A "making of" featurette for Jackhammer Massacre would look like an episode of MacGyver in how director Joe Castro and a few side-kicks made a movie with a stick of gum, a few boxes, and a door bell ringer. That in itself is quite an impressive feat, and the final production value quite honestly does not show the laughable budget and resources (laughable by Troma standards no less.) Don't get me wrong, this movie does obviously look and feel low budget (really low budget) it does not come across as a couple guys who borrowed the digital camcorder and shot at home using the props found in the glove-box, back seat, and trunk. And while praising the film, let me also add that the film has some good moments of gore (specifically, the gore not affiliated with the jackhammer.) Sadly, this praise does not mean this has yielded a good film.
Jackhammer Massacre presumes that we care about Jack and his tragedy while it flashes back to his formerly successful life as a prick businessman destined to screw himself over with bad choices and become the psychotic prick killer. Jackhammer presumes wrong.
While roughly a third of the running time is dedicated to the unsympathetic tragedy that is our killer Jack and his cartoony (not to mention comical) delusions, the victims show up just long enough to be killed. Or in other words Jack is treated as the main character, it develops him with a prepackaged uninteresting scenario of how his friend ODed and he became addicted . . . and the movie assumes we'll sympathize with everyone else because "they're walking into a death trap." Jackhammer assumes wrong.
Ever hear the overstated remark "The hero is only as good as the villain he faces"? Jackhammer built up their villain but forgot the hero entirely, resulting in a narratively unbalanced film. It's not the fact that Jack's development is screwed that hurts the film don't get me wrong, though, that alone cripples it the real nail in the coffin is the fact there's really no one with any cinematic weight and screen presence to metaphorically oppose him. The head of the salvage crew gets a heroic introduction shot, and that's the extent of her character development.
Jack's sister and her friend? The movie literally throws them away before the audience can gain any emotional investment in them. Jack's boss? We see his face long enough to memorize it before he bites the dust. The guy buying the shop and his assistant? They walk in, perform the horror gimmick of looking around and then die. The salvage crew? They live a little bit longer, but to say these characters are introduced would be a severe and misleading overstatement. A very precise tagline for the film would be "Show up and die." Outside, LA life goes on. Across the globe, the sun sets, and the world keeps on turning. And nobody cares about the handful of strangers we never met whom we'll never see again.
Slasher films need to kill characters to be effective. Jackhammer kills cameo appearances.
Then there was Jack's delusions, his dead buddy who returns from the grave to haunt him with phrases like "You let me die" spoken in a tone that sounds curiously similar to that smug and sarcastic Randal in Kevin Smith's Clerks. As a direct result, the scenes came across not as a delusion haunting a man to drive him insane, rather as a smart-ass ghost heckling the living for kicks. Granted a number of scenes in the film were intentionally comical (Jack's hallucination of running from the spotlight, for example), I don't sense Joe Castro intended the ghostly apparition to have that caliber of goofiness.
While speaking on the comedy element, it never quite hits its mark. The presentation of the horror/comedy blend feels eerily similar to those unintentionally lame 80s rip offs of Friday the 13th made by incompetent hacks who fail to realize how idiotic a situation they've presented. And only through the overwhelmingly ludicrous scenarios and cutting does it become apparent that the Jackhammer Massacre has its tongue in its cheek . . . in places. In other places, like with the previously discussed tragedy of Jack and the heckling ghost of Overdosed past, does the film realize how ineffective that is? I have my doubts.
With Jackhammer's various misfires, it's not surprising how tempting it becomes to target the things the film never cared about. For example, how impractical is it to kill with an 80lb jackhammer? Who is stupid enough to fall in a puddle of blood mixed with intestines and then peel off his soaked shirt as if he just had a coffee stain? How long is that extension cord? And of course, Jackhammer's obedience to the horror formula with a set of characters making out because they can.
Jackhammer is a slasher, and thank God it knows it's a slasher; however, it's still apparent that it doesn't know how to be a good slasher, which is okay. It has a ton of brothers and sisters on the rental shelf next to it to keep it company.
