Scott Altomare, Sarah Elbert, Cory Neal, Roman Kindrachuk (executive), Andrew Mysko (executive) for ArieScope Pictures, High Seas Entertainment, Radioaktive Film
directed by Adam Green
starring Joel Moore, Tamara Feldman, Deon Richmond, Kane Hodder, Mercedes McNab, Parry Shen, Joel Murray, Joleigh Fioreavanti, Richard Riehle, Patrika Darbo, Robert Englund, Joshua Leonard, Tony Todd, John Carl Buechler, Rileah Vanderbilt, Adam Green, Lance Kelly, John Gross, Mckenzie Sims, Adam Weisman, Brandon Gonalves, Danielle Victor
written by Adam Green, music by Andy Garfield, special effects by John Carl Buechler, Magical Media Industries
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Because he has just been dumped by his girlfriend, Ben (Joel Moore)
can't really enjoy the Mardi Gras in New Orleans and instead takes his
friend Marcus (Deon Richmond) on a Haunted Swamp Tour - which
pretty soon turns out to be nothing but a fraud ... until the tourship
hits a rock far away from the city, and Marybeth (Tamara Feldman), a local
who has joined the tour to look for her dad (Robert Englund) tells them
there is a disfigured madman, Victor Crowley (Kane Hodder), roaming the
countryside - and soon enough, the whole tourgroup has to realize the
madman is now after them, picking them out one by one, and killing them in
increasingly gruesome ways. And as if that wasn't bad enough, our good
madman also cannot be killed in a regular fashion because he's only the
spirit of a madman actually - but for some reason, he can still be hurt by
whatever one throws at him.
Ultimately, everybody but Ben and Marybeth
has ended up dead, and when the two manage to spear Victor, they think
they have finally killed him (though I have no idea why they would think
that), but when they later take off by boat, he attacks them out of the
water and ... the end.
Despite featuring three slasher legends
(Kane Hodder, Robert Englund, Tony Todd) in its cast, Hatchet is a
rather pointless slasher movie that actually only features a
by-the-numbers-plot with the occasional glimpses of irony doing little to
lighten up the overall mood - though when I'm saying mood, I don't mean
atmosphere (given the moody Louisiana settings, the film is remarkably
devoid of any atmosphere) but the mood of the audience execting something,
anything at all, to set this film apart from others of its ilk.
fair, the film isn't a total failure, it's just a ron-of-the-mill slasher
- and one you probably won't remember having seen only a few days later -,
not nearly as good as teh best of the genre, but also not as annoying as
the bulk of the genre.