[HACK AND SLASHERS] MY TOP FIVE FAVORITE SLASHER FILMS

 

 

 

 

Recently, THE LOVE WITCH director Anna Biller made some waves amongst Horror Twitter when some posted provocative and provoking thoughts on slasher films, particularly regarding the subgenre’s secret weapon, the “final girl.” Now, I’m not the person to be deep diving into the argument in any way, shape, or form, but all I’ll say is – if you see the final girl as a subversive apology to all the victims that have been brutalized and sexualized in the slasher genre, you’re either watching the wrong films or you’re reading way too far into a genre that’s meant to sell tickets and sell scares. This misalignment of the slasher subgenre is nothing new. Back in the ’80s, Roger Ebert and Gene Siskel made it their personal crusade to take down slasher films – particularly in their episode of SNEAK PREVIEWS, where they delivered a fire and brimstone from their box seats pulpits, decrying slasher films as sexist, misogynistic and too goddamn gory. The thing is, while they missed the mark almost entirely, they’re not wrong. Yes, particular slashers had some unsavory and disgusting elements like misogyny inherent in its DNA (DON’T ANSWER THE PHONE, DON’T GO IN THE HOUSE, NEW YEAR’S EVIL, VISITING HOURS, and EYES OF A STRANGER – which was penned by the writer of one of the five entries you’ll soon be perusing), and with the deluge of misogyny being thrust upon women in 2018, it seems that this is one facet of slashers and horror movies in general we’ve seemingly tossed by the wayside. The nudity that you’d often find in these slashers was just as much a marketing tactic as a tagline was to a poster or water is to a lake. It was ultimately a means to an end, a way to sell tickets to horny teenage boys on a Friday and Saturday night. The sexualization of women is awful, yes, but it was a trait of the genre, in the same sense that the males who often made up the body counts were dumb, sex-obsessed sycophants. The gore could be a little over-the-top at times (hi, Maniac!), but it’s the same token as a marketing tactic. More than that, it was to audiences, the same reason you’d go and see a magic show. You’re enamored by the illusion. It’s the reason why guys like Tom Savini, KNB, Kevin Yagher and John Buecheler are rock stars of the horror genre.  But to shutter the store for a few sleazy customers is truly the definition of throwing the baby out with the bathwater. For every disreputable film in the subgenre, you had films that stood above and beyond the norm, films that aspired to be better than their slasher brethren. Sure, you’ll find the DNA of other better slasher films in this list I’m presenting you with, but what those films chose to do with this blueprint is what gives them the excellence that makes them my favorites. This is a list of those films that took the elements of a slasher and did something special with them. This is a list of my personal favorite slasher films.

 

 

JUST BEFORE DAWN (1981)

 

Five campers arrive in the mountains to examine some property they have bought, but are warned by Forest Ranger Roy McLean that a huge machete-wielding maniac has been terrorizing the area. Ignoring the warnings, they set up camp, and start disappearing one by one.

“Anyone lucky enough to fish out a copy of director Jeff Lieberman’s JUST BEFORE DAWN will certainly find themselves richly rewarded.” – AllMedia’s review of JUST BEFORE DAWN.

“There’s nothing out there but God’s little creatures, more scared of you than you are of them.” – Warren.

1981’s JUST BEFORE DAWN began its life as a script by Jonas Middleton called THE TENNESSEE MOUNTAIN MURDERS and THE LAST RITUAL respectively, and was to be a film with heavy religious overtones and even snake-handling at one point. Jeff Lieberman stepped in, performed a page-one rewrite of the script under the pseudonym Gregg Irving and added a smattering of influences from DELIVERANCE and pitted campers up against two burly backwoods maniacs with respiratory problems to give us a standout film in the then burgeoning slasher film subgenre. It’s a survivalist film with slasher aspirations. JUST BEFORE DAWN also gave Jeff Lieberman the opportunity to continue his trend of preaching southern-friend horror hymns that he established with 1976’s SQUIRM.  A lot of comparisons have been given to THE TEXAS CHAINSAW MASSACRE, but I just don’t see it. That film is a grueling experience and JUST BEFORE DAWN is a sublime, slasher experience. I do, however, see the influences of JUST BEFORE DAWN in WRONG TURN, for what it’s worth. JUST BEFORE DAWN was lensed in the gorgeous forests of Oregon (which I’ve never been able to take full ocular pleasure from as the only copy I have is the smeary Shriek Show DVD that came out in the early 2000s).

