Even though the glory days of the slasher subgenre finished out long ago, filmmakers constantly return to it, and give their spin and contribution to the landscape, and this time it is none other than director Anthony DiBlasi, known for Last Shift (2014). On this occasion, Anthony switches from supernatural subgenres of his previous horror films, to a relentless killing spree of Most Likely to Die, involving high school friends gathering together again for a pre-celebration party. Anthony uses screenwriter Laura Brennan’s work to convey the terror, though worth nothing it is her first feature, and the first in the horror genre, therefore one does expect a few pitfalls, add her previous works fit snuggly into the talk shows and comedies. The audience automatically knows what to expect with genre reveal, and in manners won’t be completely disappointed, the flick received distribution through Marvista Entertainment, which also released Clinger (2015) and Terror Birds (2016).
A group of 20-somethings who assemble at their friend’s remote beachside property in preparation for their 10-year high school reunion, they truly have grown apart. The location, isolated, belongs to a former hockey player Ray (Jason Tobias) who was recently cut by his team for a concussion during his last game, very strange reasoning. Although, his character quickly becomes the primary suspect when then killing starts, as he’s missing from the party. However, before then, the group meets up and sees a wall of ‘Most Likely To’ do whatever they or others chose for them, it also shows another method to introduce the cast to the audience. Another cliché presents quickly in the rundown of the main cast Gaby (Heather Morris) a professional poker player with obvious tells, Brad (Ryan Doom) an actor on a popular television series who brings along his supermodel girlfriend (Tatum Miranda), Perez Hilton (Freddie), a nerdish Lamont (Johnny Ramey) and class president Simone (Marci Miller). They all appear vastly different from their school days and begin to reconnect while reminiscing over their past. As some of the women begin to change into bikinis in front large open windows, Jake Busey’s character Tarkin, gives an excellent creepy peeping tom performance. Soon they start drinking, getting cruel with each other, while others engage in long overdue sexual conquests. The bodies begin to mount, and the lights failing, along with cell problems, disabled vehicles, all sounds very normal in the subgenre. The film had the opportunity to have an enjoyable medium, in the form a chilling thriller, casting aside the slasher especially when the deaths feel weak, especially when not showing the gore factor, what the audience sees a forgettable cable television movie. The storyline, borrows from Terror Train (1980) a reuniting and connection to old friends and settling old scores. As the movie proceeds forward, Morris’ character Gaby becomes the one that viewers might root for in this production, very likeable and a leader when the problems mount further out of control. A moment of multination occurs with Christmas lights at a utility shed and thorough butchery, however most of it suggested by the cast’s lights, the glimpse of the corpse, comes in a flash, but the scene ends in a heart-to-heart mending moment.
Now slasher movies have a series of rules, though most fit typical clichés as does this one and yet all have one thing in common the costume of the killer needs a unique look. Herein, the killer, known as The Graduate (John Doe, name listed on the credits) dons a bright blue graduation gown, complete with a kooky white mask and a cap with a razor sharp edges. Lastly, perhaps quite unusual the killer when stalking a victim has the Pomp Circumstance March music playing from composer Edward Elgar playing. Brennan telegraphed her influences clearly throughout film, and those coming from Scream (1996) and, using some traits from the his killer, Urban Legend (1998) with subtle hints of other 1990s horror films, which many fans agree was a weaker portion in the genre, the gems shining briefly. The design concept never moves away from the tested path, stays in safe zone, for the entire flick, and dampens the impact on the viewers. It feels if the writer battle her own will, when it came to killing, instead of plunging the cast into bloodshed, generating a rather stale story filled more with drama than horror.
The title should read, Mostly Like to Bore, as the film, lacks in many directions, just a cast doing their individual performances, and not expressing any depth into the roles. A twist occurs extremely late into the movie, but leads to an aimlessly point, with no resolve, as if a part two must occur for the answers to many questions. The essence of the storyline in a film needs a starting point, middle, end, and then a slight door to pry open for a sequel, not an entirely new element to revisit on television series, the connection between old friends feels a tad more like a soap opera. DiBlasi, nails all the technical aspects of the film, perfect framing, and steady pacing, but the fault lies more the script, whose intended target lies somewhere else than the horror and slasher genres.
If one seeks a thriller, then this movie welcomes your interest, however, if you expect the slasher flick to provide you with violence, T&A, and tension filling moments, then save yourself the time and avoid this flick, the comical lines work briefly, but not enough to save the entire production.
This review originally published in October 2016 on the Rogue Cinema site with a view count of 1,454.
IMDb Rating: 4.0/10
Baron’s Rating: 3.5/10