Tag Archives: Slasher

1982 Films, Horror, John Carpenter, Maidie Norman, Nancy Loomis, Slasher, Tom Atkins

Halloween III: Season of the Witch-1982

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Halloween III: Season of the Witch-1982

Director Tommy Lee Wallace

Starring Tom Atkins, Stacey Nelkins

Scott’s Review #506

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Reviewed November 1, 2016

Grade: B

Halloween III: Season of the Witch was met with much disdain when it was released in 1982- a mere one year following the very successful Halloween II- the sequel to the iconic Halloween (1978).

Fans (and critics) expecting a third chapter in the maniac-wielding Michael Myers saga were sorely disappointed and perplexed at what they were “treated” to.

After all, the title is billed as “III”. Therefore, the film was met with disapproval.

This film is not even in the slasher genre although I’ll categorize it as such for name recognition alone- more of a science fiction meets Twilight Zone.

Years later, this film would be heralded as a not-so-bad offering from a stand-alone film perspective. A different title might have been wise but at the risk of being a forgotten film.

I agree with the sentiment-it’s not a fantastic film- the plot is far from its strong suit, but a brave film and one that has aged well.

The franchise creators (John Carpenter and Debra Hill) had hoped to create an anthology-type film series with different chapters all surrounding the holiday of Halloween. This was not to be and Michael Myers would return for the fourth installment.

Director Tommy Lee Wallace was also affiliated with the original Halloween.

The story begins a week before Halloween (reaching a crescendo on Halloween) as shop owner, Harry Grimbridge runs along a highway in northern California, panicked and fleeing from corporate-looking men in business suits- he clutches a Halloween mask.

Finally rushed to the hospital by a stranger, he is killed by one of the businessmen, who then sets himself on fire.

Grimbridge manages to tell Dr. Dan Challis that “They’re going to kill us.” Challis and Grimbridge’s daughter, Ellie, mount an investigation to solve the mystery of her father’s demise.

Naturally, a romance ensues between the pair.

The film, while not a stinker, does have some issues. The corporate greed that we realize exists by the villain, Cochran, the founder of a company producing Halloween masks and responsible for the prosperity of a town is silly.

Even more perplexing are his motivations- he plans to sacrifice children wearing the masks to honor some ancient witchcraft- huh?

He creates androids as his henchmen and airs creepy television commercials to release a signal- and there are strange bugs that emerge from the masks, thereby killing the mask wearers.

The story is ludicrous.

Other gripes involve no chemistry between leads Tom Atkins and Stacey Nelkin, and the shameful waste of actress Nancy Loomis’s (Annie Brackett from Halloween) time and talents as she is reduced to a one-scene appearance as nagging and haggard-looking, ex-wife of Challis.

She deserved better and would have been perfect in the lead female role. The fact that Loomis was married to director Wallace makes this even more surprising- they were later divorced.

The negative attributes listed above would make one think that I detested this film, but somehow it is compelling in its own right.

The musical score is one highlight of Halloween III. Techie and new-wave-ish, it does wonders at portraying peril and creepiness- especially where the male androids are concerned.

And the sing-along jingle to the tune of the classic children’s song, “London Bridge is Falling”, encouraging children to buy the masks, is superb.

Though the story does not work- the subject does contain a throwback to science fiction films of yesteryear- most notably, highly resembling Invasion of the Body Snatchers in its eeriness and mystique, which renders the film appealing.

In the end, a character we do not suspect is revealed to be an android spinning the plot into a fun finale.

Halloween III: Season of the Witch (1982) is flawed, but becomes a bit of an acquired taste- appreciated a bit more over the years- if for no other reason than going against the grain and trying to be something different and creative.

The story fails, but other little nuances succeed immeasurably.

1998 Films, Adam Arkin, Horror, Jamie Lee Curtis, Janet Leigh, Joseph Gordon-Levitt, Josh Hartnett, LisaGay Hamilton, LL Cool J, Michael Meyers, Michelle Williams, Nancy Stephens, Patrick Lussier, Slasher, Steve Miner

Halloween: H2O-1998

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Halloween: H2O-1998

Director Steve Miner

Starring Jamie Lee Curtis, Adam Arkin

Scott’s Review #504

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Reviewed October 30, 2016

Grade: B

Halloween: H2O is the seventh installment of the Halloween franchise, though only associated story-wise with Halloween and Halloween II.

