Category Archives: Slasher/Gore

The Brood (1979)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Wife creates dwarf murderers.

After suffering a mental breakdown Nola (Samantha Eggar) is sent away to a secluded clinic run by Dr. Hal Raglan (Oliver Reed) who uses unorthodox methods to heal his patients. Once she gets sent there strange murderers resembling dwarfs begin to terrorize her family members including her daughter Candice (Cindy Hinds) who they kidnap. Her husband Frank (Art Hindle) is convinced there’s some connection between these strange killers and the institute so he goes there to confront the Dr., but is ill prepared to the secret that awaits him.

Through the years this film has become a staple to director David Cronenberg’s work and is well filmed with shadowy lighting and fluid camerawork that help create an ongoing creepy feel as well as Howard Shore’s pounding score. The film’s ultimate moment though remains Eggar’s bizarre ‘birthing’ scene where she takes a blood drenched embryo and licks it, which apparently was something she improvised on-the-spot. It remains perversely disturbing even by today’s standards, but was cut from the release at the time and only now is intact with the Criterion Blu-ray in all its glory or gruesomeness depending on your point-of-view.

The story though isn’t as clever as the filmmakers think as I was able to figure it out almost immediately and having to watch a protagonist take 90-minutes to come to the same conclusion that took me only 10-minutes makes for a rather annoying and dull plotline. There’s also no explanation for why Nola is able to have the ability that she does. If it’s connect it to the experimental therapy she’s going through then fine, but others in that group should , or at least some of them, be able to do the same thing, but they’re not, so why is that?

There’s also a murder scene that comes in the middle of the movie that to me didn’t seem logical. It entails the dwarf murderers coming into the kindergarten class that Candice is attending and using toy hammers that they pick-up from a nearby table to bludgeon her teacher to death. Normally toy hammers are lightweight,  so no matter how hard or how long a person may swing it at their victim it’s highly unlikely that it would be able to crush their skull. I also thought all of the children who witnessed the crime would’ve run out of the room screaming instead of just one and having them then stand around the body quietly whimpering afterwards sounded forced and fake.

Reed’s dark and commanding presence always helps every movie that he is in although it’s a bit weird that he becomes the ultimate hero especially after the opening scene in which he is emotionally abusive. Eggar, whose eyes look strangely wider and more rounder here, has her acting meddle put to the test by portraying a person that I didn’t think she had the ability to do, but she proves quite qualified.

The young Hinds is surprisingly effective despite her extremely young age, but Hindle is transparent as the protagonist. I realize that he acts as a sort of buffer to the craziness, but he lacks an edge and unable to match the energy of his flamboyant co-stars.

Horror fans should find this thing adequate, but for me the story is too basic and predictable they’re needed to be some sort of secondary angle or side-story. Supposedly Cronenberg was inspired to write this after dealing with the custody battle he had with his own ex-wife, Margaret Hindson, who had worked with him on many of his earlier projects. According to him Eggar’s character reflected many of her same traits.

My Rating: 6 out of 10

Released: May 25, 1979

Runtime: 1Hour 32Minutes

Rated R

Director: David Cronenberg

Studio: Canadian Film Development Corporation

Available: DVD, Blu-ray (Criterion Collection), Amazon Video

The Driller Killer (1979)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Electric drill relieves stress.

Reno (Abel Ferrara) is a New York apartment dweller who frets over his inability to pay his bills and the constant noise coming from a punk band next door who perform at all hours of the day and night and to which his landlord (Alan Wynroth) refuses to do anything about. The pressures to finish his latest painting, which he hopes to sell, become too much, so to alleviate the tension he takes a power drill out onto the streets and kills random homeless people with it late at night. For awhile this is enough but he eventually decides to use it on other people in his life who he feels have wronged him, which includes not only his girlfriend,but an art gallery owner (Harry Schultz) who refused to purchase his painting.

This is a definite step above the usual horror fare and seems in many ways like an arthouse film. It’s ability to capture New York’s dark urban underbelly gives the viewer a strong taste of what the main character is going through until you almost feel like you’re trapped there alongside him. The talky segments that come in-between the killings, which are usually the boring parts in most other horror films, are surprisingly captivating as they vividly convey all the reasons why Reno is so angry and give the viewer much the same feeling.

