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Top ten must-see slasher movies from the 1980s

Slasher - Design detail
Slasher - Design detail

1- Halloween II (Directed by Rick Rosenthal, 1981)

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On All Hallows Eve babysitter Laurie Strode (Jamie Lee Curtis) has to fend off Michael Myers, a masked crazed killer. Since the events, Laurie has been taken to hospital to recover from the dreaded attack, but Myers refuses to go down without his revenge.  

Time and time again it has been stated that John Carpenter’s Halloween (1978) was the kick-starter for the beloved slasher subgenre. Carpenter’s spooky fright fest turned heads across the world of horror, cementing a change from the normalised ghost or sci-fi story and creating the premise of the ‘slasher icon’. Michael may have made his first appearance in the late 1970s, however Halloween II is just as unforgettable, legendary, and necessarily terrifying as the one that started it all. With Rick Rosenthal in the director’s chair and Carpenter as writer, Halloween II is a rip-roaring jubilee of thrills, both featuring some truly epic kills, including the striking death by scalding scene, and the introduction of what would end up being the Halloween franchises defining story arc- Michael Myers was Laurie Strode’s brother this whole time!

 2- Friday the 13th (Directed by Sean S. Cunningham, 1980) 

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Camp Crystal Lake has long been plagued by the wrongful death of a young boy, Jason Voorhees. Years have passed since the incident and the camp is set to reopen for the summer, however, when the counsellors show up to prep the site, they begin dropping off one by one.

Friday the 13th is entirely synonymous with the early days of the slasher era. The template founded within this film pushed horror into a bloody, camp, and above all an entertaining spectrum rife with scandalous teens being punished for their misdeeds in the most gnarliest of fashions. The entire premise of Friday the 13th thrives in a careful balance of exploitation and humour, both pleasing avid gore hounds and average movie-goers thirsty for something out of their comfort zone. Over the years, what started out as a profit seeker from Wes Craven’s OG collaborator Sean S. Cunningham has now become a multi-dimensional cinematic universe, with countless sequels, merchandise galore, and even a very successful video game. Whilst some of the franchise’s later ventures (particularly Part III [1982] and Final Chapter [1984]) go above and beyond in fleshing out Jason’s legacy, this iconic series would be nothing without this timeless original.

 3- Sleepaway Camp (Directed by Robert Hiltzik, 1983) 

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Camp Arawak is a safe haven for parents to send their kids off to for the summer season, however, not much joy is to be found as a mysterious killer begins to slay their way through the camp.

Thanks to Friday the 13th, summer campgrounds became a chief factor for eighties slashers, in fact it’s difficult to narrow down all of the great campsite horrors from the decade, with The Burning (1981) and Madman (1982) being strong classics within the genre, but Sleepaway Camp continuously rises to the top. The performances are certainly off-kilter thanks to the dramatic yet purposefully hilarious character of Sleepaway Camp’s archetypal mean-girl Judy (Karen Fields), whose bratty brashness has been the blueprint for many on-screen rascals to come. Joining the string of amusements is the film’s burning secret that is the reasoning behind Sleepaway Camp’s successful reputation that remains upheld to this day, nearly forty years later. The ending comes as a total shock, straight out of the blue, in fact the director’s twist reveal has been continuously compared to the classic Hitchcockian shocker that features in the one and only Psycho (1960).

4- The Slumber Party Massacre (Directed by Amy Holden Jones, 1982)

The Slumber Party Massacre (1982) | 31 Days of Horror: Oct 22 | RetroZap

An unsuspecting slumber party turns deadly when a recently escaped serial killer goes on the run with his power drill.

Verging on the cusp of satire, but still rooted within genuine horror is Amy Holden Jones The Slumber Party Massacre. Writer, Rita Mae Brown originally conceived the film as a spoof, mimicking the influx of low budget splatter’s that quintessentially took over the 1980s home video market. During production the tongue-n-cheek writing evolved into something more concerned with profitability, essentially becoming another run of the mill thriller equipped with plenty of nudity and brutal gore. However, allowing the film to stand out amongst the rest is Mae Brown’s and Holden Jones obvious authenticity devout to creating elaborate characters that are more than just meat for the phallocentric drill-wielding maniac stalking the teens. 

 5- April Fool’s Day (Directed by Fred Walton, 1986) 

April Fool's Day – Fred Walton's Proto-Scream – We Minored in Film

A group of college students take a trip to a friend’s isolated island manor. Little do they know someone is on a deadly mission to wreak havoc on the gang.

