Category: Cult Films

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With a $1.1 million budget, A Nightmare on Elm Street grossed over $57 million worldwide and earned critical acclaim. Given its success, New Line Cinema immediately wanted a sequel despite Wes Craven declining to return as director. Instead, New Line hired Jack Sholder, who previously helmed 1982’s Alone in the Dark, to direct. Like the first film, the cast comprised relatively unknown actors, including Mark Patton and Lisa Myers. The studio initially had a stuntman play Freddy to save money, but soon realized their mistake and rehired Robert Englund. Filming started in July 1985 around Los Angeles and Pasadena, though Sholder claims he didn’t have time to prepare. Since the original makeup artist, David Miller, was unavailable, a then-unknown Kevin Yahger came aboard to redesign Freddy’s makeup. Only a year after its predecessor, A Nightmare on Elm Street Part 2: Freddy’s Revenge slashed its way to theaters.

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Synopsis

High schooler Jesse Walsh (Mark Patton) has been having horrific nightmares ever since moving to his new house. Struggling with his parents, Ken (Clu Gulager) and Cheryl (Hope Lange), Jesse finds comfort in his friend, Lisa (Kim Myers). Soon, he’s visited in his dreams by Freddy Krueger (Robert Englund), who wants to possess Jesse’s body to kill. Through him, Freddy kills the gym coach, Schneider (Marshall Bell), and Jesse’s friend, Ron Grady (Robert Russler). As the bodies continue piling up, Jesse struggles to maintain a grip on reality as Freddy tries to take over. Lisa tries to help him break Freddy’s control, but Jesse’s fear keeps Freddy bound to him. Soon, Freddy makes his way back to the real world and starts going on a rampage at a pool party. Can Jesse be saved from this overwhelming evil, or will Freddy’s terror continue to reign down on Springwood?

Review

Out of every entry in the series, A Nightmare on Elm Street Part 2: Freddy’s Revenge is the most controversial. While many people praise the film for its daring approach to the formula, others groan at the homoerotic subtext. From Jesse talking about someone being inside him to wandering into a gay leather bar at night, it’s very conspicuous. Personally, I’m not bothered by the homosexual themes explored, especially compared to movies like Top Gun and Rocky III. For me, my biggest issue with the film is that you can tell this was a rushed production. Whereas the original had a clear and defined set of rules, this one throws all of that out the window. Plus, things happen with no rhyme or reason, such as birds bursting into flames or dogs with human-like faces. These feel like ideas that were never fully fleshed out.

On a more positive note, performances across the board are fantastic, especially those of the lead actors. Mark Patton gives Jesse both likable charm and genuine vulnerability, making you root for him. You feel the torment and anguish he’s experiencing as this thing tries to come out to hurt those around him. Kim Myers is also fantastic as Lisa, who shares great chemistry with Patton, even if not romantic. Robert Rusler is also entertaining as Jesse’s arrogant jock friend, and Marshall Bell is memorably detestable as the stern coach. Robert Englund is as menacing here as in the original, even adding some subtle dark humor to his performance. This attitude, combined with Kevin Yagher’s redesign, makes Freddy feel more conniving and sinister. Plus, the late, great Clu Gulager and Hope Lange are memorable as Jesse’s oblivious yet sincere parents trying to help.

Though not as skilled as the late Wes Craven, Jack Sholder still does a good job directing. He manages to make the nightmare sequences as trippy and otherworldly as Craven, though not quite to the same extent. To Sholder’s credit, he had less prep time since New Line wanted to get the sequel out right away. Also, while this film has more kills than the first, only two are memorable: Schneider’s and Grady’s. As much fun as seeing Freddy slicing up teens at a pool party is, it also diminishes his scariness slightly. Plus, even at 87 minutes long, parts of the movie drag on for way longer than they should. Still, despite these flaws, I believe there’s plenty that works, and people should give this film another chance. Overall, A Nightmare on Elm Street Part 2: Freddy’s Revenge is easily the most underrated in the series.

