Wicked Wednesday

Wicked Wednesday: Carnival of Souls (1962)

“I don’t belong in the world. That’s what it is. Something separates me from other people.”

Most weeks when I finish watching my movies for Wicked Wednesday, my feels can be summed up as “ambivalent.” Neither irritating enough to complain about nor good enough to remember. Some weeks the movies are “fun” or “amusing” but occasionally I find something that really strikes a chord.

Carnival of Souls is a beautiful, haunting movie about loneliness. It’s also a movie about ghosts. But what’s really important is that it’s really fucking good.

One day, during a drag race, a car careens off a bridge and into the water. The three women inside are presumed dead after searching the river. Only one girl, Mary, emerges looking bedraggled and unable to remember anything about the accident.

Mary isn’t everyone’s favourite. She’s distant and detached. Even more so after the accident. She leaves town to go to her new job as a church organist.

On her drive to Utah, she sees an abandoned building that immediately captures her attention. But while studying it, a ghostly man appears as a reflection in her passenger window. She swerves off the road when his image appears again in her windshield. She stops at a local gas station where the man tells her it was once a bath house, a dance hall and finally a carnival.

Once Mary arrives at her new home, she immediately puts off her walls. She doesn’t want to meet the congregation. She doesn’t want to mingle with her fellow tenant (a creep named John). But she does agree to a drive with a minister, which takes her closer to the pavilion.

Mary begins to see The Man, as she calls him, around the town. She sees him in her lodgings, but her land lady tells her the only man in the building is John.

Things begin to get stranger for Mary. While trying on new clothes she realises that she can’t hear anyone speak, and no one seems to even notice her. She begins to panic at a park when a doctor finds her and offers to help.

Dr Samuels explains to her that her visions of The Man could be manifestations of her guilt. Simply tricks of her imagination.

Despite the doctors suggestions, Mary doesn’t believe him. She decides to visit the pavilion again – alone.  Strange, little things begin to happen. Like items moving on their own. An illustration of her isolation from others.

John, the other tenant, continues to pursue Mary and after he calls her cold, she agrees to go out on a date with him that night. But before either date, Mary goes to the church to play on the organ. She gets swept up in the music, and begins to play something melodic and strange. The minister begins furious with her and asks for her resignation.

With that little treat to set the mood, Mary spends much of her date with John in a foul mood. She doesn’t want to talk. She doesn’t want to drink. And she doesn’t want to dance. After getting John angry with her, she begins to insist that she needs to be with him.

John, being a perv, believes that means Mary wants to be with him and begins to come on to her. When she resists, he leaves. She barricades herself in the room until the following morning after Dr Samuels examines her.

Mary begins her journey to try and leave. Only the village doesn’t seem to want to let her go. She slowly spirals into a sort of madness. A realisation that something isn’t right. That she doesn’t belong in the world.

The ending of Carnival of Souls is perhaps predictable, but it’s still satisfying. Each scene has great cinematography that helps build a sense of delirium.

Carnival of Souls is a ‘fun’ movie to pick apart and dissect, particularly the ending. While it is intentionally abstract, the movie never makes itself feel unnecessarily complex. Sure, it’s a film about ghosts, but it also captures the feeling of helplessness, and emotion and mental disconnect. Things you don’t have to be a ghoul to understand.

This was the only feature-length film made by director Herk Harvey (who also plays The Man). That only seems to add mystique around the movie itself. If Harvey had mysteriously disappeared before its release, I’d assume I was watching Popcorn again.

One of the most commonly noted things about Carnival is it’s incredibly tiny budget ($33,000). What Harvey managed to achieve was nothing short of incredible. It helped that actress Candace Hilligoss is completely mesmerising as the wide-eyed, tortured Mary.

I’m definitely late to the game when it comes to watching Carnival of Souls (that theatrical poster is really misleading), but all that matters is that I got here in the end. Right? But don’t make the same mistakes I did. Watch it. Love it. Have sweet dreams of dancing ghouls.


Wicked Wednesday: Popcorn (1991)

Sometimes, what a horror movie really needs is a unique setting. Step aside, summer camps. Go away, sleepy small towns! Horror movie marathons is where we should be. And thanks to the comedy slasher Popcorn, our horror-nerd dreams get to come true.

