Category: Summer of Slashers

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After graduating from NYU’s film program, Mark Rosman got an idea for a movie when he returned home to LA. Before attending NYU, he was part of a fraternity at UCLA, and he based his concept on his college experiences. Rosman’s script focused on sorority sisters being threatened after a prank gone wrong but were more than just victims. After gathering a budget of $300,000, Rosman started casting in New York and Los Angeles before filming began in 1981. The movie was shot on location in and around Pikesville and the University of Maryland, though the production struggled financially. After principal photography wrapped, Film Ventures International picked the film up for distribution and gave additional funds for post-production. Richard Band, who later scored Re-Animator and Puppet Master, composed the score with the London Philharmonic Orchestra. Following a limited 1982 release, The House on Sorority Row hit theaters nationwide in 1983.

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Synopsis

A group of sorority sisters is celebrating their graduation when their housemother, Mrs. Slater (Lois Kelso Hunt), spoils it. One of the girls, Vicki (Eileen Davidson), suggests they pull a prank on her that she’ll never forget. Unfortunately, things go wrong, and Mrs. Slater is shot and killed, so the girls hide her body in the pool. While fellow sister Katey (Kathryn McNeil) is distraught and wants to call the authorities, Vicki persuades her not to. Before long, an unknown assailant kills off the girls one by one using Mrs. Slater’s walking cane. Before long, Katey gets in touch with Dr. Beck (Christopher Lawrence), who had been treating Mrs. Slater years earlier. However, Katey soon learns more about her former housemother than she could have ever expected. Nothing can prepare you for what happens when she fights back in The House on Sorority Row!

Review

On the surface, The House on Sorority Row seems like any standard slasher film that ticks off all the checkboxes. You’ve got an isolated setting with the sorority house, plenty of young women to pick off, and some gruesome kills. What separates this from other slashers is that the victims are, in a way, responsible for what’s happening to them. Sure, you feel bad for the girls getting killed, but you can’t help but feel like they might’ve deserved it. Seeing the rational Katey and the vindictive Vicki argue over how to handle the situation drives this point home. It helps that Kathryn McNeil and Eileen Davidson give solid performances and make these characters feel real. The other sorority sisters also do an excellent job of feeling like a group of girls who’ve been long-time friends. All around, the acting is better than you’d expect from this kind of movie.

While this is a slasher film, it could almost be seen as a thriller on par with Brian De Palma. Just when you think the girls have gotten away with the murder, something comes along to jeopardize it. Plus, the plot has so many twists and turns that it keeps you engaged and constantly guessing. Admittedly, the movie goes off the rails in the last twenty minutes when the killer’s identity is revealed. Thankfully, Mark Rosman and cinematographer Tim Suhrstedt keep the suspense and tension going as it turns into a cat-and-mouse game. Also, Richard Band’s score is fantastic, adding a surreal, dreamlike quality to the film, enhancing some trippy moments. Though I wouldn’t call this one of the greatest slashers ever, it’s still a well-made and well-acted thriller worth seeing. Overall, The House on Sorority Row deserves its cult status as an underrated slasher classic.

Buy The House on Sorority Row from Amazon: https://amzn.to/47z2blc.

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Where to watch The House on Sorority Row (1983)

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After producing the hit Prom Night in 1980, Peter Simpson teamed with writer Robert Guza Jr. for a new project. With slasher films continuing to be profitable, Simpson wanted this one to be more adult-oriented for an older audience. He hired cinematographer Richard Ciupka, whose prior credits included Ilsa the Tigress of Siberia and Atlantic City, to direct. They hired John Vernon from Animal House, Samantha Eggar from The Brood, and Lynne Griffin from Black Christmas. Unfortunately, the film was plagued with production issues, mainly from Ciupka and Simpson disagreeing with the tone. Due to these disputes, Ciupka left the project in 1981, having only filmed 45 minutes of material. Simpson finished the film, though Ciupka has his name replaced with “Jonathan Stryker,” a character from the movie. After numerous rewrites and reshoots, Curtains opened regionally in the US in February 1983 before opening nationwide a month later.