Made in 1998, the film capitalized on the twentieth anniversary of the original classic horror film.

To measure up to that masterpiece would be an impossibility, but the film is not bad on its own merits and nice odes to the past are peppered into the story making for a film franchise pleaser.

Jamie Lee Curtis returns to the role that made her famous.

Before we are even re-introduced to Curtis’s character, we are treated to a nostalgic scene involving chain-smoking Nurse Marion Chambers (Nancy Stephens) from parts I and II. Her house is vandalized by Michael Myers as he steals a file she has kept on Laurie Strode.

How nice to see this character back in the fray- though her screen time is limited. She is pivotal to the kick-off of the new story.

Laurie (Curtis) has faked her death and is now living life anew in California- running a prep school as its headmistress. Her son John (Josh Hartnett) attends the school and her boyfriend Will (Adam Arkin) teaches there.

John’s girlfriend Molly (Michelle Williams), a poetic security guard (LL Cool J), and a dizzy secretary, Mrs. Watson,(Janet Leigh) round out the cast.

For the past twenty years, Laurie has been troubled by the notion of Michael Myers returning to kill her, and her fears come to fruition. The film has an interesting slant- no longer is Laurie the victim, cowering in cars and corners. Now, she is intent on exacting her revenge on Michael- her brother.

She wants this long chapter in her life to finally close.

What nods to history this film contains!  And that is the best part of it. Otherwise, without the history, it would be a run-of-the-mill slasher film.

Besides the obvious Michael/Laurie connection, what a treat to see Jamie Lee Curtis’s real-life mother (and original scream queen herself), Janet Leigh.

Furthermore, her character’s car is the exact make and model, and the same license plate, from the 1960s Psycho, in which she starred- a brilliant treat for horror and classic film fans.

The film also uses some impressive stylistic choices- the use of mirrors and reflections are used successfully, as well as events occurring in the background- seen by the audience, but not the other characters are well used.

Halloween: H2O contains several young, up-and-coming stars, who, years later, would be big stars (Hartnett, Williams, and a very young Joseph Gordon-Levitt). Who knew these talents got their start in one of the greatest horror franchises?

Let’s be clear- Halloween: H2O (1998) is not a masterpiece- far from it. The horror clichés run rampant- the silly, supporting characters (friends of John and Molly’s) eager to drink and party and meant for comic relief, in addition to the LL Cool J character.

These characters are stock types.

Predictably, we more than once think that Michael Myers is finally dead- only to resurface- perfectly timed to the plot.

The inevitable standoff between Laurie and Michael Myers is well done and a satisfying conclusion to a fantastic franchise. Laurie gets her revenge while Myers dramatically gets his just desserts.

1986 Films, Amy Steel, Comedy, Dark Comedy, Horror, Slasher

April Fool’s Day-1986

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April Fool’s Day-1986

Director Fred Walton

Starring Amy Steel, Jay Baker

Scott’s Review #498

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Reviewed October 24, 2016

Grade: B-

Emerging at the tail end of the late 1970s and early 1980s slasher film craze that encompassed that period in cinema (for better or worse), April Fool’s Day (1986) capitalized on the “holiday theme” marketing tool that escalated Halloween and Black Christmas to superstar ranks.

Unfortunately, for this film, it is not a traditional horror flick, in that it has plenty of comic elements, but also contains the standard slasher characteristics, thereby making it a blockbuster failure.

It does not know what its identity truly is.

From a story perspective, the film has one great twist but otherwise suffers from mediocre writing and unmemorable characters that nobody cares about.

We are treated to an ensemble of actors, most of the unknown variety, except for horror maven Amy Steel, (Friday the 13th Part 2), who portrays Kit, arguably the most relatable of the female characters.

A clever facet, weaved by director Fred Walton, is the casting of eight principals in April Fool’s Day, all with similar amounts of screen time, rather than one obvious “final girl” surrounded by minor characters, who we know will be offed.