Young university student Maggie has a reoccurring dream about a girl named Sarah, who is attacked by a mad man. She records her memories on her tape recorder in hopes of later using it for a movie. Her dream worries her mother, who has shepherded her from place to place since she was a girl.

Maggie’s film department is rather pushed around. No space and no money. But her fellow classmate Toby comes up with the idea to host an horror film festival. But not just any all-night: one with all the bells and whistles of the gimmick-movie heyday (including aroma-rama and shock-o-vision). A local memorabilia shop owner allows them to use his things to decorate the cinema and get it ready for the night.

But just as the students wrap up their work, they discover a canister containing old film. They decide to run the film. They soon realise that it’s a strange movie called The Possessor, and follows Maggie’s dream almost identically. Maggie faints during the film, and when she’s awake, their professor tells them about the movie.

The professor explains that it was made by a man named Lanyard Gate, a man who ran a sort of film-related cult. Gates killed his family live on stage before setting fire to the movie theatre, which killed the entire audience that was locked inside.

Considering the similarities between her dream and the film, Maggie asks her mom about it. She claims not to know anything, but soon gets a phone call. Maggie’s mom goes to the movie theatre where she is attacked by someone and grabbed.

The following day is the movie marathon, the film department gear up for the long night ahead. A strange, unseen man approached Maggie in the ticket booth and calls her Sarah. She tries to find him, but he’s lost in the sea of costumed customers.

During the first film, the professor is killed by being impaled by a giant robotic mosquito. He’s dragged away where someone made a cast of his face, then a rubber mask.

One of the students goes backstage, looking for the professor. She sees a man with the professor’s face and begins to make out with him, but she soon realises that it’s a mask. The man peels off the mask revealing a badly-burnt face. She’s killed before she can even attempt to get away.

The burned man then kills another student, Bud, by electrocuting him in his wheelchair. The surge in power casues the entire cinema to lose power.

The remaining students (unaware that their classmates all dropping like flies) all attempt to regain power before the audience really loses their shit. Maggie goes to look for Bud, but instead finds the burned man, who claims to be Gates. He tells her that she is his daughter, and that her real name is Sarah. Oh and her mom is not her real mom because her real mother was stabbed to death!

Maggie finds Toby and the two of them attempt to look for the circuit breakers. She tells him about her childhood memories, which had been unlocked with her conversation with Gates. While searching, they both fall into a hole and into the lair of the killer.

But in a twist-reveal, Gates admits that he is not actually Lanyard Gates, but TOBY. Stupid, stuttering Toby. He begins to show off his masks to Maggie, explaining that his mother had been killed in the fire when he and her were front stage watching the film. His face became disfigured, requiring him to use a life-like mask to make himself appear real.

Obviously he blames Sarah/Maggie for everything because as she was only a child, she’s solely guilty for everything! But then he wheels out ‘mom’, who is actually Maggie’s aunt, who saved her during the ordeal.

Toby’s chess pieces are in order when the final film of the marathon cuts out and The Possessor begins to play. Maggie and her mom and placed on stage where Toby begins to perfectly re-enact the scenes from the film.

Just before he’s able to kill Maggie, she’s saved by her boyfriend, who zip-lines onto stage. The giant, robotic mosquito kills Toby, and ultimately saves the day (yay).

Popcorn was written by my now go-to Canadian writer, Alan Ormsby (DerrangedDead of Night). This was very similar to what he was going for in his film Children Shouldn’t Play with Dead Things. A group of high-brow artists (in this case, filmmakers in Children it’s stage actors) who stumble upon darker circumstances than they bargained for.

I personally love the idea of the movie marathon as the setting. But it also is a nice look at why horror fans are ultimately so sadistic. We cheer for deaths and destruction, but does that confusion bleed into reality?

The movie was a lot of fun, and I can’t wait to re-watch it again with a better picture. Popcorn will be re-released on Blu-Ray in the UK through 88 Films this October.

Wicked Wednesday: Tourist Trap (1979)

Ever wonder what The Texas Chainsaw Massacre would be like if Leatherface was more into dolls than corpses? Well, if you have then lucky you! Look no further than Tourist Trap!

This 1979 slasher is weird and silly, but offers up plenty of uncomfortable moments.

When a group of friends are on a road trip, one couple hits road trouble. The boyfriend, Woody, takes the tire down the road to look for help.

