Canadian slasher horror series, aptly named Slasher, first emerged nearly a decade ago on the now-defunct channel, Chiller. Even in its earliest form, that show thrived off its cleverly-scripted format, allowing for often multiple kills-per-episode. Series creators Aaron Martin and Ian Carpenter are back for more blood with Shudder anthology series, Hell Motel. Built off the same DNA as its long-running sister series, the sharp concept strands a cast comprised of “VIPs of the true crime scene,” then violently picks them off one by one courtesy of an animal skull-masked maniac. Martin and Carpenter understand the appeal of a clever whodunnit, and have a blast pointing the finger at nearly anything that breathes. Stylish and fun, Hell Motel is a gory goodie bag of disturbing single-setting mayhem that will leave viewers guessing till the very last episode.
30 years ago, a horrific string of murders occurred at the Cold River Motel. Hell Motel‘s cold open thrusts us directly into this inciting incident, the camera ominously lingering over the sign in a direct homage to Psycho. With the setup wisely choreographing the brutal deaths of a young newlywed couple, the body counter appears already powered up and ready for more. In the years since the murders, the motel fell into disrepair, becoming the subject of a horror franchise called Doomed Service. New owners Portia (Michelle Nolden) and Ruby (Brynn Godenir) have an exciting proposition in mind for the dilapidated property: turn it into a veritable true crime goldmine.
Portia and Ruby invite an elite set of true crime players that should nicely establish their fresh take on the Cold River Motel. They have restored the facility to its former glory, complete with fully functioning wifi, murder-room installations, and weird meals made to appear like a cooked human. This private and exclusive weekend will mark the inaugural stay at Cold River. Whereas in a standard horror film, we would spend very little time with these characters, the eight episodes allows plenty of breathing room amongst them. Martin and Carpenter flesh each out with proper backstories, with many of the crew receiving further texture through flashbacks to their time outside the walls of the motel.
It probably helps that even on paper, this roster isn’t just cannon fodder for elaborate kills. There’s Blake (Atticus Mitchell), a podcaster who had a very real brush with death himself in escaping a college slasher; Paige (Paula Brancati), a Scream Queen actress star of the Doomed Service franchise; Andy (Jim Watson), a researcher who wrote his thesis on horror; Kawayan (Emmanuel Kabongo), a black artist that recreates crime scenes; a dark-haired maven with a serious case of hybristophilia named Adriana (Genevieve DeGraves); and Crow (Shaun Benson), a spiritualist deeply connected to the world of the undead. The addition of two outsiders who arrive in the middle of a raging storm in their R.V. adds to the traditional setup. Floyd (Gray Powell) and his wife Shirley (Yanna McIntosh) are perhaps the most compelling, mysterious of the bunch, complete with shadowy pasts and a much-needed outsider perspective. There’s even a fun cameo from Canada’s Drag Race winner Icesis Couture as a glitzy real estate agent. Once the bodies start piling up, the stakes and paranoia simmer in a vat of evil.
As with Slasher before it, Hell Motel utilizes plenty of practical effects in the execution of its ultra-gory set pieces, raining viscera all over the walls of the Cold River Motel. The killer’s visage stands out in its stark whiteness against the black. The actual murders are quite stylizied, but the meaning behind them as it concerns the characters always feels purposeful. Every episode contributes greatly to the larger whole, with arcs for Paige and Blake standing out as season high points. A baked in commentary regarding fandom and the exploitative nature of the true crime drama certainly was not lost on this viewer, either.
There are more than a few flaws here. For one, a weather-related portion of the plot quickly turns from believable to obnoxiously convenient. In its finale episode, the ambitious storyline trips over its footing in a way that feels at best confusing and at worst unsatisfying. A few of the side characters are underwritten despite having major promise. Still, these amount to minor gripes when considering the larger whole. Hell Motel feels elevated and carefully structured, masterfully unfolding tidbits of information as it heads towards an ultimate endgame. The longer form allowed with a TV series gives each angle the proper attention, particularly the ritual and demonic presence casting an eerie shadow over the group.
With a nostalgic setup and a strong cast, Hell Motel references past horror cinema yet paves its own chilling road. Fans of Slasher that are missing that show’s particular vibe will feel right at home, down to recurring cast and a similar vibe. Furthermore, Paula Brancati receives meaty material that ranks among some of her best performances yet. Containing just enough meta commentary and a disturbing ritualistic throughline, Hell Motel may be destined to become a modern genre classic.
Check in to the Hell Motel, opening its doors for Shudder and AMC+ subscribers with a two-episode premiere on Tuesday, June 17th.
