Category: Horror

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Though he initially wanted to be a musician, Jack Sholder decided to switch career paths and become a writer. While attending the University of Edinburgh, Sholder took an interest in film and chose to pursue that further. Unfortunately, his college didn’t have a film department, so he had to train himself to operate various filmmaking equipment. Through some connections, Sholder got a job as an editor for New Line Cinema, a film distributor at the time. He became friends with founder Bob Shaye, who was impressed with how successful Friday the 13th was. After editing The Burning, Sholder came to Shaye with an idea for a slasher about escaped mental patients run amok. New Line Cinema wanted to start producing films rather than distributing them, so this would be their first. Despite some troubles during production, Sholder’s Alone in the Dark hit theaters in November 1982.

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Synopsis

Dr. Daniel Potter (Dwight Schultz) has accepted a job at an experimental psychiatric hospital under Dr. Leo Bain (Donald Pleasence). While most patients are free to wander the facility, the third-floor patients are contained behind an electric security door. One of these patients, war veteran Frank Hawkes (Jack Palance), believes that Potter killed the doctor before him. He recruits fellow patients Byron “Preacher” Sutcliff (Martin Landau) and Ronald “Fatty” Elster (Erland Van Lidth) to kill Potter. A freak power outage shuts off the hospital’s security system, allowing Hawkes, Preacher, and Fatty to escape into the night. They find their way to Potter’s house and stalk his wife Nell (Deborah Hedwall) and daughter Lyla (Elizabeth Ward). Soon enough, the patients start attacking, forcing the family to barricade themselves as they try to survive the night. They’ll quickly learn what happens when you’re alone in the dark.

Review

While it may not be as well-known as Halloween or Friday the 13th, Alone in the Dark is a gem. Jack Sholder shows a lot of promise for a first-time director, and it’s no surprise he had a successful career. He manages to create a real sense of dread and tension through the use of darkness and shadows. What helps to sell the fear is the cast, which includes some of the greatest character actors ever to live. Jack Palance dominates every scene he’s in as a hardened war veteran who will get his hands dirty if necessary. Martin Landau gives a wonderfully manic performance as a deranged former preacher who believes he’s doing God’s work. While he doesn’t say much, Erland Van Lidth also stands out as a lumbering creeper who seems to play dumb. These three make for some very effective slasher villains, especially Palance.

As always, Donald Pleasance delivers an excellent performance as a psychologist with some odd treatment methods for mental illness. Dwight Schultz makes for a likable lead as he tries to use rationality and logic to stop the psychopaths. Like any good slasher, there’s some gore and nudity, but not as much as your typical slasher film. The minimal gore usage makes the more gruesome scenes even more shocking, and nudity doesn’t equal a good slasher film. The movie also has some dark comedy, including a scene where the psychopaths kill a guy just for his hat. Without giving too much away, the ending is a brilliant twist that goes in a direction you’d never expect. Sure, the concept of escaped mental patients killing people was cliche by then, but Sholder manages to make something unique. Overall, Alone in the Dark may not be a classic, but it’s worth a watch.

Buy Alone in the Dark from Amazon: https://amzn.to/3QSUayG.

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 Alone in the Dark (1982)

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After graduating from Richmond College, Gary Sales and Joe Giannone entered the film business in the late 1970s. With the rise in low-budget horror films like Halloween and Friday the 13th, Sales and Giannone decided to pursue that. While developing the screenplay with Giannone, Sales recalled hearing the legend of Cropsey and chose that as their basis. However, they learned of a similar movie in production around the same time with a similar story, The Burning. Sales decided to rewrite the script to avoid similarities and create a new slasher villain with a unique backstory. Principal photography began in November 1980 on a budget of $350,000 at Fish Cove Inn in Southhampton, Long Island. While most of the cast were unknown, Gaylen Ross from Dawn of the Dead played the lead as “Alexis Dubin.” Despite premiering in October 1981, Madman didn’t get a wide release until early 1982.

