Category: Summer of Slashers

[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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]After directing the controversial 1982 giallo The New York Ripper, Lucio Fulci struggled to find the same success as before. His career suffered from clashes with producers, budget cuts, disagreements with the writers, and even lawsuits. While they’ve achieved cult status, Manhattan Baby, Conquest, and Warriors of the Year 2027 failed critically and commercially. Perhaps inspired by the moderate success of Argento’s Tenebre, Fulci decided to make a giallo for his next movie. In 1983, Adrian Lyne’s Flashdance was an international hit, so producer Augusto Caminito insisted that dance be an element. The film was shot between late 1983 and early 1984, primarily in Italy, with exteriors shot in New York. Fulci hoped this would start a new “Music Trilogy” of music-themed horror films, but this would never happen. Fulci’s Murder-Rock: Dancing Death hit Italian theaters in 1984 and wasn’t released stateside until 1990 as The Demon is Loose.

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Synopsis

Candice Norman (Olga Karlatos) oversees a dance routine managed by Margie (Geretta Geretta) at the Arts for the Living Center. While Margie tries her best, Candice complains that the dance troupe needs “more perfection,” becoming more domineering. They’re preparing for a huge TV show where only three dancers will be selected, so the pressure is mounting. Things take a turn for the worse when one of the dancers is found dead in the showers. Lieutenant Borges (Cosimo Cinieri) arrives to investigate the murder and immediately suspects someone at the dance academy is responsible. Meanwhile, Candice has recurring dreams of a mystery man (Ray Lovelock) chasing after her with a hairpin. As more dancers wind up dead, Borges suspects either Candice or academy director Dick Gibson (Claudio Cassinelli) as the killer. Who is killing the young dancers, and what do Candice’s dreams have to do with the murders?

Review

Unlike his earlier efforts, Murder-Rock: Dancing Death is probably Lucio Fulci’s most tame movie, which is saying a lot. 1982’s The New York Ripper featured groin stabbings, eyeballs slashed with razor blades, and explosive gunshots through the face. Here, the killer only uses a hairpin to stab his victims through the heart after they’ve been knocked out. Not that you need bloody, gruesome kills to make a good horror film, but you’d expect more from Fulci. Still, some of Fulci’s touches include trippy dream sequences, effective panning shots, and a moody atmosphere are here. Giuseppe Pinori’s cinematography emphasizes this dreamlike quality and adds to the mood with some great skyline shots. Keith Emerson’s score, while dated, does add some entertainment value thanks to its cheesiness, even if it can get repetitive. Even if it’s a mixed bag, the film has some good qualities that make it redeemable.

While most of the cast is cannon fodder, the principal actors do a decent job. Olga Karlatos makes for a solid lead as she tries to make sense of the murders while maintaining the academy. Cosimo Cinieri is fun as the dry and sarcastic Lieutenant Borges, who immediately suspects everyone of being the killer. Though she has limited screen time, Geretta Geretta is enjoyable as the struggling choreographer clashing with Karlatos. Claudio Cassinelli, who sadly passed away a year after the film’s release, is entertaining as the sleazy academy director. As solid as the principal actors are, they’re not given much material to work with, so they feel one-dimensional. Many performances come off as wooden or stilted or wildly over-the-top and ridiculous to the point of parody. The lack of a cohesive narrative might be due to the film having four different writers, including Fulci.

Considering this came after several gory splatter films that made him a name, it’s disappointing Fulci made this so tame. This might’ve been to avoid the backlash he received, especially since many ended up on The Video Nasties List. It doesn’t help that this came when giallos were dead and Italian genre films were declining. This was meant to start a new trilogy, but that never happened due to the film’s underperformance and Fulci’s health. It’s also interesting how the film crammed in many 80s tropes yet didn’t get a US release until the 90s. As much as I criticize this movie, there is some charm to be found, especially for giallo fans. I’d recommend this to Fulci completionists, but there are better options if you’re a newcomer. Overall, Murder-Rock: Dancing Death has merits and is worth watching for curiosity’s sake, but only if you’ve seen everything else.

Buy Murder-Rock: Dancing Death from Amazon: https://amzn.to/3YFyWuL.