The film boasts excellent performances from its young cast, namely Gregg Henry, Chris Lemmon, and Deborah Benson, and with the older actors; you’ll find a comforting turn by George Kennedy as a park ranger who’d rather tend to his flowers than bother with missing campers and a believably drunken and sleazy performance by the late Mike Kellin. As for John Hunsacker as the two killers … well after seeing an interview with him on the aforementioned Shriek Show DVD, I really buy him as a mountain man. Now, because of the tidal wave of slasher films and the Xeroxed knockoffs that came out in the 80’s, the slasher archetype became so diluted that you could pick and predict just how the body counter would proceed. Which is why after all the slasher films, seeing something like JUST BEFORE DAWN was so refreshing.

Firstly, the score by Brad Fiedel is a soothing, eerie affair replacing the shrieking violins and stabby synthesizers of the glut of slasherdom and making way for a score that washes over you. The film has some violent moments, but it’s fairly subdued, especially considering that it came out in the same year as the splattery campfire tale, THE BURNING. In fact, the only truly gruesome moment comes right at the top of the film when Mike Kellin’s nephew, Vachel is killed by the mountain man. It’s such a skin crawling kill, the killer rams the machete through his groin and through his backside, then slides it out, letting the serrated blade tear through his flesh. RIP, your dick, my dude.  Otherwise, most kills are off-screen or left to our imagination – such is the fate of the fun, flirty Megan, who providers the film with the requisite nudity.

 

 

There are brilliant directorial flourishes throughout, like how Lieberman’s camera prowls around corners, almost daring something to jump out at the characters, and yet nothing does. This approach also lends itself to the scares in the film, how the killers simply appear in the film, not accompanied by any sort of musical stinger. For instance, in the opening scene, the killer simply appears without any fanfare. He’s simply spying on his future victim through a hole in the roof of a church. Or when Megan is skinny dipping in the watering hole, the killer simply glides into the water unbeknownst to her. The film allows you to feel scared by choice, and not by sound design. Another neat little element of the film is how the killers are scavengers, taking little items from each of their victims to complete their wardrobe. Lieberman’s script also brilliantly avoids any potential backstory with regards to the killers and the reveal that there are two killers is a dynamite scene.

Though the characters are lacking in development – they’re just your average good-looking boys and girls, Lieberman skews expectations by having the tough as nails guy, Warren (Gregg Henry) go down for the count in the last act and lets bookish, closed off Constance become the tough woman who succeeds in besting the killer by shoving her fist down the killer’s throat and choking him to death. These touches elevate JUST BEFORE DAWN and it kills me that the film isn’t as highly regarded as it deserves to be. If the film had been picked up by its intended studio in Universal, perhaps the film wouldn’t be under-seen. These genre-defying elements are why I put JUST BEFORE DAWN as number one on my chopping block.

 

 

 

 

 

 

FRIDAY THE 13th PART 2 (1981)

 

Mrs. Voorhees is dead, and Camp Crystal Lake is shut down, but a camp next to the infamous place is stalked by an unknown assailant.

“This movie is a cross between the Mad Slasher and Dead Teenager genres; about two dozen movies a year feature a mad killer going berserk, and they’re all about as bad as this one. Some have a little more plot, some have a little less. It doesn’t matter. Sinking into my seat in this movie theater from my childhood, I remembered the movie fantasies when I was a kid. They involved teenagers who fell in love, made out with each other, customized their cars, listened to rock and roll, and were rebels without causes. Neither the kids in those movies nor the kids watching them would have understood a world view in which the primary function of teenagers is to be hacked to death. *This review will suffice for the Friday the 13th film of your choice.” – Roger Ebert’s half star review of FRIDAY THE 13TH PART 2

“I don’t want to scare anyone, but I’m gonna to give it to you straight about Jason.” – Paul

Despite Siskel and Ebert doing their damndest to try and torpedo FRIDAY THE 13TH by both publicly condemning the film and doxing Betsy Palmer (though they gave out the wrong address), the film was a breakaway independent hit for both the independent Boston-based company Georgetown Productions that front the cash to Sean Cunningham and Paramount Pictures who picked up the film for distribution (which additionally, introduced the idea of the negative pickup to the world), which meant that everyone was eager to continue the success despite the sequel’s villain being supposedly dead at the beginning of the first film. This plot development turned special effects maestro Tom Savini away to do THE BURNING and Sean Cunningham to do A STRANGER IS WATCHING. But original producer Steve Miner wasn’t deterred by this, nor was the shadowy Phil Scuderi (the phantom backer), so a script was cobbled together by Ron Kurz, who provided uncredited doctoring on the first film’s script and everyone went to Kent, Connecticut so the body count could continue. The resultant effect was a major studio film (with a bigger budget) released to theatres with a grindhouse aesthetic in its soul.

