A deadly boating accident derails the life of a sensitive youngster, leading to confusion, madness and murder. Years after the incident, Angela (Felissa Rose) is still withdrawn and rarely speaks, living a sheltered life with her aunt and cousin Ricky (Jonathan Tiersten). The two young teens are sent off to Camp Arawak to spend the summer, and though Ricky attends every year and has plenty of friends, Angela is unable to fit in and finds herself the target of cruel taunts from her bunkmates. Her
cousin is always ready to stick up for her, and she begins a timid romance with Ricky's best friend Paul (Christopher Collet), but it isn't enough to stop the abuse from their fellow campers. Soon a series of fatal accidents is plaguing Camp Arawak; a pedophilic cook is scalded alive, a practical joker drowns mysteriously and the boys' restroom becomes the scene of a horrific bee swarm attack. The campers are fleeing in droves, and the few who remain begin suspecting foul play. But who is the killer? The camp's owner (Mike Kellin) believes that the killings are only meant to ruin his business, and he's convinced that the hot-tempered Ricky is to blame. When the evening of the camp social arrives, it proves to be the bloodiest night of all, and a terrible secret is revealed in a bizarre confrontation on the beach. This offbeat slasher mystery (also known as Nightmare Vacation) has earned a sizable cult following for its twisted sensibilities and inspired a pair of direct-to-video sequels. ~ Fred Beldin, Rovi
Capaz de despertar risos graças ao estilo datado (vide figurinos), ao roteiro ridículo e à direção capenga (o acidente que abre a narrativa é genial neste aspecto), merece créditos pelo plano final, que é simultaneamente hilário e perturbador.
My first and hopefully only disappointment of the month, 'Sleepaway Camp' is a tawdry, sleazy slasher film without any distinguishing qualities until a mesmerizing shock-to-the-system ending that redefines everything that came before. The performances are so abysmal and amateurish that, for the majority of the film,
Felissa Rose appears almost comatose and her aunt is so mannered, obnoxiously loud and theatrical that she acts as though she mistook the part for a Stanley Kubrick satire. The slice-and-dice murders are interminable and prosaic set pieces that range from boiling pots of water to shower stabbings (although a curling iron scene is hinted to be a gruesome phallic rape implement). The saving grace of this dross is the unforgettably hair-raising final shot and that feral, animalistic growl from the killer. If nothing else, the agape mouth of the killer will be imprinted in your mind while the rest of this hoary flop will wash away.
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