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 Murder-Rock: Dancing Death (1984)

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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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]After the massive success of John Carpenter’s Halloween in 1978, numerous filmmakers tried capitalizing on the success. Enter L. Scott Castillo Jr., who wanted to make a horror film because it was cheap and a surefire hit. Through some personal connections, Castillo Jr. acquired a $50,000 budget to shoot what he was sure would be a hit. In 1980, he and a team of first-time actors and crew members filmed for thirty-three days around southern California. Filming wrapped in 1982, but unfortunately, Castillo Jr. had difficulty finding a distributor for budgetary reasons. As the early 80s rolled on, the slasher boom had its rise but was gradually declining. M.C. Productions, who owned the copyright for The Manchurian Candidate, acquired the distribution rights for Castillo’s film. Four years after filming wrapped, Satan’s Blade had a small theatrical run before going to video stores in 1984.

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Synopsis

After a successful heist, bank robbers Ruth (Meg Greene) and Trish (Mary Seaman) lie low in the mountains. However, Ruth gets greedy and kills Trish to take her share, only to get slashed by a mysterious figure. Soon after, Tony (Tom Bongiorno) and his wife Lisa (Elisa R. Malinovitz) go to the same mountains for a vacation. Tony’s friend Al (Thomas Cue) and his wife Lil (Janeen Lowe) also stay in the cabin with them. Next door, there’s Stephanie (Stephanie Leigh Steel), Sue (Ramona Andrada), Rita (Diane Taylor), Marlene (Marti Neal), and Mary (Susan Bennett). Sheriff Ben (Fred Armond) and Officer Ski (Ski Mark Ford) are investigating the murders, though the locals have their suspicions. According to legend, a mountain man with a cursed knife possessed by a Native spirit stalks the mountains. Soon, the body count rises as the vacationers feel the wrath of Satan’s Blade!

Review

In my review of Splatter University, I said that I considered that the worst slasher I’ve reviewed so far. Having seen Satan’s Blade, I owe Richard Haines an apology because I’ve found one that’s even worse. Sure, SU had tons of boring filler, uninteresting characters, and bad acting, but it had a few bright spots. The same can’t be said for L. Scott Castillo Jr’s first and only directing credit, which is somehow more boring. Admittedly, the opening bank robbery is somewhat unique since it’s not the usual opening for a slasher. Unfortunately, the opening also serves as a taste for what’s to come – bad acting, poor writing, and amateur filmmaking. There’s also a trippy dream sequence partway into the movie where the young women get slashed by the mountain man. Sadly, those moments only make up 10 minutes of an otherwise boring 82 minutes.

The rest of the runtime consists of the characters drinking, wandering around, talking endlessly, or trying to be dramatic. There’s a minor subplot where Tony almost cheats on Lisa with Stephanie, but that doesn’t go anywhere. Also, the inane dialogue between the young women rivals the talking scenes from Death Proof, and that had Kurt Russell. None of the cast members went on to do anything afterward, and it’s easy to see why. None of them can emote convincingly; they all sound flat, and none of them are ironically funny. The cinematographer Terry Kempf was the only one who seems to have had a successful career after this. He worked in the art department for movies like The Abyss, Sicario, Lone Survivor, Scream 2, and Tank Girl. It’s good to know that at least someone managed to work on better things after this.

Even though he wasn’t a cinematographer in other movies, Kempf did a solid job capturing the scenery. Some beautiful shots of the mountains, forest, and snow look straight out of a nature documentary. I wonder if Castillo Jr. wanted to emulate The Shining in using the scenery to establish a sense of isolation. Unfortunately, like everything else, it doesn’t work and adds to the movie’s tedium and slow pacing. It doesn’t help that the slashing only happens an hour into the film, and even then, it’s done haphazardly. The ending is just as baffling, though it does have an interesting connection to the opening, so that’s appreciated. This movie is one I can only recommend to hardcore slasher fans, especially if you’re a completionist. Overall, Satan’s Blade is boring, poorly made, badly acted, and barely even a slasher film.

Buy Satan’s Blade from Amazon: https://amzn.to/4cgSLMm.