He finds a gas station filled with strange mannequins. It’s seemingly empty, but before he can leave, Woody is trapped in the room and attacked by flying objects. The boy is impaled with a metal pole and dies.

Meanwhile, his friends find Woody’s girlfriend Eileen waiting by the broken down car. They give her a ride and they stop at a small tourist trap when Jerry’s jeep also breaks down. The girls decide to take a dip in a little oasis where they are interrupted by an older man, Slausen.

Slausen offers to help the girls and Jerry and takes them into his tourist trap – a museum with animatronic mannequins.

Jerry and Slausen leave to get the jeep sorted, leaving the three girls alone. Despite Slausen’s warning, Eileen goes into the nearby house to look for Woody or a working phone.

Eileen finds a room filled with mannequins inside the house and before you can sing “Nothing’s Gonna Stop us Now,” a man in a mask attacks Eileen and she’s strangled to death.

Slausen returns and finds Eileen missing, and the remaining two girls, Molly and Becky, explain that she left. When Slausen enters the house, he finds Eileen, only now she’s become a mannequin.

In the meantime, Molly and Becky explore the tourist trap. They find a photograph of a woman who looks remarkably like one of the mannequins. But after waiting, they decide to look for Eileen. Becky sneaks into the house and is attacked.

She soon finds herself tied up in the basement by the strange, ranting masked man. She’s not alone in the basement, though, as she’s joined by Jerry and a rando named Tina. In the basement, the masked man talks incessantly about his brother (Jerry assumes that the the masked man is Slausen’s brother) while plastering a mold over Tina’s face – suffocating her.

Jerry attempts to escape, but the killer uses his telekinetic powers to fight him and move the dropped keys from Jerry’s reach.

Molly, meanwhile, is alone. She soon stumbles across the masked killer and is attacked. But she’s saved by Slausen, who claims that the attacker was her brother. He gives her his shotgun, and tells her to use it in case the man arrives again. Slausen goes into the museum, leaving Molly alone. When the killer reappears, she shoots him only to realise the gun is filled with blanks.

The killer takes off his mask to reveal that (surprise) it’s Slausen himself! He overpowers Molly, and she wakes up strapped to a bed in a room filled with (surprise) mannequins.

Becky and Jerry manage to escape the basement. While Slausen is busy entertaining Molly, the two try to sneak out. Only they’re separated. Slauslen catches Becky in the tourist trap where she’s killed by the Old West mannequins.

Molly then ends up getting released from bed (this is honestly like a damn Benny Hill scene) and is attacked by the mannequins. Slausen tells her then that he killed his wife when he caught her cheating on him. Then he turned her into a mannequin! Jerry arrives to save her but he realises he’s a mannequin! Thankfully that little reveal gives Molly enough time to attack Slausen and kill him.

Molly drives off to safety with her mannequin friends in tow.

How Slausen has telekinetic powers is a mystery. Why make molds of faces if you can just turn people into mannequins. WHY and HOW can someone turn people into mannequins? Magic? Is this a side effect of telekinesis?

Tourist Trap tries its best to be both silly and unsettling, but it mostly ends up more confusing than gritty. Slausen is clearly the killer from the get go and I don’t know why the movie pretends that it could be anyone else. It worked for Psycho because we had genuine belief that Mrs Bates was at home. There was little proof that Slausen’s brother existed, so thus, it was pretty damn clear he was the killer.

This is one of the few movies I think would actually benefit from a remake. The film has a certain era-charm that would be difficult to replicate. But a lot of the dialogue is difficult to understand (particularly Saulsen’s). Which makes me wonder if things had been explained but I was too stupid to hear them.

Wicked Wednesday: Bloody Birthday (1981)

Kids can be pretty horrible. But apparently kids born during a solar eclipse are the literal worst.

On June 9th, 1970, three child were born during an eclipse. A decade later, the kids are 10 and thirsting for blood! Welcome to Bloody Birthday, a movie that is light on the birthday and heaving on the blood (kind of).

Little Debbie is a bit of a nasty devil. She and her cohorts Curtis and Steven all share the same birthday, and as it approaches, their desire for mayhem grows. The night of June 1st, a couple are murdered in a graveyard, shaking up the local community.

Debbie’s father, the sheriff, is on the investigation. But his daughter and her friends knock him out and kill him. While they get away with it, they are caught by a young neighbour, Timmy, sees them.