 Over the years a barrage of holiday themed horrors has taken the stage, with the best of the bunch being Black Christmas (1974), My Bloody Valentine (1981), and finally April Fool’s Day. Stylishly executed and brimming with that 80s Charm, Fred Walton delivers one of his most innovative and unexpected pieces of works that stands right up there with his other hits including When A Stranger Calls (1979). Rather intentionally April Fool’s Day, like a prank experienced on the 1st, constantly toys with the audience’s assumptions, making sure to pack a hefty punch when the film’s marvellously unforgettable ending is revealed. 

 6- A Nightmare on Elm Street (Directed by Wes Craven, 1984)

All 9 A Nightmare on Elm Street Movies, Ranked from Worst to Best - Paste

Years after a vengeful death, Freddy Kruger (Robert Englund) begins to haunt the residents of Springwood in their dreams. 

 Michael Myers, Jason Voorhees, and Freddy Kruger have become somewhat of the unholy trinity of slasher villains. Each pack member harbours a frightful exterior, murderous habits, and most importantly a vicious taste for blood. However, no one else has a nasty personality like the one and only Fred Krueger. A Nightmare on Elm Street is literally your worst nightmare; the premise of a serial killer hellbent on killing you in your most vulnerable state is terrifying, especially when this blurring between dreams and reality is combined with the brutal deaths that Freddy enacts on each one of his victims. Aiding the film to remain in the spotlight is the incredibly effective practical effects, such as the iconic bed of death scene where a baby-faced Johnny Depp is sucked into a mattress that gushes out gallons of blood.

7- Prom Night (Directed by Paul Lynch 1980)

Prom Night (1980) - Projected Figures

During a high school prom an unidentifiable killer hunts down a group of teens who were responsible for an accidental death years prior. 

Like a typical sleeper hit, Prom Night did not receive glowing reviews upon its release from nearly every major critic and media outlet, but it was Canada’s highest grossing film of the year. Overtime Prom Night’s reputation has soared, with Paul Lynch’s slasher epic now being considered a bonafide cult classic. Amongst the early stages of the film a more generic approach to the setting and timing was in plan, but the script was imminently changed to focus around a universal event to attract more audiences, thus resulting in the now iconic school dance setting. With the unique setting, immersive soundtrack, and detailed narrative comes a factor that can be rare in slashers, fully fleshed out characters. Jamie Lee Curtis will always hold the crown of being one of horror’s most glorified Scream Queens, and whilst Halloween is primarily responsible, Curtis’s performances of a distressed but fearless final girl/prom queen accelerates the film into a whole other level of legendary.

8- Pieces (Directed by Juan Piquer Simón, 1982)

PIECES (1982) • Frame Rated

The students from a college campus are being killed off by a mysterious killer whose aim is to create a human jigsaw using the body parts as puzzle pieces. 

Upon its initial release Pieces was met with rather a lot of contention. Of course, the notion of an unhinged serial murderer stalking and violently killing people in order to compose a sick puzzle is certainly disturbing when composed as such, however, as any slasher fan knows, it always sounds worse than it is. Pieces may not have been on the most serious section leading to prosecution on the video nasties list, but the film was still seized and subsequently confiscated in the UK. With its historical reputation, Pieces may seem like another dose of schlock, yet Juan Piquer Simón  masterfully crafts a giallo-slasher hybrid rich with dramatic stylisation, a cathartic ending, and such a high level of absurdity that slightly infuses the film with an air of deadpan humour. 

9- The House on Sorority Row (Directed by Mark Rosman, 1982) 

The House on Sorority Row (1983) Review |BasementRejects

A seemingly harmless prank thrown by a group of sorority sisters leads to deadly consequences. 

Sororities and frats have garnered quite the reputation in horror movies over the years, with films such as Sorority Row (2009), Sorority House Massacre (1986), Pledge (2018), and The Initiation (1984) all tackling the inner dynamics that naturally occur within sorority environments. In line with this notion, The House on Sorority Row relies upon a whodunit basis to build up dread and tension, forcing the viewer to be unsure of everyone’s actions, making the film a fright to remember. At the time, when slashers were released to the public it was not uncommon for the masses to view them as degrading or unimportant to cinema as a whole, however Mark Rosman’s juggling of heavy gore and suspenseful kills made the film hit the top spot with audiences and critics alike.

10- The Mutilator (Directed by Buddy Cooper & John S. Douglass, 1984) 

The Mutilator (1984) Review |BasementRejects

A grief stricken man goes on a campaign of vengeance at a beachfront condo. 