When the killings finally do start to happen it’s not so much the graphic violence that’s disturbing, but the fact that we relate to the man who’s doing it. We’ve understood his pent up rage by seeing how the unrelenting, impersonal urban system continually works against him making the murders act like a stress reliever not only to the killer, but the viewer as well as it breaks both us and him away from the never ending challenges of everyday life, which the film essentially portrays as being the real horror. Instead of being repelled by the bad guy we connect to him sending this movie into a far darker psychological realm than most.

While Ferrara shows a gifted ability as a director the film almost defeats it’s unique edge by dwelling too much on the urban hell hole theme as it makes its point and then drags it out by hitting-it-home again and again. The footage of the punk band becomes excessive too until it almost becomes more like a musical docu-drama. The killings aren’t very imaginative either as one quickly becomes like the other eventually making them seem like throwaway scenes that quickly lose their impact.

The film’s ending is particularly disappointing as it fades out before we know what happens to either the main character or his girlfriend (Carol Slaughter). A good horror film needs a strong finish and this one cops-out like it didn’t know how to end it, so it just leaves it up to the viewer to guess. While I commend its effort to take the genre into a more complex and unusual area I still felt it could’ve gone even further with its warped premise than it does.

My Rating: 6 out of 10

Released: June 15, 1979

Runtime: 1Hour 36Minutes

Not Rated

Director: Abel Ferrara

Studio: Navaron Films

Available: DVD, Blu-ray, Amazon Video, YouTube

Angst (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Madman attacks peaceful family.

A serial killer (Erwin Leder) gets released from prison despite still having the urge to kill. He initially tries to strangle a female cab driver (Renate Kastelik), but she throws him out of her car before he can do it. He then goes running through the woods until he comes upon an isolated home. He breaks into it and kills each of the three family members living there one-by-one before eventually taking their lifeless bodies with him in the trunk of his car while he drives aimlessly around Austria.

This film is based on the real-life Austrian case of Werner Kniesek who murdered a family of three in their home on January 16, 1980 shortly after being released from prison. In that case Werner had known one of the victims previously while the movie its portrayed as if the killer has no connection to the occupants at all. In the actual crime Werner also killed the family’s cat where in the movie the pet is a dog, which the killer not only allows to live, but eventually befriends.

I’ve spent years complaining how most horror films aren’t very realistic, so I suppose I really can’t complain when one finally does decide to go all-in with graphic realism and not spare anything. The film certainly succeeds in being like a grisly true-life crime, but in the process it’s not very scary either. You know right from the start where it’s going, which makes the eventual violence come off as agonizingly drawn out and pointless. It’s like footage caught on a closed-circuit camera where you have no emotional bond with the people or action and when it’s over you’re left feeling drained and ambivalent.

Many people have praised the innovative camera work, which is provocative and some have even compared this to Henry: Portrait of a Serial Killer, but that film was more compelling in the way the main character was able to entice regular people to help him with his crimes while here there is virtually no dialogue or character arcs. There’s basically no story either just a graphic dramatization of a random crime that gets excessively drawn-out.

Leder is excellent and I liked how he portrays his character as being nervous, anxious and perpetually frightened as opposed to the stereotypical way of showing psychos who are robotically cold and relentlessly evil.  His voice-over narration allows for moments of insight too particularly when, as he is killing his victims, his thoughts are instead focused on past wrongs that were inflicted onto him from years ago by others, which made me believe this could very well be the thought pattern of most killers who selfishly remain fixated on their own personal injustices even as they callously destroy others.

The acting by the supporting cast is impressive too not so much from what they emote since they’re given very little to say or do, but more with the way they sacrificed  their bodies for the project particularly when the killer drags their lifeless corpses over broken glass (no mannequins or dummies were used) and down several flights of stairs. I also loved the dog and in fact he’s the highlight that allows for moments of levity and even comic relief in an otherwise unrelentingly grim film that will appeal only to a select group of people.

My Rating: 5 out of 10

Released: May 2, 1983

Runtime: 1Hour 27Minutes, 1Hour 15Minutes (Director’s Cut)

Not Rated

Director: Gerald Kargl

Available: DVD, Blu-ray, Amazon Video, YouTube

Silent Madness (1984)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Mental patient stalks sorority.

Due to the similarities in their names a mute mental patient named Howard Johns (Solly Marx) gets accidently released from a psychiatric hospital and returns to the scene of his crime, a college sorority, whose members he slaughtered years before. Dr. Joan Gillmore (Belinda Montgomery) tries to track him down, but finds no help from the staff at the hospital who are more concerned in covering up the error to the extent that they secretly send out two thugs (Dennis Helfend, Philip Levy) to kill Joan so she won’t be able to tell anyone else about it.

