Halloween
$325,000 into $70 million, and every slasher after it is a photocopy.
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.
$325,000 into $70 million, and every slasher after it is a photocopy.
Cynical, derivative, and it industrialised the whole form. Savini's finest hour.
Almost bloodless, and still the most upsetting film here. The heat is the horror.
Predates Halloween and is scarier. The phone calls still work.
Bava invents the slasher a decade early. Friday the 13th copied two kills outright.
Aja before Hollywood, at maximum brutality, with a twist that still starts fights.
A dead cop stalks New York in uniform. Larry Cohen writes, Robert Z'Dar's jaw does the rest.
Jamie Lee Curtis, a masked killer, and a decade-old secret. Halloween cashes in, disco included.
The killer-Santa movie that got itself run out of cinemas in a week.
A prestige director slumming in the glut, and a poster more famous than the film.
Canadian, mine-set, unusually well shot. The censored cut ruined it for decades.
The raft scene is the best kill in any slasher. The rest is fine.
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.
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.
Tobe Hooper does a carnival slasher. A deformed killer, a hall of mirrors, and real dread.
A killer in a giant owl mask, a locked theatre, and Soavi announcing himself.
Written as satire, shot straight, and stranger than either choice on its own.
Linda Blair, a frat hazing, an old dark house. Atmosphere over arterial spray, and better for it.
The best Amicus omnibus, and Joan Collins versus a killer Santa two years before Black Christmas.
Mannequins that move, telekinesis, and a masked killer. Far stranger than a slasher should be.
Spanish, incoherent, and gleefully stupid. 'Bastard! Bastard!'