I think this was the cover art when I first fell in love with THE TEXAS CHAIN SAW MASSACRE
Happy Halloween, everybody! As is sometimes my tradition, I have managed to do a write-up of one of my all time favorite movies that I haven’t done an official piece on. In 2016 I finally got the balls to do THE THING, and in 2017 I did INFERNO. I guess when I did DAWN OF THE DEAD it was a month after Halloween, but that’s the type of review I’m going for here.
These reviews of the classics are intimidating because there’s such a risk of saying the same shit that’s already been said, but I’m tired of linking to my Ain’t It Cool News review of a DVD release every time I mention it, which is inconvenient when I seem to compare half the movies I watch to THE TEXAS CHAIN SAW MASSACRE. I remember I even compared the Kathryn Bigelow racism drama DETROIT to it. Incidentally, even though I’ve been thinking about HALLOWEEN movies all month the world is feeling more TEXAS CHAIN SAW to me these days.
In other words, be warned: this is one of the ones where I relate the movie to the politics of today, so if you hate that, please don’t read, and go have a happy Halloween. If not, please do read, then have a happy Halloween.
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THE TEXAS CHAIN SAW MASSACRE. One of the greatest horror movies since they started makin’ ’em. Not sure if I’ve mentioned that before, but it’s true.
It’s a movie that has grown on me and with me. When I first saw it I was probly 13 and I thought it was dumb. Just some crappy footage of a dude chasing people around in the dark. I was a Freddy guy. Saw it again in my twenties and it became pretty much my favorite movie. Back then it was VHS (not sure if it was even letterboxed) and I really believed that the raw quality of the footage was part of its magic. That it felt like a documentary, one made by crazy people.
After believing that for years I got that remastered edition that Dark Sky Films released, the one in the steel case (which I took these screengrabs from). It looked so much cleaner I wasn’t sure if I should accept it at first. Now I watch the way-more-pristine-than-that Blu-Ray and I love the movie even more as the controlled, artful craftsmanship it had always secretly been. For the moment, forget “drive-in” or “grindhouse” and think “great American film of the ’70s,” even if it’s all of those things. (read the rest of this shit…)
ABSURD is a pretty standard Italian take on a HALLOWEEN-ish slasher plot – outrageous gore, decent Goblin-esque prog-rock score by Carlo Maria Cordio (PIECES, MIAMI COPS, CURSE II: THE BITE, TROLL 2), thin characters, lots of boring scenes of people standing around dryly talking about what’s going on, crazy ending.
It begins with two men running: a priest (Edmund Purdom, the dean in PIECES) and a bearded Ron Silver looking guy in jeans and a manly belt buckle (George Eastman, EROTIC NIGHTS OF THE LIVING DEAD, STAGEFRIGHT). The bearded guy climbs over a tall wrought iron fence and shows up on some rich people’s doorstep with a big glob of intestines dripping out of a belly wound. (read the rest of this shit…)
SLUMBER PARTY MASSACRE III is less crazy than part II, and has less going on thematically, but to me it was a little more fun to watch this time through. I don’t think this one is connected by any characters, though the killer has a backstory that I didn’t quite follow, so maybe there’s something there.
Like the other two SLUMBER PARTY MASSACREs, this is directed by a woman, Sally Mattison this time. This was her only time directing – she was a casting director and associate producer for Concorde, including for BLOODFIST and SILK 2. Screenwriter Catherine Cyran (credited as “Bruce Carson”) also wrote BLOODFIST II, FUTURE KICK and HONEY 3: DARE TO DANCE. As a director she’s responsible for three sequels in the THE PRINCE & ME franchise, among other things. (read the rest of this shit…)
TERROR ON TOUR is about a band called The Clowns, who wear makeup kind of like Kiss, as well as black leotards, red capes, afro wigs with two white stripes, and sometimes Phantom of the Opera type half-masks. This is important because someone is going around doing the murders and we don’t know if it’s a lookalike or a band member and which band member or which lookalike.
The movie contains “original music by The Names,” who I have determined to be the one from Rockford, Illinois, not the one from Brussels. And I believe they are playing the band in the movie, which is why (just like Easy Action as Solid Gold in BLOOD TRACKS) they don’t really do that much acting. Instead the story focuses on these two guys in the green room, roadies or something. One guy likes to put on makeup so he can trick groupies into thinking he’s in the band (approved by the band), and his main job seems to be buying drugs for the other guy.
The title is slightly misleading because although I guess they’re technically on tour we only see them in one town, one venue, where they’re playing shows on multiple nights and also having parties. The police are suspicious of the band and their shindigs even before they find a dead lady in the alley, yet they have no security and only a couple suit wearing cops including Lieutenant Lambert (John Green, DEMENTED) occasionally standing in a quiet part of the building looking at documents and stuff. (read the rest of this shit…)
SLUMBER PARTY MASSACRE II is a kinda cool, kinda odd, but kinda boring variation on the simple part 1. It follows Courtney, one of the first film’s survivors, but recast with Crystal Bernard (Wings). Her older sister Valerie is said to be in a sanitarium somewhere, just now beginning to speak again (after five years, if it’s in real time). Courtney convinces her mom (Jennifer Rhodes, THE TOWERING INFERNO) to let her spend a weekend with her friends at one’s dad’s new condo. But don’t tell Mom that boys will be there.
