A madman escapes from an asylum. A group of female friends have a slumber party. Join the dots.
Mary Holden Jones brings to the screen a screenplay by Rita Mae Brown. This was supposed to be a ‘feminist’ slasher movie in what is considered to be a deeply misogynistic genre. Hence we have young women flicking through Playgirl, expressing their desires when it comes to men and women who show they can kick ass.
But is the film as good a slasher as it proports to be? It starts well enough with engaging characters, a great tone and a fantastic soundtrack. But when it comes to the actual horror it feels generic, unscary and very cliched. The number of tedious jump scares grates on the nerves after a while. And who is cruel enough to lock a cat in a closet?!
Yes, the killer has a big drill. Yes, we know what that signifies. Yes, we also know what it means when one of the women breaks his ‘big tool’ in two. If only this film built suspense and tension first I would have been more impressed instead of it relying on cheap thrills and techniques from ‘Slasher Movies For Dummies’.
There is some great humour in the film. Check out the pizza delivery guy getting killed with one of the women later feeling no remorse for tucking into the pizza. Hunger doesn’t abate just because the delivery guy gets drilled through the eye sockets whilst doing his rounds.
But this is pretty anaemic stuff. Don’t waste your time. Watch Halloween (1978) instead. It may have been written and directed by a man but it’s a truly great feminist slasher pic.
When I learnt that there was a documentary all about Heather Langenkamp (Nancy from the first Nightmare on Elm Street film) and the whole fan phenomenon that surrounded the film and specifically her character I thought it sounded a very interesting concept.
But, alas, the reality is very different. Theres a reason I don’t go to horror fan conventions where the fans get to meet their idols and get 8” by 10”s signed and that is the cringe factor. The fans with the tattoos and the collections of memorabilia pertaining to their favourite films has always made me roll my eyes and here, unfortunately, the filmmakers give them a platform for the majority of the film. And it’s just as excruciating as I thought it would be when I learnt that this film was about the fans rather than the surrounding mythos of the Nightmare series.
There are some great moments that should have been developed into full segments in their own right. We see Heather signing different types of Krueger merch (the Freddy talking doll, the vinyl record that was released at the height of Freddymania of him singing cover versions). I’d love a documentary about how the cult of Freddy grew with a comprehensive round-up of the different merchandise that was produced to satiate Freddy fan’s needs back in the day.
Also, an analysis of how this could have developed around a character as perverted as a child killer needs examination. Freddy pushes the notion of the cinematic anti-hero to it’s furthest point. How could a character that in real life would have been universally reviled be revered by horror fans when he appears as the lead character in a film franchise. A look into that would have been amazing.
This feels like a Blu ray special feature and a very shoddily made one at that. The fact that this was released as a stand alone documentary is pretty shocking.
Whilst this film is billed as ‘Never Sleep Again Part 2’ it only goes to show how comprehensive and detailed the original epic length documentary was. Stick with that. And watch the original films. Especially the first one. Oh, and check out Freddy’s spin-off TV series, Freddy’s Nightmares. History has been VERY kind to this horror anthology series. It’s very underrated.
Two couples decide to go camping in the woods. Arriving separately (darn that wonky radiator!), they soon realise that the woods aren’t as peaceful and reinvigorating as they first thought. It is in fact a killing ground for a father who mudered his philandering wife, went mad and took his two young children to live in a cave. Unfortunately they got sick and killed themselves. Daddy has been killing anyone stupid enough to camp in his woods ever since and eating their remains. Insanity does that to you.
The Forest is one of the more, erm, extreme entries in the ‘City Folk vs Hillbillies’ horror genre which is really saying something when you think about how outthere some of the other films in this genre are (Deliverance and it’s ‘squeal like a pig’ sequence springs to mind and that was a studio film!).
The film starts almost like a zany and not very funny comedy movie made for TV about the two witless and dull couples deciding to live in the wilderness for the weekend (you almost expect the TV listing to include the words ‘with hilarious consequences!’). Thank God the makers of this decided on making a horror movie instead. In the genre it’s quite natural to set up irritating characters to have them despatched by the ruthless killer. It puts the audience firmly on the side of the killer as we root for him to kill the boring couples in even more of a sick and twisted fashion.
I love the fact that the couple of guys decide to eat with the hunter whilst being blissfully unaware that a) he is the killer and b) the meat on the barbecue could very well be the remains of one of the women who arrived before them and was promptly bumped off.
