Within the past week I’ve revisited Freddy vs. Jason, the 2009 Friday the 13th remake, and our subject here: the 2009 remake of My Bloody Valentine. And it’s evidently a small sample size of 2000s slasher cinema and reliant specifically on intellectual property with a pre-existing fanbase, but if there’s one major connection one can make of the three (as well as the 2003 remake of The Texas Chainsaw Massacre, the Rob Zombie Halloween remakes, and the Hatchet series*): the 2000s were not for want on slasher movies that had the proper attitude that that subgenre is meant to have. At the prime of the subgenre in the 1980s, they were all just filled with mean attitudes using the plot and characters simply as vehicles to deliver elaborate death setpieces that flex out their gore effects budget and artistry. They are happy to walk the exploitation walk all the way through.
Their achilles heel however is the fact that they came out in the 2000s and thereby are subject to the sort of polished clean digital look that removes the sort physical visual griminess that these previously often independent, frequently low-budget pictures were forced to have and in turn gave the subgenre a rawness to its craft that horror cinema was kind of moving to in the wake of respectability that stuff like Rosemary’s Baby and The Exorcist were bringing. Film stock and the primitivism of that low-budget resource that allowed these films to pop out a dime a dozen in the 1980s was the source of most of the best examples of the form feeling like wallowing in grub. And try as the cinematographers of these 2000s production could, you just can’t have the same honesty with digital filmmaking.
My Bloody Valentine takes advantage of that by going the other way: it indulges in that vanguard of 2009 cinema, the very same year as Coraline and Avatar. It indulges in 3D, thereby allowing us to refer to this remake as My Bloody Valentine 3D for the remainder of this review to distinguish it from the original Canadian picture.
Which to be fair, Todd Farmer and Zane Smith’s screenplay (with a credit given to Stephen Miller for story) does quite a lot to try to pull from John Beaird’s original screenplay from 1981 but in overly complicated ways that end up making the plotting of the film at once extremely dizzying. We still certainly have a mining town by the name of Harmony (this time shot around Southwestern Pennsylvania around Pittsburgh or Armstrong County with not nearly the amount of edge-of-the-world coastline personality that Sydney Mines brought to the original film) and we do have an inciting accident that traps five miners with a single homicidal survivor by the name of Harry Warden (played by either Richard John Walters or Chris Carnel), sans the added sensationalist treatment of cannibalism (this time Warden killed the men simply to preserve more oxygen for himself). This time, however, the writers decide to cut out the middleman and make our ostensible young protagonist the worker whose negligence led to the methane explosion that caused the tragedy, Tom Hanniger (Jensen Ackles, the first of the two stars of the show Supernatural that amusingly starred in a slasher remake in early 2009; Jared Padalecki would follow his lead into Friday the 13th the very next month). Hanniger happens to be the son of the mine’s owner, a little bit of nepotism that evidently got him into an unqualified position and also probably keeps the entire town from lynching him over their considerable resentment for the tragedy he caused.
Doesn’t stop Harry however, who went into a coma immediately after his rescue only to wake up a year later and massacre his whole hospital wing in search for revenge from Tom. He finds Tom in the middle of a Valentine’s Day party being thrown at the same mine he was originally trapped in, which probably didn’t help his vengeful mood any further as he kills every teenager he runs into at the party: it’s only through Warden’s single-minded hunt for Tom that Tom’s girlfriend Sarah (Jaime King), their friend Axel (Kerr Smith), and Axel’s girlfriend Irene (Betsy Rue) are neglected by the bloodthirsty miner and it’s only by Sheriff Burke’s (Tom Atkins) sudden arrival and shooting of Warden that Tom makes it out by the skin of his teeth.
That funneling of the major plot points of the original My Bloody Valentine gets us barely 20 minutes into My Bloody Valentine 3D – partly because the mining accident is mostly registered by a montage of ridiculous newspaper headlines during the opening credits – and yet it still doesn’t hasn’t yet re-used of the love triangle from the original movie. For you see ten years later (a fact humorously communicated by a voiceover newscast saying “it’s been nearly ten years” EXACTLY when “Ten Years Later…” fades in on an aerial shot of the Kittanning Citizens Bridge), Tom came back after being gone since the attack to ostensibly sell the mine now that his father is dead and finds that Sarah is now married to Axel with a son (it is frankly laughable that Tom’s father is not at all a presence in the movie to substantiate his daddy issues, only appearing in the form of his ashes container. Sarah and Axel’s son is barely more of a presence with a frustratingly contrived moment of menace towards him that does not pay off). Meanwhile, Axel happens to be Harmony’s Sheriff and that leaves him in charge of investigating the horrifying murders that coincidentally started just when Tom arrived back into town: murders commit by somebody resembling Harry Warden in their miner’s getup and pickaxe weapon of choice.
