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Graduation Day-1981

Graduation Day-1981

Director Herb Freed

Starring Christopher George, Patch Mackenzie

Scott’s Review #1,482

Reviewed June 7, 2025

Grade: B

Essentially borrowing from Halloween (1978), Friday the 13th (1980), and other slasher films of the genre’s original heyday, Graduation Day (1981) even adopts the gimmicky holiday/big event model (prom night, Mother’s Day, etc.) made popular.

A whodunit mystery, killer point of view camera work, and revenge motive come into play, making the film a standard entry in the slasher catalog.

Released in 1981, the film capitalizes on trends in the horror genre, much like many rock bands did during the grunge movement or the Los Angeles hair metal movement, for comparison.

There are red herring devices and comical, one-dimensional characters thrown in to soften the film. Making Graduation Day a second-tier slasher film, no more and no less.

Still, the film is fun, with the guessing of the killer’s identity being the most successful and compelling aspect. The murderer carefully marking a red X over each victim post murder is delightful.

A small role by aspiring actress Vanna White, who soon became a television game show legend on Wheel of Fortune, makes Graduation Day a fun relic from another time. Her acting isn’t good, so she lucked out with a continuing career in showbiz. The script does her no favors either.

A suburban high school track team is devastated when their star runner, Laura Ramstead, drops dead following a race, having been pressured relentlessly to win by aggressive coach George Michaels (Christopher George).

Months go by, and Laura’s older sister, Anne (Patch Mackenzie), a U.S. Navy Officer, returns home to attend graduation in Laura’s honor.

Conveniently, she leers at one of Laura’s fellow trackmates and has an identical grey tracksuit and black gloves to those of the killer. Later, we see that the coach does as well.

Has Anne returned to town to avenge her sister’s death? Or does the coach blame the other track members for Laura’s death? Is Laura’s devastated boyfriend Kevin (E. Danny Murphy) out for revenge?

Herb Freed, a director I’m not familiar with, co-wrote and co-produced the venture, which is a positive. This means he undoubtedly had more creative freedom to make the project his own.

Many scenes take place along a deserted walking path, reportedly on the way to campus. Intended victims traverse the trail while someone watches them from the sidelines. It’s either the killer or someone else. One character laughably states that she is looking for the auditorium (on a trail?) and can’t find her way.

The editing team deserves praise for the opening sequence, a slow-motion ode to Brian De Palma’s Carrie (1976), no doubt, as Laura crosses the finish line as adoring students and teachers chant her name and words of encouragement.

Later, a cool roller-skating scene is shown amid a performance by the new wave rock band, Felony.

The filler scenes between less critical characters, such as the principal (Michael Pataki) and the ditzy secretary, aptly named Blondie (E.J. Peaker), for example, play well.

What fans watching the film mostly want to see, though, are the kills, which are well done and clever. My favorite is when Tony (Billy Hufsey) is decapitated from behind while taking a leak.

Another track member attempts to pole vault, resulting in death when steel spikes have replaced the pads in the pole vault pit, and he is killed upon impact.

The screenplay is weak, and the killer’s motivations and reasons for the revenge are lightweight. The track members had no intention to or responsibility for Laura’s death, so the conclusion is unsatisfying.

Graduation Day (1981) is an ideal weekend movie, the kind of entertaining, low-budget horror film that will work best for audiences looking to unwind and have fun after a long, busy workweek.

That’s why I watched it, and it’s perfect for fans of the slasher genre who may not have heard of it.

Halloween 4: The Return of Michael Meyers-1988

Halloween 4: The Return of Michael Meyers-1988

Director Dwight H. Little

Starring Donald Pleasence, Danielle Harris

Scott’s Review #1,312

Reviewed October 27, 2022

Grade: B

Give me a good slasher flick any day and I’m a pretty happy guy.

Especially if it’s one from the Halloween franchise (my favorite series other than Friday the 13th, naturally), and viewed around the demonic holiday is the perfect flavor.

There is so much atmosphere to embrace with pumpkins, masks, and trick-or-treaters nestled seemingly safe in a small town ripe for the picking by a knife-wielding maniac.

By 1988 though, the slasher genre had severely waned and felt quite redundant with watered-down sequels and copycat patterns resulting in a stale crop of films.

Halloween 4: The Return of Michael Meyers (1988) is an okay film and a worthy entry to the franchise. It is most notable for fixing what many fans thought was a terrible mistake.

Halloween III: Season of the Witch (1982) omitted maniacal Michael Meyers entirely which made many fans seeth with rage, so Part 4 corrects this miss by adding his name to the title card.

John Carpenter and Debra Hill, the main contributors to the original Halloween (1978) were not involved so executive producer Moustapha Akkad went for a conventional and safe route, creating a standard slice em and dice em affair.

The allegedly comatose Michael Myers (George P. Wilbur) is being transferred from one hospital to another, but he wakes up when the ambulance crew chatter about his surviving niece, Jamie (Danielle Harris).

Out for fresh blood, he slaughters his attendants and sets out to find his one living relative who is being cared for by a kind and resourceful foster sister named Rachel (Ellie Cornell).

Meanwhile, the ever-cautious Dr. Loomis (Donald Pleasence) remains on the killer’s path intent to destroy the monster once and for all.

