that so obvious? Why not just make the former #5 apartments #4's?

6.) Why doesn't Angela Bettis eat?

I just wish we had more of an understanding of the killer, instead of some quickly thrown in nonsense about a "pagan" spell (and once again spreading the negative stereotype of the pentagram). And what did the symbols have to do with anything? It seemed that she was following a map, but it looked to me like she was just finding the symbols and looking at them.

Not really a remake of the 1970s THE TOOLBOX MURDERS, yet alone a sequel. This entry goes in totally a different direction with only a couple things that look like they were taken from the original concept; choice of location, the killer using all manners of tools on his victims and hiding his appearance under a ski mask. Tobe Hooper is in the director's chair and presents a grimy little picture on a minimalist budget. The backdrop for this horror takes place in a rundown, if history-laced apartment building situated in the heart of old Hollywood, where there's an assemble of indie actors portraying a varied bunch of stock characters. Other than Angela Bettis, no one else gets much to work with and are outperformed by the complex. Here we follow Bettis' character. A new resident that just moved in along with her husband, as she tries to settle in with her neighbors, but something about the apartment doesn't feel right and people seem to be disappearing.

The first hour is all about the character quirks, and interactions between the apartment inhabitants centered on a solid Bettis' performance. This is used as a tool to make her character feel like an outsider, who needs to learn the inner workings of her surroundings before making rash conclusions. Over time the mystery and oddities of the building becomes the focal point of the story. Sure, there are a few meaty death set-pieces thrown in early, but it's not until the backend when that comes into its own. The building's charms make way for horror and unease, as it begins to (although not convincingly) shed light on its looming secrets and the mysterious phantom killer. The by-the-book tropes are there with the central character trying to convince others, with no luck that something menacing is happening in the building. It even tries to throw you off with a predictable red herring or so, but they don't add up make it effective enough. Come to the third act it moves away from a straight-forward mystery-slasher hitting over-the-top Grand Guignol territory by ratcheting up the intensity and cruelty of its visuals. The killer gets out the big boys to inflict torturous punishment e.g. circular saw, vice grip, acid and bolt cutters. There even seems to be a little "Texas Chainsaw Massacre" homage involving meat hooks.

A slow and particular beginning eventually transpires into a bloody whirlwind. In the plot's attempts to explain what's going on, the occult and black magic, I found it to be rather lacking and muddled in making sense of it all. There wasn't anything really there to connect these pieces, leaving me with more questions than before. Some contrivances and logic lapses (rotting corpses hidden in the walls, but no stench?) keep popping up, but I did enjoy old school shocks and aesthetics oozing dirt and grime in such a confined space. Visually it doesn't hit you, it's beyond drab and causally photographed, yet Hooper's workmanlike handling did a marvelous job crafting out atmosphere and character from the age-old apartment building. While it might take awhile to come out first gear, when it does, Hooper goes down the excessive route with a climax that really leaves you hanging.

Nell and Steven move into a run-down Hollywood apartment in the middle of being renovated. They soon realize that the landlord, maintenance man, and other tenants are a strange bunch. Nell finds herself delving into a mystery of the building when one of her neighbors goes missing. This is an excellent and unique slasher. Considering the last movie I saw by Hooper was about a CGI crocodile, I think it is fair to say he is back in the game. Unfortunately, there are plot holes galore that should have been worked out, the pacing is somewhat uneven, and the ending is a big let-down. But the murder scenes are nasty, the atmosphere is creepy, the set is awesome, and the jump scares are worthy. The "city of broken dreams" theme is effective even though most of the film takes place within the claustrophobia of the apartment building. The performance by Angela Bettis ("May") really anchors the movie. This lady brings a sense of dignity and classiness to the horror genre and I think she could become a real genre pioneer. All horror fans should check-out this movie.

My Rating: 7/10.