On the outskirts, The Mutilator may seem like an ordinary slasher, filled with middle-of-the-road theatrics, unrealistic gore, and frivolous chase scenes. Whilst, The Mutilator does revel in the typical formula of stalk and kill antics, Buddy Cooper and John S. Douglass have created a memorable and more than efficient slasher that manages to be lighthearted and ghastly at the same time. The college coeds featured in the film are considerably developed, with their presence acting as a major contributing factor to the story, rather than just acting as slasher bait. Alongside this is The Mutilator’s brutally violent effect’s that still put up a tough fight against today’s SFX.

Looking for more top horror lists and reviews? Check out our blog here..

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ORIGINAL VS. REMAKE: A NIGHTMARE ON ELM STREET

a nightmare on elm street

The 1980s saw a rapid surplus of horror films seeping out from the woodwork. Not only was there a rise in interest for the more morbid side of cinema, but there was also a growing audience for slasher films. One of these great classics that has shaped the genre ever since it’s release is Wes Craven’s A Nightmare on Elm Street (1984). The success of A Nightmare on Elm Street soared for many years as the franchise birthed a further eight films, a popular comic book series, multiple documentaries, and merchandise. As with any franchise there is always the odd entry that did not garner much praise, in this case the culprit is the 2010 remake directed by Samuel Bayer. This shot at giving the franchise a new lease is colloquially dismissed. However, is it possible that the remake actually holds a hidden charm? Or is it entirely doomed? Let’s find out in the most scathing ‘Original vs. Remakes’ yet…

In the seemingly sleepy suburb of Springwood, Freddy Krueger (Robert Englund), a disfigured clawed killer murders a group of unsuspecting teens whose parents were at the hands of his untimely death. 

The film is utterly aware of its strengths and uses them to its advantage, correlating a polished, witty and nightmare fueled horror. 

Craven earned a budding name for himself with the exploitation films The Last House on the Left (1972) and The Hills Have Eyes (1977) lining his early career, the cult success of these films brewed for years, but it was A Nightmare on Elm Street that truly shot his director credits into the spotlight for decades to come. Thankfully Craven kept his talents primarily within the horror sector, earning a reputation for being rather masterful, supplementing dark humour to keep films entertaining, with A Nightmare on Elm Street beginning this ode to comic horror. Throughout the film there are numerous witty punchlines accompanied by an ever menacing grin from Freddy, cementing his place as an iconic horror villain that stands out from the crowd. He is personable, lively, and gruesome. Freddy’s personality certainly helps fasten the film’s reputation, ensuring his place as a horror sensation. 

As easy as it is to discuss Freddy all day this is definitely not the film’s sole edge, with the outstanding practical effects, unparalleled score, and tense symbolism all contributing to its notorious reputation. 

Speaking of those unmatched visuals, head of practical effects Jim Doyle, created incredibly innovative scenes on a shoestring budget (compared to nowadays), namely the infamous ‘bed of death’ scene. Glen’s (Johnny Depp) death displayed a tidal wave of blood spurting upwards from his bed, dragging him down into a deep hellish pit. To create the gushing blood effect an entire rotating room was created. The room was turned completely upside down via various crew having to manually turn the room like a dial crank, with Craven loosely strapped into a camera chair to the side. In true budgeted form the furniture was not correctly strapped or secured with safety wires, instead everything was simply nailed down. Adding to the risk was the fact that the red dyed water replicating the blood hit a tonne of wiring, causing the fluid to become electrified. Despite everything, the final product went above and beyond in creating one of horror’s most memorable scenes. 

This whole craftsmanship is what makes A Nightmare on Elm Street stand out. There wasn’t a chance for plenty of retakes and editing to glam-up the grungy effects, instead it was just a crew full of people risking their time and safety to create a future classic. The labour of love throughout A Nightmare on Elm Street is abundantly clear. There is a reason why the film has sat on a pedestal for all these years, it has an air of originality, a certain magnetism which allowed all of the sequels to follow. Craven’s 1984 visionary horror seems to only continue in its triumphant path, however the same cannot be said for the 2010 remake which only seems to amass negative attention. 

2010’s remake came into play thanks to Michael Bay, a filmmaker and producer who is known for his over-the-top effects (mainly explosions), quick pacing, and ability to make even the calmest of scenes seem erratic and completely overblown. During the early 2000’s it became clear that horror remakes were a quick one-way ticket to financial success, with the likes of The Amityville Horror (2005), The Hitcher (2007), and Friday the 13th (2008) making film financers such as Bay a quick buck. That’s not to say that A Nightmare on Elm Street was solely a money grab, but the roots of its purpose certainly seem that way. 

After plenty of rumours surrounding the remake, production began in 2008, with music video director Samuel Bayer being hired, alongside a hopeful cast including of Connie Britton, Rooney Mara, Jackie Earle Haley, and Kyle Gallner.

