Tag Archives: slasher horror

Ice Cream Man (1995): A Cold Treat That’s Long Since Soured

08 Thursday May 2025

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Chilled to Imperfection: Three decades on, Ice Cream Man remains a sticky splatter of missed opportunities and cult oddities.

By 1995, horror had begun to lean into its self-awareness, but Ice Cream Man, directed by Norman Apstein, wasn’t quite in on the joke—or if it was, it delivered its punchlines with a busted scooper.

Set in a seemingly idyllic suburb where childhood innocence melts into madness, the film stars Clint Howard as Gregory Tudor, a traumatised boy turned deranged adult who inherits an ice cream truck… and uses it to serve up frozen desserts laced with severed fingers, eyeballs, and worse. It’s a premise ripe for absurd horror-comedy gold—but what we get is a lumpy mess of gore, uneven pacing, and tonal whiplash.

There’s a certain offbeat charm to Ice Cream Man, thanks largely to Clint Howard’s twitchy, off-kilter performance. He leans into Gregory’s tragic backstory with a kind of unhinged commitment that almost makes you feel for him—almost. But even Howard’s peculiar screen presence can’t save a film that struggles to balance grotesque horror and campy fun. It often veers too far in either direction and ends up stranded in a sticky, blood-stained middle ground.

The film’s greatest crime isn’t the body parts buried in sundaes—it’s the wasted potential. There’s an entire subplot involving a gang of precocious kids playing junior detectives, seemingly lifted from a Spielbergian playbook, but with none of the polish. Their interactions often feel like a rough draft of The Monster Squad, minus the cohesion or chemistry. And while the kills are creatively grotesque, the direction and editing drain them of impact.

Still, Ice Cream Man has nestled itself in cult corners for its sheer oddity. It’s one of those late-night cable curiosities—the kind of movie you stumble upon half-awake, unsure if it was real or a fever dream. There’s a cheap, backyard-horror spirit to it that some might affectionately admire, especially with its practical effects and lo-fi aesthetic. But admiration doesn’t equal success.

The Prognosis:

Three decades later, Ice Cream Man remains a curious artifact of mid-90s direct-to-video horror—part slasher, part black comedy, part botched parody. It never manages to be scary, funny, or compelling, but there’s something to be said for its persistence. Like freezer-burnt leftovers, it’s still there… but only the brave or nostalgic should dare a second bite.

  • 30th Anniversary Retrospective by Saul Muerte

Fall Break Frenzy: Revisiting the Bloody Mayhem of The Mutilator

04 Saturday Jan 2025

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In the crowded slasher landscape of the 1980s, The Mutilator (1985) carved out its place as a lesser-known but memorable entry. Written and directed by Buddy Cooper, this indie horror flick owes much of its cult status to its inventive kills and gruesome effects. Despite a screenplay that stumbles through clichés and awkward dialogue, the film’s sheer commitment to delivering blood-soaked carnage keeps it afloat.

The plot of The Mutilator treads well-worn territory. A group of teenagers decides to spend their fall break cleaning up a beach house, only to become prey for a vengeful, deranged father with a penchant for creative murder. The setup borrows heavily from the Friday the 13th playbook—a secluded setting, a mysterious killer, and an ensemble cast of soon-to-be victims—but lacks the tension and character depth of its inspiration. What The Mutilator offers instead is a straightforward march toward carnage, eschewing narrative complexity for shock value.

Where the screenplay falters, the practical effects shine. The kills in The Mutilator are among the most brutal and imaginative of the era, featuring pitchfork impalements, decapitations, and the infamous fishing gaff scene that remains a talking point among horror aficionados. The commitment to practical effects lends the film a visceral quality that helps offset its narrative shortcomings.

Cooper’s direction may lack finesse, but he shows a clear understanding of what his audience craves. The emphasis on elaborate death sequences makes the film’s flaws more forgivable, as each gruesome payoff keeps the energy alive.

The cast, comprised largely of unknowns, delivers serviceable performances that range from passable to wooden. Dialogue often feels stilted, and character development is minimal, leaving the audience with little investment in the protagonists’ fates. However, the actors’ enthusiasm for the material shines through, adding a layer of charm to the otherwise clunky script.

On the production side, The Mutilator wears its low budget on its sleeve, with modest sets and uneven cinematography. Yet, these limitations contribute to the film’s scrappy, grindhouse appeal. The synth-heavy score by Michael Minard enhances the atmosphere, offering a nostalgic glimpse into the aesthetics of 1980s horror.

