It's difficult to find a good slasher movie these days. The scared teenagers, the oft-masked killer who makes short work of them, leaving only a single heroine to defeat the evil and tell the tale, but, done in a way that is fresh and unique. That, my friends, is a rare commodity. It's with great pleasure, then, that I can tell you to see Behind the Mask: The Rise of Leslie Vernon.

The story, at heart, is familiar. As a boy, Leslie Vernon was abused by his parents, made to toil in fields with little more than a hand scythe. One day, the kid pops his cork and offs both parents, only to be driven over a precipice by horrified townsfolk. Now, he has returned to wreak vengeance on the great-niece of his bastard father. This time, however, Leslie is bringing along a film crew.

Here lies the genuine pleasure of Behind the Mask. Leslie Vernon has invited a group of three filmmakers along to chronicle the intense preparations leading to his special night, the night when he will stake his claim as heir apparent to the serial killer mantle. Led by interviewer Taylor (Angela Goethals), Leslie describes the steps leading up to the night with a precision and glee that make him an instantly-likable character. Even Taylor seems to be caught up in the excitement when Leslie discovers that he has an 'Ahab', a doctor from his past who will stop at nothing to protect the virginal target of Leslie's revenge, Kelly (Kate Lang Johnson). Bragging to friend and mentor, Eugene (Scott Wilson), Leslie's legend seems to be a lock.

When confronted with the reality of his murders, Taylor and her crew find themselves caught between completing their project or ending Leslie's reign of terror. In an interesting, and on-the-whole successful, shift in perspective, the viewer no longer sees the film through the lens of the crew's camera, but adopts the style of a traditional film. If there's a problem with this movie, it's here.

As a satire/homage to slasher films, Behind the Mask, hits on all cylinders, poking fun at the conventions of the slasher film while exploring the method to Leslie's madness. There are laugh-out-loud moments as Leslie describes to Taylor the training and set dressing that must take place to make the night a bloody victory. Unfortunately, when the movie becomes what it has been skewering, it falls into a routine that is very familiar. This wouldn't be so bad if the preceding hour hadn't been so damn good.

The real charm of this film is the dead-on portrayal of Leslie by Nathan Baesel, who has spent most of his career on the small screen and deserves more. He is disarmingly funny, sweet, and frightening, sometimes all in the same scene. His enthusiasm for his character is a joy to watch, as he moves almost gymnastically through some of Behind the Mask. The movie is on his shoulders and he bears the weight with ease.

Despite the routine third act, Behind the Mask is a horror movie for horror fans and non-fans alike. There isn't enough gore in the movie to scare the faint-hearted off, and the wit with which writer/director Scott Glosserman approaches the material is a more-than-welcome shot in the arm for the genre. Stick around for the credits, both for the Talking Heads tune and the inevitable moment all horror fans will recognize. Don't let this one slip below your radar.