Buy A Nightmare on Elm Street Part 2: Freddy’s Revenge from Amazon: https://amzn.to/4oOmK5e.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)

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In the late 1980s, the Hong Kong government introduced a new ratings system for movies due to public concerns. There were three categories: Category I for all ages, Category II for older audiences, and Category III for 18+. This new system saw dozens of exploitation films coming from Hong Kong, starting with 1988’s Men Behind the Sun. The 90s saw a surge of Category III films hit theaters, with some netting huge box office returns. 1993’s The Untold Story grossed over HK$15 million and won Best Actor at the Hong Kong Film Awards. Following its success, director Herman Yau got an offer from writer/producer Wong Jing to helm another grisly shocker. In 1995, an Ebola outbreak devastated the Democratic Republic of Congo, which Jing thought would make a compelling movie. After some rewrites from Yau, he and star Anthony Wong teamed up for 1996’s Ebola Syndrome.

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Synopsis

When his boss catches him with his wife, Kai San (Anthony Wong) kills his boss, his henchmen, and his wife. He flees Hong Kong and takes up residence in South Africa, where he lives for a decade. Kai now works at a Chinese restaurant where the owner and his wife constantly hassle him. The boss takes Kai to a Zulu tribe to buy some cheap meat, which is dealing with an Ebola outbreak. While out, Kai rapes a dying tribeswoman and ends up contracting Ebola, but he has a rare immunity. The owner’s wife contemplates killing Kai, which leads to Kai raping her and killing the owner, her, and her cousin. In addition, he chops up their bodies, makes them into burgers, and serves them to customers, inadvertently spreading the virus. As the police scramble to figure out what’s happening, Kai travels back to Hong Kong, unknowingly spreading Ebola.

Review

Ebola Syndrome is a wild ride of depravity and disgust, not suitable for the faint of heart. This movie is a nasty little affair that pushes the boundaries of good taste to an outrageous degree. When you think the filmmakers wouldn’t go there, not only do they go there, but they practically jump over it. The opening scene alone has our protagonist getting urinated on by the woman he was having an affair with. Director Herman Yau almost delights in how far he can go to challenge the audience’s sensibilities, which is admirable. What’s more shocking is the dark humor sprinkled in, like how Kai constantly accuses people of “busting his balls.” Admittedly, there are moments of real animal deaths that are inexcusable, even if it’s meant to be shocking. You could argue that these scenes add a sense of realism, but this is a movie, not real life.

On a more positive note, what makes this movie work so well is Anthony Wong’s performance as the sadistic Kai. While most everyone is a scumbag, he’s the biggest scumbag of them all, raping and killing without a second thought. Much like Christian Bale’s performance in American Psycho, Wong brings a certain charisma that makes him fun to watch. Sure, the movie doesn’t present anything he does positively, but there’s a reckless abandon that makes him fascinating. In a way, his performance overshadows everyone else, not because the rest are bad, but because he’s so good. That said, the other actors do a fine job, the highlight being Tsui-Ling Wong as Lily, one of Kai’s victims. She’s one of the few good characters in the movie, and you want to see her survive. Unfortunately, given the nature of this film, we know she’s not going to have a happy ending.

Given his experience as a cinematographer, it makes sense that Herman Yau’s direction is so fluid and stylish. As ugly as the story is, the film has a striking beauty that separates it from other splatter fare. Yau takes full advantage of his locations, from the African outback to the Hong Kong city streets. Granted, the film suffers from some pacing issues, especially towards the middle, during the police investigation. Even Kai’s repugnant behavior feels tiresome after a while, but that could be Yau trying to desensitize the audience. Still, for a roughly 90-minute movie, it’s a wild ride that throws out imagery you won’t soon forget. Obviously, a film like this won’t appeal to the average moviegoer, so I only recommend this for the strong-willed. Overall, Ebola Syndrome is a sick, twisted tale with an excellent lead performance, solid direction, and unforgettably gross moments.

