"Homecoming is an awesome little drive-in thriller that delivers a solid punch to the kidneys. If you enjoy spurned lover exploitation flicks, this one’s even better than last April's Obsessed."
Homecoming takes the fine art of exploitation and mixes it with a raw teenage sensibility reminiscent of such excellent primetime soaps as (the new) Beverly Hills 90210 and The O.C. It will seem like familiar stomping ground for fans of Mischa Barton's past television work. Only here, she gets to play the nut job. Yes, she takes a cue from Oliver, and ramps up the craziness for what is sure to be remembered as one of the great female slashers of all time (sadly, there aren't too many). Don't get me wrong, this is Drive-In fodder at its best. As with any first entry in a horror franchise, it remains loosely grounded in the reality of its surroundings. Only going completely off its hinges during that climactic final act. The very last shot screams for a sequel. One that will surely edge past the material found here. If director Morgan J. Freeman invests a little bit of time, energy, and imagination into this bubbling idea, he could have a pretty solid yearly rental on his grubby little hands. His ax-wielding Shelby has the potential to do a lot of damage on the direct-to-video market.
Freeman, not to be confused with the actor we all know and love, is probably best known for directing the hardly seen sequel American Psycho 2, which featured Mila Kunis as a crazy preppy killing college student. It's obvious that Freeman loves his female antagonists, and he's looking to buck the male dominated slasher realm with a few inventive twists of his own. That's not to say Shelby is an original construct never before seen on the cinematic scene. Actually, that's quite the contrary, as Mischa pulls directly from I Spit on Your Grave's Jennifer Hills and Misery's Annie Wilkes. Barton's atypical female baddie comes on like a sexy Kathy Bates, and a good chunk of her story is pulled directly from that Stephen King thriller.
It's hard to talk about the entire film without spoiling its riches. At exactly minute twenty-four, this seemingly dazed drama takes a turn for the worse, and it's a moment you'll never see coming. Unless you've seen the trailer. Then you'll know how the rest of the movie plays out. The opening scene is one we've seen a dozen times. Drunk and sad, mascara running down her face, Mischa Barton zooms down a snowy road, smoking and listening to whatever empowering rock song Freeman managed to secure the rights to. Fumbling for the lit cigarette she has just dropped in her lap, she plows head first into a shadowy figure standing on the side of the highway. That's the opening flash forward. And its shot with the skill and procession of a man that's been weaned on a hearty mix of both 70s thrillers and 80s Hallmark movies.
All you really need to know about the film before going in is contained on the great one sheet. This is one of the cooler horror posters I've seen in recent months, and it's almost better than what we actually get to see on screen. Shelby and Mike were high school sweethearts. He left for college while she was dealing with her mother's long, drawn out death. He thinks they broke up, she thinks they are still together. A Northwestern college football superhero, Mike has returned home to retire his high school jersey in a ceremony that isn't bestowed upon too many local kids. In his infinite wisdom, he decides to drag along his new girlfriend. Whoops. You can pretty much guarantee a couple of awkward moments from here on out. Lucky for us, Freeman doesn't let his characters breath with much intelligence. With the exception of Shelby, we're dealing with some real bricks here. That makes the unlikely situations even funner than usual, especially when all involved get down to the meat of the matter.
Despite its unrated lineage, there is very little gore to be found slathered on the walls of Shelby's lived in house. Maybe that's because the material is aimed directly at fifteen-year-old girls. Homecoming is the perfect companion piece to this year's earlier spurned female exploitation film Obsessed. Together, both films would make for the perfect double bill at the local Drive-In. The difference is that this particular outing has more chutzpah. And it doesn't rely on a catfight for unsolicited thrills. Sure, both Shelby and her replacement Elizabeth go at it. But not in the typical fashion. This is cat and mouse stuff. Sometimes, the mouse is extra lazy, which gives the bad cat more leverage where there should be none. Some could view this as a flaw in the script, but really...When someone has the ability to escape, then doesn't for days on end, you have to applaud that implausibility. It's certainly a caveat, and Freeman seems to be lampooning the unnecessary dread sparked in other films of this ilk. The middle half of this movie is essentially about motivation versus non-motivation. Shelby has her eyes on a prize, and Elizabeth just doesn't have the juice to compete. Watching them struggle through their tiny little lives will make you feel like a king.
As I said, I doubt this is the last we will see of Shelby. The character gives Mischa a perfect go-to when she needs that pick-me-up paycheck. There's certainly more to explore here. Most of the characters live. And I am sure they will regret ever having known each other soon. Homecoming? Whoop-doo! And I can't wait for Homecoming 2: Shelby's Slaughter Alley!
(All of B. Alan Orange's reviews are based on the Boo! or Whoop-doo! evaluation system.)
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