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Synopsis

At a summer camp for gifted children, head counselor Max (Carl Fredericks) tells an urban legend by a campfire. He tells the kids and other counselors about Madman Marz (Paul Ehlers), a crazed farmer who killed his family. Marz was hanged for his crime but escaped from the noose and now stalks the nearby woods looking for victims. One of the counselors, Richie (Jimmy Steele), doesn’t believe Max and jokingly calls out for Marz, unknowingly getting his attention. While the rest of the counselors and campers leave for the night, Richie wanders off and finds Marz’s farmhouse. After Max leaves, the other counselors in charge, T.P. (Tony Fish) and Dave (Seth Jones), search for Richie. Unfortunately, neither of them returns, so the other counselors search for them, leaving Betsy (Gaylen Ross) to watch the kids. Who will survive, and who will fall victim to Madman Marz?

Review

Madman is pretty standard compared to many slashers released around this time, though it has some stand-out qualities. For one, the late Joe Giannone manages to capture the look and feel of an old campfire tale. With all the fog, shadows, and minimal lighting, the movie has a very eerie atmosphere that adds to the tension. Even though the film is supposed to take place during the summer, it has an autumn vibe. This vibe adds to the campfire tale feeling of being alone in the woods with a crisp, cool breeze. Admittedly, there are a few out-of-focus shots, but considering the low-budget nature and short schedule, it adds to the charm. Story-wise, there isn’t much more than just a series of kill scenes loosely strung together. Granted, a movie like this doesn’t necessarily need a complex story with many subplots to excel.

Casting-wise, everyone does a decent job, but many of the lesser-known actors don’t stand out in a particular way. Gaylen Ross, arguably the biggest name in the cast, is probably the biggest stand-out, though she doesn’t do much. Conversely, Paul Ehlers makes for a good slasher villain with his imposing figure, massive size, and menacing walk. On top of that, he’s even got a catchy theme song that adds to his mystique as an urban legend. While the kills aren’t as memorable as those made by Tom Savini or his contemporaries, there is some gruesome slashing. Probably the most creative death is when a character gets decapitated with a car hood, which is undoubtedly unique. At slightly under 90 minutes, this film flies by pretty quickly and provides enough scares to keep you invested. Overall, Madman has its issues, but it’s an underrated gem among a sea of slasher imitators.

Buy Madman from Amazon: https://amzn.to/3AyV4KW.

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″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]Italian filmmaker Lucio Fulci started his career in the 1950s, mostly directing comedies, musicals, and Spaghetti Westerns. However, in 1969, he switched to horror, beginning with the Giallo film One on Top of the Other. In 1979, Fulci directed Zombi 2, aka Zombie, which forever cemented him as a name in the horror genre. He later made his “Gates of Hell” trilogy: City of the Living Dead, The Beyond, and House by the Cemetery. Around this time, writers Gianfranco Clerici and Vincenzo Mannino wrote a script about a killer with Progeria. While initially written for Ruggero Deodato to direct, Lucio Fulci took over and rewrote the script with Dardano Sacchetti. Though many of Fulci’s previous works were controversial, this one would become the most controversial even to this day. In March 1982, The New York Ripper premiered in Italy before getting a limited US release in 1984.
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Synopsis

After a severed hand is found by a local, NYC Lieutenant Fred Williams (Jack Hedley) starts investigating the murder. He interviews the victim’s landlady, Mrs. Weissburger (Babette New), who regularly spies on her tenants, including the victim. According to Mrs. Weissburger, the victim got a call from a mysterious stranger who talked with a Donald Duck voice. Soon enough, more women, including a young cyclist and a sex show performer, wind up dead. As the murders continue, Williams keeps getting phone calls from the duck-voiced killer, taunting him about the deaths. One would-be victim, Fay (Almanta Suska), tells Williams that the killer was a scruffy-looking man with two missing fingers. This information pins the murder on Mickey Scellenda (Howard Ross), a Greek immigrant with a history of sexual assault. However, Williams gets another call from the ripper, letting him know the killings will continue until they stop him.

