Boardinghouse
The first shot-on-video horror feature, blown up to 35mm and just as ugly as that sounds.
The giallo, relocated to America and put to work on a holiday calendar.
A masked or unseen killer, a group of young people, a body count, a survivor.
Peeping Tom and Psycho (1960), then the Italian giallo through the 1970s, then Bob Clark's Black Christmas (1974), then Halloween (1978). Halloween made $70 million on a $325,000 budget and started a gold rush. Friday the 13th (1980) industrialised it. By 1982 every holiday on the calendar had a film attached.
Carol Clover's Men, Women and Chain Saws (1992) named a structure everyone had already noticed. The survivor is female, sexually reticent, often androgynously named (Ripley, Stretch, Laurie), and picks up the killer's weapon in the last act. Clover's larger argument, that the slasher's cross-gender identification is stranger than its reputation allows, is still the most useful writing on the form.
Self-parody by 1989, revival by Scream in 1996.
Black Christmas. It predates Halloween and it is scarier.
The first shot-on-video horror feature, blown up to 35mm and just as ugly as that sounds.
A Shaw wuxia that turns into a slasher, with lanterns made of human skin.
The Canadian Deliverance, and grimmer than the nickname promises.
Spanish, incoherent, and gleefully stupid. 'Bastard! Bastard!'
Mannequins that move, telekinesis, and a masked killer. Far stranger than a slasher should be.
The best Amicus omnibus, and Joan Collins versus a killer Santa two years before Black Christmas.
Tobe Hooper does a carnival slasher. A deformed killer, a hall of mirrors, and real dread.
American giallo in Catholic New Jersey. Genuinely disturbing and well acted.
Savini's effects, Spinell's performance, and a very bleak little film.
A costume party on a moving train, a killer swapping disguises, and Jamie Lee Curtis again.
Ninety minutes of nothing, then an ending nobody who has seen it forgets.
A killer in WWII combat gear stalks a graduation dance. Savini's best gore work.