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January 5, 2007: Hell Hath No Fury Like a Woman Scorched
Rob Schmidt's Masters of Horror episode Right to Die is the first in 2007, and now my third-favorite Season 2 entry. Although it didn't have the serious socially aware intensity of my first two favorites, Pelts and Screwfly Solution, it provided a seriously twisted and darkly comedic examination of the right-to-life debate. Right to Die brings an effortless, deadpan sense of irony to this issue, which is what I'd hoped John Carpenter's Pro-Life would do, but did not. The story is surreal and satirical enough not to offend, yet offers a bit of a pinch through grandiose displays of human selfishness and greed. It was just enough to make me wince, and just enough to make me feel a bit self-deprecating over how silly and predictable our species can be when rubber meets the road (in this story, literally).
Now, Schmidt's name sounded familiar, but I have to admit that I couldn't remember what his prior work had been. I did extensive research prior to Season 2's premiere, drafting a huge blog entry about each and every episode and director, but I still couldn't remember who he was. As I am prone to do, I launched into that snooty, "May I please see your credentials, sir?" attitude whenever a horror director is given his "Masters," but then quickly rescinded. I had no idea who Eli Roth was when I saw Cabin Fever, and after only two high-profile movies (Cabin Fever, Hostel), he has become one of the horror crowd's most beloved directors. The same is true for Rob Zombie. But he at least had a reputation as a prolific horror artist and musician, so it was easy to embrace his filmmaking efforts right out of the gate — at least, it was for me. I think it's becoming more and more true that some of these "new-school" horror directors can and do get the job done, and quickly prove themselves.
So today, as I write this, I look up Rob Schmidt, and aha! He directed Wrong Turn. Ooooh, yeah! I actually liked Wrong Turn, and I had low expectations when I saw it. It did get some lukewarm, well, practically cold reviews, but out of all the "inbreeders love tasty vacationers" horror films, I thought that Wrong Turn was really bloody good. I had found the protagonists actually likable, mostly because they were so well-cast (Eliza Dushku, Jeremy Sisto and Desmond Harrington). I found the killers truly vile, and I found myself quickly absorbed and "white knuckling" it from start to finish. For me, Wrong Turn was a pleasant surprise. It ain't no Suspiria or Halloween, but it is good, fun horror.
Maybe having low expectations is the better way sometimes. My expectations were so high for John Carpenter's Pro-Life this year, I felt a bit let down when it was less than brilliant. When "fresh blood" gets added to the lineup, it's hard not to have low expectations; and when that's the case, the newer director has nowhere to go but up. Just a theory.
In all honesty, had Rob Schmidt been one of my "pedestal" horror directors at the helm of Right to Die, I wouldn't have been disappointed. It helps that I love Martin Donovan, a mainly indie, slightly under-the-radar actor who's great in every role (much like Medium's Jake Weber had once been before Dawn of the Dead propelled him into mainstream status). Corbin Bernsen is also great at chewing up the screen, so I enjoyed seeing him in this sleazy role: "What do I know about a soul? I'm a lawyer!"
What made Right to Die work so well is that it turned out to be a black horror comedy in a way; but it was so subtle, I truly realized once it ended just how funny it was. Of course, some outright laugh-out-loud moments started leaking out during the climax. My two favorites were the cooler and the cop speeding by Martin Donovan — "Get out of the road!" — while Martin's standing there with a severed body part in his hand. And Martin Donovan's masterful deadpan delivery truly brought them home.
In many ways, Right to Die felt a little bit like something Eli Roth would make. When the horror and the comedy so effortlessly and wickedly intersect, it feels like being blindsided — delightfully so — once the end-credits roll and that "what the hell did I just see?" laughter ensues.
So, in my cultish way that you fellow horrorphiles out there will understand, I give Right to Die four pancakes (Paaaaannnncaaakes!) out of five. I think that Rob Schmidt could quickly become a worthy and healthy competitor to Eli Roth, and I look forward to seeing more of his work.
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Jan 7, 2007 10:33 PM
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It took me awhile to get to this, but I find that I'm agreeing with you right down the line.
I think that Right to Die would have been a much better choice with which to open the season. It has the requisite gore, a remarkable balance of overt and subtle humor, and enough twists to make it feel like a masterpiece in comparison to some early eps by genuinely legendary directors.
Like you, I didn't realise just how funny the piece was until the end - that last sequence just totally re-coloured everything that had gone before.
I suspect that Right to Die will hold up to repeated screenings. That's good horror!
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Jan 9, 2007 4:23 PM
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I agree, Captain! Now that I "get" the humor of that episode, I totally want to go back and see it again, because I bet there's a whole lot more funny stuff in it that won't hit us 'til repeated viewings. 
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Jan 15, 2007 2:24 AM
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