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 As is sometimes the case with PG-rated horror movies, "Hatchet for the Honeymoon" looks relatively upscale ("The Legend of Hell House", the 1999 version of "The Haunting", and the "Tales from the Crypt" anthology from 1972 are three others that come to mind). Not only does it start with a stylish animation of textured drawings during the opening credits, but the setting is richly appointed too. Throw in a bunch of well-to-do characters and you have what is bound to be a classy-looking horror movie (for one made in 1969, anyway). On top of this, all of this takes is given a fine polish from director Mario Bava, who seems to be more refined than the other popular Italian horror directors. Unfortunately, the story moves at a moderately slow pace and is rather familiar, owing quite a bit to some of Alfred Hitchcock's movies, most notably "Psycho". On the plus side, however, the story is appropriately paranoia-ridden, and it is rather distinct in the sense that it exploits negative hallucinations to create some madness. Unlike your usual, garden-variety positive hallucinations which make you see or hear nonexisting things, negative hallucinations prevent you from seeing or hearing existing things! Something like that would open many unexplored possibilities for a horror story. While "Hatchet for the Honeymoon" limits the negative hallucination to only one person who may or may not be dead, it deserves credit for scratching the surface of an interesting concept. All in all, "Hatchet for the Honeymoon" isn't too bad. Because of the PG-rating and the pace, it's not for every horror fan; nevertheless, those who appreciate strong visuals more than the average moviegoer are bound to enjoy it. |
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QUARTER BY QUARTER ANALYSIS OF MOVIE
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OVERALL RATING
** NOTE: The more dots on the domino, the better the movie. 11 or 12 dots is top-notch entertainment while one or no dots signifies the bottom-notch variety that may be slightly more amusing than watching the needles move on the gas meter. ** |
    
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The Worm-Hole Reviews are written by Matt Barnes.