The central premise of Kreuger’s motive in both of these films is that his death was at the hands of these teenagers’ parents, as an act of revenge. The motivation for the entire film is an allegory about the sins of the ‘elders’ coming back to haunt the innocent, in a form of evil injustice. Both parties are wrong, yet the battle will always continue thanks to the mass ignorance of society. Craven’s A Nightmare on Elm Street may seem like just another slasher from the exterior, but it is a tale of repressed guilt that exposes the results of denial and shame. There are many gripes that the remake clutches onto, but the abandonment of Craven’s superb surrealism in favour of creating a watered down dreamscape is the worst of them all.

Through Bayer forgoing all of this buildup, we are left with another emotionally trimmed, lukewarm horror that shackles itself to all of the other mundane formulaic movies. 

One of the most common protests that audiences had with the film is that Freddy’s characterisation is entirely altered, so much so that there is not a single ounce of intrigue and allure to his persona. There is no scary voice, or trademark charm, unfortunately slapping on a red and green jumper and a claw hand is not enough. Worst of all there is zero sympathy towards his character. Freddy is not a model citizen, yet there was always this air of forgiveness over his actions. However, in 2010 he was made out to be a child predator. This was all part of the film’s attempt to make the remake a *very* dark and serious film that brews slowly thanks to an incredibly horrifying backbone. Instead of becoming this unsettling nightmare, similar to the Evil Dead (2013) remake, it simply tries too hard to be something that it’s not. Horrid themes do not always equate to fear.

We could be shown one of the most violent scenes known to cinema, but that doesn’t mean that it gives the audience the creeps. If Bayer would have focused more on fleshing out Freddy’s backstory and then infuse it within the characters emotional development then possibly the narrative would have worked. But it’s as if the writers have handed us a child abuse story on a plate and then just forgot to stir it into the rest of the film. 

Despite everything it’s not all doom and gloom. Arguments could be passed back and forth about this missed opportunity, but it does have to be said that the box office figures show that the intense marketing and buzz surrounding the film generated enough attention for it to be one of the most financially successful remakes of its time. It still remains the second highest grossing film out of the entire franchise. It may not be everyone’s favourite remake, but it gave horror a quick boost in mainstream cinema. 

Another redeeming factor is seen through the decent performances, particularly by Mara who played the titular Nancy. Her portrayal of a distressed teen is fairly grounded in reality and not overtly flamboyant and ridiculously written. Working alongside this is the attempt at recreating something fresh. The remake is not a play-by-play of Craven’s original, nor is it an entirely original story that uses the basic framework of a classic to take the tale in a new direction. Although the remake bears a reputation that generally airs on the negative side, it might have possibly worked as a standalone film if amendments were made, perfect for tween viewers who want an easy popcorn movie. 

Painting a grungy scene and blasting CGI over every possible image does not equal a “good movie”. Sometimes it’s not the budget you need or an over-thought subplot to make a film work, alternatively all a groundbreaking horror needs is a vivid imagination and an expressive story that is rooted from a passion for the genre. It can sound contradictory to comment that the film tries too hard, but at the same time doesn’t try hard enough, yet this is exactly the issue, the aching tangent becomes so tired thanks to all of the repetitiveness. Remakes can be excellent, even better than the original, but in this case A Nightmare on Elm Street (1984) is the standout champion.

Love to read more about the iconic horror villain? Check out our article on Freddy here.

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Freddy Krueger: Your worst nightmare

freddy krueger

“One, two, Freddy’s coming for you…” We all know that spine-tingling jingle that subtly defines one of horror’s most intimidatingly successful franchises, A Nightmare on Elm Street (Wes Craven, 1984). Craven’s legacy bears rich classics that have excelled beyond anyone’s expectations, with his filmography boasting titles such as The Last House on the Left (1972), The Hills Have Eyes (1977), and everybody’s cliche-twisting slasher, Scream (1996).

The great success Craven has received is admirable, yet there is an overt lack of discussion regarding symbolism and dissection when it comes to the titular character across every Nightmare on Elm Street film, the boogeyman himself, Freddy Krueger (Robert Englund). The franchise holds a total of nine films, with the first procuring the densest socio-political issues, alongside the most candid portrayal of Krueger. As the series has developed, so has the rambunctious behaviour from his character, with his later appearances emphasizing the more chucklesome and gabby side to his persona. To fully decipher what he represents we need to take a step back to the early 1980s and unravel the twisted world of Freddy Krueger. 