The Prognosis:

While The Mutilator doesn’t reinvent the slasher genre, it delivers exactly what its title promises: unapologetically gory entertainment. The film’s shortcomings in writing and acting are mitigated by its standout effects and unrelenting dedication to visceral thrills. For fans of low-budget 1980s slashers, The Mutilator is a must-see curiosity—a flawed yet endearing homage to the era’s excesses.

The Mutilator thrives on its gory spectacle, carving out a small but bloody niche in the annals of horror history.

  • Saul Muerte

Movie Review: Pensive (2023)

15 Saturday Jul 2023

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Carrying the candle for the first slasher movie to be filmed in Lithuania, director Jonas Trukanas draws inspiration from one of the keystone features from the genre, Friday the 13th and its iconic killer, Jason. Mainly the artistry is built around a group of kids in a remote location and being picked off one by one by a masked assailant. Pensive makes its own mark in its fresh and original approach to the field; a protagonist who is far from likeable and in danger of being lost in a sea of ordinary.

We begin with an introduction to our intended victims; a group of classmates at the height of their graduation with all eyes on the after party. Everyone seems to have an identity, a mark that makes them stand out from the crowd. All that is except Marius (Sarunas Rapolas Meliesius) who has walked through life without anyone really noticing him. Even his own mother and father have lost interest in him. If it wasn’t for his best friend Vytas (Povilas Jatkevicius), he would simply not exist. So, when the proposed location for the party (organised by the budding athlete and alpha male of the group, Rimas (Kipras Masidluskas) falls through, Marius sees an opportunity to to not only rise in his classmates estimations but also win the heart of Brigita (Gabija Bargailate). Marius learns of a cottage through his mother’s estate agency that would be perfect, and so our journey begins. Will it be one of redemption or ruin?
When they arrive, it seems like paradise for the partying to ensue, but there are these strange wooden sculptures, which serve as the instrument of destruction and the resurrection of a killer, lurking in the woods.

The Prognosis:

By thrusting a nobody at the heart of the carnage, questions will be raised about a protagonist’s approach to be somebody at the detriment of those around him. This makes Pensive a noteworthy entry into the slasher genre and one that potentially provides Lithuania with not just its first entry but one that provides a bold new direction.

  • Saul Muerte

Pensive is screening at the A Night of Horror International Film Festival on Saturday, September 30th at 9.30pm. It is screening with short features, Red Wedding, and My Scary Indian Wedding.

Movie review: Bad Girl Boogey (2023)

23 Friday Jun 2023

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Alice Maio Mscksy is fast making conversation with her much needed voice for the transgender community. Where she made a significant impact with her low budget directorial feature debut, So Vam, Mackay has evidently built on her learning to tackle her next outing, Bad Girl Boogey with a lot more swagger, and a tightly knit package from which to orchestrate her vision. There is still some edge to her guerilla style shooting tactics though to ground the supernatural narrative into a believable world, as she weaves a topical and relevant dialogue with characters that ooze raw appeal.

Using the slasher genre as her playing field, Mackay is able to cut to the bone on a subject that seems close to the heart; one of oppression and ostracisation. Where So Vam focused on the victimisation of drag queen culture through vampiric lore, Bad Girl Boogey opens up the vein of societies’ so-called misfits to expose the dark side that all of humanity is vulnerable to. In fact, the facade that is placed on the characters and us voyeurs to the ordeal, make us all subjectable to the atrocities when we are left to feed on these human deficiencies while  it is left to fester. We have masks that we wear, to try and conform to society, but if we rely on hiding behind them and not facing up to what it means to have empathy and understanding of our fellow People, then we’ll be forever doomed as a society.

As we follow our lead protagonist, Angel (Lisa Fanto) following her own traumatic experience in the wake of losing her mother from a brutal murder. The trauma that Angel carries with her is still crude in its healing, and has left her drifting through life. It also leads her on the path of a deranged killer, who wears a parasitic mask, fuelled by dark magic to curse anyone who should wear it. If this isn’t a metaphor for Mackay’s whole agenda, I’m not sure what is. The audience are then treated to a troubling tale that identifies us all as potential killers unless we face up to the demons of a traumatic or scarred past and deal with it head on. The darkness can shed light on our most harboured trepidations and give rise to greater fears, but in doing so fosters conversation and in some cases hope. Alice is forced to do so when her best friend is killed and is suddenly subjected to overcoming her struggles, find the killer, and stop them before all those she holds dear are left in the toils of malice.

The Prognosis:

Alice Maio Mackay’s sophomore feature is just as painful and raw as her predecessor, but armed with knowledge and a strong core message, she manages to craft a tale that resonates. The gritty and dark side of humanity is exposed behind the mask we all wear, and Mackay proves once again that she not only has a message to share, but can do so with an impact that will make you sit up and listen. 