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 Satan’s Blade (1984)

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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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]After graduating from NYU’s film school in 1979, aspiring filmmaker Richard W. Haines got his first job at Troma. He started as an assistant editor on Charles Kaufman’s Mother’s Day and was a sound editor on Lloyd Kaufman’s Waitress! Around this time, Haines began working on his directorial debut, a low-budget slasher called Thou Shalt Not Kill. With a budget of $50,000, filming took place around Mercy College and various other locations in New York. Filming wrapped in 1981, but the movie clocked in at 65 minutes, so Troma ordered reshoots to extend the length. Said reshoots were done the following year, including a prologue filmed at Bellevue Hospital, making the new runtime 78 minutes. Despite finishing in 1982, the film sat on the shelf for two years before premiering at Cannes in 1984. For its US premiere in July of that year, Troma retitled the movie to Splatter University.

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Synopsis

Three years have passed since an escaped mental patient killed a young teacher at St. Trinian’s College. Newly graduated Julie Parker (Forbes Riley) gets a job teaching at the school from the headmaster, Father Janson (Dick Biel). While there, Julie makes friends with fellow teachers Mark Hammond (Ric Randig) and Cynthia Lockey (Laura Gold). Unbeknownst to Julie, the psychotic patient is back and killing several of the students one by one. Cynthia believes that Mark is responsible, so she and Julie investigate, only to find nothing. Soon, Cynthia ends up murdered, prompting Julie to tell Father Janson that she’s quitting her teaching job. Unfortunately, the killer is still out there, and Julie doesn’t have anyone to turn to. She confides in Father Janson that Mark is the killer, but what Julie soon finds out will blow her mind. Will Julie survive or be in line next at Splatter University?

Review

At the time of my writing, Splatter University might be the weakest of the 1984 slashers I’ve reviewed. Aside from some campy moments and a few bloody kills, this movie has little to offer. Granted, what Richard Haines and his team accomplished with only $50,000 is impressive, if nothing else. The cinematography is decent, the gore effects are solid, if minimal, and the score is delightfully weird. However, one song plays almost constantly at the start of every scene and gets annoying fast. You can tell there were reshoots by all the filler with the students that didn’t have much impact. It doesn’t help that all the acting from the students is very wooden at best and obnoxious at worst. They’re the ultimate example of characters in a slasher that are just there for cannon fodder. It’s no wonder many of them didn’t act in anything else.

That said, the cast has a few bright spots, namely Forbes Riley as the young, naive teacher Julie Parker. On top of being pretty, she does a great job playing an innocent teacher trying to stand up for herself. She and her landlord, Mrs. Bloom (Mary Ellen David), have funny back-and-forths that get weirdly gruesome. It’s easy to root for her, and she would’ve made a great final girl in a much better slasher. Dick Biel is another standout as the seemingly good-hearted Father Janson, who perfectly skirts the line between friendly and creepy. You can tell from his body language that something’s up with him, but you’re not sure what. Ric Randig and Laura Gold are also decent, but their characters don’t have much to do. Aside from them, the cast is mostly forgettable, just like the rest of the movie.

As much as I dog on this movie, some entertaining moments make it seem like a parody. After the opening sequence, it cuts to three years later, followed by a title card for next semester, last Friday. The weird time jumps combined with the ridiculous dialogue make me think Haines was trying to make a comedy. Unfortunately, too many slow, filler scenes make it hard to enjoy as a comedy, even an ironic one. Also, as I alluded to earlier, there are some decent kills, including throat slashings and chest stabbings. Plus, there is a twist that I genuinely didn’t expect, so I have to give the movie points for that. Still, this is one that I can only recommend to hardcore slasher fans, as most newcomers will find it dull. Overall, Splatter University has a few highlights, but not enough to justify the dull pace, story, and acting.

Buy Splatter University from Amazon: https://amzn.to/3WK5O4s.

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 Splatter University (1984)

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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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Due to the Soviet-Afghan War, the U.S. led several countries to boycott the 1980 Olympics in Moscow. The boycott made international news, eventually leading the USSR to boycott the 1984 Summer Olympics in Los Angeles. With the slasher boom in full effect, many studios and would-be filmmakers wanted to capitalize on this trend. Rafael Buñuel and Christopher Mankiewicz, sons of surrealist filmmaker Luis Buñel and Oscar-winning filmmaker Joseph L. Mankiewicz, were among them. Around 1982, they brought on first-time writer/director Michael Elliot to helm a slasher film centered on The Olympics. Under the title The Killing Touch, filming took place around University High School and Aviation High School in California. Unfortunately, the movie had numerous production issues, including constant rewrites and a rushed 5-week shoot. After struggling to find distribution, the film had a limited theatrical release in 1984 under the new title Fatal Games.

