Boring

This movie was so-so. It had it's moments, but wasn't the greatest.

It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Australia's answer to the slasher market… well kind of, as this weird, trashy psychodrama does contain numerous elements found it slashers. Not perfect by any stretch, but it especially does a good job constructing its stalk and slash sequences with stylish verve and a real mean streak to boot. Like other reviewers mentioned it has a striking resemblance to Michele Soavi's late 80s slasher "Stagefright" and there's a touch Giallo evident. The POV shots do at times strike a nerve; just listen to the heavy breathing. The suspense when it's on, is gripping and the attack scenes are brutal and bloody. Hearing the glass slice the skin really does come through in these scenes. Also it doesn't skimp on the sleaze and nudity either. However it's too bad that the editing throws up some random scenes that are poorly linked, or don't add much to the unfolding situations and the final twist is so easy to pick up on that it's no surprise when its revealed. When it's not focusing on the stage cast and crew being dispatched, it's somewhat textbook in its tired dramas. Surprisingly the opening sequences are very effective in setting up a scarred character. There were some names attached to this Australian production that horror fans will recognise. Jenny Neumann playing the lead character, the aspiring actress with a troubled past would be known for her part in the Linda Blair's starring slasher "Hell Night" the following year. Also attached to the project was Colin Eggleston as writer, who brought us the eco-horror "Long Weekend" and would later churn out an even more stranger and ultra-slick slasher in "Cassandra" (1986). You could also throw in director John D. Lamond who was behind some Ozploitation films like "Felicity" and "Pacific Banana".Lamond ups the atmospheric traits (good use of a theatre setting), keeps the drama thick with touch oddness and stays rather traditional in the set-up. No surprises, but just like our central character it can be a neurotic and twisted jumble. Although towards the closing stages it does feel fairly rushed and contrived. The performances are acceptable, if at times a little over-colourful and the dialogues did have that blunt nature to them. And that music score is far from subtle.

I've always thought that slashers are a sub-genre that thrives on being trashy. They're ultimately all about the kills so those kills need to be as bloody as possible, and the between-kills moments are essentially just filler so there may as well be plenty of boobage in those parts. A slasher with class is kind of like a pizza with low-fat cheese - better for you, but not as indulgent and a little bit pointless. Fortunately, Nightmares, one of the very first slashers to cash in on Halloween's success (yes, before Friday the 13th) was made by Aussie soft-porn legend John D. Lamond (the strip club guy from Not Quite Hollywood) who knows more than a thing or two about cooking up cinematic junk food.Nightmares starts with a young girl accidentally getting a peek at her mother having sex (what a slut!), before a car crash where she sees Mummy get her neck sliced open on the broken windshield. Naturally, having a childhood forged in the fires of sex and violence means that she grows up into a woman who can't resist stabbing random people with a huge shard of glass. That's some classic slasher logic right there. Anyway, Glass Shard Stabby-Stab Girl (I can't remember her actual name) gets a role in a play and sets about killing co-stars, director, a film critic and anyone else who happens be near.One slightly bizarre thing about this movie is that the kills are filmed in a way which hides the killer's identity. They're all first person POV shot, followed by a close-up of a murderous hand clutching a glass shard which strikes down then we cut to the carnage. This approach would make perfect sense if we didn't already know who the killer was, but here it seems a tad redundant. Still, the kills themselves are plentiful and are all suitably graphic and sadistic, including one boundary-pushing murder of a naked woman where we see the whole shebang, blood dripping off breasts and through pubic thatch. It's tasteless, crude, misogynistic - all that good stuff.The 80's was responsible for a number of atrocities like big hair, Reaganomics and Wham's Last Christmas. But it also gave us an abundance of movies like this one that possess that special slasher vibe that only ever really existed during mankind's tackiest decade. Truth be told, it's not a particularly good film but, like an extra-cheesy pizza, it's enough to leave you full and with greasy drool dripping off your chin.

Jenny Neumann (from the sexploitation flick MISTRESS OF THE APES, the American slasher HELL NIGHT and others) is Helen Selleck, an American actress who gets a lead role in an Australian stage production. She's a virgin because as a little girl she saw her mom having sex and then accidentally caused the car accident that killed her. Meanwhile, a black-gloved killer prowls around the theater slashing up people with shards of glass.***MAJOR SPOILER***The killer is obviously Helen (she speaks in her dead mother's voice, washes blood off her hands after the murders and is seen killing a child molester with a broken bottle as a little girl!), but this has gratuitous heavy-breathing POV camera-work and conceals the identity of the murderer until the very end like it's supposed to be some big surprise.The entire cast seems obsessed with talking about, having or trying to have sex, and, in one case, even blackmailing their way into getting laid. There's quite a bit of nudity and blood, but there's no sense of continuity, the photography is murky and the editing (by Colin Eggleston, who also scripted and produced) is terrible. The theater setting for a slasher film predates Soavi's film of the same name and Argento's OPERA (both of which are better than this one ) by five years though, and Neumann is pretty hot.

***SPOILERS*** ***SPOILERS*** I have the VidAmerica label with the title STAGE FRIGHT. A girl witnesses one of her parents having an affair and inadvertantly causes their death during a car accident. Later, she tries out for a play and all the actors start dying. Is she doing it? The identity of the killer is pretty obvious and there is no point in classifying this film as a mystery. There are too many hints as to who the killer is.*SPOILERS*The killer hates sex, and during two different sex scenes, murders both people, showing the most anger towards the female as one gets it with a dirty wine bottle and the other gets it with a knife on the streets of Sydney while being totally naked. We know it's Helen doing it because every time someone gets killed (especially, the woman) she has flashbacks towards the affair she saw her mother having. So, with every person she kills, she's really killing her mother all over again (sort of like a SWEET SIXTEEN type premise).With that said, STAGE FRIGHT isn't a bad film. It has all the typical horror film aspects that hardcore fans enjoy, including, but not limited to gratuitous sex and nudity, some of the nastiest deaths you will ever see using the nastiest weapons (for example, the killer uses whatever they can find, like germ-infested plastic bags that you can only imagine where they've been and broken bottles that have street waste, etc. on them). ***out of****Americans don't come to expect much from foreign horror, but STAGE FRIGHT delivers the goods in explicit fashion that only those with strong stomachs could take.