  • Saul Muerte

Bad Girl Boogey is currently available on DVD at Umbrella Entertainment while stocks last and will release on digital platforms July 4 and DVD release on July 11 through Dark Star Pictures.

Movie review: Terrifier 2 (2022)

18 Friday Nov 2022

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It’s been 6 years since Damien Leone’s torturous creation Art the Clown inflicted audiences with his harsh and violent manner of dispatching victims with revel and glee. His silent mockery as the fatalistic few who encounter him is part of the shock manner which juxtaposes the brutal way that he delves into his maniacal fantasy. 

The sequel (currently screening in select cinemas) paves way for further immersion into the realms of macabre reverie with Art being resurrected by some unknown entity, lending itself to a more mystical approach to the narrative. In doing so, it stretches the reams of believability, where anything can be possible in this franchise. There are great moments involved in dream-like sequences and visions that would even make Freddy Kreuger envious, but where Freddy has the gift of the gab, Art has the gift of the gore.

Leone even marks time for humour to be included as Art (once again portrayed by David Howard Thornton) finds solace in an imaginary girl who is equally dressed in clown attire. In particular, there’s a quirky and quaint scene in a laundromat where Art goes to wash his blood-drenched clothes following a pretty gnarly murderous event. 

The tale picks up with a broken family dynamic centred on Sienna (Lauren LaVera), who may have magical qualities of her own, inherited from her now deceased father; her brother Jonathan (Elliot Fullam), who is subjected by misrepresentation and feels ostracised as a result; and the grieving, over-protective mother (Sarah Voigt).

There is something intrinsically drawing both Sienna and Art together, where their orbits will inevitably align among the clown’s killings,that will bring about an ultimate match up, but not necessarily a finality; a potential for further instalments yet to come.

The Prognosis

Dubbed by Director Mike Flanagan (Midnight Mass) as the birth of the Megaslasher, Damien Leone has created an extension of the splatter movie, blending it with slasher tones. The gore factor has been dialled up to the max, which is also surprisingly peppered with macabre humour. Terrifier 2  goes above and beyond its predecessor with a bold and fantastical tale, providing an ARTform that cements its antagonist at the heart of modern horror.

  • Saul Muerte

Movie review: X (2022)

22 Tuesday Mar 2022

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Last week I joined up with fellow Surgeon Myles Davies to watch Ti West’s latest turn behind the camera with his seventies inspired horror slasher flick, X.

A couple of days later, my colleague fired up the following tweet to cast his judgement before the world.

But what prompted this response from our slasher surgeon guru?

What compelled him to go Cujo frothing crazy?

Was he merely spouting foreign tongue, possessed by Satan’s work?

Or was there a method to the madness and perhaps people should sit up and take note of his prophecy?

Well, let’s throw the beast onto the mortician’s slab and dissect the film to get to the heart of it.

It’s been about six years since West sat in the directors chair for a feature length movie, and his subject of choice is a love song to the late sixties and early seventies with the infusion of sex and slasher horror.

There are obvious nods to the porno scene that had infiltrated the movie Plex with films such as Debbie Does Dallas, opening to dorr for adventurous and risky filmmakers to make their mark with cheap, low budget, guerrilla style approach to the medium.

Similarly the slasher scene was starting to raise its head, notably through The Texas Chain Saw Massacre, directed by Tobe Hooper and from which West draws the bulk of his inspiration from.

West is clearly a man who knows his field though with suitable nods to Hitchcock’s Psycho, Kubrick’s The Shining, and even early 80s horror flick Alligator. 

X follows a group of young filmmakers intent on making an adult movie that could launch them to stardom; whether it was through escapism, to be famous, or for the money. Leading the stakes with that certain X factor is Maxine Minx (Mia Goth), a stripper and pornographic film actress. Joining her on their filming expedition is her boyfriend and producer Wayne (Martin Henderson), fellow actors Bobby Lynne (Brittany Snow), and Jackson Hole (Kid Cudi), Director RJ (Owen Capbell), and his girlfriend Lorraine (Jenny Ortega). 

Their choice of location happens to be a farmhouse in Texas (of course) and much like its inspiration, there’s more than meets the eye from its occupants, but not necessarily how you would expect… an elderly couple. Pearl (also Goth) is unwilling to let go of her sexuality just because of her age; and Howard (Stephen Ure) who will stop at nothing to satisfy her needs, but time may not be on his side. 

