Presently I won’t contend that Slasher is completely unique in its tonal approach it exists in a kind of subgenre of meta-frightfulness started by Scream and culminated by movies like Cabin in the Woods and The Final Girls. Be that as it may, in any case, Hamassian brings enough vitality and innovation in the blend to make everything feel new. In an inventive visual trap, the film is depicted in “one take.” Granted, it’s not by any stretch of the imagination a genuine single-shot, yet the cunning ways that Hamassian veils his alters is a piece of the good times.
The whole thing feels like an Edgar Wright-esque brisk take montage, aside from, you know… without the cuts (well, of the celluloid assortment… there’s loads of other cutting going on). The outcome is facetious, additionally predicated on a darker establishment that keeps the film from simply being a surface-level farce.