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Synopsis

At the Falcon Academy of Athletics, young athletes are training for the Nationals, hoping to qualify for the Olympics. Overseeing the students is Dr. Jordine (Michael Elliot), who’s been administering steroids so they’ll outperform Russia and China. His assistant, Diane Paine (Sally Kirkland), objects to what they’re doing, but Jordine convinces her that it’s for the best. Things worsen when some athletes, such as gymnasts Nancy Wilson (Melissa Prophet) and Sue Allen Baines (Angela Bennett), go missing. Unbeknownst to anyone, a masked killer stalks the campus with a javelin, picking off the athletes one by one. Fellow gymnast Annie Rivers (Lynn Banashek) and her boyfriend Phil Dandrige (Sean Masterson) decide to investigate the disappearances. All the while, the other students struggle with interpersonal relationships, unrealistic expectations, and student-teacher relations. Who will be next, and who will take it all the way and survive these fatal games?

Review

Fatal Games is a pretty silly slasher, but it has some unique qualities that make it stand out. Setting it in an athletic school for Olympic hopefuls is a novel concept that isn’t the usual summer camp. Also, the killer has a distinctive look and a signature weapon that they stick with, even when killing someone underwater. It helps that almost every shot featuring the killer has them backlit, which makes them look more ominous. Plus, similar to how The Mutilator had a ridiculously catchy theme song, this one has a similarly infectious title track. It’s worth noting that the opening song was composed by Shuki Levy, who later founded Saban Entertainment with Haim Saban. There’s also an exciting climax that keeps you on edge, especially with the twist that adds a layer of cheese. Plus, there’s plenty of nudity, both male and female, to suit your tastes.

Unfortunately, aside from a unique setting and a decent killer, this film offers little else. For one, the acting falls flat, though it doesn’t help that the cast doesn’t have great dialogue to work with. Future Oscar nominee Sally Kirkland performs well, though the filmmakers’ handling of her character is questionable. Spice Williams-Crosby is also a highlight as the likable Coach Drew, even though her character sleeps with a student. Sadly, Lynn Banashek, who only has one other credit to her name, is a weak and forgettable lead. The film tries to add character development, but none of the characters are interesting enough to warrant this. Also, this one’s pretty weak on the gore for a slasher film, only showing a little blood here and there. It doesn’t help that every kill is the same stabbing by javelin, a wasted opportunity for some Olympic-themed kills.

Many people have compared this film to 1981’s Graduation Day, and it’s easy to see why. Both involve a masked killer going after a group of young athletes and have a shocking twist. Considering Herb Freed’s movie made more money, I’m sure Michael Elliot and his team took some inspiration. That said, Freed’s movie is better because it has more inventive kills, better characters, and a sense of fun. Patch McKenzie is a much better lead than Lynn Banashek, and that film had more of a sense of humor. Still, there’s enough unintentional camp to enjoy this film, especially with some friends and your substance of choice. While I wouldn’t call this a long-lost gem, it’s still an interesting artifact worth seeing if you love slashers. Overall, Fatal Games isn’t terrible, but if you want to start getting into 80s slashers, there are better options.

Buy Fatal Games from Amazon: https://amzn.to/3NY2f5b.

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 Fatal Games (1984)

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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=”4.26.1″ _module_preset=”default” global_colors_info=”{}”]Alongside the slasher boom, the early 1980s saw a revival of 3D thanks to the surprise hit Comin’ at Ya! Between 1981 and 1983, 3D movies like Friday the 13th Part III, Parasite, and Jaws 3D hit theaters. Enter filmmakers Simon Nuchtern and Bill Milling, who first met working on the 1981 horror film Nightmare. Seeing the popularity of slasher films and the interest in 3D, they decided to combine the two. Around this time, numerous publications reported on mental asylums letting patients out early for budgetary reasons. The two used this as the backbone and hired Bob Zimmerman and Nelson DeMille to help with the script. With a budget of roughly $600,000, filming took place around Nyack, New York, using the ArriVision 3-D camera system. After premiering at the Cannes Film Festival, Silent Madness hit movie screens in October 1984 in both 2D and 3D.