There is a fine line between pleasure and pain, and all it takes is one simple flip to turn our intrepid pioneers in filmmaking to be pushed into a world where they may not return from. Once the characters and setting take hold, West then lets loose with a slasher frenzy of delight, painting his celluloid brush with the artistic style and grace that the genre lends its name from, dabbing from a palette of iconic horror visuals to stimulate the audience with.

X is more than a homage to films of yester-year though as West immediately lures us in with the style from the era, both visually and auditorily, scintillating the senses. As he subjects us to the charm of the movie, West then pulls us in further with rich characterisation, who on face value appear to be stereotypes of the decade, but beneath the surface are more than their appearance depicts.
In fact, West’s masterstroke is in forcing the viewer to look beneath the surface of these characters, delving deep into their personalities and forcing their true selves to the fore.
The biggest component that Wast dapples with is the social stigma that age has on society, and how sex can diminish when time plays its part on us all. Does age damage the psyche? When we are left with our souls, and our body begins to fail us, what makes us worthy then when we aren’t able to let go of our sensuality?

The Prognosis:

So what is the conclusion?
Is this as Myles states, a potential contender for horror film of the year?

Ti West serves up a beautifully shot movie that sparks nostalgia and awakening to the slasher genre. The performances, especially from Mia Goth in her dual role are an absolute delight.
And the slow burn tension that flicks with humour and horror is perfectly balanced throughout the film. Plus the use of age and fear of ageism in the wake of losing one’s sexuality as the central theme is a bold but rewarding one.

West has always proved to be a quiet achiever from the mumblegore movement, but deserves more praise for his efforts.

X has just elevated his profile further and with the promise of turning the movie into a trilogy and a prequel called Pearl due later in the year, West could very well have made the best horror film of the year. Stay tuned 2022.

  • Saul Muerte

Retrospective: Butcher, Baker, Nightmare Maker (1981)

19 Friday Nov 2021

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Celebrating 40 years since it’s initial release comes this exploitation flick from Director William Asher, can now be considered something of a forgotten gem, with some marked commentary on homosexuality, the oedipus complex, and twisting our expectations of the slasher genre.

It’s a curious tale that plays to the extreme and borderline incestious protection of an estranged mother figure towards a nephew. It is this relationship that borders on the strains of inappropriate behaviour.

The story is focused on Billy (Jimmy McNichol), a basketballer with promise of a future career in the sport is held back by his Aunt Cheryl (Susan Tyrell) in order to contribute to maintaining the house; a guide for fuelling her sexual desires.

Things turn sour when Cheryl invites local repairman, Phil to fix their tv set, she ramps up her lustful needs by forcing herself upon him. When this is not  received in kind, Cheryl turns to rage, murdering Phil in cold blood. This is witnessed by Billy, so Cheryl tries to convince him that it was self defence as Phil was trying to tape her. 

The story doesn’t wash up however when it’s revealed that Phil is gay, leading chief detective, Joe Carlson to believe that their is a love triangle involved between Phil, Billy and the basketball coach, Tom. This throws Billy into suspicion as a possible suspect, which isn’t helped by Joe’s narrowmindedness.

In the reversal of damsel in distress horror tropes, Billy is on the receiving end of evil pursuit and his only ally at this stage appears to be his girlfriend Julia. This relationship itself puts Julia into the firing line from Cheryl’s jealousy and amps up the complexities of the interweaving narratives towards a bloodied and crazed conclusion.

There is a heck of a lot of social commentary on display here disguised as an exploitation horror flick, which is why the film probably deserves more attention and love that it received. Yes if alls into shlocky territory, but the entertainment and intellifence that is on display is well worth your time.

  • Saul Muerte

Butcher, Baker, Nightmare Maker is currently screening on Shudder.

Retrospective: Just Before Dawn (1981)

14 Thursday Oct 2021

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If there was a year of slashers, it would be 1981.

Pamela Voorhees had just set the tone and formula for which all slasher films would inherently adopt and with her own offspring Jason carving up the screen halfway through 1981, it was inevitable that other killers would walk in his shadow and dominate.

It says something though that it’s not just about a token killer roaming the woods or alternate location killing promiscuous teens left, right and centre. There is another magical ingredient, that when struck right will bring the audience into the cinema and generate a cult following.

The 80s was ripe with this dedication to the genre with a no-holds barred approach to filmmaking that would provide creatives with free license to explore their craft. 

In steps Director Jeff Lieberman who had already made waves with his eco-horror film Squirm in 1976 and his experimental drug horror Blue Sunshine in 1978 to add his own twist on the sub-genre.

Unfortunately, whilst the ingredients are there, it is missing that magic to hook you into the fold. 