Buy Ebola Syndrome from Amazon: https://amzn.to/4n2oXJf.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch Ebola Syndrome

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Following 1968’s Night of the Living Dead, writer/director George A. Romero and co-writer John A. Russo parted ways. While Romero made his sequel, 1978’s Dawn of the Dead, Russo still had rights to the Living Dead title. Russo adapted his ideas into a novel, which aspiring producer Tom Fox purchased the rights to adapt to film. Initially, Tobe Hooper came on board to direct, but due to financial struggles, he left to work on Lifeforce. In his place was co-writer Dan O’Bannon of Alien fame, who agreed to direct if he could rewrite the script. O’Bannon significantly altered the screenplay to avoid comparisons with Romero’s work, incorporating more humor, punk aesthetics, and intelligent zombies. With a $3-4 million budget, filming faced challenges, including the firing of effects artist William Munns and arguments with actors. Despite these issues, The Return of the Living Dead landed in theaters in August 1985.

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Synopsis

Freddy (Thom Mathews) recently got a new job at the Uneeda Medical Supply Warehouse working with Frank (James Karen). Wanting to impress him, Frank shows Freddy military drums with corpses infected by toxic gas stored in the basement. Unfortunately, Frank accidentally cracks the tank, releasing the gas into the warehouse, which resurrects everything inside, including a cadaver. Frank calls their boss, Burt (Clu Gulager), for help, but they discover that destroying the brain won’t kill the undead. Burt decides to dismember the cadaver and have his friend, Ernie (Don Calfa), cremate the remains, inadvertently releasing the gas. Meanwhile, Freddy’s girlfriend, Tina (Beverly Randolph), and his friends party at the local cemetery when all hell breaks loose. To make matters worse, Frank and Freddy are slowly dying due to being infected by the gas. Will our heroes survive against the undead, or will things continue to worsen?

Review

The Return of the Living Dead stands as one of the best zombie movies of the 80s and all time. Sure, Romero’s Night of the Living Dead is the gold standard, but Return is on the same level. What helps this movie stand out is the addition of dark comedy and punk aesthetics mixed with the horror. Return is one of those rare horror comedies that strikes a balance of humor and horror without compromising the tone. Everyone in the cast plays the material straight, which makes the absurdity even funnier as things continue to worsen. The movie features political satire, as the canisters’ arrival results from a military mistake they tried to hide. This sentiment echoes elements from O’Bannon’s work on Alien, whose faceless corporation prioritized retrieving the Xenomorph over the crew. Thankfully, the message is woven into the story rather than taking center stage over it.

Thom Mathews and James Karen are fantastic as Freddy and Frank, respectively, our hapless heroes doomed from the start. They do a great job showing how they’re slowly dying as the toxic gas takes over without going overboard. Clu Gulager is wonderfully dry as Bert, the no-nonsense boss who’s trying to make sense of the ever-worsening situation. Don Calfa is also memorable as the off-kilter mortician, Ernie, whose sense of reality continually slips as the film progresses. The punk cast, which includes Linnea Quigley, Mark Venturini, Miguel A. Núñez Jr., Jewel Shepard, and John Philbin, is fun. Each stands out in their unique way, whether it’s Venturini’s overly aggressive attitude, Quigley’s death fetishization, or Núñez’s emotional outbursts. Beverly Randolph is both adorable and hilariously out of place as the straightlaced Tina, and she gives it her all. In general, the actors are fantastic at taking this otherwise silly movie seriously.

Like many great 80s horror films, the practical effects are a scene-stealer, showcasing why they will always be superior. The highlight is the iconic Tarman, played by Allan Trautman, whose gangly proportions and eerie movements make him instantly memorable. Another standout is the half-corpse created by Tony Gardner, who later worked on Army of Darkness, Freaked, and Hocus Pocus. For such a simple puppet, Gardner manages to bring it to life in a way that CGI cannot replicate. Also worth noting is William Stout’s excellent production design, from the cold industrial warehouse to the gothic cemetery scenery. The story’s bleak nature might deter some audiences, but that adds to the dark comedy. At roughly 90 minutes, the film maintains a brisk pace, never letting up, and remains enjoyable from start to finish. Overall, The Return of the Living Dead remains a hallmark of the zombie genre, even 40 years later.

