Overwrought and ridiculous, John Grissmer’s Blood Rage from 1983 is 82 minutes of gory goofy fun. Not released until 1987 with numerous cuts under the title Nightmare at Shadow Woods, the Thanksgiving-set film has since developed a cult following. With hilarious line readings, an earnest commitment to a low budget splatter aesthetic, and an enormously over the top performance from veteran actress Louise Lasser, its charms are hard to deny.
In 1974, tween twins Todd and Terry slip out of the back of a station wagon at the horniest drive-in of all time while their mom (Lasser) makes out with her latest boyfriend. Seemingly triggered by his mom’s implied promiscuity, young Terry snaps and kills a man who was in the midst of raw doggin’ his lady friend. Before anyone realizes what’s happened, Terry hands the shocked and catatonic Todd the bloody hatchet, implicating the innocent brother. Flash forward ten years, and the now-adult Todd (Mark Soper) escapes from the mental hospital he’s called home for many years. It seems he’s finally remembered the gruesome events of that long-ago night and now he wants revenge. Meanwhile, Terry (also Soper) returns to his murderous ways after the dual revelations of his brother’s escape and their mother’s impending nuptials. As Terry uses Todd’s status for cover to dispatch his friends and residents of the Shadow Woods apartment complex, Todd skulks around waiting for his moment to get even with Terry. Julie Gordon is Terry’s neglected girlfriend Karen and noted makeup effects artist Ed French plays an awkward boyfriend in addition to his effects duties. Watch out for Ted Raimi in a cameo as an opportunistic condom salesman.
Bruce Rubin (writing under the alias “Richard Lamden”) turns in a fairly straightforward script. Lean and to the point, it sticks to its premise and doesn’t slow down for realism or character motivation. In that respect, I wouldn’t say it’s bad at all. Performances may not be good in the traditional sense, but Soper does an admirable job of differentiating the brothers, giving them distinct looks and mannerisms. Gordon is mostly naturalistic as the all American girl next door. Lasser’s work elicits the most laughter, spending most of the picture acting drunk, confused, and disheveled. She takes overacting to the extreme and creates a lot of fun as a result. French’s effects aren’t exactly realistic for the most part, but they’re numerous, inventive, and effective. Richard Einhorn actually turns in a really terrific score. Fast-paced and synth-heavy, it’s an excellent example of the catchy soundscapes produced in the beloved VHS trash era.
I had an absolute blast watching John Grissmer’s Blood Rage. It may not be the most polished flick, but there’s no denying its sincere charisma. It goes all-in on gore and T&A with laser focus. Arrow’s uncut blu ray is a joy and contains a generous portion of substantive special features. Highest possible recommendation for fans of going to dingy mom and pop video stores in the ‘80s on Friday nights, laughing hysterically at appendages being lopped off, and cranberry sauce.
Michael Cavender