Look, the original FRIDAY THE 13TH is a spooky masterpiece with a creep factor of one thousand, but personally, I think that Steve Miner is a better director than Sean Cunningham, and this has shown in their post-Friday work where Steve Miner has had a major career and Sean Cunningham has had a minor one. Miner’s effective use of a prowling camera keeps the audience on its toes through the speedy eighty-seven minute runtime. There are long running one take shots where you expect something to happen … and then nothing does, until they’re ready to spring a scare onto you. The entire third act is a beautifully orchestrated cat and mouse game with fantastically sprung scares and excellent shot composition. For instance, the scene where Ginny closes herself in the bathroom, realizes there’s no lock and attempts to escape through the window, but Jason crashes his hand through and reaches for her. Or the shot where Ginny is in the shack, and we see Jason running full bore for her through a window in the foreground. You just feel the audible shudder from the audience.

 

 

The effects by Carl Fullerton are pretty darn great, too. The look for Jason, while not hewing as close to Tom Savini’s original design for Jason, feels in line with the story that Jason survived his drowning and lived in the wilderness all these years (a plot point adopted by the remake nearly thirty years later). Elsewhere, the kills are nicely grisly and inventive with a splash of giallo to them. Yes, I know some of them are inspired by A BAY OF BLOOD – but that doesn’t really matter to mainstream audiences and only us hardcore horror fans. Besides, the grisliest of deaths, Mark getting machete’d in the face and tumbling down a flight of stairs in his wheelchair. Otherwise, it’s your garden variety slit throats, stabbings and so forth, but even those kills are directed better. And furthermore, you can actually see them (barely- the MPAA was merciless with their cuts) because the film is lit so much better than the original. Yes, I know the darkness of the first was purely budgetary. It doesn’t matter. I like to see my movies!

The script actually gives the characters, thin as they are sketched, likability. They’re cracking jokes, they’re sexy and they’re swift when having to fight for their lives against Jason. The absolutely magnanimous Amy Steel is a standout Final Girl in the entire slasher genre – both with the way she plays mind games with Jason (love that they set up the child psychology career to give this extra oomph) and how she provides great prey and ultimately predator to the killer. Otherwise, the characters are there to be meat for the cleaver. You’re got the sexy Kirsten Baker, a charmer for sure, giving the young me one of the most memorable nude scenes in the franchise. The guys are all good-looking too, especially Russell Todd. The look of Jason is terrifying, that THE TOWN THAT DREADED SUNDOWN inspired look, and yeah, the overalls were a bit much. The chair jumper, Jason crashing through the window still terrifies me. As for the ending, Paul’s still alive, guys. It’s canon when taking FRIDAY THE 13TH PART III into consideration.

I’ve excerpted Roger Ebert’s review for a reason at the top of this entry. One, to highlight just how good Ebert’s prose was when he took down a film he disliked for one reason or another and two, to illuminate that maybe the feelings that Ebert had towards the slasher ilk was less about its content and more about the fact that he wasn’t the correct target for these films. Not that one has to be of the right age bracket to enjoy slashers, but perhaps it has to do with the flighty, carefree nature of youths, a period in Ebert’s life that had gone by a long time ago.

 

 

 

THE PROWLER (1981)

 

An unknown killer, clad in World War II U.S. Army fatigues, stalks a small New Jersey town bent on reliving a 35 year-old double murder by focusing on a group of college kids holding an annual Spring Dance.

“The real reason for the existence of this unexceptional film is to show off the artistry of special-effects man Savini. Several of his most gruesome moments were cut from the film at the last minute to appease a touchy MPAA. A better-than-average cast, including veterans Granger and Tierney, helps make this one palatable.” – TV Guide’s one star review of THE PROWLER.”