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Synopsis

The Craven Mental Institution has recently implemented a program that releases patients they feel are fit for society. Not everyone favors this, particularly Dr. Joan Gilmore (Belinda Montgomery), who thinks it could be dangerous. She’s proven right when a homicidal patient named Howard Johns (Solly Marx) gets released due to a clerical error. Dr. Kruger (Roderick Cook) explains that Howard Johns passed away, but Gilmore suspects something is up, so she investigates further. With help from newspaper owner Mark McGowan (David Greenan), she goes undercover at a sorority house where Johns committed murder. She tries getting help from Sheriff Liggett (Sydney Lassick), but he refuses when the hospital tells him Johns is dead. Elsewhere, Kruger enlists orderlies Jesse (Philip Levy) and Virgil (Dennis Helfend) to bring Johns back and deal with Gilmore. Will Gilmore uncover the truth, and who will be the next victim of Silent Madness?

Review

While I wouldn’t call Silent Madness an unsung classic, I will say that it’s better than most non-franchise slashers. One aspect that makes it stand out is the acting, which is above average compared to similar movies. Belinda Montgomery makes for a strong lead as Dr. Gilmore, acting confident, self-assured, and willing to stand her ground. David Greenan also does an excellent job as Mark McGowan and has great chemistry with Montgomery. Although her scenes are brief, classic actress Viveca Lindfors is also memorable as the sorority housemother, Mrs. Collins. Also, Sydney Lassick of One Flew Over the Cuckoo’s Nest fame steals the show as the foul-mouthed sheriff. Solly Marks is a solidly intimidating killer, and Roderick Cook is great as the sinister Dr. Kruger. Even the sorority sisters are very likable, though they have little to do. Also, look for Sleepaway Camp actors Paul DeAngelo and Katherine Kamhi.

What also makes this film stand out is the 3D, which is as gimmicky and cheesy as you can imagine. Admittedly, it’s not as fun as the 3D in Friday the 13th Part III, but the 3D that’s there does add to the charm. Most of the time, the actor will hold an object to the camera and pause, which adds some unintentional humor. Still, I’d rather have this old-school, gimmicky 3D over Avatar’s flashy, atmospheric 3D any day. Also, while the kills are relatively tame and lacking in gore, many are imaginative and creatively unique. A memorable one involves a girl upside down strangled by a rope tied to a dumbbell thrown out a window. There’s also a flashback sequence where several girls get gunned down with a nail gun, which is just brutal. The kills are above your typical slice and dice, even if not bloody.

Whether intentional or not, the film also has a slight anti-corporate message and provides commentary on the healthcare system. We see patients mistreated by the staff, technical errors swept under the rug, and management more concerned with money. Considering the filmmakers’ inspiration for this film, it wouldn’t surprise me if this commentary was intentional. Granted, I’m probably giving this movie more credit than it deserves, but this is more ambitious than typical slashers. Criticisms aside, it’s clear the filmmakers tried making something unique, and even if some of it didn’t work, they tried. At slightly over 90 minutes long, parts of the film could’ve been shorter, but it moves at a decent pace. So, if you’ve seen all the big slashers and want something else, give this a shot. Overall, Silent Madness is hardly a classic, but its ambition, story, and acting put it above its contemporaries.

Buy Silent Madness from Amazon: https://amzn.to/3NShpZV.

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 Silent Madness (1984)

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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=”4.26.0″ _module_preset=”default” global_colors_info=”{}”]Though he was practicing law at the time, Buddy Cooper always wanted to work in the movie industry. He spent some time taking courses on screenwriting and production at American University, where he met Associate Professor John Douglass. The two hit it off, and Douglass agreed to help Cooper co-direct a script he wrote for a horror film. Cooper’s father owned a hotel for housing and an isolated condo off Atlantic Beach, so everything was set. Much of the cast and crew were locals, family members, or young New York and LA up-and-comers. For its release, the MPAA wanted to give the film an X-rating, but Cooper refused and released it unrated. Under the title Fall Break, the film premiered in Raliegh, North Carolina, in early 1984 until the distributor retitled it. After ironically making cuts to get an R-rating, the film hit LA theaters in 1985 as The Mutilator.
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Synopsis

