While it seems like slasher movies disappeared sometime in the early 2000s, approximately after the emergence of Scream and its flood of opportunistic imitators and cash-grabs, masked killers and their teenage fodder never truly went away. More accurately, major studios put a pause on big-budget slashers. In the meantime, indie filmmakers like Greg Huson kept the subgenre from disappearing altogether; his movie Shredder was one of several last dying breaths for old-fashioned, original slashers before splatter films and remakes began to flourish.
While the bigger and more notable slasher franchises haven’t exactly embraced ice-cold surroundings, movies like the Idaho-shot Shredder understand the potential fun and advantages of a wintry environment. It brings new meaning to the word “stranded.” The contrast between stark whites and deep reds is also a satisfying sight for horror fans, especially when a movie is as blanketed in white powder as this one. Right from the start, Shredder leaves a sizable bloodstain on the bare snow; the cold open sees the mysterious, all-in-black assailant behead a random snowboarder. This preview kill is so delightfully excessive and sanguinary that the 30-minute waiting period until the next death — an off-screen one at that — is forgivable.
What Shredder lacks in high production values it makes up for in sheer energy and cocky style. This is a spirited and sometimes spiffy-looking slasher with the verve of a music video. In addition to Alan Derian’s effectively sinister score are a number of pop-punk tracks that do little to stand out from one another, but they add to the movie’s overall zest. Strangely enough, though, there isn’t a lot of snowboarding seen on screen. At least not from the main cast, who apparently couldn’t ‘board to save their lives. So be prepared for noticeable stunt doubles in the shredding scenes. Nevertheless, both Huson and the cinematographer, Charles Schner, have an eye for climatic vistas and action on the slopes.
Another area where Shredder excels is the special effects. For the most part, this slasher prefers the hands-on approach, though there are a couple of digital effects (some more conspicuous than others). And while the degree of carnage here pales in comparison to what was to come in the genre only a couple of years later, the gorier sequences are improved by Jerry L. Buxbaum and Mark Villalobos’ tactile effects. The logistics of these bloodletting moments may not entirely add up, but they are enjoyable to watch.
Huson’s horror debut is more traditional than hyper self-aware. This movie doesn’t break new ground or boldly challenge the conventions of the genre it hails from, apart from the “final girl” role. Shredder may have indeed come out after Scream, but the movie’s not made in its image either. On the contrary, this unpretentious slasher is as simple and throwback as they come; young people find trouble rather than fun when they step foot in a place they’re not welcome. This kind of plot might be too unambiguous for the postmodern crowd. Even so, that doesn’t mean the movie isn’t willing to poke fun at itself.
When a genre is as oversaturated as horror, it’s bound to start studying itself, and commenting critically on the structures, symbolism and tropes. Meta-horror was the direct response, and some movies certainly did it better than others. Shredder doesn’t quite play things straight; the script has a delicate sense of humor. However, the movie isn’t all that self-reflexive. Huson instead creates comedy through sight gags and tongue-in-cheek writing. A chairlift fatality results in a dark running joke, and Lindsey McKeon delivers what might be the movie’s most hilarious line after she’s caught cheating on her boyfriend (Scott Weinger). Shredder doesn’t completely qualify as a horror-comedy, yet it’s proof that sometimes the best way to be funny is to not go about it so obviously.
Shredder goes against the very nature of winter horror; it defies the idea that a movie set in the cold and snow has to be slow, pale and sad. No, it’s just the opposite here — this slasher is dynamic, bright and upbeat. There is a definite sense of enthusiasm both behind and in front of the camera. That warmness and effervescence comes at the cost of suspense, but Huson and co-writer Craig Donald Carlson’s story concerns a killer who punishes those who defy rules of the slope. It’s abundantly clear that they weren’t going for legitimate scares here.
So while the editing is erratic, the antagonist is underused, and the dialogue is downright cringe-making, these and other shortcomings account for the movie’s enjoyability. Shredder looks more polished than other obscure, regional slashers like it, but the movie’s true charm comes from its unshakable sense of fun. Surely there’s nothing here that hasn’t been done before or better. However, this movie’s timeliness and immediacy have helped it grow into something more lasting.
Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.
The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.
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