Parodying the British public school system, whilst still remaining strongly satirical and appropriately fresh
Strip back the majority of British comedy outlets, whether it be film, television or stand up, and deep set into the make-up and the humour of the piece, will be the self deprecating style that iconises the comedians heralding from the UK. Slaughterhouse Rulez is no different as it shines a light on the public school system, and how the rest of the country views it from the outside.
Don (Finn Cole) is struggling in school, and in a last ditch attempt to save his education his mother chooses to send him to private school. The only position available is at Slaughterhouse, a school known for its tough regime and its strange staff. But when Don gets there, the teachers are stranger than he could ever have imagined, with the school also home to an ancient secret.
Interestingly, Slaughterhouse Rulez isn’t afraid to touch on some of the more important and sensitive topics vibrant in modern film making. Whilst still maintaining a wholly ridiculous feel, these topics aren’t handled with any major form of awareness or care, but they are taken seriously enough amongst the crazy events of the film’s front line plot to add to its all round appeal.
Helped along by an experienced older cast (Pegg, Frost, Sheen etc.), there’s a good bite to the film, even when the younger actors stray slightly from the beaten path. It’s always difficult to get those newer to the feature film circuit embedded in quickly, and by using the much loved Pegg and Frost, Slaughterhouse Rulez gives itself a chance at success with classic comedy themes.
The comedy is particularly self deprecating, almost parodying the British public school system, whilst still remaining strongly satirical and appropriately fresh. It has contemporaries, but Slaughterhouse Rulez brings its serious topics in as a heartfelt backdrop, making it feel that much different from those that have come before. It’s more meaningful than film’s akin to St. Trinians, but still coming through with stronger comedic hits as well.
It’s a forward facing production with humour and punch, without having the mood dragged down by its more tender moments. It’s no impressive feat of work, but it won’t ruffle many feathers either, sitting pretty in the middle, slightly above those landfill teen movies that production companies just so love to give the green light to.
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