It’s hard to tell if this movie wants to be a conventional slasher flick or a parody and the cartoon like opening theme music makes it sound like it’s going for the latter. Either way it’s a one-dimensional, low grade, monotonous excuse of a film that essentially has nothing going for it even when compared to other entries from the genre. Supposedly it was made to cash in on the 3-D craze, but there’s not enough action to justify it. There’s a killing at the start, but the middle drags on with Joan’s plodding investigation as to the whereabouts of the killer that the viewer already knows the answer to and watching these cardboard characters spend 80 minutes coming to the same conclusion that we know from the start is extremely boring to say the least.

This is the type of cheap crap that needs to be approached with tongue firmly in cheek, but Montgomery plays it too earnestly acting like she’s in a serious drama, which just helps to make it more intolerable. The killer is equally dull and for that matter really isn’t scary. I felt that the only reason the character was made to be a mute was because the actor who played him was a stunt coordinator with limited acting experience and therefore the less he had to say the better.

The only bright spot is the presence of Viveca Lindfors a talented and aging star whose career peak was in the 40’s, but who still manages to give this second-rate material here an admirable effort. Unfortunately she appears for only about 5 minutes as the sorority house mother, but then later becomes an integral part to the film’s twist ending, which was enough to earn this thing a measly point.

My Rating: 1 out of 10

Released: October 26, 1984

Runtime: 1Hour 27Minutes

Rated R

Director: Simon Nuchtern

Studio: Almi Pictures

Available: DVD

Hell High (1989)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Teens regret pranking teacher.

When she is 6 years old little Brooke (Amy Beth Erenrich) accidently kills a couple by causing the motorbike they’re riding on to spin out-of-control. Now, 18 years later Brooke (Maureen Mooney) teaches at a high school where she has a confrontation with one of the students named Dickens (Christopher Stryker). Dickens decides to get his revenge by having him and three of his friends (Christopher Cousins, Millie Prezioso, Jason Brill) terrorize her by going out to her home wearing masks. Things though unravel when the demons of Brooke’s past come back to haunt her, which turns her into a psychotic killing machine right before their eyes.

To a certain degree this film is slightly above the usual cheesy horror flick level. Although the dress that the child wears during the flashback segment looks ridiculously campy I still felt this scene was the best moment in the film particularly the shot of the couple impaled by the fence. The on-location shooting is decent too as I visually got an authentic high school feel both on the campus and during the football game. The kids look like genuine teenagers too and they even manage to have distinct personalities. The spacious, remote home that Brooke lives in helps exude a Straw Dogs tone, but it was weird that she resided in the same place that she grew up in and I presume the only good reason for this was budgetary. The approach is offbeat and initially intriguing even though the tension gets destroyed by going off on a long tangent involving a high school football game that was not needed.

The biggest problem though comes when it tries to connect Brooke’s traumatic childhood experience with what she’s going through now, which is just too much of a stretch. If she is as mentally fragile as the film insists then her inevitable meltdown would’ve occurred far sooner like when she was 8 or 10 instead of having her supposedly lead a normal life and then flip-out like a light switch without warning. It’s also confusing why she doesn’t just call the police right away when the kids first started to scare her.

Once the killings happen it gets boring and mechanical and the plot would’ve worked better had it not been known until the end who the killer actually was. The animosity between Brooke and Dickens, which is well-played by Stryker who unfortunately died before the film was released, needed a better final confrontation that was more drawn-out as Brooke overpowers him too quickly making his transition from bully to scared victim not as ironic as it could’ve been.

For me though the scariest part in the film had nothing to do with the intended ‘horror’, but more with the incredibly disrespectful way Brooke gets treated by her students when she tries conducting her biology class. Teachers don’t get paid enough to be expected to tolerate the snide behavior that she does nor should teens think that is acceptable while in the classroom, which is sad and even a bit disturbing.

My Rating: 4 out of 10

Released: May 12, 1989 (Filmed in 1985)

Runtime: 1Hour 24Minutes

Rated R

Director: Douglas Grossman

Studio: JGM Enterprises

Available: DVD

Deadline (1984)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Screenwriter alienates his family.

Steven (Stephen Young) is a successful screenwriter of horror movies who’s becoming tired of churning out the same old formulaic schlock. He wants his next screenplay to transcend the genre by delving more deeply into the psychological realm, or as he puts it ‘the ultimate horror’, but his producer Burt (Marvin Goldhar) is more interested in what sells and doesn’t want Steven to deviate from what has already proven to be popular. Steven then takes his frustrations out on his family by ignoring their needs and becoming more indulgent to his own, which eventually leads to tragedy.

