(Just click on the movie titles to go to our full-length reviews!)

Catching up with some Corman produced 80s horror, I came to realize just how ahead of his time legendary producer Roger Corman was in giving women a voice in horror as filmmakers and not just final girls!…

Roger Corman is legendary for his exploitation flicks and while some may debate the involvement of women in those films as objects of T&A elements and/or final girls in his horror flicks, they may not be aware that Corman was also boundary breaking in giving women opportunities as filmmakers behind the camera, which, especially in the horror genre and at the time…the 80s…was practically unheard of.

Today women have been showing their voice in the horror genre behind the cameras more than ever. With the starkly original works of the Soska Sisters and their American Mary or See No Evil 2, taking the horror world by storm…along with filmmakers like Jennifer (The Babadook) Kent and Leigh (Honeymoon) Janiak…that voice is louder than ever. The boundaries are starting to come down finally in a very male dominated genre and it’s a blessing to horror movie fans to be getting the works and perspectives of a whole new generation of female filmmakers, previously unheard from…but as these talents tear down the walls, is it possible there were already cracks there from an earlier time?

Three decades before this refreshing opening of doors, those doors were unlocked partially by a man that some may unfairly claim made his money exploiting women in movies, Roger Corman. During the 80s, women were just starting to make waves as filmmakers, let alone in the horror genre and Roger Corman not only produced numerous horror flicks with women writing and/or directing, but gave start to the careers of some renown producers too, like Gale Anne Hurd and his own wife, Julie Corman as well!

Corman, under his New World Pictures banner, produced Humanoids from The Deep with Barabara Peeters at the helm in 1981 and a year later gave the directing reigns to Amy Holden Jones on the slasher Slumber Party Massacre, which was also written by Rita Mae Brown. While the 1983 Suburbia, was not a horror flick, Corman gave new filmmaker Penelope (Wayne’s World) Spheeris a chance, producing her unflinching vision of a group of outcast punk rockers. It is now considered a cult classic and she a very successful filmmaker. After selling New World and starting Concorde Pictures, this trend continued. Sorority House Massacre was written and directed by Carol Frank and between 1987 and 1990 there were second and third installments of the Slumber Party Massacre series, helmed by Deborah Brock and Sally Mattison respectively. Corman even gave one of his regular actresses a chance behind the camera. Kat Shea (Barbarian Queen) co-wrote and directed Stripped To Kill for Corman in 1987 after starring in a few of his productions and doing some second unit work and writing for the legendary producer. She made a few more films for Concorde and Corman afterwards, including the immensely underrated vampire romance Dance Of The Damned in 1987. Shea…then Shea-Rubin…went on to a prolific career as a writer/director after striking out on her own. I personally find her to be a highly underrated filmmaker, whose most well-know film is probably the sexy thriller Poison Ivy with Drew Barrymore.

Corman was not the only one shaking the boundaries that are now finally coming down. John Carpenter stood by the late Debra Hill as his producer and she produced a number of his most classic films with him, including the horror masterpiece Halloween and that was only the beginning for this now legendary producer. Kathryn Bigelow burst on the scene with the vampire classic Near Dark in 1987 as did Mary Lambert in 1989 with the Stephen King adaptation, Pet Semetery. Rachel Talalay killed Freddy Krueger in Freddy’s Dead in 1991 and if not for the vision of Mary Harron, we wouldn’t have the modern classic American Psycho, which also showed us what a relatively unknown Christian Bale could do in front of the camera. Corman was not solely responsible, but certainly led the way during the 80s giving women a voice in horror behind the camera as well as in front of it…long before today’s generation of female horror filmmakers are making their presence known.

So, we are finally getting to see women make a strong mark as filmmakers in the horror genre. Their emergence was a long time coming, but there were pioneers that paved the way. While Roger Corman was not the only producer to give female filmmakers a chance on the creative end of the horror genre…and there were a handful of female directed horrors before the 80s, too…he did do it at a time where it was practically unheard of and he did it often. Do today’s filmmakers like Jen and Sylvia Soska have Roger Corman to thank for putting cracks in the barriers that they are now tearing down with their unique and talented visions as women in horror?…I’ll let you decide that for yourselves!

-MonsterZero NJ




now playing

slumber party massacre



(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Not one to leave any stone unturned, Roger Corman’s New World Pictures entered the slasher fray with this fun and bloody tale of a madman slaughtering his way through a slumber party. Flick has serial killer Russ Thorn (Michael Villella) and his trusty power drill escaping from prison and getting down to business at a local high school. A bunch of babes from the girl’s high school basketball team are getting together for a slumber party at pretty Trish’s (Michelle Michaels) house and good ole Russ overhears and decides to crash. A night of blood, boobies and drill bits ensues.

Another instance when Corman proved himself a boundary breaker by hiring two women to write (Rita Mae Brown) and direct (Amy Holden Jones) a horror film decades before those boundaries finally came crashing down. Jones doesn’t really give Slumber Party any real strong intensity or suspense, but it is colorful, fun and has the proper amount of blood and boobs to make it a Corman production. While certainly influenced by Halloween, the film doesn’t try to emulate it, other than using the slasher formula and instead has a bit more fun with the scenario. It’s not a outright comedy, though it knows what it is and just goes with it, leaving any pretensions of equalling Carpenter’s classic behind. Jones does give her sleazy psycho some menace, his victims are cute and perky high school girl types who disrobe often and Brown’s script interestingly leaves main final girl Valerie (Robin Stille) on the sidelines till the last act. She’s a neighbor and new student at school, who turned down a party invitation, but comes over to help once she starts to feel something is wrong next door. Not groundbreaking, but again, the film has a little fun with the expected conventions, such as Valerie babysitting younger sister Courtney (Jennifer Meyers), so that does make her a babysitter. The film has an appropriately moody score by Ralph Jones, some colorful cinematography by Stephen L. Posey and at 77 minutes doesn’t overstay it’s welcome.

The cast all range from fine to adequate. The girls are all pretty and the boys that crash the party are typical horny boys just there for body count. Michael’s Trish is a little snobby but still likable. Stille’s Valerie is a sweet girl next door type who is resented by Trish for being the new rival for attention at school. Obviously, she becomes quite resilient when dealing with Thorn. Meyers is the typical annoying younger sister, but looks twice the age of the ‘twelve’ that she’s supposed to be. Villella’s Russ Thorn barely speaks, but is an intense looking man and makes a suitable psycho killer and his handiwork is quite gruesome.

I like this 80s slasher. It’s not great, but it is a lot of fun and delivers the boobs and blood in typical Corman exploitation style. It has a good time with the conventions of the sub-genre yet, doesn’t make so much fun of the story as to make a joke out of it. Director Jones does a good job of delivering an entertaining horror. It never really gets really intense or scary, though it does deliver the blood spattering. An enjoyable 80s slasher that would spawn two more sequels and another example of Corman giving women a voice in horror long before it was considered ‘acceptable’ by other studios.

As for proof Roger Corman was a pioneer in giving women writers and directors a voice in horror, hit the link HERE to read our exposé FROM FINAL GIRLS TO FILMMAKERS: HOW ROGER CORMAN HELPED GIVE WOMEN A VOICE IN HORROR!

-MonsterZero NJ

3 drill bits

slumber party massacre rating