Young Ed (Trace Cooper) accidentally kills his mother with his father’s hunting rifle while trying to clean it. Years later, Ed (Matt Mitler), now in college, gets a call from his father to close up his beach condo. With Fall Break approaching, his girlfriend Pam (Ruth Martinez) suggests they and their friends spend it at the condominium. He agrees, and they bring their friends Ralph (Bill Hitchcock), Sue (Connie Rogers), Linda (Frances Raines), and Mike (Morey Lampley). Little do they know that a mysterious killer (Jack Chatham) roams outside, waiting to pick them off one by one. The victims die in increasingly gruesome ways, such as with a boat motor, a flounder gig, and a fishing gaff. A local cop (Ben Moore) tries saving the young adults, only to wind up being decapitated by the killer. Who will survive Fall Break, and how many will fall victim to The Mutilator?

Review

Whether you call it Fall Break or The Mutilator, this formulaic slasher film doesn’t have much to offer. Of course, there’s nothing wrong with that, but if you’re expecting something more, you will be disappointed. It has a basic setup: young people go to an isolated setting to party, and a killer stalks the area. In a way, it’s similar to the setup of Friday the 13th, except this came out years later. Also, that film intentionally hid the killer to build suspense, whereas this one immediately shows the killer. Then again, this movie isn’t concerned about building tension so much as it is about delivering the kills. Thankfully, Mark Shostrom (Evil Dead II, From Beyond, Forbidden World) and his crew delivered some gruesome set pieces. In particular, the scenes involving a boat motor and a large fishing gaff are more gruesome than many other slashers.

Sadly, for all of its bloody kills, the film lacks stellar acting and a compelling story. In this film’s defense, almost everyone involved was relatively unknown at the time and didn’t have much experience. Also, no one is so unlikable that you’re begging for their deaths, which puts it above most modern horror films. Matt Mitler, who later appeared in 1986’s Breeders, is a decent lead, though he comes off a bit milquetoast. The biggest standout is Bill Hitchcock as the comedic relief Ralph, who makes the most of his screen time. His carefree attitude and quick-witted one-liners make him a fun character, and he has a memorably goofy silent film-esque scene. While he doesn’t have much dialogue, Jack Chatham makes an imposing killer with his enormous stature and terrifying facial expressions. Even if the cast isn’t overly memorable, they get the job done well enough.

As formulaic as this movie is, some weird additions make it stand out from its contemporaries. The title song is so upbeat and cheerful that it feels more appropriate for a sitcom than a slasher. The end credits, which feature bloopers alongside the cast’s names with respective footage and the theme song, add to that. It adds to the sense that the people making this film were having fun, which I can appreciate. Regardless of how the final product turned out, I’m glad the cast and crew enjoyed themselves while making it. The homegrown, local feel to the film adds the kind of charm you’ll only find in low-budget horror movies. Plus, at only 86 minutes, the movie gets in and out without the need to pad things out too much. Overall, The Mutilator isn’t anything remarkable, but it offers the type of thrills you’d expect.

Buy The Mutilator from Amazon: https://amzn.to/3WgDJRX.

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 The Mutilator (1984)

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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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]Since the early 1970s, Edwin Brown and his wife Summer worked on several adult films for Essex Productions. After working on 1979’s Human Experiments, studio head Joseph Steinman offered the Browns a horror film to write/direct. Edwin and Summer took inspiration from Wes Craven’s 1977 classic The Hills Have Eyes and John Carpenter’s Halloween. Like many low-budget horror films, the cast comprised relatively unknown actors, save for Jackie Coogan of The Addams Family. Though Edwin set the movie in the Colorado Rockies, the actual filming occurred in and around Idyllwild, California. A young John Carl Buechler created the effects, and Don Peake, who composed The Hills Have Eyes, did the score. Despite finishing filming in 1980, the movie sat on the shelf for years before New World Pictures acquired it. It wasn’t until the fall of 1983 that The Prey finally entered US theaters.