Buy The Return of the Living Dead from Amazon: https://amzn.to/44rJJvq.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Despite primarily negative reviews, 1993’s Leprechaun was a surprise hit, grossing $8.5 million on a $900,000 budget. Trimark Pictures wanted a sequel right away, but the original’s writer/director, Mark Jones, went off to make Rumplestilskin. For the sequel, Trimark hired relative newcomer Rodman Flender, who made his debut directing The Unborn for Roger Corman. Aside from Warwick Davis, none of the original cast returned, so this sequel became more of a reboot. With a slightly higher budget of $1.5 million, filming lasted 18-21 days in and around Los Angeles. Despite going overschedule and shooting late into the night, production went off relatively well, and everyone got along. After the original’s success, the studio hoped that they’d be able to strike gold again with a theatrical sequel. Roughly a year after the first one, Leprechaun 2 made its way onto screens in April 1994.

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Synopsis

In ancient Ireland, Lubdan the Leprechaun (Warwick Davis) seeks a bride to celebrate his 1,000th birthday. He promises to free his servant, William O’Day (James Lancaster), once married, except Lubdan’s intended bride is O’Day’s daughter. While O’Day manages to stop him, Lubdan vows to marry one of O’Day’s descendants on his 2,000th birthday. Cut to 1990s Los Angeles, where Lubdan sets his sights on O’Day’s descendant, Bridget Callum (Shevonne Durkin). She’s unhappy because her boyfriend, Cody Ingalls (Charlie Heath), is focused more on his work than her. Cody and his drunken boss Morty (Sandy Baron) run a haunted tour that’s scamming people hoping to see celebrity gravesites. Soon, Lubdan goes on a killing spree as he tries to abduct Bridget and make him his bride. Will Cody step up and save his girlfriend, or will Lubdan finally get his bride?

Review

Say what you will about the first Leprechaun, but at least it had an undeniable charm. The filmmakers put in more effort than you’d expect for a low-budget horror-comedy about a killer leprechaun. Sadly, Leprechaun 2 lacks the energy and fun that the original had, though it isn’t entirely awful. As with the first film, Warwick Davis is the highlight of the movie and the main reason to watch. You can tell he’s having a blast playing this character, and Gabe Bartalos’ makeup effects are still top-notch. There are also some fun gags here, including a guy hallucinating that a twin-bladed lawnmower is the lead actress’s breasts. Plus, seeing character actors like Clint Howard, Kimmy Robertson, Tony Cox, Billy Beck, and Michael McDonald is a treat. Also, The Leprechaun’s layer is a nifty bit of production design, even if there are some prominent styrofoam rocks.

Sadly, the rest of the movie is dull and uninteresting, not helped by the lackluster leads. Shevonne Durkin, who coincidentally appeared in Tammy and the T-Rex that same year, can’t act to save her life. She might be pretty, but her delivery is so flat that it makes you appreciate Jennifer Aniston in the original. It doesn’t help that Charlie Heath is a wet blanket as her boyfriend, Cody, who’s uninteresting and bland. It’s the typical “guy who’s too focused on work neglects his love interest” storyline we’ve seen hundreds of times. Sandy Baron has funny moments as Cody’s drunken boss, Morty, like him exploiting the “30 minutes or free” pizza rule. There’s also a cool effect where he wishes for The Leprechaun’s gold, and the pot grows in his stomach. Unfortunately, little moments like that can’t save an otherwise dull movie.

I know it seems like I’m expecting too much from a movie called Leprechaun 2, but I’m not. I only want a goofy, occasionally creepy, killer leprechaun movie, and I barely got that watching this. To the film’s credit, Rodman Flender’s direction isn’t too bad, and he does throw in some creative touches. There’s some foggy scenery, the aforementioned underground layer, and some colored lighting added to create an eerie mood. Plus, having The Leprechaun’s layer in Harry Houdini’s old house has tons of potential that sadly gets wasted. For as much fun as the cast and crew had, it’s a shame the audience won’t experience that same feeling. Even at slightly under 90 minutes, the pacing drags, and the movie feels longer than it is. Overall, Leprechaun 2 isn’t the worst sequel, but it’s a step down from the original, which wasn’t that good either.

