Malevolence 3 KILLER

MALEVOLENCE 3 KILLER IS AN ODE TO THE SLOWER STALK AND SLASH BITS OF YESTERYEAR, THE LATE SEVENTIES DRILLER KILLERS AND SORORITY HOUSE MASSACRES WHERE A MYTERIOUS MUERDERER MASKED IN DARKNESS AND ARMED WITH A TOOLBOX OF WEAPONS WOULD DISPENSE OF BUDDING NUBILE TEENS ONE BY ONE IN ESCALATING BRUTALITY CRESCENDOING INTO A FINAL CONFRONTATION BETWEEN THE LONE SURVIVOR AND A SEEMINGLY INSTOPPABLE AND SUPERNATURAL DEMON ON TWO FEET.  THE KILLERS MOTIVES CAN ONLY BE SURMISED, THEIR LACK OF SPEECH OR RATIONALE OFFERS NO SOLACE TO THOSE THAT WITNESS THE BRUTALITY UNFOLD, ALMOST LIKE A NATURAL DISASTER, AN UNAVOIDABLE TRAGIC TURN OF FATE.

THE MOVIE PICKS UP SECONDS AFTER THE ORIGINAL MALEVOLENCE (PART 2 SERVED AS A PREQUEL EXPLAINING MARTIL BRISTOLS PYSCHOSIS, A KIDNAPPED CHILD AFFLICTED WITH A RARE DISEASE THAT PREVENTS HIM FROM FEELING PAIN, RAISED BY A SADISTIC AND DELUSIONAL SERIAL KILLER IN AN ABANDONED MEAT PACKING FACTORY) AND FOLLOWS THE SLOW METHODIC PRODDING OF MARTIN BRISTOL AS HE DESCENDS ON HIS CHILDHOOD HOME, A HOUSE NOW OCCUPIED BY VIRILE YOUNG WOMEN.  THE MOVIE ESSENTUALLY FLOWS FROM ONE STALK AND SLASH SCENE TO THE NEXT, FOCUSING ON TENSE SUSPENSE OVER BARFBAG EFFECTS AND GORY DETRITUS.  IT DOESN’T DEFY THE GENRE OR SEEK TO BREAK THE MOLD AS MUCH AS EMBRACE IT WHOLLY WITHOUT REGRET.  MOVIES LIKE FINAL EXAM AND TOOLBOX MURDER ARE A TEMPLATE, A HOLY FORMULA NOT TO BE BROKEN, AND HALLOWEEN IS BEHOLDEN ABOVE ALL, TRIUMPHANT AND UNREPETANT, TO BE MIMICED IN ENDLESS VARIATION, TO OUR ULTIMATE FASCINATION.  There is even a loomis like subplot featuring an fbi agent attempting to stop the tragic tale of martin Bristol from unfolding further.

FIFTEEN YEARS HAVE PAST BY SINCE THE ORIGINAL DEBUTED, THE TIME PASSAGE IN THE MOVIE IS MERE MOMENTS, BUT THE REAL LIFE RAMIFICATIONS OF SUCH A TIME LAPSE ARE NOT READILY APPARENT ON FILM.  THERE IS A ZERO BUDGET LOOK AND FEEL, BUT THE CRAFT AND SKILL BEHIND THE CAMERA OVERRIDES THE BUDGETARY CONSTRAINTS, THIS IS MASTER CRAFT STALK AND SLASH.  THE SOUNDTRACK IS AMBIENT, COLD, AND FITTING FOR A SLOW BURN SLASHER.  I HAPPILY WELCOME MARTIN BRISTOL INTO THE PATHEON OF CINEMATIC PYSCHOS WORTHY OF A FRIDAY NIGHT SPIN WITH ALL THE compliments of pizza and orange soda ready in hand, and will consume any further sequels put out by writer and director Stevan mena with ghoulish glee; My only recommendation for future entries….lets up the ante on the poster and cover art.  There is no reason this shouldn’t be something more traditionally done, painted by a real artist in the vein of Texas chainsaw massacre or any other late seventies horror entry looking for a fiendish following.