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Synopsis

Three young California couples are going on a hiking/camping trip through the Colorado Rockies leading to North Point. During their journey, the women meet local ranger Mark O’Brien (Jackson Bostwick), who warns them about trekking to North Point. The couples split up that night for private time, but unfortunately, Gail (Gayle Gannes) and Greg (Philip Wenckus) go missing. The remaining couples – Nancy (Debbie Thureson) and Joel (Steve Bond), and Bobbie (Lori Lethin) and Skip (Robert Wald) – go searching. Meanwhile, O’Brien meets with ranger Lester Tile (Jackie Coogan), who mentions an older couple that went missing in North Point. O’Brien searches for the older couple while the other campers continue their journey, unaware of the dangers ahead. Little do they know that a mysterious figure is stalking them, intending to kill them off one by one. Who will survive, and who will end up as The Prey?

Review

The Prey is about as primary as possible with early 80s slasher films, but that’s not necessarily bad. Sometimes, less is more; this movie exemplifies that for better or worse, depending on your mileage. The filmmakers added tons of nature stock footage to put the audience in the same setting as the characters. The abundance of stock footage makes it feel like they tried padding out the runtime, which is only 80 minutes. It doesn’t help that there’s little material to work with since it’s primarily characters wandering through the woods. While none of the actors are bad, they’re not particularly memorable, though there are a few standouts. Jackson Bostwick has some entertaining moments, either playing guitar or telling jokes, and Debbie Thureson is a decent lead. It’s also interesting to see veteran actor Jackie Coogan in his final role before passing away in 1984.

For a movie that had a $150,000 budget, the gore effects, while minimal, are pretty gruesome and bloody. If anything, it’s an excellent showcase for the talent John Carl Buechler later implemented into his work for Charles Band. Also, the score by Don Peake helps add tension and suspense as it gradually builds throughout the film. As slow as the movie is, the filmmakers do a decent job of making it suspenseful until the climax. The film’s last 20 minutes are nail-biting as the remaining characters try to outrun the killer. It all builds up to an ending that, without spoiling, needs to be seen to be believed. The deliberately slow pace and basic setup may put some people off, but I had a decent time with it. Overall, I wouldn’t call The Prey an all-time classic, but I think it’s underrated if nothing else.

Buy The Prey from Amazon: https://amzn.to/3CcpZ3b.

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 The Prey (1983)

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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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After purchasing The Cannon Group in 1979, Israeli filmmakers Menahem Golan and Yoram Globus were ready to conquer Hollywood. While many of their low-budget pictures made money, their release of 1982’s Death Wish II put them on the map. Following the sequel’s success, Golan and Globus wanted to make another film with Hollywood veteran Charles Bronson. Producer Pancho Kohner wished to adapt the 1978 novel The Evil That Men Do, but the rights would’ve cost $200,000. Instead, Golan asked him to develop a new title, which they promoted at Cannes despite not having a story. Upon returning home, Kohner asked his friend Lance Hool for help, and he gave him a script called Bloody Sunday. Besides the title, nothing in the screenplay was changed, and Happy Birthday to Me director J. Lee Thompson was hired. In March 1983, The Cannon Group released the crime thriller/slasher film 10 to Midnight.

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Synopsis

Detectives Leo Kessler (Charles Bronson) and Paul McAnn (Andrew Stevens) are investigating a series of murders in Los Angeles. Almost every victim is a beautiful young woman found disemboweled and left to bleed out to death. The killer is an officer repairman, Warren Stacey (Gene Davis), a quiet loner who feels rejected by every woman. Meanwhile, Kessler is trying to repair the relationship with his daughter Laurie (Lisa Eilbacher), whom he abandoned for work. Through the investigation, Kessler learns that Stacey is responsible and makes it his mission to bring him to justice. He goes so far as to plant evidence to try and frame Stacey, only for him to be let out. Now a free man, Kessler and Stacey battle wits against one another until Stacey goes after Laurie. With time running out, it’s up to a weathered detective and his young partner to stop a malicious slasher.

Review

I’m unsure if 10 to Midnight belongs in this series since it’s more of a crime thriller than a slasher. Then again, when else will I talk about this 1983 Charles Bronson thriller from The Cannon Group? While this is more Dirty Harry than Friday the 13th, 10 to Midnight is exciting, well-paced, and well-made. While he looked like he was coasting and doing the bare minimum, Charles Bronson seemed to enjoy his role here. He has excellent chemistry with Andrew Stevens; the scenes of them bantering back and forth are a highlight. Lisa Eilbacher also does a great job as Kessler’s daughter and manages to hold her own against Bronson. Wilford Brimley fits the role of the cranky police captain to a T, though his screen time is limited. Also, there’s an appearance from Ola Ray, who was also in the music video for Michael Jackson’s Thriller.

