Following near exactly in the footsteps of its 1970's predecessor, "Scream" -- just like the original "Halloween" before it -- became a big hit, revitalized a near dead genre, and last but quite unfortunately, has inspired what's becoming a mind numbing array of imitators that hope to cash in on the teen-spawned success.
From its inevitable sequel to "I Know What You Did Last Summer," as well as the umpteenth and latest installment of that Halloween franchise and the lame "Disturbing Behavior," these wannabe horror flicks are all present day cousins to "Prom Night, "Terror Train" and any number of other schlock-filled films that followed "Halloween." Whether then or now, many of these imitators lack the fun and originality of the source films and are often excruciatingly bad.
Which brings us to "Urban Legend," yet another horror flick featuring a young and relatively unknown (read inexpensive) cast hoping to lure the teens back into the theaters and get them jumping in their seats. Well, that might happen for the first third of the film, but after the recurrence of so many repeatedly staged jump scenes, it's doubtful most anyone will ultimately find the proceedings too suspenseful, let alone scary.
To be fair, the movie does start with a nicely executed, but quite predictable opening sequence playing off the old notion of "there's somebody in the back seat." While there's never much doubt about what's going to transpire, first time director Jamie Blanks and fellow screenwriting novice Silvio Horta still manage to raise a few goose bumps while delivering the goods.
Quite soon thereafter, however, the film quickly dissolves into yet another deranged, but anonymous killer on the rampage story. While the notion of such a killer replicating old urban legends -- such as the killer in the backseat of the car, or placing harassing calls to the babysitter from inside the house -- poses a marginally intriguing blueprint for the killer to follow, that also falls apart rather quickly.
Making optimum and repeated use of many early jump scenes -- mostly involving people turning and unexpectedly running into or being surprised by others -- all of which are accompanied by loud and sudden music, Blanks initially manages to get the maximum effect from such devices. After the fourth or fifth instance, however, most everyone in the audience will be ready for such occurrences and the effect becomes dramatically lessened with every instance.
Fortunately, Horta's script does make good use of many red herrings, and it's initially difficult to guess the killer's identity -- a good ploy for any "killer on the loose" horror film. Viewers will have to guess whether it may be Paul, the journalist who may have staged such murders so as to have a prize winning essay that will further his career.
Or how about the creepy professor who happens to have all of the murderous devices in an extra room hidden in his office? Is he using the "Basic Instinct" theory of covering himself by knowing he'd be the prime suspect in murders he himself has recently examined in his class? Then again, it might be the over protective dean, the mysterious janitor, or even the angry, lithium taking roommate.
While that mystery does hold our attention throughout the story, as ever more suspects are killed, the fun begins to evaporate, especially after we quickly realize that everyone in the town seems to own the same sort of hooded parka the killer always sports.
Finally, when the killer's identity is eventually revealed -- in what the filmmakers hope will be a surprising twist -- the effect is more likely to induce groans and catcalls, rather than fright or surprise, simply due its preposterousness.
Although the killer's modus operandi makes sense and wraps everything together, there's simply no way this particular suspect could pull off some of the physical activity required earlier in the story. To top it off, the killer even has a convenient slide show to summarize their motives to both poor Natalie, and us, the equally suffering audience.
To no one's surprise, there's also the obligatory double ending where the killer returns to make a repeat performance so as to be killed yet once again. Don't get too comfortable yet, however, for should the film prove profitable, you can bet "Urban Legend II" will be headed our way with that ever resilient killer -- or a copycat -- returning for more mayhem.
Not surprisingly, the performances are unremarkable, although beyond some really bad overacting near the end, they certainly aren't horrible overall. From Alicia Witt (TV's "Cybill") to Rebecca Gayheart (the "Noxema Girl" from those TV commercials -- a fact the film momentarily pokes fun at) and Jared Leto ("Prefontaine") to Joshua Jackson (TV's "Dawson's Creek"), the cast looks good, but doesn't go much beyond creating standard issue horror film (ie. fodder) characters.
Just as the student journalist character, Paul, states in the film, "The idea of an urban legend serial killer -- it's a stretch," the same holds true if you substitute "film" for "idea." While it's got that high concept sound that makes it easy to pitch to eager Hollywood producers, that doesn't always mean it's going to be the next big hit.
With the returns from teen-based horror films waning with the last several entries, the filmmakers here may have jumped into this genre too late. An okay, but certainly not great horror film that gets considerably worse at it progresses, we give "Urban Legend" a 3.5 out of 10.
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