Buy Leprechaun 2 from Amazon: https://amzn.to/4bMWjaE.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After working on the American release of 1970’s Mark of the Devil, producer Stephen Minasian focused on horror. He helped Sean Cunningham and Wes Craven with The Last House on the Left and funded Friday the 13th. Minasian met producer Dick Randall soon after and co-produced 1982’s Pieces, which began an eventual partnership. Seeing how popular slashers were, Minasian wanted to make two based on holidays: April Fool’s Day and Christmas. Randall offered Edmund Purdom the lead in the Christmas slasher, which he accepted if he got to direct. Filming started in December 1982, but issues quickly arose due to disagreements between Purdom and Randall. Purdom quit the production, so writer Derek Ford took over, only to be replaced by editor Ray Selfie. After two years of reshoots, recastings, and re-editing, Don’t Open Till Christmas finally hit theaters in December 1984.

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Synopsis

On the dreary streets of London, someone in a green jacket and creepy mask is killing people dressed as Santa. Chief Inspector Ian Harris (Edmund Purdom) and Detective Sergeant Powell (Mark Jones) are hot on the case. They interview Kate Briosky (Belinda Mayne) and her boyfriend, Cliff Boyd (Gerry Sundquist), after witnessing her father’s murder days earlier. During all this, a stranger named Giles (Alan Wake), who claims to be a reporter, asks about the murders. Soon, a stripper named Sherry Graham (Kelly Baker) gets kidnapped by the killer after witnessing him murder another Santa. To make matters worse, Kate learns that Harris is no longer on the case, so she does some investigating. After checking a mental hospital that Harris visited, she discovers that the killer had been committed and is Harris’ brother. But who is the Santa slasher, and will his rampage be stopped?

Review

Due to numerous production problems, Don’t Open Till Christmas is a mess but enjoyable nonetheless. Interestingly, this film came out around the same time as Silent Night, Deadly Night but wasn’t nearly as controversial. If anything, it’s much more graphic and sleazy than Charles Sellier, Jr.’s slasher, with almost the opposite plot. For one, nearly every Santa shown is drunk or perverted, either peeping through windows or going to a peep show. Plus, most violent sequences occur in back alleys, public restrooms, or the London Dungeon, adding a layer of grime. A prime example is when Pat Astley wears a Santa coat and a thong while chased by the killer. Also, the kills are much more mean-spirited here, with Santas set ablaze, stabbed repeatedly, shot point blank, and even castrated. If parents complained about Billy impaling a woman on deer antlers, they’d have a field day with this.

While the performances are decent overall, they’re nothing special besides a few standouts, namely Purdom and Lake. Though he disappears during the middle, Edmund Purdom brings a level of class to the film. Alan Lake also does a great job playing a menacing creep who perfectly plays his insanity in an understated way. He doesn’t constantly mug for the camera or go too over the top but instead plays it quietly and subdued. Belinda Mayne makes for a decent heroine, even if there isn’t much to her character. What’s strange is that you’d think she’d be the final girl, but it ends up being Kelly Baker’s experience girl. As for the rest of the cast, they do their jobs fine enough but don’t expect any Oscar-worthy performances. However, scream queen Caroline Munro does have a cameo as herself, which is always appreciated.

Even without knowing the production history, you can tell that something went wrong with the movie’s structure. Characters are introduced as if they will play a significant role, only to vanish with a one-line explanation. Plus, given Purdom left the production, the other characters have to explain what the lead is doing off-screen. Between the scenes of Santa’s being murdered, most of the runtime consists of dialogue that goes on for too long. Even at 86 minutes, the movie feels padded with filler scenes that could’ve easily been excised. Despite how much of a mess this film is, it’s still enjoyable, mainly for the kills and the sleaze. Also, this movie has such an out-of-nowhere ending that you’ll never see coming, which makes it worth watching. Overall, Don’t Open Till Christmas is less of a long-lost classic and more of an interesting curiosity.