However, the film’s real star is Gene Davis as the cold and calculating serial killer Warren Stacey. He’s putting his all into this role and makes for one of the most intense villains of the 1980s. Seeing him going after women who rejected him, I can’t help but feel like this movie is still relevant today. J. Lee Thompson does a great job building the suspense through harsh shadows and moody lighting. Adding to that is the phenomenal score by Robert Ragland, which adds a lot of energy to the film. Granted, this movie is a product of its time, with its views of justice leaning heavily to the right. Some may scoff at the violence and nudity, but this film is practically tame compared to Michael Winner’s work. Overall, 10 to Midnight is a compelling crime thriller that happens to have some slasher elements.

Buy 10 to Midnight from Amazon: https://amzn.to/3NSox8E.

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 10 to Midnight (1983)

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With the rising popularity of slashers in the early 80s, exploitation producer Samuel Z. Arkoff wanted to capitalize on it. Joe Roth, an up-and-coming producer dating Arkoff’s daughter at the time, wanted to make a horror film with him. Arkoff handed Roth a script he had called Three Blind Mice, which Alien co-writer Ronald Shusett wrote. Shusett suggested they hire a young Andrew Davis to direct off the strength of his short films. With little money and relatively unknown actors, the movie was shot in Jedediah Smith Redwoods State Park in late 1981. Unfortunately, because of the low body count, no distributor was interested compared to the other slasher films released. In 1982, Adrian Zmed and Darryl Hannah gained much attention for T.J. Hooker and Blade Runner, respectively. Now, with two big stars in the cast, The Final Terror was finally released to theaters in late 1983.

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Synopsis

Dennis (John Friedrich), Marco (Adrian Zmed), Mike (Mark Metcalf), Nathaniel (Ernest Harden Jr.), and Richard (Lewis Smith) are going camping. They meet up with Margaret (Rachel Ward), Windy (Daryl Hannah), Vanessa (Akosua Busia), and Melanie (Cindy Harrell) for the trip. After being driven by bus by Eggar (Joe Pantoliano), the group sets up camp and shares campfire stories. But as soon as they arrive, a mysterious camouflaged figure emerges and starts picking them off one by one. While exploring, the group finds an old cabin that they believe is where the killer is hiding out of. They immediately suspect Eggar is responsible since he was the first to disappear the morning after they arrived. As members of the group wind up either missing or dead, the survivors have to stick together to save themselves. Without knowing they’ve unlocked an unknown force, but can they survive The Final Terror?

Review

Considering the overall quality, it’s easy to see why it took years for The Final Terror to find a distributor. While most slashers at the time ramped up the body count, this one only has three kills. The producers had to go back and shoot a completely different opening just to add some more kills. That’s not to say the final film is a complete disaster, as there are some excellent qualities to be had. For one, seeing so many talented people get their start behind and in front of the camera is worth watching. Given its meager budget, Andrew Davis made the most out of the locations, creating a feeling of isolation and dread. You feel like you’re with these unlucky campers as they get lost in this gigantic forest. It’s a shame that the film isn’t all that compelling and drags for quite a bit.

After the tacked-on opening, none of the main characters get killed until at least 40 minutes into the film. Most of the runtime is spent with the cast wandering through the woods, trying to find their way out. Even when a character gets killed, there’s nothing unique or special about their deaths, which I guess is more realistic. I’m not saying every slasher needs crazy, over-the-top kills to be good, but you should give us something. Admittedly, the acting is decent, if unremarkable, but Joe Pantoliano does a great job playing a creepy weirdo. Also, the survival elements help this film stand out from typical slashers, but it never builds any tension or suspense. While I wouldn’t call this one of the worst slashers I’ve ever seen, it’s one of the most unremarkable. Overall, The Final Terror was a good starting ground for future talent, but it isn’t very compelling.

Buy The Final Terror from Amazon: https://amzn.to/3KS1BFm.

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 The Final Terror (1983)

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