“I want you to be my date, Rose.” – The Prowler

There’s always been a debate as to which is the better slasher film – MY BLOODY VALENTINE or THE PROWLER. They both came out around the same time; independent slashers with gruesome murders that were slashed to ribbons by the MPAA for theatrical release. While MY BLOODY VALENTINE is the story of a blue-collar town besieged by a miner straight out of a ghost story while trying to put on a Valentine’s Day dance, THE PROWLER is the story of college kids holding a spring dance getting picked off one by one by a jilted killer bearing military fatigues. The murders all pick up several years after their inciting incidents, in THE PROWLER’s case – a World War II soldier returning from overseas to find that his girl has left him for another man. Discussing the difference between the two killers, Harry Warden’s look is memorable, but there’s something so monstrous and blank about the Prowler’s wardrobe with the dark olive fatigues and the green cloth draped over the face of the murderous madman. There’s also a small-town giallo element to the film, with the killer leaving red roses on the victim’s bodies. Unfortunately, the jilted romance angle may reek of Lifetime Movie of the Week, the title ROSEMARY’S KILLER definitely doesn’t help here. With plots so similar, there’s always this innate need for fans to debate which of the two is better, usually with fans responding in the affirmative for MY BLOODY VALENTINE (they’re not wrong), but personally, I really love THE PROWLER.

It’s directed with workmanlike precision by Joseph Zito, his talent (and some would say brute efficiency) here would land him the director’s chair on FRIDAY THE 13TH: THE FINAL CHAPTER (bringing Savini along for the ride). What Zito does so well, is creep the audiences out. The scenes with the Prowler … well, prowling around are directed with maximum skin crawl in effect. Zito and his writers break slasher tradition excellently by firstly having its final girl (played by the Amy Steel lookalike Vicky Dawson), spot the killer early on and realize that something nefarious is afoot, rather than leave the cat and mouse stuff until the third act. There’s also a couple that break away from all the action to have sex and don’t wind up dead.

 

 

The red herring with Lawrence Tierney is pretty poorly handled, especially since Tierney disappears halfway through the film, but the film makes up for it, but having a neat central murder mystery at its core, and reminds me a little of DEEP RED, a spooky house that holds the secret to a decades old murder. Sure, the killer’s identity is as obvious as a veteran cop buying a boat with Live Forever inscribed on it, but the motivation for the killer is fairly insidious. The idea of a man going on a murderous rampage after being rejected by a woman is something we’re seeing pop up in modern culture with the rise of the stupid fucking incel movement.

Tom Savini’s special effects are particularly nasty for THE PROWLER. Of note, there’s a slit throat effect that the killer delivers to a victim in a swimming pool that really catches your breath. The killer also stabs a victim in the top of their head, driving their bayonet in with such force that the victim’s eyes roll back into their skull, he’s later discovered hanging in the shower, and in a CARRIE-esque fit of spookery reaches out to scare our heroine with a jolt (another similar ending would be used as an alternate ending in FRIDAY THE 13TH: THE FINAL CHAPTER. Ostensibly the iconic kill for THE PROWLER is the cute Lisa Dunsheath getting pitchforked in the shower, completely naked. It’s a brutal, tough murder scene that really showcases Savini at the height of the splatter craze. What Savini brings to the table is the realism of the murders, like the killer forking a couple at the beginning of the film – when the killer puts his foot on the bottom of the pitchfork to drive the tool into their flesh deeper. That’s the weight that Tom Savini brings to the murders he orchestrates. There’s something even more perverse about a military man orchestrating murders by a military man. There’s even a patented head explosion reserved for the killer. He was the key to many of these horror films even working.


THE HOUSE ON SORORITY ROW (1983)

 

A group of girls staying at a sorority house clash with the house’s owner, who wants them out. They decide to play a prank on her, but it goes awry and she winds up dead. Panicking, the girls try to hide the body, but someone (or something) witnessed the crime and begins to stalk them.

“The feature debut of Brian De Palma protégé Mark Rosman, this sporadically interesting slasher film is better directed than most. Although director Rosman spices up the predictable murders with some stabs at surrealism, a slasher movie is a slasher movie is a slasher movie, and this one soon wears out its welcome.” – TV Guide’s two star review of THE HOUSE ON SORORITY ROW.