I applaud any movie that wants to tweak the horror formula and on that level this movie succeeds and is genuinely fascinating. Too many horror films act like there has to be a madman with an ax, or some ghost or vampire to make it frightening when really some of the darker aspects of life run far deeper and although this one isn’t a complete success it still ends up making a few keen observations along the way.

What I didn’t like is the way it overstates the importance of a screenwriter, which just doesn’t ring completely true. I admit a good script is always a vital element, but the movie world is still a director’s/producer’s medium and if the scriptwriter gets a smug attitude like he does here then he’d be quickly dropped as there are no shortage of other writers around. With the exception of Charlie Kaufman most films do not hinge on the marketability of the screenwriter’s name to sell it, a big name director or star sure, but never the writer, so the fact that the movie here plays like the main character’s presence is instrumental to getting the movie made seemed to me quite dubious and only when it’s examining Steven’s frustrations with the business and his feelings that his talents are being stifled does it then become on-target.

However, the more it goes on the less like a horror film it seems. One could almost categorize this as simply being a drama looking at the personal pressures of the movie world, the challenges of being a working screenwriter and trying to attain the work/life balance, which in that area it’s insightful.  The theme though is too existential and ultimately plays like an experimental film that lacks any scares.

Spoiler Alert!

That’s not to say there aren’t some good moments that the average horror fan could still enjoy. The scene where a woman drowns inside a tub of blood is good as is the twisted sequence where a grandmother gets set on fire by her own grandkids. The segment dealing with a group of old nuns who tie a man up, cut out his heart and then pass it around while taking turns biting into it is memorable too, but the climactic finish where all the writer’s dark creations come to life to attack him gets disappointingly  underplayed, which ultimately hurts the film.

My Rating: 6 out of 10

Released: February 12, 1984 (Filmed in 1979)

Runtime: 1Hour 30Minutes

Rated R

Director: Mario Azzopardi

Studio: Pan-Canadian Film Distributors

Available: VHS

Prom Night (1980)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Accidental death spawns revenge.

In 1974 five children go playing inside an abandoned building, but when one of them falls tragically to her death the other kids agree not to tell in order to avoid getting into trouble. Six years later these same four children are now teenagers and ready to attend the prom, but become terrified by strange phone calls from someone insisting he saw what happened and threatening to kill them to avenge the accidental death of the other one.

As modern day horror movies go this one starts out well especially the abandoned building footage with the rundown interiors helping to give the film a creepy look. The lighting and camerawork are more polished than the typical slasher production and it doesn’t reek of low budget, amateurish values that pervaded just about every other horror flick from that era.

Unfortunately after a decent beginning the pacing then slows to a crawl and except for a few creepy phone calls hardly anything goes on for the whole first hour. At one point it becomes like a sequel to Saturday Night Fever with a prolonged dance segment between Jamie Lee Curtis and her partner that does not propel either the plot or tension and was out-of-place.

The side-story dealing with the police searching for an escaped killer who they mistakenly believe killed the child is pointless and apparently added in at the last minute. I would think a coroner’s autopsy would’ve shown that the child died from the trauma of the fall and not by someone’s knife, which makes the crazy-killer-on-the-loose angle ridiculous and an obvious red-herring put in to ‘fool’ the viewer, which most seasoned horror movie fans would never be dumb enough to fall for anyways, so why insult their intelligence by even trying?

The actual killings don’t get going until 1Hour and 2Minutes in and by then it’s almost too late. The killer also conveys seemingly boundless energy as he busily wrestles a driver for control of a van, which he eventually forces off a cliff while miraculously jumping out of it just before it goes over and then manages just a short time later to chase another victim all around the school where no matter which hallway the young lady chooses to run down the killer always magically is at the end of it ready to jump out at her. The decapitation scene depicting a victim’s head rolling down the stage runway at the high school prom has to be one of the unintentionally funniest moments put on film and had me laughing uproariously.

PROM NIGHT, David Mucci, 1980, (c)AVCO Embassy Pictures

Spoiler Alert!

