From the Vault: “Kristy” - A Slasher That Misses the Mark
In our “Forgotten Frights” section, we delve into horror films that, for various reasons, never quite made it to mainstream theaters. Today, we’re dissecting “Kristy,” a film that attempts to revive the slasher genre but ultimately falls short.
As Thanksgiving break descends, the college campus empties, leaving only Justin (Haley Bennett) behind with a handful of security personnel. A quick trip to the store turns ominous when she encounters a strange girl (Ashley Greene) who ominously predicts her imminent demise. This encounter marks the beginning of Justin’s nightmare as the stranger, along with her cohorts, targets her as their next victim in a series of filmed murders across the country.
There’s a moment in “Kristy” that evokes an unexpected comparison – not to another horror film, but to the Soviet-era comedy “Office Romance.” Specifically, it brings to mind the character’s reaction to overly dramatic eyebrows: “It’s simply indecent!” This sentiment perfectly encapsulates the frustration with director Olivier Blackburn and writer Anthony Jaswinski. As the film progresses, it becomes painfully clear that there’s no hidden depth, no clever twist waiting to be revealed. What remains is a tired formula: an unarmed young woman relentlessly pursued through dark, deserted hallways by masked maniacs, until she inevitably tires of running and decides to fight back.
A Genre Past Its Prime?
The question arises: what made the creators of “Kristy” believe they could get away with tropes that were already considered cliché two decades ago? The slasher genre has evolved, with films like “Scream” and its successors deconstructing and satirizing the very conventions that “Kristy” embraces without a hint of self-awareness. The film lacks any real surprises or innovations, relying instead on the fleeting recognition of its cast members. Ashley Greene’s post-“Twilight” career has been underwhelming, Haley Bennett’s potential has been squandered on a string of weak roles, and Lucas Till seems determined to erase any memory of his role as Havok in “X-Men: First Class.”
Lacking Suspense and Drive
One could argue that “Kristy” aims for an “old-school” feel, but even on a nostalgic level, Blackburn’s direction is uninspired. Furthermore, the film is overshadowed by a plethora of more recent and effective thrillers in the “masked psychos chase victim” subgenre, such as “The Strangers,” “Vacancy,” “The Purge,” and “You’re Next.” While none of these films are masterpieces, they at least managed to generate suspense and maintain a sense of urgency – qualities that are sorely lacking in “Kristy.”
The film adopts a deliberately detached and cold tone, presumably to create a sense of unease in the viewer. However, this stylistic choice, combined with a predictable plot and a reliance on tired horror tropes (the ubiquitous head-tilting of masked killers being a prime example), ultimately results in a film that is more likely to induce sleep than fear.