EJ Moreno looks at the slashers that changed the game…
What does it take for a slasher to stand out? It would help if horror films could shake things up, and we’ve collected films that prove that a good slasher movie needs a little spice.
As a celebration of a new slasher that’s subverted the genre expectations, In A Violent Nature, we are looking at six additional films in this long-running sub-genre that have entirely changed our thoughts.
Let us know your favorite from the list and which slasher films you thought perfectly subvert the genre…
Tourist Trap (Supernatural Slasher)
Tourist Trap was released in 1978 when slashers tried to distinguish themselves from the grounded Halloween, Black Christmas, and Texas Chain Saw Massacre releases. To stand out, they added a supernatural element to the slashings.
Tourist Trap was years before A Nightmare on Elm Street made slashers bend reality in the mainstream, and it had a telepathic killer mowing down in a rundown roadside museum. It was already wild to see what slashers could do with the early examples, but filmmakers were already spicing it up less than five years into the sub-genre.
It may not have the ‘wow factor’ of its peers, but the killer little thriller Tourist Trap certainly earns its place on a list of slashers that boldly took the genre in new directions.
Henry: Portrait of a Serial Killer (Nihilistic Slasher)
In the early days, slasher films almost felt like fun and games. No matter how bloody things got, there was mostly a cheeky wink and an attempt to entertain. Then Henry: Portrait of a Serial Killer entered the mix, and it challenged the idea that a slasher movie should even be fun.
As much as you get a kick out of watching something like Halloween or Friday The 13th when you strip away the entertainment, there’s a bit of a sick side to watching a killer brutalize a group of friends. Henry: Portrait of a Serial Killer exploits those uneven feelings a slasher can conjure up and ups the intensity.
As much as I enjoy the insanity of this film, especially Michael Rooker’s career-making role, it wants you to feel bad for watching slashers and giving yourself over to the dark side.
Freddy vs. Jason (Slasher Face-off)
As pioneering figures in the early slasher days, it was seemingly inevitable for Freddy Krueger and Jason Voorhees to face off. The two supernatural-tinged killers were building up to a fight with teased and an extended stay in developmental hell, but the official release felt so huge.
If you weren’t around for the release of Freddy vs. Jason, you can’t grasp how much this felt like an event film. With mainstream coverage, shirts sold in Hot Topic, and a killer soundtrack, it was a film geared to grab the most horror fans, and it did. Not since Scream had a slasher felt like the talk of the town, and it deserved the praise.
Is the film messy? Sure. It’s not the ideal match-up for the pair, but it was a serviceable slasher that pushed the limits of what the sub-genre could do for horror in the mainstream.
Behind The Mask: The Rise of Leslie Vernon (Meta Slasher Comedy)
As groundbreaking of a moment that Scream was, especially introducing mainstream horror fans to meta-commentary, it wasn’t until the vastly overlooked Behind The Mask: The Rise of Leslie Vernon that we saw filmmakers use horror to their advantage.
This is not to say that Behind The Mask is better than Wes Craven’s masterpiece, but the 2006 film used its idea of commenting on slashers uniquely. We get a behind-the-scenes look at what it takes to be a killer and all the odd inner workings of the slasher life, allowing them to pull back the curtain in such a unique way.
If you ever wondered how it was possible that your favorite killer could do that killing in one night or what it was like to be obsessed with the final girl, this movie is for you.
Happy Death Day – (Time-loop Slasher)
The concept of “But what if this movie was like Groundhog Day?” isn’t new, but when Happy Death Day dropped in 2017, it was the first of its kind for slashers. Adding this gimmick to this sub-genre allowed it to become a fresh invention when slashers seemed dead.
By 2017, there were barely any mainstream slashers, and what was left felt like rehashes from more than a decade ago. Happy Death Day puts time loops into the mix, allowing us to follow Tree (Jessica Rothe) as she takes on a masked killer in ways we’d never seen. The kills kept coming, and she kept trying to unlock the mystery.
Happy Death Day is the rare time genre-bending worked. While the sequel crumbled under its weight, trying to do way too much, it’s nice to have a film that gave slashers a new touchstone in its long history.
Terrifier – (Torture Porn Slasher)
Saw almost took the spot for the “torture porn slasher,” as the 2004 film took the who-dun-it quality and filtered it through a gritty cop filter. Many don’t consider it a slasher, though, and there’s no denying that Terrifier is a slasher. Even with the added gore, it’s a genre throwback.
Terrifier is everything you used to love about slashers; it’s a creepy killer taking on a group of hot young actors until there’s only one standing. This makes the gore the first and foremost love of the project, which isn’t unheard of but has been taken to new levels. You can tell they spent so much time trying to outdo their sickest thoughts.
If you love slashers, you can’t miss out on Terrifier and its sequel. Even if the plot is bare-bones, you get a new horror icon and some of the most memorable kills ever.
In A Violent Nature – (Slasher POV)
The latest film on our list takes us through the point of view of the slasher, something we’ve seen countless times, but it gives us an insight in a startlingly honest way. In A Violent Nature puts us with our silent hulking killer, like Jason Voorhees, and allows us to follow him through his trek.
This experimental take on the slasher is a slow and prodding exploration of what it is to be one of these killers. It’s not a flashy experience, but sometimes a meditative walk through the bodies of those who have wronged you. We don’t really get much in terms of story or lore, but we get wildly impressive kills and a lot of atmosphere.
Maniac and its remake tried this idea, but In A Violent Nature takes such an arthouse quality to its execution that you can’t help but put it above the rest. It’s a unique ride that consumes you in its mundanity.
SEE ALSO: Read our written review of In a Violent Nature here
EJ Moreno