The 1960s and 1970s brought about great change, where the revolution of attempted freedom was at large, particularly in the USA. What brought about this dire need of a system change was a generalised anger over the lack of equality, civil rights, and the state of affairs across the world. These worrisome concerns were protested by the youth of America, leading to many filmmakers who were heavily involved in these stands becoming influenced by a furied ethical climate. The consequences of this were not always directly pronounced, with a favouring of symbolism and metaphorical values. One of the most primary examples of course being A Nightmare on Elm Street. The themes are manifested almost solely through Krueger, as he embodies denial, vulnerability, dissonance, and unjust dominance. 

The adaptive dream notion behind A Nightmare on Elm Street is well known. Craven had been inspired by the sudden death syndrome seen in a group of Hmong refugees, with Krueger’s stalking nature being influenced by a creeper that Craven had witnessed during his childhood. Withdrawing away from Krueger briefly is the setup that forces his legendary status; from the start, the setting is not reflected in archetypal horror locations. Instead of the haunted house or cemetery, we are presented with white picket fences in a white suburban neighbourhood. Straight away Craven is mocking the societal frame that cradled America’s elite, who would infamously belittle those who wanted to change the country’s structure for a fairer place. And what enforces the mimicry is the juxtaposition of what Krueger represents against the apparent bed of roses. 

Krueger withholds his victims through their dreams. He is not only controlling people at their most vulnerable state, but when they also have no chance of escape, people psychically need sleep to survive. In the first film the lead protagonist Nancy (Heather Langenkamp), has to battle against Krueger in her dreams to prevent her imminent death. Throughout the film, their contact is initiated through Nancy’s dreams, with her actually suffering in real life with any injuries she may obtain in these dream battles. Krueger presents himself with no invite and eventually becomes such a harrowing force in her life that the lines between dreams and reality become blurred. Without going on a tangent, the dream state is riddled with our subconscious thoughts, and what we aim to repress. Krueger is a symbol of the aftereffect that is born through neglect and generational cruelty that society attempts to abandon. 

Krueger’s charred skin, deep with lacerations and a hollowed complexion is not just purposeful to amp up the gore factor, it serves as a plot reaction. The brief history surrounding his origins is identified from the first film, where we find out that Nancy’s mother Marge (Ronee Blakley), and the other parents on their street burned Freddy Krueger to his death in a collective vigilante mission, due to Krueger being a child killer. 

What is intentionally ironic is the reason behind his motivation and the consequences of the parent’s actions. Needless to say, Krueger is riddled with vengeance, and he wants to destroy these adolescents to fuel his sick desires and to punish their families. The adults of Springwood are villainous, not only in their own deeds but additionally through their individual downfalls, including selfishness and avoidance of admittance. 

Their own matters of justice create a dark past that must not be uttered, forming an air of uncertainty and moral evilness over the town’s authority figures. Through the older generations’ actions, a cycle of repercussions has been conjured. Their children are suffering as a result of their misdeeds. Nancy and her friends are targeted by Krueger and are forced to fight it out alone, in a vicious system of repressed guilt. This fixes Krueger’s innate motive to disrupt the false civil harmony created, as underneath the façade lies a seedy underbelly. 

What furthers Krueger as a direct symbol of rebellion is his position as a fully fleshed-out villain, rather than an antagonist with an anonymous aura haloing over them. Throughout all of the films, Kruger is an all-performing show character, whose infectious personality has forced audiences over time to warm to him more than his victims. Krueger represents the evil in society, but just as humans do, we cannot help but be tempted by such wickedness. He talks, runs, jokes, laughs, and most importantly toys with his victims, showing genuine enjoyment in killing his prey.

He evokes a personality, not just a wallowing killer behind a mask. There is nothing at fault with the great silent killers, such as Michael Myers and Jason Voorhees, but Krueger’s sensibility has a mysterious sense of threat that only he can achieve. He does not feed off of people’s fears as a source of power, instead, he uses that menacing allure to break down his victim’s shield. The thought of a speechless killer is terrifying, but the thought of one who plays a game of cat and mouse (just because he can) creates a daunting and disturbed atmosphere. 

Throughout the rest of the franchise Krueger’s comedic tone heightens, almost falling down the rabbit hole of 1980s fruitfully humorous horror, however, his true looming nature has remained the same. In comparison to other big franchises of the genre, A Nightmare on Elm Street has fewer titles, which is mostly due to the 2010 reboot completely failing at expanding the universe. But, despite such setbacks in progression, the most pivotal element across every film is the tonal roots that the Nightmare films stay true to, with Freddy Krueger being one of horror’s most definable and complex characters. 

Love to read more about iconic horror villains? Check out our article on Jason Voorhees here.