One day after the sheriff’s funeral, Timmy is playing hide-and-seek with the other boys when Curtis locks him in an old fridge. The boy manages to escape, and tries to tell his older sister, Joyce about. She refuses to believe him, thinking he is only lying, as little boys do.

Debbie disarms her father’s intense home security system one night to let Curtis in. He swaps her father’s real revolver for his play replica. The follow day, he shoots their teacher at school (the kids aren’t subtle). The evil ones hide the body, but Joyce finds it in the closet. Both Joyce and her brother become the number one targets for the trio.

Joyce finds a note from “Timmy” on the door one day, saying he went to the junkyard. Since she’s an older sister and had forbid him to go, she chases after her brother. She of course doesn’t find him, but is instead chased by a car, driven by someone in a hood. She’s nearly run over, but by the time the police arrive, the car is empty.

So it’s pretty safe to say that the girl has had a pretty tough time of it (don’t worry, it will get a lot worse).

Joyce, who is pretty into astrology, realises that Debbie was born during a solar eclipse, and a really bad conjunction of planets. She tells her brother that Debbie is probably missing something that most people have, like the ability to feel emotions for someone.

Unfortunately for them, there were three children born at that time. At their birthday party, they make it plenty clear to Debbie that they’re coming for her. Curtis prank Debbie by pretending to put ant poison in the cake icing. Debbie panics and tells no one to eat the cake, but she soon realises she’s been made the butt of a joke. She looks crazy to everyone at the party.

Later, Debbie’s sister Beverly (and Joyce’s best friend) discovers a ghoulish scrapbook in Debbie’s room. It’s filled with newspaper clipping of the murders that the children committed. Beverly shows their mother, who becomes irate, especially at the clipping about her dead husband. Debbie claims that the boys left it behind, and she’s let off the hook.

But Debbie doesn’t let things go easily. She gets her revenge on her sister. The girl was already charging boys to have a look through a peep hole in Beverly’s room, but she later uses the peep hole to shoot her sister in the eye with an arrow. Debbie gets the boys to help her move the body, but it’s later discovered. Debbie’s very distraught mother is brought into hospital for care.

Being alone, Debbie asks Joyce to babysit her and Timmy to join. That night, the terrible threesome attack. Since the house has an unusual, ridiculously intense security system, it’s difficult for Timmy and Joyce to escape.

They eventually trap Curtis and Steven, but Debbie escapes and is caught by her mother. Debbie explains to her mother that the boys have done terrible things, and that Joyce believes the ‘innocence’ Debbie is guilty as well.

Debbie’s mother believes her daughter (or rather, can’t bare to lose the last member of her family), so she quickly drives away with Debbie in tow. The other boys are arrested, seemingly caught for their crimes.

But little Debbie. She promises to be good. And you can believe a sweet little face like that, right?

What’s pretty unusual about Bloody Birthday is that the film goes straight into how terrible these kids really are. There’s zero mystery. Just an hour and a half of some pretty crappy kids doing crappy stuff. The actress who plays Debbie, though… I mean, I’m plenty terrified of her as a grown woman.

My birthday was this past Sunday. I do like celebrating by subjecting myself to watching homicidal children. Shame I wasn’t born during a really bad conjunction of planets…

Or was I?

Wicked Wednesday: The Hypnotist (2001)

Siblings can be a real pain. My sisters and I like to bicker and judge each other, but at least they never tried to get me committed to an asylum. At least that I know of.

William, Charles and Beatrice Cooke are the children of a wealthy man. On the man’s death bed, he tells his children that they will inherit under one condition: that they live under the same roof to take care of their mother. If they move out, they will be disinherited.

Shortly after their father’s death, Charles begins plotting with a suspicious psychologist, Dr Schadenfreude. He asked for the doctor’s help to get both of his siblings declared insane so that they would be committed to an asylum, and thus would be disinherited by not living in the house.

Dr Schadenfreude goes after Beatrice first. She’s the most difficult target. Charles is convinced that his sister is a “whore” who is also a necrophiliac. It’s up to the doctor to make sure that’s true.

The doctor drugs Beatrice one night, then puts her under hypnosis. The command “open the door” makes her feel an overwhelming sense of dispare. She begins to hate herself and feel sickened. It’s only when he says the command “close the door” that she awakes from her trance to feel herself again.