Normally guessing the killer’s identity is the one fun thing to do while watching these types of flicks, but here that gets ruined by implementing a character at the scene, which was Alex (Michael Tough) the younger brother of the victim who died, even though the viewer didn’t even know he was present when it happened. It’s also hard to believe that any young child could keep a secret for that long as most can’t. I understand why the other 4 kids didn’t tell, but why the younger brother who had nothing to do with the accident and only witnessed what happened? Why would he not immediately run back home to his parents, as most would and tell them about it so they could call the police?

In retrospect having the flashback at the beginning was a mistake as there would’ve been more intrigue had we not known why these four were being targeted. Only revealing the flashback at the very end would’ve then heightened the mystery, which is pretty flimsy otherwise.

My Rating: 2 out of 10

Released: July 18, 1980

Runtime: 1Hour 32Minutes

Rated R

Director: Paul Lynch

Studio: AVCO Embassy Pictures

Available: DVD, Amazon Video

Eyeball (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Killer targets tour group.

A group of visiting Americans (at least they’re supposed to be American even though they sure don’t seem like it) traveling around Spain on a tour bus find themselves targeted by a killer in a red cape that gouges out the eyes of each of his victims. Suspicion soon centers on the culprit being one of the members of the tour group, but who could it be? Maybe it’s businessman Mark Burton (John Richardson) whose wife (Marta May) was suspected of a similar crime back home, or maybe it’s the elderly reverend (George Rigaud) who’s always spotted at the wrong place whenever the crimes are committed. Inspector Tudela (Andres Mejuto) has his hands full as the list of suspects keeps mounting almost as fast as the body count.

This film is a variation of If it’s Tuesday This must be Belgium, which involved a tour group from America going around Europe, but there it was played for laughs with no killings or mystery while here it tries for horror even though it would’ve worked better had some comedy been thrown as the dialogue gets very soap opera-like. The characters are a problem too as their reactions to the murders gets underplayed, which becomes unintentionally funny, and the way they blissfully continue on with the tour after each killing and acting like it’s no big deal makes them seem cold and inhuman.

The gore is cheesy particularly the fake looking gouged out eye sockets of the victims. In reality eyeballs are more oval shaped, but here they resemble ping-pong balls and the scene where the inspector takes out a small case in his office where he has collected each eyeball from each of the victims to show it to one of the witnesses comes off as being truly twisted.

On the positive end Bruno Nicolai’s bouncy musical score is distinctive and the sunny scenery, which was shot on-location in Barcelona, Spain, is scenic and helps add a visual appeal. The mystery at least on a minor level has intrigue and is full of all sorts of clues, which allows the viewer to play along and try to figure out who did it before the authorities do.

Usually I’m able to guess the identity of a killer long before anyone else does, but in this case I was honestly shocked, so in that regard it was fun even though the motivation for why the individual does it was over-the-top. If you’re looking for 90-minutes of a whodunit, which is ultimately all this thing really is, with just enough tacky gore thrown in for cheap laughs, then it might be worth considering.

My Rating: 6 out of 10

Released: January 24, 1975

Runtime: 1Hou 31Minutes

Rated R

Director: Umberto Lenzi

Studio: Estrela Films

Available: DVD-R (as The Secret Killer)

Dead & Buried (1981)

 

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Dead people terrorize town.

Dan (James Farentino) is the sheriff of a sleepy New England town called Potter’s Bluff. Normally his days are routine but suddenly he finds himself investigating a bizarre case where a group of people murder a visiting photographer by burning him at a stake for no apparent reason. Soon other strange murders begin occurring and his peaceful little town as well as his own life gets turned upside down as neither he nor the town’s coroner (Jack Albertson) can come up with any answers especially as the dead victims start to come back to life.

The film, which was directed by Gary Sherman, starts off well as the big band era music and picturesque small town scenery makes it seem like something straight out of a Norman Rockwell painting. Sherman went to great lengths to keep every scene consistent with a gray color tone including having a giant flag hung over a cliff in order to block out the sunlight during outdoor scenes and keeping everything looking like it was under a continual foggy haze.

The story though can’t match the atmosphere and the interest level wanes pretty quickly. The dead coming back to life angle has been used too often and is no longer novel to the point that it’s now almost boring. There’s no consistent protagonist either. The sheriff eventually becomes one, but there are long breaks where the film follows other characters including a young family, who come into contact with the killers, but they’re not that interesting and it becomes difficult for the viewer to connect emotionally with anyone on the screen.