I also love the fact that the ghosts of the killer’s children appear to the campers to warn them that ‘Daddy’s gone a-huntin’!’ and to warn them if he’s near.
The kills are gory (thankfully) and the scenery is glorious. This isn’t some lost gem of the horror genre but I’ve seen much, much worse. Check out the DVD/Blu ray release of this and compare with the VHS transfer thats on YouTube. The difference is astounding.
Duane books into the sleazy flophouse Hotel Broslin with a large basket. It’s contents consist of his deformed twin brother who he used to be conjoined with. Both Duane and his twin are hellbent on enacting revenge on the surgeons who separated them against their wishes.
Basket Case will always occupy a special place in my dark little heart. When my family first bought a VCR in 1982 we rented two films. One was the cartoon of Captain America from the 60’s. This choice was intended for 8 year old me. And whilst Cap is very cool, it was the other film that intrigued me.
It was rented to be viewed by the rest of my family when I had gone to bed. It was Basket Case. The forbidden always seemed more alluring to me. And after much pouting and pleading I was allowed to watch the film. It was an amazing night of mind-expanding and gleefully deprived family viewing.
The film hits every bullseye it aims for. Theres humour (check out feeding time for the basket’s resident), gore (each attack is bloody as hell and very inventive) and well rounded characters whether they’re the main players or the supporting cast. In fact a film could be made based on any of the film’s characters and it would rock.
Whilst the film does contain very black humour this doesn’t dilute the horror sequences which pack a real punch still. In fact, Basket Case has an air of sleaze, filth and edginess that reminds me of another masterpiece, Bloodsucking Freaks. Both films capture a time when 42nd Street and The Deuce reigned supreme. Basket Case even takes us into one of the grindhouse cinemas. We even get a cameo by Sonny Chiba!
Basket Case is The Evil Dead’s low budget filmmaking genius with John Waters’ writing brilliance. I can’t think of any higher recommendation to a fellow lover of warped cinema brilliance than that.
A boat sails into New York containing what appears to be innocuous boxes of coffee. However they actually contain alien eggs that cause people to explode when a change in heat cause the eggs to emit their contents.
Yes, this is a cheap Italian Alien rip-off but it’s darn entertaining nonetheless. There might be considerable budgetary constraints but imagination can overcome any amount of limitations. This film is testament to that.
The film suddenly changes from a horror/sci-fi splatter fest and morphs into an action/adventure flick but this is where the film starts to lag. It doesn’t affect the film massively but you’re left wishing that the film hadn’t moved into this kind of direction.
However, the ending brings the film back to it’s gory best as we get to meet the creature that actually produces these eggs. The ‘Alien Cyclops’ is really something to behold.
Check out Arrow Video’s Blu ray of this pic. It’s also something to behold.
Three women are travelling to a music festival but crash their car. They awake in the isolated mansion of an elderly matriarch and her daughter.
I love this film and not just because I found it in Poundland of all places.
This is a chiller that keeps you guessing until the shocking and completely nutty climax. Look at how great the film is framed and notice the tight editing. This film packs in so much but without any unnecessary filler. Also experience one of the sleaziest soundtracks I’ve ever heard. It’s like the director knew he was making a shocker that was destined to be a video nasty.
And that just what happened. The film was classified by the BBFC as an 18 but was then placed on the DPP list and banned anyway. This has meant that it has earned it’s place in horror history rather than being a very good movie that faded into obscurity. Thats one good aspect of the Video Nasties list.
The violence is graphic, the tone unique to this film alone. I hope this gets the Blu ray treatment it richly deserves.
The ending is shocking in a Sleepaway Camp kind of way. Un-PC in these over sensitive times but thats just what makes me love the film even more.
A young man travels from Rome to New York to investigate his sister’s disappearance after she was living in the same apartment building where an ancient witch resided.
This was Argento’s second instalment of his much lauded ‘Three Mothers’ trilogy.
All of the Giallo elements are here as are Argento’s striking visuals as a backdrop to some very brutal murders and bizarre goings-on. With all of the twists and turns in the narrative I didn’t fully know what the hell was going on but such was the film’s power. I let the visuals, Keith Emerson’s great score and Dario’s masterful direction wash over me like a great big Giallo tidalwave. And I loved it! Apparently when this was first released the critics on the whole hated it. More fool them. This film is gorgeous and brilliant on so many levels.
There are other Argento films I like more but Inferno is still horror by a true artist and auteur.