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Synopsis

To prepare for an upcoming role, actress Samantha Sherwood (Samantha Eggar) feigns mental illness to be committed to an asylum. Unfortunately for Samantha, her director, Jonathan Stryker (John Vernon), plans to audition six girls for her part in her absence. Five actresses arrive, including Patti (Lynne Griffin), Brooke (Linda Thorson), Laurian (Anne Ditchburn), Tara (Sandee Currie), and Christie (Lesleh Donaldson). The sixth, Amanda Teuther (Deborah Burgess), gets killed on her way to the audition at Stryker’s rural New England mansion. However, Samantha shows up unannounced as she has escaped the asylum and plans to get revenge on Stryker. One by one, the girls are attacked by a mysterious sickle-wielding killer, whether in a jacuzzi or on the ice. As the bodies pile, it becomes a whodunit as the girls try to find out who the killer is. They better find out fast, or it’s Curtains for them!

Review

While not quite a slasher classic on par with Halloween or Friday the 13th, Curtains is nonetheless a fascinating watch. For one, the acting is better than expected from this kind of movie, especially Vernon, Eggar, Griffin, and Thorson. John Vernon does a great job playing a pretentious, somewhat sleazy director willing to push his actresses to the edge. Samantha Eggar is fantastic as an aging actress trying to stay relevant, and her scenes with Vernon are great. While the other main actresses do well, Lynne Griffin and Linda Thorson stand out in performance and character. Griffin is sympathetic as a comedian-turned-actress struggling to be taken seriously, and Thorson shows plenty of vulnerability in her role. Like any good slasher, this one has memorable kills, the most famous being on a frozen lake. While none are particularly bloody, they’re shot and edited well.

Unfortunately, the movie’s troubled production creeps in when certain characters and plot points are dropped. For instance, Samantha Eggar’s character somehow escapes the asylum, but we’re never shown how, but instead given a throwaway explanation. Also, without giving away any spoilers, the ultimate payoff feels so thrown together that it’s disappointing. That said, the theme of several young actresses willing to debase themselves for a role is still relevant today. These women will sleep with the director, endure humiliation, and be forced into uncomfortable situations just for a shot. While I’m sure this aspect was always intentional, the somewhat disjointed nature unintentionally makes the film stand out. Even if it’s not scary or bloody, it’s so bizarre and off-putting that it’s worth seeing. Overall, Curtains is confusing and disorienting, but the performances and unique kills make this a fascinating watch.

Buy Curtains from Amazon: https://amzn.to/45gigdu.

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Where to watch Curtains (1983)

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The son of acclaimed Italian horror director Mario Bava, Lamberto Bava got his start working as his partner. He was an assistant director on Planet of the Vampires, Dr. Goldfoot and the Girl Bombs, and Danger: Diabolik. After a chance meeting with fellow filmmaker Pupi Avati, Lamberto made his directorial debut with Macabre in 1980. This led to Bava working with Ruggero Deodato on Cannibal Holocaust and Dario Argento on Inferno and Tenebre. While working with Argento, Lamberto was approached by writers Dardano Sacchetti and Elisa Briganti with a new project. The initial plan was to film four 30-minute segments for a TV miniseries, each ending with a murder. However, the censors deemed the series too gory for television, so Bava re-edited the material into a feature film. Following its 1983 Italian release, the film was released in the US as A Blade in the Dark in 1986.

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Synopsis

Bruno (Andrea Occhipinti) rents a villa from Tony Rendina (Michele Soavi) so he can work on a horror movie soundtrack. While staying at the villa, Bruno is visited by Katia (Valeria Cavalli), a neighbor who stops by without revealing why. Soon, a mysterious figure kills Katia with a box cutter, which Bruno doesn’t realize until he finds blood stains. He soon discovers her diary, which mentions Linda, a mysterious woman who leased the villa and disappeared soon after. Later surprise visits include his girlfriend Giulia (Lara Lamberti), Katia’s friend Angela (Fabiola Toledo), and his director Sandra (Anny Papa). Unfortunately, just as these women come by to see Bruno, they get killed more gruesomely than the last. Bruno starts uncovering more about the mysterious Linda and her connections to Sandra’s movie as the bodies pile up. Just who is Linda, and who is responsible for all these murders?

