The 2009 film Sorority Row, directed by Stewart Hendler, marked an attempt to resurrect the glory days of 1980s slasher films, a renaissance that began with the release of Scream in 1996. However, this renaissance was largely built on nostalgia, as the genre struggled to return to its low-budget exploitation roots. High budgets became harder to hide, and the new prudishness among MPAA Rating Boards censors posed additional challenges. Nevertheless, some filmmakers occasionally tried to deliver the same "guilty pleasures" enjoyed in the 1980s, and Sorority Row is a prime example of this attempt.
The film is a loose remake of the 1983 low-budget slasher film House on Sorority Row, which developed a cult following over the years. In the new version, the plot begins at Rosman University, where the Theta Pi sorority is hosting a wild party. Megan Blair (played by Audrina Partridge) participates in an elaborate prank that goes tragically wrong, costing her life. Her sorority sisters, led by Jessica Pieson (played by Leah Pipes), decide to hide the body and pretend that the tragedy never happened. However, eight months later, someone begins to kill off the participants in the prank one by one, making it clear that the murders are motivated by Megan's mysterious disappearance. Those who survive have little time to figure out who the killer is and how to stop them.
The scriptwriters, Josh Stolberg and Pete Goldfinger, opted for the original slasher film formula, featuring plenty of attractive young women, scantily dressed or in some cases undressed, being chased by a mysterious masked killer with a talent for inventive and sometimes darkly humorous kills. The women in the film are either amoral, depraved, or annoyingly stupid, which makes the audience not feel particularly guilty about enjoying their on-screen deaths.
Director Stewart Hendler adds a "slick" cinematography by Ken Seng, a standout tracking shot at the beginning depicting the wild party, and the use of CGI in the killing scenes to appease the MPAA Ratings Board censors. The film works well in the beginning, with a diverse and inspired cast, including Briana Evigan, who delivers a strong performance as the Final Girl, and Leah Pipes, who shines as the sorority's queen bee. The killings, at least initially, are well-staged and suspenseful.
However, in the second half of the film, predictability sets in, and the high budget and censorship concerns become apparent. Even the presence of Carrie Fisher, in a glorified cameo, feels like a clever gimmick rather than an integral part of the plot. The twist revelation near the end, while somewhat justifiable in retrospect, comes across as cheap and unconvincing.
Despite its shortcomings, Sorority Row delivers on its promises for fans of the genre, catering to both those who fondly remember the 1980s and those who prefer more polished, technically advanced incarnations of the 21st century. While it may not be a groundbreaking film, it succeeds in providing a nostalgic yet entertaining experience for slasher enthusiasts.
RATING: 5/10 (++)
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