DARKENED BY THE SHADOWS

HELL NIGHT (1981)

Hell Night has long been one of those beloved cult horror titles that doesn’t have a lot of recognition value within the realm of mainstream audiences. It’s always existed just below the surface, and only dedicated horror fans seem to both know of its existence and bestow upon it a lot of love and praise. It was so nearly close to earning classic status.

And that’s pretty much how I’d sum it up.

Hell Night drifts in and out of engagement with the audience, easily capturing their attention with the intrigue of Garth Manor and the handful of fairly grisly murder sequences, but the action in between these moments can stretch on for a bit too long. Even the intent for characterization is appreciated, and it helps to elevate Hell Night above its slasher brethren. There’s just something keeping it from being truly great.

Hell Night also gets points for trying to do something a little different. On its surface it looks like your typical ‘80s slasher flick, but it’s told as a both a haunted house movie and somewhat of a monster movie. This balance actually works in its favor. Personally, I prefer the slasher flicks vying for sincerity where the killer reveal isn’t someone’s spurned friend or lover or long-lost parent. I prefer mythology and legend coming to life over, “Oh, it’s Gary.” Hell Night satisfies that, actually following through on all the creepy lore recounted at the film’s opening before our doomed characters enter Garth Manor where they will spend their Halloween night.

Hell Night is notable because it was produced by Irwin Yablans, who had previously produced John Carpenter’s Halloween and, as we all know, found great success with it.  (It was also at his insistence that the now-famous moniker be used over the original choice of "The Babysitter Murders," which ended up being a very wise choice. Could you imagine "The Babysitter Murders: BM20"?) He’s somewhat of an unsung hero in the horror world; granted, though he didn’t leave behind a breadth of work, he kept things short and sweet, producing titles that went on to find adoration from the fan community, with such titles as Halloween 2, Halloween 3: Season of the Witch, Tourist Trap, and later on, Renny Harlin’s Prison.

Hell Night is an admirable effort, and it’s easy to see why it’s so beloved (beyond how good Suki Goodwin looks in garters), but it too often fluctuates between tension and calm. A tighter edit would have resulted in a more streamlined experience where the tension doesn’t have the time to subside in between the bursts of terror.

However, it’s still one of the better titles from the ‘80s slasher movement and brings something a bit more to the table other than a masked maniac and ironic usage of a holiday.

ARM AND A LEG

SLAUGHTERHOUSE (1987)

For all of the ‘80s and slightly into the ‘90s, John Carpenter’s Halloween was the basis/inspiration for many imitator slasher films. Every holiday not yet exploited at that time soon became so. Valentine’s Day, New Year’s Day, Christmas (again and again), exam time, graduation time, spring break time, leprechaun time. If it had a date on the calendar, something horrific would take place and so many heads would bounce down the stairs.

However, what makes 1987’s Slaughterhouse a somewhat refreshing take on the teens-in-peril craze was its willingness to look to Tobe Hooper’s best film, the Ed-Gein-inspired tale of murder and macabre The Texas Chain Saw Massacre, for its inspiration. (Going a bit full circle, Slaughterhouse also seems to have directly inspired the ending for Texas Chainsaw Massacre: The Beginning). Hitting much of the same beats, a mentally rattled slaughterhouse owner and his mongoloid psychotic and mute son prone to wearing masks take their revenge on what they perceive to be the bureaucrats of their town who forcefully evict them from their home following their failing business’s inability to pay their taxes.

Naturally, this leads to violent murder and smashed heads.

Slaughterhouse bills itself as a comedy first and horror next (and I hate '80s horror-comedies), but except for a handful of characters’ none-too-subtle names-- the murderers are surnamed Bacon, while the heroine is named Lizzy Borden -- and one bizarre scene where the murderous Buddy plays dress-up and goes joyriding in a police car, there’s nothing on screen that’s played for obvious comedy. The teens mostly die bloody without much irony.  (Going a bit full circle, Slaughterhouse also seems to have directly inspired the ending for Texas Chainsaw Massacre: The Beginning). However, had Slaughterhouse been a throwback experiment made in modern times which was a satire on ‘80s culture, including the horror film, than it would be unfettered brilliance. Slaughterhouse is as a ‘80s as you can get, from the pop music, to the open-top jeep, and to the montage of smiling teens shopping in a drug store trying on gigantic sunglasses and smiling at themselves in the mirror.