The set-up is all too familiar in the slasher genre- the group of college-aged kids escapes mundane life for a spring break weekend getaway at their wealthy classmates, Muffy St. John’s, island estate.

Conveniently, her family is away- leaving the friends to have the run of the mansion, with a dinner party as part of the plan. Even more convenient is that the ferry the group takes does not run on weekends, so once they are dropped off at the island, they stay until Monday.

This sense of foreshadowing gets the anticipated peril and dread going.

We also sense that there is something very off with Muffy- despite being everyone’s friend. When Muffy finds a jack-in-the-box stored in her attic and has a childhood recollection, we know this is the set-up to the mystery.

Is she mentally unstable? Is someone out to get Muffy for a childhood prank or event that once occurred?

Since it is April Fool’s Day weekend, the groups spend most of the film playing pranks and amateurish jokes on each other (a whoopee cushion, an exploding cigar), mixed with a dash of intrigue- someone is leaving trails of history as part of the jokes.

One girl had an abortion, so the prankster leaves an audiotape of a baby crying. In another room, heroin paraphernalia is left for someone with a former drug habit.

Slowly, one by one, the college kids disappear, but is it just a hoax? Or is the hoax just a hoax?

The final twenty minutes or so is really the main reason to watch this film. As Kit and boyfriend Rob is the last remaining “alive” there is suddenly a startling twist that changes the entire dynamic of the film- in one moment everything the audience thinks of the story is turned upside down-this is wise writing, but comes too late in the game.

Sadly, some parts of the film are downright silly and most of the characters are of the stock variety- the flirtatious blonde, the obnoxious jocks, the stuck-up preppy, which ruins the creative twist that is aforementioned.

With glimpses of genius and striving for something more clever than the standard, run-of-the-mill 1980s horror film, April Fool’s Day (1986) has some potential but ultimately winds up with something missing.

1981 Films, Horror, Slasher

My Bloody Valentine-1981

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My Bloody Valentine-1981

Director George Mihalka

Starring Paul Kelman, Lori Hallier

Top 20 Horror Films #20

Scott’s Review #367

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Grade: A

Reviewed January 9, 2016

My Bloody Valentine (1981) is a perfect slasher film to watch on the romantic holiday of Valentine’s Day or, in fact, any day during the cold and snowy month of February.

The film loses something if watched during summer or any other time of the year since the dark and harsh feeling of the film is the perfect atmosphere if watched appropriately.

My Bloody Valentine is an underrated gem of the early 1980s- just as Black Christmas was to the 1970s- and both ironically are heralded so by directors such as Quentin Tarantino.

Other less gritty films received greater exposure and commercial success, but I am proud to name My Bloody Valentine as one of my Top 100 favorite films.

Both are also “holiday-themed” films.

The plot is basic, yet layered, with a unique setting. Rather than a creepy house, a summer camp, or some other tried and true device, we have the ingenious coal mine setting- immediately fraught with great potential.

Think about it- a coal mine is dark, suffocating, creepy, with countless secret passages, the fear of being lost, and running out of oxygen. It is also underground where help cannot easily be unobtainable.

The town is aptly named Valentine Bluff (how clever) so Valentine’s Day is a major holiday. The Mayor and police chief figure prominently in the story and the use of town history makes the film engaging.

Typical for the slasher genre we have a bunch of horny teens, partying to the max, who decide that the coal mine is the perfect place to throw a Valentine’s Day party, and they do so with gusto.

There are a few middle-aged characters with meaty stuff to do, and the main plot is of the whodunit sort. The killer’s get-up is simply genius.

He (or she) is wearing a miner’s outfit, completely dark, with an oxygen mask, which elicits a heavy breathing sound adding to the great atmosphere that My Bloody Valentine contains.

One of my favorite scenes involves the offing of Mabel Osbourne, the earnest, sweet-natured party planner, who excitedly is preparing the annual Valentine’s Day town dance.

She marvels at receiving a box of chocolates with a wonderful poem until she reads the poem. “Roses are red, violets are blue- two are dead and so are you”! Poor Mabel then has her heart removed and it is sent (gift-wrapped naturally) to the Mayor and police chief.

The scene is both horrific and comical.

