With 80's slashers, their effect on me is actually relaxing. We have a bunch of characters who the filmmaker generally deems worthless (except a few, who make it to the end) so that we don't have to actually invest anything until their inconsequential deaths, clear, simple-minded notions of good and evil, and contrived mechanisms that explain them away (the evil presence is usually described by some kind of simplified trauma). None of this happens in real life, so none of this actually has potential to breach the divide and actually unsettle. It's a movie fantasy, one oddly espousing deeply conservative values (prudence is generally rewarded) that fly in the face of the crowd that avidly sees them.
Like the first Hatchet, this is a knowingly cartoonish version of this. The deaths are delightfully absurd. At some point the baddie in this, Vincent Crowley, shows up with a chainsaw six feet long. The film knows what part it plays in the tradition and has fun with it.
What is actually problematic about these films is that, for all the parody, they still posit themselves as straight slasher films. It doesn't work, the hackneyed plot above all where a band of mercenaries is hastily assembled to venture into the bayou. Or what they aim to do once there.
The Japanese as usual are more savvy about this kind of thing. In films like The Machine Girl, they put together all kinds of cultural stamps they have produced and obsessed over the years (video games, anime, martial arts, extreme violence, erotica) and obliterate one against the other.
Here, I assume the filmmaker doesn't have a grasp of how the pastiche can be made to work. Probably because he doesn't understand or care to anything other than this kind of film. The splatter works, what's around it not so much.
