Valentine

_**By-the-numbers slasher is entertaining**_ In the San Francisco area, five girls in 6th Grade reject a boy’s polite offer to dance with one of them falsely accusing him of assaulting her. Thirteen years later, when they’re all about 25 years-old, the women start receiving macabre valentines before their gruesome deaths. Who’s killing them and why? "Valentine" (2001) was made by the director of “Urban Legend” (1998), which gives you an idea of what to expect. Like “Urban Legend” and the overrated “Scream” (1996), there’s a wink of parody, but it’s done better and is actually amusing, not to mention disappears by the second half. Unlike those flicks, “Valentine” wasn’t successful at the box office, but I like it better. Sure, it’s a standard slasher with the tropes thereof, but I enjoyed it from beginning to end. It’s similar in tone to “April Fool’s Day” (2008), just superior. The notable female cast includes: Marley Shelton (Kate), Jessica Capshaw (Dorothy), Katherine Heigl (Shelley), Jessica Cauffiel (Lily), Denise Richards (Paige) and Hedy Burress (Ruthie). On the other side of the gender spectrum there’s David Boreanaz (Adam), Fulvio Cecere (Detective Vaugn) and Daniel Cosgrove (Campbell). The rockin’ soundtrack is good, featuring acts popular at the turn-of-the-century, like Rob Zombie, Disturbed, Linkin Park, Deftones and so forth. The film runs 1 hour, 36 minutes, and was shot in Vancouver, British Columbia, and Riverview Hospital in nearby Coquitlam. GRADE: B/B-

# Valentine (2001): An Underrated Revenge Slasher That Deserves Far More Respect **Rating: 7.4/10** Directed by Jamie Blanks, *Valentine* (2001) is one of the most underrated entries in the post-*Scream* slasher revival. Released towards the end of that particular horror cycle, the film delivers a straightforward but vicious revenge storyline, an exceptionally memorable masked killer, impressive production values and a superb musical score by Don Davis. While *Valentine* received a largely negative critical reception upon release, I've always considered it a highly entertaining and remarkably polished slasher that deserves considerably more appreciation. What makes the film particularly effective is its willingness to embrace the traditional conventions of the genre without unnecessarily complicating its premise. ## A Simple but Effective Revenge Story The film opens at a school Valentine's Day dance in 1988, where socially awkward Jeremy Melton is humiliated and bullied after attempting to approach several girls. Following a particularly cruel accusation, Jeremy is subjected to further violence and eventually removed from the school. Thirteen years later, the women involved begin receiving threatening Valentine's Day cards, and a masked killer starts murdering them one by one. It's a relatively simple revenge premise, but that's precisely why I think it works. The film establishes a clear motivation for its antagonist and builds its mystery around the consequences of an incident that the characters have largely left in their past. I particularly appreciate how Jeremy's treatment during the opening sequence provides context for the subsequent murders. The film doesn't require an elaborate mythology or complicated series of revelations to justify its central conflict. Instead, it takes a familiar slasher formula and executes it with considerable confidence. The screenplay isn't without its limitations. Some character motivations and relationships could have been explored more thoroughly, and the eventual resolution isn't quite as satisfying as the build-up. Nevertheless, I find the central revenge storyline engaging, coherent and appropriately nasty. ## The Cupid Killer: A Brilliant Slasher Design One of *Valentine*'s greatest achievements is undoubtedly its masked killer. The cherub mask is absolutely fantastic. There's something particularly unsettling about taking an image traditionally associated with innocence, romance and affection and transforming it into the face of a vicious murderer. The exaggerated features and permanently expressionless face create an eerie contrast with the brutality of the attacks. Combined with the killer's dark clothing and knife, the design is both distinctive and immediately recognisable. I genuinely think the Cupid killer deserves a place among the more memorable masked antagonists of the early-2000s slasher era. The murders themselves are another major strength. *Valentine* isn't afraid to be cruel, and several of its killing sequences are particularly vicious. The film makes effective use of suspense before its attacks, while the violence provides the sort of brutality I expect from a satisfying slasher. What I especially enjoy is that the killer feels genuinely malicious. There's a calculated nastiness to the murders that complements the revenge storyline and makes the threat feel more personal. ## Performances and Characters The ensemble cast, including Denise Richards, Marley Shelton, Jessica Capshaw and Jessica Cauffiel, gives the film a recognisable early-2000s identity. The performances are generally convincing, and the actresses work well together, particularly during the film's more suspenseful sequences. However, I don't think character development is necessarily *Valentine*'s strongest quality. Several of the central characters can be rather unlikeable, although I don't consider that an inherent weakness. Given the film's revenge premise and the events established in the opening sequence, their personalities and past behaviour are relevant to the story. In fact, I think the film benefits from not presenting every potential victim as entirely sympathetic. That said, some of the friendships and personal relationships could have been developed further to make the characters more distinctive beyond their involvement in Jeremy's past. The dialogue is generally effective, with occasional humour and the familiar social dynamics associated with slashers of the period, even if it isn't particularly remarkable in its own right. ## Direction, Cinematography and Production Quality From a technical perspective, I think *Valentine* is an exceptionally polished production. The cinematography, lighting, locations and overall visual presentation give the film a glossy, stylish appearance that remains impressive more than two decades later. Jamie Blanks, who previously directed *Urban Legend* (1998), clearly understands the visual language of the slasher genre. The stalking sequences are effectively staged, the murders are presented with confidence, and the film maintains a consistent atmosphere throughout. I particularly appreciate the use of Valentine's Day imagery, which provides an effective visual contrast between romantic symbolism and the increasingly violent events. The pacing is another strength. Although the screenplay occasionally relies on familiar genre conventions, the film moves along comfortably, balancing its character interactions with suspense and violent set pieces. For a slasher released in 2001, I consider the overall production quality outstanding. ## Don Davis's Score Is Exceptional If there's one technical element of *Valentine* that deserves considerably more recognition, it's Don Davis's musical score. For me, the music is absolutely exceptional and one of the film's defining achievements. Davis creates an atmosphere that is simultaneously sinister, dramatic and strangely elegant, perfectly complementing the film's romantic imagery and brutal subject matter. The score adds considerable tension to the stalking sequences and gives the murders a heightened sense of menace. What I particularly appreciate is how effectively the music establishes the film's identity. It isn't simply accompanying the action; it's actively shaping the atmosphere and making individual sequences more memorable. I genuinely consider the score one of the strongest aspects of the entire production. Combined with the polished cinematography and sound design, it gives *Valentine* a level of technical sophistication that I think is frequently overlooked. ## Final Verdict *Valentine* is a thoroughly entertaining and technically accomplished revenge slasher that deserves far more respect than it has traditionally received. Its straightforward storyline is one of its strengths rather than a limitation. The film establishes an effective motive, introduces a genuinely vicious masked killer and delivers a satisfying collection of suspenseful and brutal murders. The Cupid mask is an outstanding piece of horror design, while Don Davis's exceptional score and the film's polished production values elevate it above many of its contemporaries. Although the character development and final resolution could have been stronger, these shortcomings do little to diminish the overall entertainment value. For me, *Valentine* represents exactly what I enjoy about the early-2000s slasher genre: a memorable killer, an engaging revenge premise, stylish filmmaking and enough viciousness to make the horror genuinely satisfying. It's a film I can revisit repeatedly without losing interest, and one I believe deserves to be rediscovered by horror enthusiasts. **Final Rating: 7.4/10** *A stylish, vicious and highly entertaining revenge slasher, elevated by an iconic Cupid mask, outstanding production values and Don Davis's exceptional musical score. One of the most underappreciated slashers of its era.*