The next day, Dr Schadenfreude goes after the religious William, who believes his mother is touched by God. The children often debate the state of their mother’s mind, but only William believes that she is completely well. Though one conversation with the doctor makes him uncomfortable (though I’m not really sure how).

Charles later tells his siblings that he wants them claimed mentally incompetent. Beatrice is, understandably, outraged, but William accepts his fate and leaves of his own free will.

Later that night, Beatrice sees her mother for help. The woman is in her bed, and seemingly too unwell to get up. But it’s then that Beatrice is struck that her mother is in fact not mentally insane.

The trial follows, and only Beatrice arrives with the doctor and Charles. William has wandered off alone (supposedly as a confirmation of his ‘condition’). The doctor and Charles try their best to defame the woman. They bring “facts” written only German. They bring “letters” from her gigolos and the men she went to orgies with.

Beatrice tries her best to defend herself, and ultimately announces that Charles murdered two. She tells the judge that all the court records were burned but one. One that she found in her mother’s room.

Dr Schadenfreude quickly tells Beatrice to “open the door” but as she admits she’s deranged, she collapses to the floor. When she awakes, though, she breaks free of the hypnosis. She quickly recalls what happened to her. She tells the judge, then informs her brother that the doctor also put her under hypnosis to steal their money. The doctor flees from the courtroom, rich from his con.

Now completely ruined, Charles begins his (further) descent into madness. He vows to kill Beatrice, but his mother, now out of bed, tries to stop him. Beatrice hears her mother’s cries, and finds Charles standing over their mother’s dead body.

In a rather ghostly ending, Charles runs away. He sees the apparition of his mother, and falls to his death. A rather well-deserved ending, I think.

I love nearly everything Biller touches, but it’s her writing that I love (okay, the visual style certainly doesn’t hurt). And since this wasn’t written by Biller, and you can certainly tell, it doesn’t work as much for me. The script was probably the biggest issue with this short. It’s good, but perhaps a bit confusing in places,  particularly what happens with William. Though I did love the hints of House on Haunted Hill and Douglas Sirk.

Like many of Biller’s films, the main message driven home here is that there are many men willing to weaponise a woman’s sexuality. They’ll use it against her and destroy her for it. It was nice to see that ultimately Beatrice came out on top.

But again, I’m a sucker for Biller’s style. It’s very dramatic and romantic here. And while The Hypnotist isn’t my favourite thing she’s directed, it’s certainly worth the watch.

Wicked Wednesday: 3 Versos (2016)

The internet is sometimes a wonderful, beautiful thing. It was by pure luck and chance that I stumbled upon this Spanish-language short film 3 Versos. This one, kids, is an absolute fucking gem.

Two sisters, Catalina and Gretta, seek the help of a seer, Margery, after being haunted by sounds and voices in their house. They go to the old woman’s home where she is wearing a mask. Gretta explains that Catalina was attacked by the spirit in their kitchen. Knowing that they were in danger, they sought Margery’s help.

Using a circular spirit board, the three woman, plus the rather-quiet Regina, begin to contact the angry spirit be reciting the three verses. But the seance seemingly goes wrong when Catalina breaks the circle, unleashing half a dozen spirits around them.

Suddenly, Margery is hit with by the spirit Perla, and falls to the table, her mask tumbling off. When the seer raises her head, the girls see that her face is disfigured and they flee.

Only after they leave, Margery reveals her true face – that of a con artist. She enjoys her takings and revels in her successful trick. But later, she receives another call from Gretta, thanking her for getting rid of the spirit. Margery, believing the girl is just silly and superstitious, tries to get more money out of the girl by “cleansing the house.” She demands that the three girls return. Only Gretta is confused. Regina? Who the hell is Regina?

And with that, 3 Versos offers up a deliciously twisty ending to what is certainly a very atmospheric 10 minutes. The costumes are fantastic, the acting is solid (Edvan Galván deserves all the stars for the vaudevillian Margery), and the subtle hints of trickery are also excellent. While many of the elements feel familiar (the board, the haunted sisters), this short-film does with with such style that it feels full enthralling to watch.

Director and writer Antonio Yee also performs as Vander Von Odd, winner of the reality show The Boulet Brothers’ Dragula. 3 Versos uses all the glamour, theatrics and art of drag to create a fantastically heightened mood and unique aesthetic. Luck has found me an artist I’m head-over-heels for, but I’ll be staying of my own free will.

