Tag Archives: slasher

The Forest (Don Jones, 1982)

In an inversion of the process of scratching moss off a fallen tree limb, scratching the exterior of this ostensible killer-in-the-woods film leads to a fuzzier, fragrant, and fertile interior. Two couples, both with dysfunctions ranging from casual chauvinism to … Continue reading

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Terror at Tenkiller (Ken Meyer, 1986)

Remarkably, as much (if not more) screen time and dialogue is given over to the domestic violence narrative of this pedestrian low-budget killer-in-the-woods film as to the generic slasher-stalks-his-prey narrative. Yet herein lies two strange disconnects: the real-world subject of … Continue reading

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Sledgehammer (David A. Prior, 1983)

This film deserves to be seen as the ne plus ultra of slasher films not only because of its content (one-note teenager-manqués obsessed with sexing and partying, single-setting remote location whose locale is described via tedious explication, flimsy origin story, … Continue reading

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Office Killer (Cindy Sherman, 1997)

Flat and affectless like the time-browned photo taken of your parents after they’ve heaved their frames out of their smoke-choked station wagon during a rest stop break on a cross-state doom haul to grandma’s house, this film attempts to make … Continue reading

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Maniac (William Lustig, 1980)

If one were to take the measure of filmic representations of America in the 1970s, then one should surely plumb the depths to include films like this one, a celluloid scraping from the filthiest strata of the cinematic shale. While … Continue reading

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Tourist Trap (David Schmoeller, 1979)

Neither calmly sitting in the lap of the slasher film, nor quietly cradled in the bosom of the supernatural thriller, this film is nonetheless a pleasant child; its evocative use of setting, its cheapjack convincing aesthetic, its inventive sound design, … Continue reading

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The Last Slumber Party (Stephen Tyler, 1988)

Like its dead-eyed “teenage” actors, who all appear to have been gnawing on valium and sipping on Jack Daniels before being asked to react to the unthreatening sight of a bug-eyed lobotomized “maniac” wearing sweaty hospital scrubs and menacinglessly showing … Continue reading

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Pieces (Juan Piquer Simón, 1982)

The unseen killer in this Spanish-lensed attempt to ride the over-the-top stylistic coattails of giallo and exploit the teen-dollar market of slasher (with results that are neither homage nor piss-take) wears black gloves to better wield a chainsaw and brandish … Continue reading

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The Last Horror Film (David Winters, 1982)

Joe Spinell makes everything dirty. Whether he’s blabbing in his neon-lit hotel room wearing a gendarme’s outfit, or babbling in a nightmare, wearing an absurdly ill-fitting garish shirt and bow tie made, incredibly, of perspiration, the character actor with unruly … Continue reading

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Don’t Go in the House (Joseph Ellison, 1980)

The film’s first set-piece, so giallo in its excess, dares you to watch and look away at the same time; it plays havoc with your role as spectator. Unlike the rest of the film, which plays havoc with psychology, dumping … Continue reading

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