“I’m a sea pig  …” – Sea Pig

There were quite a bit of college set slasher films in the sub-genre’s heyday from the better (FINAL EXAM, HAPPY BIRTHDAY TO ME) to the worst (SPLATTER UNIVERSITY), but THE HOUSE ON SORORITY ROW sets itself above the bar set by those other collegiate carnage fests by having above all, a talented director guiding the mayhem. It’s evident that Mark Rosman studied Brian De Palma’s prowess well while he worked as an assistance director on De Palma’s HOME MOVIES, from the way the gliding camera swoops up and down the halls of the aforementioned house, a Baltimore mansion in reality. As a matter of fact, the film beat with the heart of Baltimore in its veins, from Vincent Peranio performing the art direction on the film to godlike Baltimore mainstay John Waters visiting the set. If David Simon wrote something for the film, it’d be a Maryland Hat Trick. Hilariously enough, Lois Kelso Hunt did appear on HOMICIDE: LIFE ON THE STREET so this film DOES complete the Maryland Hat Trick. Congratulations, on this made up award. Furthermore, to pump the horror accolades, genre mainstay Rachel Talalay worked on the film line producing and performing apprentice editor duties. This film has its receipts when proving its worthiness to bloodthirsty horror fans. Though I agree with Rosman about that poster, his original intention was a DELIVERANCE style poster with the hand rising out of the pool water, but they went with a sexy sorority poster, presumably to sell tickets and mislead the audiences in advertising. He wanted to scare, they wanted to titillate. This speaks levels about studio mindset in the days of the hack and slash.

To reveal that BLACK CHRISTMAS is the biggest influence on the plot of THE HOUSE ON SORORITY ROW, would be giving much of the twist ending away, and really only becomes apparent one we see the last act of the film. But it does add a creepy layer to the film upon re-watching, and a tragic one, especially in regards to Mrs. Slater whom we perceive to be a nasty figure, but once we peel the layers away and learn her darkest secret, it gives the film a neat melodramatic soap opera sheen to this slasher. And the killer has a neat costume – a jester clown type uniform (Dick Randall must’ve watched this one while producing SLAUGHTER HIGH). Rosman’s influences in Mario Bava (noticeably A BAY OF BLOOD) show when the killer strikes in quick cut murders either stabbing victims, slitting throats or decapitating the unlucky partygoers. Rosman was clearly influenced by DIABOLIQUE, and has said as much, with the plot of a waterlogged dead body going missing after a prank gone awry, but ultimately twists away from DIABOLIQUE and uses the dead body as a red herring, when the coeds assume the killer is the not-quite dead housemother.

 

 

I actually would like to side-track for that prank a moment, if you’ll let me (since I’m writing, it doesn’t matter what you want, babes and busters!). It’s another in a long line of pranks that trigger the killer, and not that Mrs. Slater didn’t deserve to be pranked (she was kind of a crank), but the prank is so goddamn mean-spirited, they force her to swim out to the middle of a nasty pool to retrieve her cane (the film’s murder weapon) and then fire a gun loaded with blanks at her, triggering a heart attack. It falls somewhere on the slasher prank scale right ahead of those British kids tormenting Marty Rantzen with every prank in the book, closer to those campers setting The Cropsey on fire, but nowhere near guiding Kenny Hampson into making out with a dead body in TERROR TRAIN. Here, the prank leads to a death, and a subsequent cover-up and I’m suddenly seeing Kevin Williamson give this film side-eye when he was writing up I KNOW WHAT YOU DID LAST SUMMER.

Elsewhere, it’s the little zany touches that make this slasher film more than memorable. There’s the sheer outrageousness of the aforementioned prank. There’s the dramatics in the acting (which I’ll touch on later). I love the little detour in the last act when the film goes psychotropic when the final girl is being used as bait for the killer. I enjoy the quote from the heavyset guy swimming in the pool (“I’m a sea pig.”). And of course, there’s the usual party scene with the aptly named 4 Out of 5 Doctors.

The cast is a mixed bag, from the great Kate McNeill, who later appeared in George Romero’s MONKEY SHINES (you all remember that scene, don’t you?) and Harley Jane Kozak, who stole my little heart in ARACHNOPHOBIA. The other actors are serviceable, but sadly not memorable. They show up, deliver their lines, argue and party and are killed off in quick succession. The only truly memorable scene is with the character Morgan, played by Jodi Draigie, who provides the nudity quotient so the film can hit its slasher requirements. She’s quite beautiful, but the way she delivers the line, “How do we know she is alive?” is so bad, that I’ve included it here for your visual and aural pleasure.

 

Lastly, THE HOUSE ON SORORITY ROW was remade as SORORITY ROW in 2009, with Mark Rosman producing. Several of my colleagues like the film, and I can see why – it’s a reliable postmodern slasher film and like in its original incarnation features a cruel prank at its epicenter. But the soft, airy sheen is missing from the remake, and the tawdriness of the title is gone when you remove most of the title. And personally, I don’t need a torture porn façade to my horror. What you’re left with a serviceable slasher and one with an actual mystery as to who is murdering people, but it feels a little empty to me personally, and this comes from someone who enjoys the hell out of the BLACK CHRISTMAS remake. Maybe I should revisit it. At least they gave us the blessed image of Carrie Fisher toting a shotgun. For that, I’m eternally thankful.