For years Dan O’Bannon was credited with creating the story and many movie posters advertised this due to his success with Alien, but O’Bannon later stated in a 1983 interview that he actually had nothing to do with the script and disown the film. Ronald Shusett apparently wrote the entire thing, but in order to get it sold he felt a big name writer needed to be attached to it, so he promised O’Bannon that they would implement some of the ideas that he had into the final revision in order to allow them to use his name on the credits, but when the film eventually came out none of O’Bannon’s suggestions had been used.

The film’s tone is yet another issue. Sherman had wanted to approach it as a dark comedy, but one of the film’s investors PSO International pushed for the gore to be emphasized more. The result is jarring as half the time it’s this quant atmospheric chiller while at other points it becomes without warning graphically gory.

Farentino is good, but Melody Patterson, who was 17 years younger than him in real-life, is miscast as his wife. Jack Albertson is the best thing in the movie. Initially I feared that his part was too small, but he comes on strong at the end, which is great and I was also happy to read that despite the fact that he was dying of cancer while the movie was being made he still remained alive long enough to attend its premiere although he had to do it while being in a wheelchair and connected to an oxygen tank.

If you’re looking for a horror movie that emphasizes atmosphere and an offbeat touch then this may hit-the-spot, but the plot needed to encompass a broader time frame as it didn’t seem believable that so much of the town’s people could be in on this secret without the sheriff becoming suspicion of things much sooner than he does. The twist ending is weak too as it’s full of loopholes and creates way more questions than it answers.

My Rating: 5 out of 10

Released: May 29, 1981

Runtime: 1Hour 34Minutes

Rated R

Director: Gary Sherman

Studio: AVCO Embassy Pictures

Available: DVD, Blu-ray (Region B/2), Amazon Video, YouTube

Blood Rage (1987)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Homicidal twin frames brother.

In the summer of 1974 while his mother (Louise Lasser) watches a movie with her new date at a drive-in 10-year-old Terry (Mark Soper) kills a young couple with a hatchet and then pins the murders on his brother Todd. Todd is sent away to an asylum while Terry goes on living with his mother. 10 years later Todd escapes from the mental hospital and Terry uses this as an excuse to murder people at the apartment complex that he and his mother live at while again trying to make it look as though Todd is the culprit.

The film was directed by John Grissmer who in the early 70’s produced The House that Cried Murder an interesting horror flick and a clip from that one gets shown here. He also later directed Scalpel and although that was not perfect it’s still better than this, which outside of some very gory special effects is about as routine and boring as a slasher film can get.

The identical twin/murder storyline, which has been done many times before, is a the biggest problem because even in the most extreme cases you can usually tell one twin from the other and therefore having a plot where people can easily mix the two up is just not realistic. What makes things worse is that one of the twins has curly hair while the other one’s hair is straight and combed back, so the fact that people can still somehow get the two confused is ridiculous.

The film also has too many unexplained plot holes like why is Terry so homicidal in the first place? Does mental illness run in his family, or is there something else that triggers it? And why does Todd so passively allow himself to put into an institution without protest and only after 10 years does he finally begin to profess his innocence?

The film was shot in Jacksonville, Florida, but the places used for the setting are deadly dull visually especially what was then known as the La Miranda apartment complex. This might’ve been done for budgetary reasons, but apartments are cramped places with unimaginative architecture so filming the majority of a movie inside one gives the film a flat, one-dimensional look and the exteriors, which were shot at the University of Northern Florida, were too limited and the action goes back several times to the same spots already used before like a nature bridge, which gives the film a redundant feel.

The acting is poor with the worst coming from Julie Gordon who plays Karen. I’ll admit the dialogue that she is given is pretty stupid anyways, but still watching her pathetic attempts at running or even screaming is so bad that you just wish the bad guy would kill her to put us the viewer out of our misery of having to watch her and the more she stays on the more unbearable the film gets.

The film’s only saving grace is Louise Lasser who helps bring some quirky depth into it. She’s unquestionably a unique talent that can sometimes give a brilliant performance if given the right material. Her neurotic persona and ad-libs add a terrific edge and just seeing her reactions is more fascinating than anything else in the movie. The film might’ve had a chance had she been in every scene and the stupid teen cast scrapped, but unfortunately she appears only sporadically, which just isn’t enough to mask the otherwise threadbare material.

My Rating: 3 out of 10

Alternate Title: Nightmare at Shadow Woods

Released: March 29, 1987 (Filmed in 1983)

Runtime: 1Hour 22Minutes

Rated R

Director: John Grissmer

Studio: Film Limited Partnership

Available: DVD, Blu-ray, Amazon Video, YouTube