Lots of slasher films, in part, come together as a whole to represent what one’s perception of an ‘80s horror film should be. Slaughterhouse takes care of that all by itself. It’s got: not-great acting, frisky teens dying gory deaths, a maniacal murder with a slight back story, hilarious fashions, a slight dependence on winking/nudging humor, terrible pop tunes, a kick-ass synth score, and just the tiniest bit of ingenuity (having teens be the ones to wear masks only to die bloodily was a nice touch). The only segment of the film where it’s entirely unwatchable would be the opening credits, during which cameras were allowed inside a functioning slaughterhouse to film a swine of pigs being slaughtered for real. Unfortunately the end of this chapter stop doesn’t coincide with the end of this sequence, so fast-forwarding (as I did) is your only recuse.

Considering its obvious lineage, it’s something of an honor that Slaughterhouse manages to outdo pretty much every film in the Texas Chain Saw Massacre series not including the original and its remake, but definitely including Hooper’s oddly celebrated sequel. If you’re a fan of the ‘80s slasher, Slaughterhouse is a slice of dumb, easily watchable fun. Blood flies, limbs roll, and Buddy Bacon enjoys every minute. I know I did.

Slaughterhouse is what it is, which is fun, bloody, none-too-serious, and somewhat unoriginal. However, its palpable ‘80s construction and it’s engaging-enough plot make it an easier watch to come out of the slasher craze. Buddy Bacon never earned the franchise that director Roessler had been hoping for, but his one-off is entertaining enough to have deserved it. Don’t miss it, or Buddy Bacon will have an ax to grind haw haw!

BEFORE YOUR FUNERAL

SCARECROWS (1988)

How many films must be made within the killer scarecrow pantheon before it can become fairly labeled a sub-genre? Or is it less about quantity and more about quality? 1981's Dark Night of the Scarecrow will always reign supreme as not just the best of this so-called sub-genre, but severely underrated title deserving of classic status. While the next step down is a large one, this video oddity from 1988 has the most to offer while still existing in the shadow of its predecessor. 

One of the review blurbs on the back of the case for Scarecrows has one critic calling it "goofy," but a better way to describe this mega-cheap production would be "quirky." A cast of unknown actors, working with a crew of unknowns (including co-writer/director William Wesley) in the middle of a Florida nowhere, running from a slowly resurrecting trio of killer, bloodthirsty corn sacks filled with straw, and being decimated one by one - that's Scarecrows. Nearly ten years later, Robert Rodriguez would attempt the same bait-and-switch in his super indulgent From Dusk Till Dawn that Scarecrows manages to do far better and with a fraction of the budget. By presenting what at first appears to be a straightforward action film featuring a band of mercenaries on the run from their multi-million dollar heist and hunting down one of their numbers who appears to have gone rogue, but soon turning the tables on its unsuspecting audience. The abandoned farmhouse at which their pursuit of their treasonous member has unfolded, and in the cornfields surrounding it, eventually become a battleground of wits against the supernatural force that's inexplicably come alive to cleanse the land of this motley crew of trespassers.

Scarecrows' tiny budget shows - from the still photos used for establishing shots of the moon to the insert shots that have been obviously slowed down in post-production for whatever reason - but as other low-budget films have shown before, where the filmmakers lacked in funding they more than made up for with ingenuity. To say the plot is in-depth and multi-layered would be disingenuous, and to suggest the acting is across-the-board great would be even more so, but what Scarecrows does accomplish is enough to make it an entertaining romp through the cornfield and a worthy addition to the sub-genre. Dark Night of the Scarecrow it ain't, but it's certainly no Scarecrows Gone Wild, and that's a blessing.

"Killer scarecrow" seems like a ripe idea for the genre to explore more often than it does, especially given that no one has ever before seen a scarecrow that even in real life didn't offer at least a modicum of heeby jeeby. The titles worth watching are very few and far between, but they all offer up their own take on how to bring a scarecrow to life and exploit that to maximum effect. Dark Night of the Scarecrow goes for subtle, off-screen, and painstaking tension. Night of the Scarecrow goes for vicious violence and seedy sexuality. Scarecrows goes for pure action, peppering its running time with hollowed-out men and flying limbs. It's never outright scary, but it's certainly creepy.

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