 

 

 

 

 

BLOOD RAGE (1987)

 

As kids, Todd is institutionalized for a murder whilst his twin goes free. 10 years later, on Thanksgiving, Todd escapes and a killing spree begins in his neighborhood.

“And while it’s not quite as craptastic as the other Thanksgiving slasher — 1981’s HOME SWEET HOME — it certainly holds its own, with better gore effects and much better night lighting to boot.” – from the Hysteria Lives review of BLOOD RAGE.

“That’s not cranberry sauce.” – Terry

Shot in 1983 in and around Florida and New Jersey, BLOOD RAGE took four years to hit the silver screen with all its sanguinary goods courtesy of Ed French neutered by the MPAA and with the discourtesy of being re-titled NIGHTMARE AT SHADOW WOODS and eventually going to Prism Home Video with its gore intact and its original name BLOOD RAGE bestowed back onto it. Then, it also was known under its title SLASHER at one point in its lineage (this for what it’s worth is what BLOOD RAGE is known under on my Arrow Blu-ray copy), eventually getting remastered onto home video courtesy of Arrow Video with three discs sporting three different versions of the film. It’s a wonder that this film didn’t get an identity crisis, unlike the characters at its film’s center.

BLOOD RAGE takes place in Florida (the state that defined the term “hot mess”), starting at the sweatiest place in the world, a seventies drive-in. This is where the zaniness begins and never ends for the next eighty-two minutes. You’ve got a young kid butchering a couple having sex (not even mentioning that the mother of the kid is contemplating having sex in front of them), egregious use of pumpkin pie, a killer smoking weed with his would-be victim, a killer peeing whilst in pursuit of his would-be victim, a killer scolding a sexy couple having sex and … you know what, I’ve said too much. BLOOD RAGE is not just a film to be enjoyed – it’s a film to be fucking mainlined.

It’s noteworthy to mention Mark Soper, pulling effective double duty as both the lunatic and manic Terry, and the more subdued Todd. What’s excellent about Soper is that he can play Todd as one minute – a charming likable presence and the next, a brutal psychopath and more than that, he can still come off likeable but use his face to convey a BLOOD RAGE bubbling just below the surface. It’s worth mentioning that I didn’t even realize Todd and Terry were played by the same actor because they dressed Soper as Todd in baggy clothes and flattened hair, even going so far as to change his posture. It’s simple but starkly realized.

 

 

Louise Lasser turns in an authentically troubling performance as Todd and Terry’s mother, who’s caught in a slow motion breakdown realizing that her family is slowly imploding and the least of her worries is leftovers. She queasily portrays a woman under duress far too easily and the mania seems to be easily obtained by Lasser. Both Soper and Lasser perform at their peaks during the final scenes, where Todd and Terry’s mother makes a crucial choice that leads to a dark, tragic ending. This ending was replicated somewhat in THE GOOD SON, but BLOOD RAGE takes the choice Lasser makes to its harrowing, logical conclusion. Elsewhere, you’re going to find a cameo by Ted Raimi (his first film role), his sole scene devoted to doling out condoms, and performances by good looking, likable actors that get the job done, especially given that they were in a low-budget slasher film. You’ve even got the cute actress who doffs her top for the feature. I enjoy the fact that Marianne Kanter (as in PRESENTS), the producer of the film gets slayed in what might be one of the film’s most graphic death.

The film also boasts beautiful night photography and is one of the rare slashers where, not only do we follow the killer; most everyone KNOWS there’s a killer afoot. There’s a beautiful central location that all the victims and the killer co-mingle in and guess what, it’s a Thanksgiving slasher film (other than HOME SWEET HOME), kiddos. The score also fucking rules. What more could you ask for? Last I checked, this film was on Amazon Prime. You could watch it for free there, but I recommend going out and buying the fucking thing. You’ll not regret this purchase.

You can thank me on Twitter.

 

 

 

Nathan Smith

Nathan Smith

Nathan Smith is a Dallas-based writer of both films and of Internet goings-on. He's also in a movie on Netflix, but won't tell you the title, for fear of transmitting a RINGU-type curse into your home. He can be found on Twitter as @madmanmarz81.
Nathan Smith

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