Honestly, the structuring of this story makes it feel like the makers wanted to frame this as remake AND pseudo-sequel of the original (including the fact that one of the final shots in the 10 years ago prologue resembles the very last shot of the original movie, watching a wounded Miner retreat into the darkness of the mines). This is not the only area where Farmer and Smith’s script gets way to convoluted to find the long way around recycling the same story, but I don’t think you need to dive that much further into its weirdly shallow psychology of characters who are ostensibly grown ass adults with domestic lives and matured experiences still acting like teenagers to see just how frustratingly poorly put-together it all is. Frankly, My Bloody Valentine 3D is not a good movie by any metric: contrived writing only being the tip of the iceberg when faced with the extremely CW level acting talent (and it’s not like the original actors playing TJ, Sarah, and Axel were all that much better but at least they still lend a genuine humble presence to the small-town that these soap opera-esque leads just can’t meet), and Lussier as a director just does not have any sophistication or inspiration to offer to a sequence that does not take feature gore or 3D, especially obvious when it comes to the moments that rely particularly on tension… character-based tension worst of all.
But fortunately this IS a gore-filled movie and it IS one that’s in 3D. And I am sorry to suggest to anyone that this movie mirrors Lussier’s lack of offering to anybody who attempts to watch it in 2D, but that is certainly the case. Yet the 3D is absolutely the element that keeps me coming back to My Bloody Valentine 3D in the way that it happily indulges in any possible moment to have blood splash every which way through the screen or put us in the perspective of one of the murderous Miner’s victims so we’re consistently watching the pointy end of that threatening pickaxe jam right in front of us. Sometimes both at the same time as in an early moment where we watch the pickaxe-through-the-back-of-the-head-popping-out-an-eye kill from the original movie lovingly recreated as a little peek-a-boo moment that gets me giddy as a schoolboy when I see it. In fact, to My Bloody Valentine 3D‘s credit, a lot of kill styles get their own reenactment in this remake just for the sake of having Lussier, cinematographer Brian Pearson, and stereographer Max Penner play around with how to give it a smiling kitschy to its visceral imagery. It’s not like the revolutionary work of Avatar here but instead whole-heartedly treating 3D as the sort of gimmickry that it was back in the 1950s and that honestly seems the perfect sort of marriage to the purely junky motivations of the slasher genre to begin with. It also allows for even the most blatantly computer generated of the bloodiness to be forgivable in how the 3D gives the chintzy look more artistry on top of feeling more fun.
And that fun is something that My Bloody Valentine 3D gets to accomplish without falling into that oh too popular trap of being winking or self-aware. Sure, Lussier and company know they’re making trash and even lean quite into it with an extended rampage in a seedy motel that largely involves Rue spending most of her total screentime running around a parking lot wearing absolutely nothing but high heels (credit very much to Rue for being so bold; less credit to Farmer for writing himself a short bit part as the guy who she has sex with at the beginning of her commando run here) but they’re still taking it seriously and sincerely without the slightest hint of parody. The bones of the story obviously don’t earn that seriousness (and at around 10 minutes longer than the original, I even start to get exhausted at that po-faced mystery shit and the predictable direction it’s going before it ends), but I don’t go to this genre for narrative indulgences – just purely for exhibition of cheesy carnage and the 3D extravaganza and I like to imagine I’ve made clear how well this has delivered on both so that the 3D Blu-Ray has just ended up one of my guilty pleasure comfort foods. You’re not going to see what I see if you try to watch it in 2D. I am unashamed to say that My Bloody Valentine 3D does not need to function at any aspect to justify that placement – and it does not, it is admirable and dedicated but still a complete piece of shit movie – just as long as it gives me the satisfaction of watching a pickaxe point at me through somebody’s perforated skull more than once.