‘Vicious Fun’: a bloody horror film satire trying to have fun


It has premiered on Movistar + ‘Vicious Fun’, a simple horror comedy about a horror film critic that ends with a sort of ‘anonymous serial killer’ encounter that turns one day its protagonist into a sword full of neon light, electronic music and black humor irrigated by literal – liters of blood.

A genre film festival is a place to meet, celebrate, and connect with fans of the same type of cinema, and sometimes, a screening is a place where it doesn’t matter which film passes as long as it has enough blood, jokes, and a penchant for fun. Late night tickets have room for great horror comedies like ‘Tucker & Dale against crime’ (Tucker & Dale vs Evil, 2010) and for endeavors like ‘Vicious Fun’.

Innate and inherited humor
In both films audiences will react with laughter and screams, but at home there are other things and products deliberately set up to make a room react can backfire when the intentions are too obvious. ‘Vicious Fun’ is based on one of the worst tropes in horror comedy, starring a horror film expert from the 80s who falls in love with his partner who ends up getting involved with a group of serial killers.

It’s set in 1983 but doesn’t seem like much, and it only remains as an excuse to use Carpenter-style synthesizer music and annoy the screen with neon lights, a worn-out vaporwave aesthetic that seems to overwhelm the checklist of everything it should fill to be an artifact of homage to cinema. at that time. Since Joel’s introduction, an interview that isn’t particularly funny or authentic, we run into an unfriendly character who seems to be the butt of ridicule for sword lovers.

He wants to repeat horror movie cliches by verbalizing through Joel, and supposedly mocking them, but as soon as the movie turns into a succession of murders in the midst of a chase, it doesn’t take long to offer everything he’s trying to deconstruct. , with a mix of humor and blood that can’t find the right balance, functions in unbridled gore but fails alarmingly at comedy.

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There are signs of a plane landing to warn us when the joke arrives, and the reactions of their own characters are completely out of place, as if James Villeneuve’s script didn’t have enough indication for director Cody Calahan who couldn’t shine. the idea, funny a priori, that a group of serial killers hold their own self-help meeting to share experiences, advice on how to clean up after their murders and, in general, improve themselves as killer maniacs.

In the final third, stupidity weighs twice as much as wit, we go from a desperate attempt to make a “sharp” reading of the genre’s springboard to crude physical humor with a few no-effect jokes, and while it rains blood and special effects we don’t care whether they are well done or not. At the gates of the new ‘Scream’, it’s easier to review the original by Wes Craven 25 years later, to see that we haven’t managed to advance too much in the satire of the genre.

There’s nothing worse than looking for a festival and staying at the gate. ‘Vicious Fun’ seems desperate to do something really fun, but the funny thing never really works. You can kill a villain with a human gut, but the cartoon approach needs to improve its improvisation, rough editing, and the protagonist’s redundant words to maintain its position. There’s also no great need for unimportant horror-comedies to be more than what they are, but examples like this one show how hard it is to mix them without falling into the trap of underestimating both genres. And your audience.