The Cresthaven mental asylum in New York is suffering from overcrowding and in an effort to alleviate the burden, five patients are released back into society. Due to a computer glitch, instead of releasing harmless idiot John Howard, the infamous sorority murderer, Howard Johns (Solly Marx), is let loose to pick up where he left off. Yes, the real horrors that concern the filmmakers here are bureaucracy and technology.
Meanwhile Dr. Joan finds herself stonewalled by the local Coors-drinking sheriff, played with customary strangeness by Sydney Lassick, who is the first person I think of when I think “sheriff” and “Coors”. Wacky, neurotic neighbor, yes. Redneck sheriff... not so much. The doc is also talked into pulling a Nancy Drew by the local allegedly-dreamy newspaper editor Mark (David Greenan). Going under-cover as sorority alum from another chapter, Dr. Joan snoops, pries and generally acts about as obvious as freakin’ possible without raising even a flicker of suspicion. No one thinks anything of it, not even the housemother who tells her tale of the fateful day when Johns, then the janitor is sexually teased by the sisters to the point where he decides to uhhhh… “nail” them all… hey, hey! What are you thinking? …With the nailgun that all sorority janitors kept on them in the ‘50s! How do we know it’s the ‘50s? Because it’s in black and white! Duh! It sure as hell ain't because of the period authentic hair.
Since Dr. Joan and her new flame Mark are stirring up too much trouble (by going on candle-lit dinner dates), Dr. Krueger decides to send his sleazy attendants after them and collect Johns in the process. While the attendants fantasize about inserting things in Dr. Joan’s dorsal orifice, the sorority sisters discover all their cars have slashed tires and the phone lines have been cut. This is absolutely no cause for alarm however, as it is no doubt the frat boys playing a prank… not the sorority serial killer who Dr. Joan has been telling everyone is on the loose and who she actually ran into in the house’s basement earlier in the film!
No matter how you slice it, this movie fails on pretty much every level. Unfortunately it doesn’t epic fail. The stable of TV actors are decent enough, the script’s dialogue doesn’t veer into absurdity, the 3D effects are minimal and worst of all, for a sleazy, low-rent slasher film, it just doesn’t deliver the goods that you’d expect. Unless there is some super-obscure uncut version that nobody knows about, it’s easy to see why nobody is petitioning Shout! Factory for a Blu-Ray special edition.