Wicked Wednesday: I Was a Teenage Werewolf (1957)

Growing up, I could always count on Little House on the Prairie to be on TV. My mom thought Michael Landon was just so dreamy. And he certainly was!

My mom would have been too young for I was a Teenage Werewolf, but young Landon here is Dream Boat in all its proper noun glory. His puppy dog (har har) eyes and sweet face make for a compelling star of a tragedy.

Landon plays Tony, a troubled teenager with a hot temper. After getting into yet another fright at school, one of the police officers suggests that Tony goes to see a psychologist for help. The young boy shrugs off the suggestion, and refuses.

Later, Tony and his girlfriend Arlene go to a haunted house Halloween party where the kids spend the night playing pranks on each other. It’s all fun an games until they decide to prank Tony. He snaps and attacks his friend Vic. After seeing his friends’ stunned faces, Tony finally realises that he needs help.

Tony goes to see Dr Alfred Brandon. The doctor suggests that he give Tony a sedative, and the boy reluctantly agrees. While he’s under, the doctor talks to his fellow psychologist, Dr Hugo. He tells Hugo that he’s going to use his serum on Tony, which causes Hugo to become uncomfortable.

The experimental serum, mixed with hypnosis, will cause Tony to regress to a more primitive state, where he will gain back his savage instincts. Dr Alfred tells Hugo that he wants the human race to go back in time before it destroys itself.

Dr Alfred injects Tony with the serum, and tells Tony that he’s a wild, killing animal. When Tony wakes up, he’s seemingly fine and goes off on his way.

That night, after another party at the abandoned house, one of Tony’s friends is attacked and killed.

At the police office, the officers are confused by the attack. One of the janitors sees the photos of the crime scene, and claims that he’s seen those types of attacks in his old village done by werewolves. He tells the officer that a werewolf is a man possessed by a wolf (rather than one than can simply turn into one).

As the appointments with Dr Alfred continues, Tony becomes increasingly worried about his behaviour, but the doctor comforts him. Later, the principal at his school confirms the doctor’s sentiments by complimenting Tony on the turn around in his personality.

It’s all sweet and all until Tony stops to watch a girl practise gymnastics. While watching, the school bell goes off, triggering his transformation into a werewolf.

Tony attacks the girl and kills her, only this time he’s caught in the act by several students and his principal. Despite looking rather wolf-y, they can identify him by his distinct jacket. When the principal reports the death to the police, she gives a nearly solid confirmation that the werewolf was indeed the young boy.

A wolf-hunt begins and Tony spends his time in the woods, evading the men looking for him. Dr Alfred, Tony’s father and Arlene’s family are all interviewed. The later two are kept under police watch in case Tony tries to contact them.

In the morning, Tony awakes to find that he’s returned to his boy-form. He goes to a phone booth and calls Arlene. Despite her not confirming his identity, the police are able to track Tony down.

But Tony has time to visit the good doctor one last time to beg for help. Doctor Alfred puts Tony under sedation, and Alfred tells Hugo that he will finally get the proof that his experiment has worked.

The two doctors set up a camera to film Tony, but while they film, the phone rings and sets off Tony’s transformation. As a werewolf, Tony attacks and kills both of the doctors. The police arrive shortly after and shoot Tony. Only when he dies, he has reverted to his normal boy form.

I Was a Teenage Werewolf is one of the quintessential 50’s horror monster movies. The drive-in types that were meant to be shocking and sensational. Of course it’s difficult to find any of this shocking decades later, but the movie still holds charm and is still incredibly watchable.

It would have been great to get some footage of Tony improving as a child instead of just taking the principal’s word for it. Tony became less of a focal point as the movie went on, and he slowly just became background to the story. The police (which included the fabulous Barney Phillips) had a bit too much screen time. Police solving crime. We get it.

There’s a bit of a 50’s “lesson” here that the raucous teenage lifestyle that was emerging post-World War II was somehow dangerous. Or rather, making fun of those who believed that sentiment. Without discipline and good behavior, any kid could turn in to a beast. You know, Blackboard Jungle and all that cal.

But it was great to watch a more classic film for once. You know, these 80’s slashers can all seem the same after a while… So tune in next week for another 80’s slasher? (Probably.)