Much has been made of the first one being written and directed by women, and what that means in a slasher movie centered around a dude with a phallic drill murdering teenage girls in nighties. This one is written and directed by a different woman, Deborah Brock, and has a rare slasher movie occurrence of the female gaze in an opening dream sequence where Courtney pictures her crush Matt (Patrick Lowe, PRIMAL RAGE) shirtless, smiling, throwing a football, while she’s in a non-revealing nightgown. (read the rest of this shit…)
(I’m not gonna count this as a Slasher Search since it’s a new movie I had been anticipating, but it’s the completion of a trilogy that I reviewed the first two-thirds of in Slasher Search 2012)
Years ago there was this weird pill junkie guy I knew who obsessive-compulsively watched stacks of crappy murder mystery movies that nobody even around here ever heard of, and he kept telling me there was this amazing horror movie called MALEVOLENCE (2003). I had to know what it was this guy was so obsessed with, but as expected it was kind of cheap and ugly. “But it has its moments. I like what it’s going for I guess” raves Outlawvern.com.
When I was looking it up on IMDb to write a review I noticed that writer-director Stevan Mena made another movie in 2010 called BEREAVEMENT that had some of the same character names. Turned out it was a prequel.
And to my surprise I really liked it! It’s got little in the way of originality, and it’s more nihilistic than I generally prefer, but with a bigger budget and more experienced cast he was able to make a creepy, atmospheric, character-driven riff on TEXAS CHAIN SAW MASSACRE type material. (And then his great heroine Alexandra Daddario got to star in the officially licensed but not as good TEXAS CHAINSAW 3D. “Do your thing, cous’!”) (read the rest of this shit…)
I don’t consider myself a Chuck Norris fan, but I love INVASION USA and obviously he’s in my favorite Bruce Lee movie WAY OF THE DRAGON and okay, LONE WOLF McQUADE is pretty good and I have to admit I enjoyed DELTA FORCE 2 and also the first MISSING IN ACTION is kinda stupid fun so okay, maybe I like some of his movies, big deal, I could stop at any time.
I watched SILENT RAGE because Panos Cosmatos mentioned it on Shock Waves as a rare example of action-horror. Obviously that’s a hybrid genre that has some appeal to me because it’s my two favorite types of movies combined into one super-movie (and because it’s what I’m trying to do in that next novel I’m perpetually on the verge of finishing).
The highlight of SILENT RAGE is definitely the opening, a long, boiling-over-pot of a sequence that reminds me of the deft camera mastery of HALLOWEEN‘s opening and the stand-alone intensity of SCREAM‘s. It’s just about this guy John Kirby (Brian Libby, ACTION JACKSON, THE MIST) at home in Dallas one random day and the kids are running around causing havoc and the wife is sniping at them and nobody’s paying any attention to him but us as he is sweaty and shaking, talking to his doctor on the phone, vaguely asking for help. Then he says “I’m not gonna make it,” hangs up and stumbles to the chicken coop out back. We stay inside watching out the window and the family is still completely oblivious to anything being wrong as he returns with an ax. (read the rest of this shit…)
HELL FEST is a mainstream horror movie released on 2,297 screens by Lionsgate, but I never saw a trailer for it and only heard of it because Brian Collins recommended it on Twitter (he also interviewed the director). So I guess social media can still work for good old fashioned word of mouth, not just Russian disinformation campaigns.
For people who like horror but get bored of formula and cliche, this is probly nothing special. But for horror fans like me who enjoy variations on tradition, it’s a surprise treat: a slick, well-made straight-ahead slasher movie with some cool ideas, production value, a solid cast, even likable characters. I honestly thought they couldn’t make movies like this anymore – it seems straight from the post-SCREAM slasher revival, except without any meta stuff (other than we’re having fun being scared while the characters are having fun being scared). Also, no big names in the cast. The only face I recognized besides cameo-ing Tony Todd was Bex Taylor-Klaus from Scream: The TV Series. (But maybe others would be known to me if I was younger.) (read the rest of this shit…)
At a glance the PROM NIGHT of 2008 doesn’t seem like a remake at all, but more of a re-use of the title. It doesn’t take any major elements of the original or its unrelated sequels – there’s no children’s game turned deadly, no principal’s son or masked killer or prom queen burned alive and back as a ghost or evil priest, no Hamilton High or Brock Simpson or even ambiguity about which North American country it takes place in (it’s in Bridgeport, Oregon, though filmed mostly in L.A.). It does take place on prom night, though, so I totally get why they wanted that title.