Review

I wouldn’t say A Blade in The Dark is one of the best giallos ever, but it’s a decent watch. Like any good Italian horror film, this one has plenty of gruesome kills involving box cutters, knives, and plastic bags. There’s plenty of bloody carnage, though none of the kills are memorable, like in Tenebre or The New York Ripper. Also, the cinematography is solid, with plenty of POV shots, contrasting shadows, and a few tracking shots. The music from Guido and Maurizio De Angelis, aka Oliver Onions, is catchy, even if the same theme plays throughout. The cast has a few memorable faces in Italian cinema, including Andrea Occhipinti, Giovanni Frezza, and future director Michele Soavi. Plus, at roughly about 90 minutes in length, the movie doesn’t take up too much time and gets out quickly. It’s a shame this is a pretty average giallo/slasher film.

I’d say the movie’s biggest flaw is that, in between all the murder scenes, there’s tons of filler. There are many slow scenes of characters either fiddling with their equipment, swimming, or wandering around the villa. It doesn’t help that the sequences play out the same: a random woman visits, talks to Bruno, then gets killed. On top of that, we’re not given much character development, so there’s not as much impact when they die. I’m not saying every slasher film needs deep characterization, but this doesn’t give us much of anything. That said, as boring as this movie can be, it led to Lamberto Bava making more exciting genre fare. We wouldn’t have gotten incredible movies like Demons, Blastfighter, or Demons 2, so I give this film some credit. Overall, A Blade in The Dark has moments, but it’s best recommended for hardcore giallo fans.

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Where to watch A Blade in the Dark (1983)

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After graduating from NYU’s Tisch School of the Arts, Robert Hiltzik decided to start working on his first feature film. He decided to make a horror film since it was the cheapest to make and the easiest to sell. As a kid, Hiltzik had gone to Camp Algonquin in Argyle, NY, and thought it would be a great setting. His initial budget was $50,000, but he gained an additional $300,000 after his mother tragically died in a car accident. For the cast, he decided to cast teens aged 13-14 for the campers to add some authenticity. The movie was shot at Camp Algonquin during the off-season between September and October 1982 for five weeks. While there were a few known actors like Mike Kellin and Katherine Kamhi, everyone else would be making their debut. After a lengthy post-production phase, Sleepaway Camp had its New York premiere in November 1983.

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Synopsis

After surviving a boating accident as a child, Angela (Felissa Rose) is adopted by her Aunt Martha (Desiree Gould). She and her cousin Ricky (Jonathan Tiersten) are sent to Camp Arawak for the summer. While Ricky is very friendly and knows everyone, Angela is very introverted and never utters a word. This makes her the target of counselor Meg (Katherine Kamhi) and fellow camper Judy (Catherine Fields), who constantly torment her. To make matters worse, the head cook, Artie (Owen Hughes), almost molests Angela, only for Ricky to walk in. Shortly after, a mysterious figure knocks Artie over, causing a pot of boiling water to spill over his body. Soon, other campers wind up dead of bizarre circumstances, though the owner, Mel (Mike Kellin), wants to keep it hush-hush. Who is this mysterious killer, who will survive, and is Angela somehow connected with these murders?

Review

On the surface, Sleepaway Camp is no different from similar camp slashers like Friday the 13th or The Burning. This film stands out because of its homegrown feel, believable cast of memorable characters, and inventively unique kills. Despite not having a speaking line until the 30-minute mark, Felissa Rose is sympathetic and intense. It’s easy to feel bad for her when she’s getting picked on for seemingly no reason. But when she’s staring people down, her gaze is soul-piercing, and you know she’s up to something. Jonathan Tiersten is likable as Angela’s cousin, who’s trying to look out for her while spouting off numerous expletives. Karen Fields is another standout as the cartoonishly bitchy Judy, delivering her lines with an icy coldness. With his tiny red shorts, Paul DeAngelo is also memorable as the concerned head camp counselor. Also, Desiree Gould makes the most of her few scenes.

