Maire says:
Prom Night II is one of those sequels that is better than the original. Sure, it keeps the same setting of Hamilton High, the awesome compositional skills of Paul Zaza, and the whole shit-is-gonna-go-down-on-prom-night! theme, while coming up with a completely new, but worth it, plot line. Seriously, how can you go wrong with possession, crucifix stabbing, telekinesis, and computer screen electrocution?
Also, Brock Simpson does a stellar job portraying Josh. Kudos to him for landing that role.
Corey says:
Salty gave us a bit of a talk before we watched Prom Night II. Long story short, he was all like “THIS IS THE GREATEST MOVIE EVER MADE HOLY FUCKING CHRIST. Except the last 10 minutes or so. Other than that it is GREATER THAN DIPPING YOUR BALLS IN LUKEWARM OLIVE OIL. But except for the last 10 minutes, which is a total letdown.”
You know what? That last 10 minutes ain’t too bad. I think he had… uh… un-hyped it to the point where I thought the climax was shortly going to be followed by an Edith Massey burlesque show (then again, that would be a sight). Instead, we get a kind of hokey (but not particularly awful) ending to a pretty neato film.
Overall, Hello Mary Lou does alright. I was super happy to see that, amongst the other name homages, Frank “What’s in the Basket” Henenlotter got a shout out. That guy doesn’t get enough credit. Unless it’s stuff he’d done recently that involves mutant man and lady bits that co-stars some weird third rate rapper buddies of his. I mean, I guess if that dude gave you like half the money needed to make the movie, then you should probably let him in your movie. Then again, giving Henenlotter that money meant that Bad Biology got made.
You know what? Fuck that rapper.
Anyway, the next time someone tells you that something is great, but the ending is awful? Don’t take their word for it! Unless it’s the last season of Dexter. And even if you don’t like the movie, at least it has a stunning soundtrack, expertly put together by the amazing Paul Zaza.
Salty says:
Hello Mary Lou is the bee’s knees. The 1980’s/1950’s mash up is perfect fit (see Back to the Future). It makes you remember why you love movies. Looking back on an old film that is looking at yet another period in time you get this strange layered experience. Both the periods synergize and make this even weirder period that never really existed, but you wish it would have. It’s like curved glass: one piece may shift things in a particular way and another in some different way, but assemble them in the right environment and - blamo! – telescope! This film is a rare treat, comparable to only a small subset of films like Hammer’s Frankenstein or Fritz Lang’s Metropolis. All period pieces must look unusual or kitschy to future viewers, but to continue to hold up to scrutiny and resist becoming unwatchable is an impressive feat that deserves recognition.
Don’t let my gushing distract from the movie itself, Hello Mary Lou is a schlocky horror film. The story is about a cruel high school student, the eponymous Mary Lou, accidentally burned to death (oh those pranks always go so wrong) at prom, her vengeful spirit escapes hell 30 years later through a props department box or something and possesses a young girl. No movie in which a possessed daughter starts to make out with her father after letting her super freaky rocking horse suck on her hand is going to win very many awards, but that’s okay, as a fan of horror I know this and accept it. The reward I get for my acceptance is the full frontal nudity in a scene that begins with an unexpected lesbian seduction and ends with a young girl getting crushed to death by the psychically induced implosion of the locker in which she is hiding. Worth it!
The biggest influences come from Carrie and A Nightmare on Elm Street with a dab or two of The Exorcist here and there, but these horror classics are blended and twisted into new and exciting forms so that the movie still maintains it’s own original storyline and vibe. There are some great visions of Hell, fun 80’s characters (fuck me gently with a chainsaw), a respectable 50’s soundtrack and a pretty good selection of what-the-hell-is-going-on moments that cross the line of absurdity in a good way.
The one cigarette burn in the celluloid is the ending. The film builds up this beautiful crescendo: we’re back at prom and Cynthia (she’s the main character) has just been shot, a gore-drenched Mary Lou emerges the bullet hole (you had to be there). Every time I watch the scene I get so jazzed up to watch an orgy of violent revenge on the innocent students of Hamilton High that I suddenly become a drunk at a football game and can’t resist screaming go get the bastards! Show those turds who’s boss! until my son’s coach tells me I’m disturbing the other parents and asks me to leave. I don’t know who that guy thinks he it, but a whistle isn’t a badge, you know? Then some crap happens and Hello Mary Lou ends flat as an armadillo on 66, but don’t let that make you forget how much fun you had watching Mary Lou kill that priest – this is a good film.
| Maire | Corey | Salty |
|---|---|---|
| ☆☆☆ | ☆☆☆ | ☆☆☆ |