My Bloody Valentine (1981) is a favorite of the genre for me and cascades that genre with its bloodiness, fun storytelling, and wicked charm.

2013 Films, Alexandra Daddario, Gunnar Hansen, Horror, John Dugan, John Luessenhop, Marilyn Burns, Slasher

Texas Chainsaw 3D-2013

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Texas Chainsaw 3D-2013

Director John Luessenhop

Starring Alexandra Daddario, Dan Yeager

Scott’s Review #145

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Reviewed July 31, 2013

Grade: B-

If you are a horror buff (as I am) the reality that one must accept is that classic horror films will be remade or some incarnation of them will be made over time.

That is the harsh reality. They will never hold a candle to the originals. That is also a reality. One can either accept them for what they are or resist them.

Once again, another version of the classic 1974 Texas Chainsaw Massacre comes upon us.

It is present times (2013), and the main character, Heather (Daddario), takes a road trip with her friends to Texas to collect an inheritance from a long-lost Grandmother she has never known.

An interesting twist is the film begins where the original left off- the fact that sequels were made in between seems to be forgotten.

I enjoyed how the film picks up where the original left off and brings history to the story.

Unfortunately, the timeline makes no sense and is a complete impossibility- the heroine would chronologically be thirty-nine years old, but the character is in her early twenties.

In typical horror fashion, the characters are all one-dimensional (sex-starved), and a token minority is thrown in for good measure, which has become standard in modern horror.

The Texas police are portrayed as corrupt.

Happily, there are brief cameos by two original cast members (Gunnar Hansen and Marilyn Burns) from the 1974 version, which is a great touch.

Otherwise, this is a by-the-numbers modern horror film and quite forgettable, yet enjoyable for the ninety-minute length.

Texas Chainsaw 3D (2013) does not hold a candle to the original, but what would?

1984 Films, Bruce Mahler, Corey Feldman, Crispin Glover, Horror, Jason Voorhees, Kimberly Beck, Peter Barton, Slasher, Tom Savini

Friday the 13th: Part 4: The Final Chapter-1984

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Friday the 13th: The Final Chapter-1984

Director Joseph Zito

Starring Kimberly Beck, Corey Feldman

Scott’s Review #125

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Reviewed July 21, 2014

Grade: B

Being the 4th chapter in the popular Friday the 13th saga, and the shameless marketing of this installment as being the final chapter, obviously a fib since the ending of the film sets up another sequel, I have a soft spot for this Friday the 13th sequel.

If I am being honest, with each viewing I realize more and more it’s not nearly as good as the first three.

From a storyline and technical perspective, it is a crappy movie.

It now seems incredibly dated and of its time- the acting is mediocre at best but fans of the franchise will love it.

It’s predictable, much like eating at McDonald’s, you know exactly what you will get and that is fine for a certain audience.

A gathering of horny, pot, and beer-induced teens flock to Camp Crystal Lake for a weekend of revelry. Apparently not knowing, or caring, that dozens of other teens have been slaughtered there before, they begin their partying.

For horror fans, there is comfort in this film. We know the youths will be killed- we just don’t know how or when. That’s the fun and beauty of it.

Will someone be decapitated? Lose a limb? Will the murder weapon be an ax or a machete? Who will be the last remaining victim?

The introduction of the twins is a nice touch and a very young Crispin Glover appears.

The addition of Corey Feldman to this one adds child feistiness. Otherwise, it’s pretty formulaic, and not much separates it from any of the others. Fans of the franchise will love Friday the 13th: The Final Chapter (1984), all others stay away.

1985 Films, Corey Feldman, Horror, Jason Voorhees, Shavar Ross, Slasher

Friday the 13th: Part V: A New Beginning-1985

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Friday the 13th: Part V: A New Beginning-1985

Director Danny Steinmann

Starring Melanie Kinnaman, John Sheperd

Scott’s Review #118

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Reviewed July 17, 2014

Grade: B

The fifth installment of the seemingly never-ending Friday the 13th franchise, Part V (1985) offers viewers a twist, one that sadly did not go over well with horror audiences.

Hardly high art, and hated by myself initially, I have grown a fondness for this film over the years after repeated viewings.