Buy Don’t Open Till Christmas from Amazon: https://amzn.to/49PzhyR.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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Where to watch Don’t Open Till Christmas (1984)

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]In the early 1980s, producer Scott Schneid received a screenplay by Harvard graduate Paul Caimi about a killer Santa. While he disliked the script, Schneid found the concept intriguing, so he hired Michael Hickey to write a new treatment. Schneid and fellow producer Dennis Whitehead sold the screenplay to Tri-Star Pictures, which recruited Ira Barmak as executive producer. The studio hired Charles E. Sellier Jr. to direct, although Schneid and Whitehead wanted someone fresh and new. With a $750,000 budget, filming lasted from March to April 1983 in Heber City and Midway, Utah. Initially titled Slayride, Tri-Star gave the film a limited release with the plan to go nationwide if it was successful. The producers didn’t expect any controversy since killer Santas had appeared in 1972’s Tales from the Crypt and 1980’s Christmas Evil. Before its release in November 1984, Tri-Star retitled the film Silent Night, Deadly Night.

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Synopsis

When he was only 5, Billy Chapman (Jonathan Best) witnessed a crazed maniac dressed like Santa kill his parents. Three years later, Billy (Danny Wagner) and his younger brother Ricky (Max Broadhead) now live in an orphanage. Despite the pleas of Sister Margaret (Gilmer McCormick), Mother Superior (Lilyan Chauvin) beats Billy into believing that punishment is good. Ten years later, Billy (Robert Brian Wilson) gets a job as a stock boy in a local toy store. Things go smoothly until Christmas when memories of his parent’s murder and the Mother Superior’s abuse still haunt him. To make matters worse, the store owner, Mr. Sims (Britt Leach), has Billy fill in as the store Santa. This act leads to him finally snapping and going on a rampage, killing anyone he deems naughty. Will Sister Margaret be able to stop Billy, or will it be too late to stop his murderous wrath?

Review

It would be a vast understatement to say that Silent Night, Deadly Night upset some people upon its 1984 release. Groups protested in front of the theaters, and child advocacy groups worked to get the film pulled after two weeks. To top it off, critics Gene Siskel and Roger Ebert denounced the movie and tried shaming the filmmakers involved. It’s hard to say if a film like this would generate the same controversy 40 years later, but who knows? Regardless, TriStar is at fault for creating such a sensationalist marketing campaign that, while effective, ultimately was their undoing. I agree with Lilyan Chauvin, who said in a documentary that the distributor should’ve focused on the psychological aspects. Much like Happy Birthday to Me, while the ad campaign has become iconic, it doesn’t represent the film truthfully. Otherwise, parents should have talked with their kids instead of demanding the film’s expulsion.

Controversy aside, this is one of the better slashers to come out of the slasher boom of the early 1980s. There’s much more depth and layers for a movie about a guy dressed as Santa killing people than expected. Like Christmas Evil, this works as a slasher and a character study of an otherwise typical person’s descent into madness. While most slashers briefly explain the killer’s motive, this one spends the first half developing the killer. While you disagree with him killing people, you understand why Billy does what he does and feel sorry for him. Adding to this is Robert Brian Wilson’s performance, where he perfectly goes from friendly and charming to sinister and chilling. Every performance is strong, particularly Lilyan Chauvin as the ruthless Mother Superior and Gilmer McCormick as the sympathetic Sister Margaret. Another highlight is Will Hare, who spectacularly milks his one scene.

Like any good slasher, the kills are well done and brutal, utilizing Christmas iconography in twisted ways. Whether it’s hanging someone with Christmas lights or impaling a girl on deer antlers, the kill scenes are memorable. But for all that works, the film has its share of flaws, namely some flat direction and slow pacing. Several scenes involving people either driving, walking around, or staring go on way longer than needed. One particular scene involving a cop exploring an underground boiler room goes on for way too long. Also, you can tell that Sellier didn’t think too highly of the film since the direction is mostly flat. Even so, taking the controversy out of it, this is one of the best slasher films the ’80s offers. Overall, Silent Night, Deadly Night is a smartly written, well-acted horror film that deserves more credit than it gets.