If you look closely it is arguably based on a somewhat forgotten plot point of the original 1980 PROM NIGHT, but if so that detail is now a xerox of a xerox of a xerox of the fifth revision of the 13th draft. The part in question is the original’s red herring about the pedophile who was blamed for the sister’s death and now has escaped and the police are trying to make sure he doesn’t come to the prom for revenge. The remake/”remake” uses a similar escaped lunatic template, but in this one it’s ex-teacher turned stalker Richard Fenton (Johnathon Schaech, ACTS OF VENGEANCE) who, three years ago, became delusionally obsessed with his student Donna (Brittany Snow, PITCH PERFECT, BUSHWICK) and murdered her family in front of her. Unlike PROM NIGHT (but like PROM NIGHT IV and their original inspiration, HALLOWEEN) there’s no whodunit mystery in this one. He definitely did it, he really is here, he for sure is killing a bunch of people, and we’re seeing it. (read the rest of this shit…)
By the time they finished off the PROM NIGHT series it was 12 years after the original. The ’80s horror cycle that had given rise to Mary Lou Maloney had petered out. This was a year of studio auteur horror (BRAM STOKER’S DRACULA, RAISING CAIN, DEATH BECOMES HER), genius cult directors getting to work with more resources (DEAD ALIVE, ARMY OF DARKNESS), shitty horror with morphing (Stephen King’s SLEEPWALKERS, not Stephen King’s THE LAWNMOWER MAN) and in my opinion the best horror movie of the decade (CANDYMAN). The PROM NIGHT series was part of another trend of lesser or totally unwanted sequels, arguably including PET SEMATARY TWO, HELLRAISER III: HELL ON EARTH, HOUSE IV, STEPFATHER 3, WITCHCRAFT IV & V, 976-EVIL 2, CRITTERS 4, AMITYVILLE 3: IT’S ABOUT TIME, BASKET CASE 3: THE PROGENY, THE GATE 2: TRESPASSERS and SCANNERS III: THE TAKEOVER (and some might say ALIEN 3).
PROM NIGHT IV: DELIVER US FROM EVIL, the finale of the original Canadian PROM NIGHT series (so far), ditches parts II–III‘s story of the avenging prom queen ghost for some new religiously themed horror about some Catholic school students and their boyfriends from Hamilton High who get dressed up and rent a limo and do not go to prom. (So there is no disco, no rock, no Maestro Fresh-Wes, no popular music at all.) (read the rest of this shit…)
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Recent commentary and jibber-jabber
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Happy Halloween, everybody! As is sometimes my tradition, I have managed to do a write-up of one of my all time favorite movies that I haven’t done an official piece on. In 2016 I finally got the balls to do THE THING, and in 2017 I did INFERNO. I guess when I did DAWN OF THE DEAD it was a month after Halloween, but that’s the type of review I’m going for here.
a.k.a. 
SLUMBER PARTY MASSACRE III is less crazy than 
TERROR ON TOUR is about a band called The Clowns, who wear makeup kind of like Kiss, as well as black leotards, red capes, afro wigs with two white stripes, and sometimes Phantom of the Opera type half-masks. This is important because someone is going around doing the murders and we don’t know if it’s a lookalike or a band member and which band member or which lookalike.
The movie contains “original music by The Names,” who I have determined to be the one from Rockford, Illinois, not the one from Brussels. And I believe they are playing the band in the movie, which is why (just like Easy Action as Solid Gold in BLOOD TRACKS) they don’t really do that much acting. Instead the story focuses on these two guys in the green room, roadies or something. One guy likes to put on makeup so he can trick groupies into thinking he’s in the band (approved by the band), and his main job seems to be buying drugs for the other guy.
SLUMBER PARTY MASSACRE II is a kinda cool, kinda odd, but kinda boring variation on the simple part 1. It follows Courtney, one of the first film’s survivors, but recast with Crystal Bernard (Wings). Her older sister Valerie is said to be in a sanitarium somewhere, just now beginning to speak again (after five years, if it’s in real time). Courtney convinces her mom (Jennifer Rhodes, THE TOWERING INFERNO) to let her spend a weekend with her friends at one’s dad’s new condo. But don’t tell Mom that boys will be there.
(I’m not gonna count this as a Slasher Search since it’s a new movie I had been anticipating, but it’s the completion of a trilogy that I reviewed the first two-thirds of in Slasher Search 2012)
I don’t consider myself a Chuck Norris fan, but I love 
HELL FEST is a mainstream horror movie released on 2,297 screens by Lionsgate, but I never saw a trailer for it and only heard of it because Brian Collins recommended it on Twitter (he also 
At a glance the PROM NIGHT of 2008 doesn’t seem like a remake at all, but more of a re-use of the title. It doesn’t take any major elements of the original or its unrelated sequels – there’s no children’s game turned deadly, no principal’s son or masked killer or prom queen burned alive and back as a ghost or evil priest, no Hamilton High or Brock Simpson or even ambiguity about which North American country it takes place in (it’s in Bridgeport, Oregon, though filmed mostly in L.A.). It does take place on prom night, though, so I totally get why they wanted that title.
By the time they finished off the PROM NIGHT series it was 12 years after the original. The ’80s horror cycle that had given rise to Mary Lou Maloney had petered out. This was a year of studio auteur horror (BRAM STOKER’S DRACULA, 
