Look, Thanksgiving horror is an extremely tiny subgenre. Which, honestly, when you consider the history of the holiday & all of the associated colonization and genocide, is a bit surprising. Thank god for ’80s slasher weirdos then, as this week’s film, set primarily on turkey day, could only come from those minds.
Though one twin brother was institutionalized for murder 10 years ago, it’s the other twin who is the real killer & on a murderous rampage again.
What’s a single mom to do when a babysitter’s not an option for date night? Bring the twins along to nap at the drive-in while you make out in the front seat…clearly. Taking an extremely Oedipal approach to the slasher, it appears evil twin Terry’s violent urges are brought to the surface when witnessing his mother’s romantic pursuits. Sneaking out of the car, Terry finds an axe(?), uses it to murder an unsuspecting teen(?!), and frame his twin, Todd.
Following the trauma of witnessing the murder, Todd is left without any memory of the incident & thus cannot even proclaim his innocence. Until 10 years later, when psychiatrist Dr. Berman makes a breakthrough with the institutionalized Todd, who begins to realize it’s Terry who is the killer. The twins’ mother, Maddy, refuses to accept the possibility that the wrong son has been institutionalized all of this time and just kind of ignores professional psychiatric advice.
Of course, it’s around this time that Terry’s blood lust begins to reawaken. Upon the announcement of Maddy’s engagement at Thanksgiving, Terry feels the urge to kill…basically everyone, honestly. When the news breaks that Todd has escaped the institution, Terry has the perfect opportunity to once again go on a killing spree and frame his brother.
Friends, neighbors, love interests…no one is safe. And no one is more in denial or better supplied with alcohol than Maddy. Will she or anyone else realize which twin is the true killer before it’s too late?
3.5/5 Pink Panther Heads
This film rivals the most melodramatic soap operas with the evil twins, love triangles, Oedipal complexes, and mistaken identities. I appreciate this so much as it elevates what would otherwise be a very standard story and somewhat nonsensical plot.
The justification for Terry’s behavior is extremely flimsy–it seems to be some combination of Oedipal jealousy when his mother is romantically engaged plus the classic slasher he’s “just a psycho” logic. The tone of the film helps us not question this too much, as the filmmakers are clearly having some fun with the genre. Terry’s wild energy is quite fun onscreen, and his rather creative kills with over-the-top effects are entertaining. The death of his future stepfather stands out as he meets his doom while listening to Christian radio, severed hand still firmly clutching a beer as his fingers twitch.
Even though Maddy is painfully unwilling to recognize the truth or give Todd the benefit of the doubt (for whatever reason???), she’s still rather fun to watch onscreen. Maddy has perhaps the most realistic reaction to a supposed murderer being on the loose: i.e., drinking wine constantly, stress eating Thanksgiving leftovers while sitting on the floor, and furiously scrubbing the oven.
I also live for the dramatic ’80s horror score and adore the final scene, featuring some rather unhinged looks and quite dark implications.