Buy Silent Night, Deadly Night from Amazon: https://amzn.to/4frkbki.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]In the 1970s, a popular urban legend called “The Babysitter and the Man Upstairs” gained widespread attention. Inspired by this and a series of murders in Montreal in 1943, Roy Moore penned a screenplay called Stop Me. The script caught the attention of Vision IV, who attached director Bob Clark to helm the project. While Clark liked the script, he wanted to make some alterations, namely toning down the violence and adding humor. They cast Olivia Hussey from Romeo and Juliet, Keir Dullea from 2001: A Space Odyssey, and Margot Kidder from Sisters. Aside from John Saxon, the other actors were relatively unknown Canadian actors who only had a few small parts. Filming ran from March to May 1974 in Toronto and Ontario with a budget of $686,000. While released stateside as Silent Night, Evil Night in 1975, the film hit Canadian screens in 1974 as Black Christmas.

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Synopsis

During a Christmas party at the Pi Kappa Sigma sorority house, a stranger sneaks in and hides in the attic. At the party, the girls get an obscene phone call from someone they call “The Moaner.” Upset by the call, Clare (Lynn Griffin) goes upstairs to pack, only to fall victim to the stranger. Clare’s father (James Edmond) asks the sorority sisters for help when she fails to meet him the next day. Jess (Olivia Hussey), Barb (Margot Kidder), and Phyl (Andrea Martin) try filing a police report but aren’t taken seriously. After some convincing, Lieutenant Fuller (John Saxon) starts investigating her disappearance, unaware that her body is in the attic. Fuller decides to tap the phone so he can find the source of the obscene calls and, potentially, the killer. As the body count rises, Jess discovers something horrific: the calls are coming from inside the house!

Review

While Halloween may have popularized the slasher film, Black Christmas arguably laid the groundwork that future slashers followed. There’s the isolated yet relatable location, the shots from the killer’s perspective, and the mysterious phone calls. Though the film might seem cliche to modern audiences, it’s important to remember this movie established the cliches. While later slashers prioritized high body counts and overly gory deaths, this one aimed for psychological scares and foreboding dread. The film also benefits from humorous moments that add levity without destroying the overall tone. From a foul-mouthed Santa to the housemother finding her hidden booze, these scenes help balance the scares. The film is also progressive in portraying college students as real young people instead of an adult’s idea of them. Instead of stereotypically bubbly bimbos, the sorority sisters feel like real people with real issues that audiences can relate to.

Olivia Hussey does an excellent job as Jess Bradford, playing her as the voice of reason while also showing vulnerability. Margot Kidder steals the show as the alcoholic floozy Barbara, whose drunken antics and vulgar tone make her endearing. Though mainly known for comedy, Andrea Martin shows she can deliver a tremendous dramatic performance as Phyllis. As always, John Saxon is excellent as the police lieutenant, while Douglas McGrath is fun as the gullible Sergeant Nash. Despite being an obvious red herring, Keir Dullea is also quite good as Jess’ emotionally unstable boyfriend, Peter. Though unintentional, the film is weirdly progressive in its portrayal of women having agency and casual misogyny. For instance, there’s a subplot about Jess wanting an abortion despite Peter having reservations and suggesting they get married. Even by today’s standards, how the film tackles these issues is nothing short of groundbreaking.

While many elements were repeated in future slashers, a unique component—the killer’s being a mystery — hasn’t been replicated. Slashers like Halloween, Friday the 13th, and A Nightmare on Elm Street made icons of their killers with detailed backstories. Aside from some vague clues, we never conclusively learn who the killer is or their motivation. Some may complain about the lack of closure, but this element of mystery makes the film much more terrifying. Adding to this feeling of terror is the cinematography by Reginald Morris and the haunting score by Carl Zittrer. The movie is a slow burn, but at slightly over 90 minutes, it doesn’t overstay its welcome. Even 50 years after its release, this film has an eerie presence that permeates throughout and leaves you feeling unnerved. Overall, Black Christmas is a true horror cult classic that holds up decades later.

Buy Black Christmas from Amazon: https://amzn.to/3OUddcJ.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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