DIRECTED BY: Lucas Campbell
FEATURING: Cory Maidens, Ezra Haidet
PLOT: A killer chops up his fellow students on a college campus while a zombie plague brews.
WHY IT WON’T MAKE THE LIST: Even if this glorified home movie were good—and not only is it not good, it’s perversely proud of its badness—it’s not at all weird (except in the most obvious and derivative sense of the word). Midnight Skater simply apes the ironic grindhouse-throwback aesthetic, without putting its own spin on the genre.
COMMENTS: Why do low-budget filmmakers assume that comedy is easy? Whenever they’re wringing their hands over lack of a production budget, they say, “I know! We’ll make it a comedy! Then we can make fun of our own crap budget, it’ll be hilarious!” To a large extent this phenomenon is the poisonous effect of Troma on the modern horror mentality, but it’s also the fallacy of believing that because Boner Bob’s impression of a gay meth dealer makes all his frat brothers at the Saturday night kegger spit Schlitz through their nostrils, his antics will make sober strangers crack up, too.
Midnight Skater does have one kinda-laugh, when the killer gives an absurdly literal recap of his latest necrophiliac adventure. Far more painful attempts at comedy come from a simpering, anime-and-D&D-obsessed gay nerd with a combination lisp/sneer and attitude of arrogant cowardice. The lame kill puns don’t even rise to the level of groaners (“now that’s what I call good head” quips the killer after crushing a victim’s skull). Mostly, the movie is a painful parade of bad lighting, overacting, audible offscreen noise, surprisingly ugly kids, OK zombie makeup, and crew members spraying people with syringes of tomato soup from just off camcorder.
Midnight Skater has garnered a surprising amount of praise from the few critics who actually condescended to look at it. The explanation is always that the kids look like they had a lot of fun making the movie. And, indeed, if you were part of the gang of college freshmen that made Midnight Skater, you’d be proud of the achievement, and have a great time reliving the film with your buddies over a case of cheap brewskies. On that level, the movie is a success—but a success for the makers, not for the viewers. It is a crime that this glorified home movie somehow got onto Netflix, and might accidentally take up a slot people could use to rent a real film. There’s a big difference between “good for you, you made a movie!” and “you made a good movie.” Encouraging amateurs to go out and make their own movies is one thing, but at some point, you have to stop giving people bonus points just for being inexperienced and enthusiastic. This is the marketplace of ideas, not a third grade soccer league; everyone doesn’t deserve a trophy just for participating.
WHAT THE CRITICS SAY:
“…getting in the same Spock state of brain with the insane and inventive no-budget filmmakers here may require Ritalin, a gross of sugary juice boxes and about a hundred trips to the video store (or at least a couple readings of The Psychotronic Encyclopedia of Film). This is horror and hilarity as channeled through a TV eye mentality, a narrative knowledge derived almost exclusively from issues of Fangoria and untold reams of fan fiction.”–Bill Gibron, DVD Talk (DVD)