Review

Lucio Fulci is known for his excessive use of blood and gore, and The New York Ripper is no exception. The kills are even more brutal because of their sexual nature, including stabbing a broken bottle into a woman’s crotch. According to co-writer Dardano Sacchetti, much of the sexual content was added in by Fulci. Also, Sacchetti claimed that Fulci “nurtures a profound sadism towards women,” which has led to much of the film’s controversy. Many critics have labeled this film as being misogynist and shameful due to how the primary victims are women. On the one hand, I can see where they’re coming from, especially with some of the dialogue sprinkled in. On the other hand, the killer isn’t meant to be sympathetic, nor is the audience supposed to root for him. Considering past serial killers have primarily targeted women, it’s more a reflection of real-world events.

This movie is a prime example of what I call the “New York sleaze era” between the 70s and 80s. This was a period filled with low-budget exploitation films that showed off the sleaze of 42nd Street before its gentrification. It’s a sort of dirty, gritty, and raw feeling that we don’t see anymore with today’s sanitized, safe movies. Francesco De Masi’s score adds to the sleazy feeling with its upbeat tones and fast tempo. As with many Giallos, all the main characters have significant flaws, such as the lieutenant hooking up with prostitutes. Admittedly, the final reveal is pretty apparent, and the explanation they give is thrown haphazardly at the end. This movie isn’t for everyone, but if you enjoy your horror films with some sleaze, this is for you. Overall, The New York Ripper is a viciously sleazy Giallo that succeeds at what it sets out to do.

Buy The New York Ripper from Amazon: https://amzn.to/3JLh9sD.

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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With the rise in popularity of slasher films, feminist writer Rita Mae Brown wrote a screenplay called Sleepless Nights. Brown originally wrote the script as a parody of slashers, but New World Pictures chose to make it serious. Around this time, Amy Holden Jones worked as an editor for Roger Corman on movies like Hollywood Boulevard. While she found success as an editor and even got a job editing E.T., she wanted to go into directing. Jones turned to Roger Corman for a chance to be a director, who gave her a copy of Brown’s script. Under the title Don’t Open the Door, Jones rewrote the script and and shot the first eight pages. Corman was so impressed that he gave Jones a $200,000 budget to film the entire screenplay, which took 38 days. Now titled The Slumber Party Massacre, the movie premiered in Los Angeles in September 1982.

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Synopsis

When her parents leave for a trip, high school senior Trish Deveraux (Michelle Michaels) decides to throw a slumber party. She invites her friends Kim Clarke (Debra Deliso), Jackie Cassidy (Andree Honore), and Diane (Gina Mari) to the party. Little do they know that mental patient Russ Thorn (Michael Villella) has escaped and is going on a killing spree. Armed with a portable power drill, he kills a telephone worker and a high school student named Linda (Brinke Stevens). That night, the girls go to Trish’s house for the party while new girl Valerie (Robin Stille) babysits her sister. Unfortunately, the party goes wrong when the pizza delivery guy arrives with his eyes drilled out by Russ. The girls arm themselves while local guys Jeff (David Millbern) and Neil (Joseph Alan Johnson) go for help. Unfortunately, they die by Russ’ drill, so it’s up to the girls to stop him.

Review

Admittedly, The Slumber Party Massacre is a reasonably standard slasher film on the surface, but there’s more to it. While the producers stripped away much of the satire, there are still remnants left that are effective. There are some clever sight gags and moments where the filmmakers reverse the typical roles in slasher films. It shows that women can direct an effective slasher like their male counterparts, such as John Carpenter and Sean Cunningham. Sure, there’s plenty of nudity and blood for the typical audience, but it shows women can make this movie, too. Director Amy Holden Jones creates compelling suspense and tension with subtle camera moments, harsh shadows, and blurry perspectives. Michelle Michaels makes for a likable final girl, though the late Robin Stille stands out as the timid new girl. Her scenes with Jennifer Meyers as her younger sister are highlights of the film.