Originally, I was not crazy about the twist at the end of the film, but I now recognize, for this type of film, an appreciation for trying something different.

The lighting is brighter and more modern than its predecessor, Part IV, despite being made only a year later.

There is greater comedy in this one- the hillbillies are laugh-out-loud funny and the waitress scene is howlingly awful in the acting department most of the acting is atrocious and can be laughed at, but a much-needed change of setting away from Camp Crystal Lake works and seems refreshing.

The final victim is, for a change, not a teenager, but a mature, intelligent young woman.

Released smack dab in the middle of the 1980s, the film has a jarring dated look to it, which doesn’t do the film any favors in the longevity department.

The film cannot compare to the original or even the first three installments (the best in my opinion), but more experimental than any of the others, which deserves some credit.

2002 Films, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror, John Waters, Slasher

Blood Feast 2: All U Can Eat-2002

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Blood Feast 2: All U Can Eat-2002

Director H.G. Lewis

Starring J.P. Delahoussaye, Christy Brown

Scott’s Review #65

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Reviewed June 24, 2014

Grade: B

Blood Feast 2: All U Can Eat (2002) is a sequel to the original Blood Feast from over thirty years ago.

It is not necessary to see the original before seeing this film (I hadn’t). The original killer’s grandson is the gruesome caterer/maniac in this installment.

Director H.G. Lewis heavily influenced John Waters, who has a fantastic cameo as a perverted reverend. This movie is so over the top and campy that it is not to be taken at all seriously.

The premise, if one can call it that, involves a lunatic caterer intent on using various female body parts to concoct a scrumptious meal to serve at a wedding.

The film is more of a comedy than a horror film in the traditional sense.

The victims are bubbleheads, mispronouncing words and traipsing around in skimpy outfits (or less) for no reason. The mean-spirited mother of the bride is a delight.

Scenes of taste testing and the presentation of “ladyfingers” are hilariously creative.

Campy in every way and poorly acted, but good late-night fun.

2006 Films, Amber Heard, Brooke Bloom, Horror, Jonathan Levine, Luke Grimes

All the Boys Love Mandy Lane-2006

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All the Boys Love Mandy Lane-2006

Director Jonathan Levine

Starring Amber Heard

Scott’s Review #38

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Reviewed June 18, 2014

Grade: B-

All the Boys Love Mandy Lane is an interesting, experimental type horror meets art film from 2006.

On the surface, it appears to be a by-the-numbers slasher throwback involving a group of teens spending a boozy weekend on a Texas farm, of course, in the middle of nowhere.

They are systematically offed one by one. This sounds standard, but there are some moody, artistic, beautiful scenes mixed in, hence the horror/art-house label.

There is a certain “Texas Chainsaw Massacre” charm to it as well.

The story, however, makes little sense and the protagonist’s motivations are confusing and never explained, so while adventurous in parts, the film ultimately fails based on the story’s inconsistencies.

The characters are also rather unlikable, perhaps intentionally so, as these are the characters the audience enjoys seeing hacked to bits.

1970 Films, British, British Horror, Horror, Horror-Camp, Independent, Independent Horror, Slasher

Girly-1970

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Girly-1970

Director Freddie Francis

Starring Vanessa Howard, Michael Bryant

Scott’s Review #11

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Reviewed June 14, 2014

Grade: B-

Girly (1970) is an unusual British horror film about an affluent, bored family, clearly deranged, who kidnaps victims and forces them to become “members” of the family by participating in game-playing escapades for their delight.

The premise of the film is appealing and intriguing as to how it will play out. The family members (Mumsy, Nanny, Girly, and Sonny) are played with gusto by the cast but are never over the top.

My favorite is “Mumsy”, wickedly played by British actress Ursula Howells.

The film itself has a fairy tale quality to it with the sets of the house they share. The main victim (a male gigolo) is a miscast (too old, not sexy enough) and begins a cat-and-mouse game of trickery, plotting the family against one another until the inevitable bodies pile up.

The film loses steam midway through and the ending is not satisfying.

Why the victims are not able to escape the vast property is weak (a 7-foot tall flimsy fence??).

“Curious” film that becomes a tad boring towards the conclusion.