slasher

Did Slasher Cult Favorite My Bloody Valentine Get the Shaft By Critics?

Just when you thought slasher movies couldn’t get any lower, My Bloody Valentine dug a mineshaft. A deep pit in the caverns of taste. Date movie? My Bloody Valentine was the antidote to Hallmark cards. The main suitor didn’t wear his heart on his sleeve; he bled it out with every candy in the box. Hence why critics weren’t so sweet on the slasher flick when it first came out in 1981, labeling it excessive and derivative. Nevertheless, the movie has amassed a cult following, and did indeed add subtle innovations to the genre. Is the ‘80s horror offering the…
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How Dead by Daylight Gave Slasher Horror Icons The Game They Deserved

If you grew up a gamer in the ‘80s and ‘90s, buying a bad licensed game was a rite of passage. Sure, even young gamers could detect a bomb like Home Improvement: Power Tool Pursuit! for the SNES from a mile away, but at a time before game reviews were easy to find online, it was natural to hope that the new X-Men game might just be good enough to take a chance on. The situation was especially rough for horror movie fans. I owned the Nightmare on Elm Street and Friday the 13th adaptations for the NES and at…
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Boy Meets World’s Slasher Episode Was Scarier Than it Had Any Right To Be

Blood-curdling screams. Taunting phone calls from a psycho killer. Creepy, ominous music with lyrics like “Here’s a knife. Here’s a gun. There’ll be fun for everyone. Death is on the menu tonight!” Elements of a forgotten ‘90s slasher classic? Nope. Just some highlights from the most memorable episode of ABC’s family sitcom Boy Meets World. With the launch of Disney+ and ample time to get nostalgic and revisit old movies and TV shows due to the pandemic, many older millennials are diving back into Boy Meets World, which ran for seven seasons from 1993 through 2000 as a staple of…
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Unhinged Review: Russell Crowe Descends to Slasher Shlock

Unhinged opens with Russell Crowe–identified only in the credits as “Man”–sitting in his pick-up truck outside a suburban house, staring at the tiny match he’s lit, his face impassive and his eyes narrowed. Abruptly he gets out of the truck, grabs an axe and a can of accelerant, and breaks down the door, cutting the man and woman inside to death before burning down the house. The camera watches all this from a slight distance, as if director Derrick Borte (The Joneses) wants us to view these events, at least at first, objectively. We don’t know who this Man is,…
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