While much of the film is comedic, Michael Villella plays the part of the killer with the utmost seriousness. He’s a man of few words, primarily relying on facial expressions and body movements to make himself compelling. When he does talk in the third act, he delivers his line with such intensity and mad glee. Even though there’s not much to his backstory, Thorn is an effective slasher with his signature power drill. Speaking of the power drill, it works as the film’s central symbolism, that of the fear of sex. Given the shots of Thorn with the power drill between his legs, the symbolism is pretty on the nose. At 76 minutes in length, the movie is tightly paced and gets in and out without much padding. Overall, The Slumber Party Massacre is entertaining as a straight slasher and a satire of the subgenre.

Buy The Slumber Party Massacre from Amazon: https://amzn.to/3aZ8JAI.

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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In the annals of Italian horror cinema, Dario Argento is one of the most celebrated filmmakers in the genre. In the early 1970s, Argento made a name for himself directing “giallos,” which were Italian murder mysteries with excessive gore. Some of his works included The Bird with the Crystal Plumage, The Cat o’ Nine Tails, and Deep Red. In 1977, he directed what’s considered his most famous film, the supernatural horror film Suspiria, which was remade in 2019. Argento followed this up with the 1980 supernatural horror film Inferno, which wasn’t as successful as its predecessor. Due to the film underperforming, Argento decided to return to his roots with a new Giallo. He based the film on real-life experiences, namely being harassed by a stalker and seeing the violence in the news. After a ten-week shoot in Rome, Dario Argento’s Tenebre hit theaters worldwide amidst a slew of controversies.

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Synopsis

American horror writer Peter Neal (Anthony Franciosa) is touring Italy to promote his latest book, Tenebre. His agent Bullmer (John Saxon) and his assistant Anne (Daria Nicolodi) are accompanying him, but his trip hits a snag. After a local girl dies, the killer sends Peter a letter saying his books inspired the killing. Detective Giermani (Giuliano Gemma) and his partner Altieri (Carola Stagnaro) are on the case and watching Peter. Meanwhile, the murders continue, including a lesbian journalist named Tilde (Mirella D’Angelo) and her lover Marion (Mirella Banti). Peter suspects TV interviewer Christiano Berti (John Steiner) of the murders, but he gets killed with an ax. As the killings continue, Peter wants to leave Italy and take a short vacation, though Bullmer wants him to stay. Who is this mysterious killer, why are they obsessed with Peter’s work, and who will be the next victim?

Review

Even though it’s not as well-known as movies like Suspiria, I’d argue that Tenebre is one of Argento’s best works. Like many of Argento’s works, the violence is as beautiful as it is horrific, which isn’t easy to do. Unlike other Italian directors who go for the jugular and make the violence savage, Argento presents the violence artistically. For instance, there’s a scene where a woman’s arm gets cut off, and a fountain of blood sprays out. How Argento handles the scene, it looks like she’s painting the walls with her blood, contrasting the white with red. For historical context, Tenebre ended up on the UK’s Video Nasties list, which included Bloody Moon, Absurd, and Antropophagus. It’s easy to see why given how vicious the kills are here, even by Argento’s standards. You almost get the feeling Argento uses violence to lash out at his critics.

Acting-wise, everyone does a good job, with Franciosa and Saxon, in particular, standing out, though Gemma and Nicolodi are memorable. While Argento claims that Franciosa was one of the most challenging actors he’s worked with, he still comes off likable. Saxon is particularly noteworthy as the sleazy literary agent who cares more about the book tour than the murders. While there’s not much to her character, Daria Nicolodi has decent chemistry with Franciosa and they work well together. Another highlight of the movie is the score composed by Goblin members Claudio Simonetti, Fabio Pignatelli, and Massimo Morante. It’s very upbeat and lively and fits with the tone with its blend of rock and disco. Admittedly, the story can be confusing, and the ending comes out of nowhere, but that’s typical of Italian horror. Overall, Tenebre is a stylishly violent giallo with memorable kills, exciting characters, and a great score.

Buy Tenebre from Amazon: https://amzn.to/3zFRFs6.

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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