Slumber Party Massacre (2021)

To my shame, I am not yet equipped to watch the new Scream sequel that just hit theaters, because I haven’t yet seen most of the films in that franchise (despite the 1996 original being a major touchstone of my teen years).  I plan on correcting that major horror-nerd blind spot later this year, but in the meantime, I have a ton of pent-up teen-slasher energy and nowhere to direct it.  Thankfully, the SyFy Channel has offered a cheaper, at-home alternative to that theatrical Hollywood offering, as they often do.  2021’s Slumber Party Massacre is a SyFy Channel remake of the classic semi-feminist slasher The Slumber Party Massacre and, honestly, an improvement on the 1982 original.  Although I was largely mixed on the first Slumber Party Massacre film, I have seen every entry in that series, and I’m generally a big fan (especially of the crazed, MTV-inspired wet nightmare Slumber Party Massacre II).  Feminist author Rita Mae Brown wrote The Slumber Party Massacre to be an academically critical parody of the leering teen-slasher genre, but the Roger Corman production machine softened its satirical edges beyond the point of recognition, leaving it little room to stand out in a crowded field of Halloween knockoffs.  Four decades later, metatextual post-modern commentary on horror tropes is much easier to get greenlit without producers’ interference (thanks largely to the popularity of Scream), so the Slumber Party Massacre remake got a chance to double back and do things right.  The only shame is that it’s working on a SyFy Channel scale & budget, when it should at least have been afforded the same resources & platform as the similarly minded 2019 remake of Black Christmas – a film it bests at its own game.

Slumber Party Massacre 2.0 worryingly opens with a straight-faced reenactment of the tropiest 80s slasher you can imagine, complete with girls dancing in skimpy pajamas and the hyper-phallic Driller Killer from the original series.  Besides the final girl archetype disarming the killer’s drill with a soup can, there isn’t much to the cold open that telegraphs how silly & self-aware the film will quickly become.  Decades after that initial sleepover massacre, a new crop of teen girls arrive in the same small town and repeat the same ritualistic slasher-victim tropes: car engine troubles, pajama dance parties, giggling over pizza, the works.  Only, they’re consciously re-enacting this ritual to bait the Driller Killer to their cabin so they can collectively stab & bludgeon him to death as an act of vigilante justice.  The only trouble is that there’s a nearby cabin of young gym-body hunks who are having a genuine sleepover slumber party (complete with an abs-out pillow fight), who might now be in danger of the killer’s phallic drill.  While the 1982 Slumber Party Massacre was too subtle for its own producers to catch onto what film they were making, the 2021 version is so over-the-top and blatant in its satire that you have to be awed by its audacity.  Once the pro-active vigilantism of its would-be teen victims is exposed, the movie has a blast openly riffing on subjects as widely varied as voyeurism, queer-bating, slut-shaming, and the wide cultural brain rot of true crime podcasts.  It’s obviously not as grimy nor as authentically bizarre as the original Slumber Party Massacre trilogy, but I still really enjoyed its self-aware quirks & post-modern pranks on slasher tradition.

There’s nothing especially original about Slumber Party Massacre‘s post-modern genre commentary, but originality is just about the last thing I expect out of SyFy Channel mockbusters anyway.  What’s really exciting & novel here is that the film announces the arrival of the very first SyFy Channel auteur.  Director Danishka Esterhazy is also responsible for the 2019 Banana Splits movie, another shockingly delightful horror-comedy revamp of a long-dead cultural curio.  Both films are irreverently self-aware & gory in the exact same way, and Esterhazy deserves major accolades for managing to establish a recognizable creative voice in a set-em-up-knock-em-down filmmaking environment that usually doesn’t have much of a discernible personality.  There are rigid limitations to what Esterhazy can achieve on the SyFy Channel playground, but her voice is at least cutting through more clearly than Rita Mae Brown’s did on a Corman set in the 1980s.  I’m looking forward to whatever self-aware genre prank she gets away with next—SyFy Channel Original or otherwise—even more than I’m looking forward to catching up with 5cream.

-Brandon Ledet