While the kills aren’t all that gruesome, they’re unique and unlike anything seen in other slashers. These scenes are intense, whether it’s getting stung to death by bees or having boiling water dumped on your body. The effects were done by Ed French, who later earned an Oscar nomination for Star Trek VI: The Undiscovered Country. Of course, it’s hard to talk about this movie without mentioning the ending, which I won’t reveal here. That said, it’s one of the most shocking endings in film history, though Robert Hiltzik cleverly hints at the twist. If I had any complaints, a few scenes go on too long, and some of the acting is questionable. Otherwise, this highly underrated slasher film should be talked about for more than just its twist ending. Overall, Sleepaway Camp is a humble horror film with a homegrown feel, memorable characters, and decent kills.

Buy Sleepaway Camp from Amazon: https://amzn.to/3Nma1W5.

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Where to watch Sleepaway Camp (1983)

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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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After graduating from the Madrid Film School, aspiring filmmaker Juan Piquer Simon directed 1964’s España Violenta, aka Violent Spain. The short was about the Spanish Civil War and was so controversial that the fascist government had Simon arrested. In 1977, Simon made his first fictional film, Where Time Began, based on the novel by Jules Verne. The film received US distribution through American International Pictures, where Simon met producers Samuel Arkoff and Dick Randall. Simon continued working with Randall on movies like Supersonic Man and Mystery on Monster Island, another Jules Verne adaptation. It was the early 1980s, and slasher films like Friday the 13th made huge profits at the box office. Wanting to capitalize on this, producers Randall and Steve Minasian asked Simon to direct a slasher film called Jigsaw. Simon agreed, and his first horror film, Pieces, premiered in Spain in 1982 and in the US in 1983.

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Synopsis

At a Boston college, a mysterious figure is stalking and killing various girls with a chainsaw in a gruesome fashion. Lt. Bracken (Christopher George) and his partner, Sgt Holden (Frank Braña), are hot on the case. They interview various staff members, including Dean Foley (Edmund Purdom) and Professor Brown (Jack Taylor), who they suspect is responsible. To help with the investigation, Bracken enlists local student Kendall (Ian Sera) and former tennis player Mary Riggs (Linda Day). After each murder, the killer takes various body parts off his victims, such as their arms and legs. As the body count continues, numerous suspects begin to emerge, including the groundskeeper Willard (Paul L. Smith). Who is this mysterious co-ed killer, and why are they taking pieces of their victims? Also, who randomly attacks people in the middle of the night because of lousy chop suey?

Review

While American slasher films like The Prowler and The Burning were gruesome, Pieces takes it to a new level. The kills have a vicious quality that could only come from foreign slasher films, both in gore and tone. From the schoolgirl getting decapitated with a chainsaw to the reporter getting a knife through her mouth, they’re something else. The filmmakers manage to make the kills insanely bloody in a cartoonish way while mixing in some genuine sleaze. In one of the film’s most infamous kills, the victim urinates herself right before getting sliced in half. The movie works in some Giallo qualities, namely the cloaked figure with black gloves and how everyone is a suspect. Everyone has unique qualities that make them stand out and give you reasons to think they might be guilty. Could it be the neurotic professor, the womanizing student, or the standoffish dean?

The late great Christopher George, who was the gym coach in the movie Graduation Day, is terrific as always. He has enough charisma and smartass quips to make him believable as a cop, and his scenes are a treat. Character actor Edmund Purdom from Absurd does a good job playing an unassuming dean that slowly reveals his dark secrets. Admittedly, Linda Day, aka Lynda Day George, is about as good at acting as she is at playing tennis. Also, it’s probably just the bad dubbing, but Ian Sera comes off a bit bland as the oddly womanizing Kendall. There are some dead spots during the film’s hour and twenty-five-minute runtime, but it never feels dull. It helps that the score, which is mainly composed of stock music, helps add a creepy feeling to the proceedings. Overall, Pieces is, like the tagline says, exactly what you think it is.

Buy Pieces from Amazon: https://amzn.to/39vVJlM.

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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