The overall tone of Halloween 4: The Return of Michael Meyers is by the numbers providing an offering that would only satisfy fans of the franchise and not dare ruffle any feathers or acquire new fanatics.

Even the premise of Meyers escaping a hospital and targeting a family member is identical to the original film and its sequel. The familiar Haddonfield Hospital and Smith’s Grove Sanitarium return like good friends not seen for years.

There are no points given for originality but that’s not necessarily a bad thing. After all, Haloween III tried to reinvent the wheel and was largely derided for its efforts.

I liked the film and I like Part 4 for different reasons.

Meyers is front and center with his pointy butcher knife and hulking frame, and that’s pleasing and comforting. The mask is a bit paler and his height shorter but it’s the same Michael we all know and love.

Missing is Jamie Lee Curtis as Laurie Strode, presumed to have died, but the return of Pleasence is a major win as he takes center stage and has more screen time than he has ever had as Loomis. Scarred and looking older and more withered, his determination is even stronger to best Meyers.

In a neat little twist, Michael looks to pass his killing baton to his niece as she attempts to butcher her stepmom, similar to what Michael did to his sister many years earlier.

Borrowing heavily from its predecessors, Halloween 4: The Return of Michael Meyers (1988) is satisfying but not revolutionary. There are enough nods to history combined with a new batch of teenagers to mutilate to forge ground and continue the legacy.

Airport ’77-1977

Airport ’77-1977

Director Jerry Jameson

Starring Jack Lemmon, James Stewart, Olivia de Havilland

Scott’s Review #1,072

Reviewed October 20, 2020

Grade: B+

The word that springs to mind following a viewing of the disaster flick Airport ’77 (1977) is entertaining. Whether this is positive or negative depends on the viewer and what that viewer wants out of a film.

As a huge fan of the disaster genre, I was one satisfied customer though there is little to distinguish the film from other efforts. It is a more cohesive and professional-feeling effort than its predecessor, Airport ’75.

The fun is watching the cast, the grandiose list of who’s who of Hollywood heavyweights gracing the opening credits.

We wonder who will survive and who will not.

The star is the airplane. Showcased by way of both interiors and exteriors, the luxurious privately-owned Boeing 747-100 is a great highlight of the picture.

Owned by wealthy philanthropist Philip Stevens (James Stewart), the plane is packed with VIPs and priceless art traveling to his Florida estate for a party.

The wealthy travelers are drugged, and the aircraft is subsequently hijacked before crashing into the ocean in the Bermuda Triangle and sinking 100 feet, prompting the survivors to undertake a desperate struggle to live.

The airplane set is a feast for the eyes. A double-deck plane (naturally!) the plush green carpets and the spiral staircase complete with a robust bar stocked with every type of liquor imaginable are wonderful trimming.

It allows the viewer to forget all about the typical in-flight treats like their seat being kicked, a screaming baby, or a fat man snoring, and escape to the pleasures of champagne, caviar, and slippers.

Seriously, the sets are tremendous and worthy of their accolades.

Jerry Jameson, primarily a television director, sticks to a formulaic approach that makes the film look like a long television series. Think Murder, She Wrote, Dallas, or Dynasty at 30,000 feet.

I say this because the melodrama is sky-high (no pun intended) and situations arise between flight crew and passengers to create more tension than the crash itself.

The juiciest drama exists between husband and wife Martin (Christopher Lee) and Karen Wallace (Lee Grant). He flirts with women at the bar, drinks too much, and gets jealous. They squabble. You get the idea.

What a joy it is to see some of the stars on-screen together, specifically Stewart, Olivia de Havilland, and Joseph Cotten. As Nicholas, Cotten is a romantic match for de Havilland’s Emily Livingston, and they appear to be old friends.

Fans of classic cinema will undoubtedly associate him with Shadow of a Doubt (1943) and her with Gone with the Wind (1939) and to see the legendary stars side by side is darling, nearly worth the price of admission.

Stewart is perfectly cast as the rich and distinguished man eager to see the impending arrival of his estranged daughter and her son, hopeful of a happy reunion.

These delights are why I love this genre.

The actors teeter back and forth between phoning in their lines and enthusiastically having a ball with their respective roles. Sometimes it’s hard to tell which is which. I’ll bet the set was tension-free as everyone was earning a bundle of cash.

And why not? The budget is plentiful and filled with overabundance.

The plot is generally ludicrous as is to be expected. The thought that anyone, let alone nearly everyone, could survive a crash into the ocean and remain unscathed as it sinks to the depths of the water is beyond silly.

Suddenly, when all passengers conveniently emerge from their drug-induced stupor simultaneously, hysterics erupt which is quite humorous. As the water slowly begins to seep into the plane a frenzied effort to find a way out commences.

The last portion of the film involving a rescue crew coming to save the passengers is a disappointment, lacking much captivation.

Airport ’77 (1977) has all the elements its target viewer expects it to have. If the well-known cast were instead unknowns the crash peril and its following adventure were not danger personified, and the dramatic and romantic tensions left out, the film would be a disappointment.

The film is like sinking your teeth into a fattening, highly caloric Whopper from your favorite Burger King. It’s a guilty pleasure that you wouldn’t necessarily tell your health-conscious friends you get so much enjoyment from.

But, it’s fun, so why not indulge from time to time?

Oscar Nominations: Best Art Direction, Best Costume Design