Set in the mountainous range of Oregon, there are the usual teen victims who take no heed of warning from Forest ranger Roy McLean (George Kennedy) to venture into the mountains. Of course, they come a cropper from some The Hills Have Eyes style hillbillies who pick off the characters one by one. You can clearly see inspiration for future films here though, especially in Wrong Turn which uses a similar plot device.

What it does boast though is some stunning cinematography by Dean and Joel King who manage to capture the remote landscape and activate some disturbing scenes into the mix. And the musical score by Brad Fiedel (The Terminator, Fright Night) using the haunting whistling motif from the movie with an unsettling effect.

If like me this one passed you by and you’re a fan of slasher films, definitely check it out but don’t expect too much as it does wander of the path too much, sticking too a very mediocre approach to sub-genre.

  • Saul Muerte

Movie Review: Death Drop Gorgeous

20 Monday Sep 2021

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There’s something delightful about watching the camp and extreme elements and personalities on display and with Death Drop Gorgeous  the ugly side of the beauty is brought to the fore and is quite rightly been described as an ode to the works of John Waters.

It’s not surprising that it became a festival favourite during its run, as despite its low budget hurdles and all that comes with that, DDG celebrates the dark and drips with bitchiness throughout. 

Written, Directed, and Starring Michael J. Ahern, Christopher Dalpe, and Brandon Perras, who manage to work together and produce an insipid view of the drag queen world despite the obvious flaws on show.

There is a mysterious, masked serial killer on the loose, who appears to be targeting young gay men and draining them of blood. A frustrated bartender, Dwayne (Wayne Gonsalves) and an aged drag queen are left to fight for survival in a corrupt world and try to find out who is threatening to bring their world to an end.

The Diagnosis: 

Death Drop Gorgeous is a wickedly, savage slasher flick with some half-decent kills.

It’s an enjoyable run despite its budget restrictions and it’s a helluva lot of fun all the same.

  • Saul Muerte

Trash Night Tuesdays on Tubi: Tourist Trap

29 Tuesday Oct 2019

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Tourist Trap is one of those movies that should probably get more recognition than it deserves. It definitely skipped me by and ended up on my must watch list for decades, but somehow kept evading me.
Buried among the late 70s, early 80s slasher films that surrounded its release, this eerie supernatural slasher film is often overlooked for its likeness to The Texas Chain Saw Massacre and has been labelled as a cliche-ridden failure, and yet I was still intrigued by this concoction of these group of friends who are on a road trip and find themselves holed up at a curious museum filled with mannequins.
So I was pleasantly surprised to see Tourist Trap listed on Tubi and felt compelled to finally check it out and I found that I was more than willing to be taken on this ride and immerse myself in the narrative despite the afore-mentioned warnings.
I felt encouraged further still when I posted on social that I was sitting down to watch the film and received some positive responses. 

Immediately I found David Schmoeller’s direction interesting as he was able to set up an atmosphere that was deliberately offsetting and clearly pulled some learners from this movie that he would lay down for his cult classic, Puppet Master in 1989.
The scene is set and we’re introduced to our would-be victims travelling across an undisclosed American terrain, when one of the group, Woody goes ahead in search of a gas station, when he finds one that appears to be deserted, but when venturing out back comes face to face with menacing mannequins and flying debris that appears set out to attack him as if controlled by some unseen force, when finally he’s impaled by a metal pipe and quickly dispatched.

I've got two words for you, Sanch - telekinesis.

The rest of the film followers the rest of the teen pack made up from token male Jerry, his girlfriend Tina, the hard-headed Eileen, and the meek mannered Molly. They turn up at the gas station trying to find Woody, only for their jeep to strangely break down (nothing that a quick skinny dip can’t fix in order to keep their peace of mind). Here they encounter the overly friendly and slightly off-kilter museum owner, Mr. Slausen, who offers to help them out.

Before long the group of friends find that they are being stalked by someone who may or may not be Mr. Slausen’s brother.

The rest of the movie does play out with some typical horror tropes, but there are enough triggers and quirks along the way to keep the viewer engaged.

Prognosis:

Chuck Conners is delightful as the deranged museum owner, Mr. Slause, who you can never quite tell is all there. Connors hams it up to the right side of plausibility.
I also enjoyed the whole supernatural telekinesis component to the movie as it gave a nice spin on the usual slasher fare.

This combined with the direction and music supplied by Pino Donaggio gave enough atmosphere and edge to the piece that it was unsettling and engaging, particularly Tina’s harrowing death scene.

Definitely worth the watch and I’m glad that I finally got around to doing so. 

  • Saul Muerte