From Frights To Fun: The Evolution Of 80s Horror


From Frights To Fun: The Evolution Of 80s Horror

(Remember, clicking the highlighted links brings you to my full reviews of the films referenced here!)

To me, the 80s is one of the best decades ever for horror flicks…with the 70s following right behind it. Sure, every decade since films started being made has it’s classics from 1922’s Nosfeatu to 2007’s Trick ‘r’ Treat, but in terms of sheer proliferation and the number of classics that came out of it, the 80s was an amazing time to be a horror movie fan and I am glad I was in my theater seat for it all the way. And as I have said before, it was a time where low-budget B horrors could still be seen in a theater, where they belong and a time I will always cherish. I will also admit there was a lot of garbage to sift through to get to the gold, but even those had their entertainment value, especially when you and your friends were sitting in your seats giving those lesser efforts the old MST3K treatment, years before that show even existed…and that classic show is also a product of the 80s, might I add. But the one thing I also find striking about 80s horror is a distinct tonal shift in the style of horror flicks as the decade wore on that can only be appreciated now as we look back in nostalgia. Darker and more somber slashers became flicks that were lighter in tone, more colorful and with far more of a sense of fun about themselves. Let’s take a look…

John Carpenter’s Halloween may not have been the first slasher, but it is the film whose success started the early 80s slasher trend as studios and indie filmmakers realized you could make a lot of money on a shoestring budget. The early 80s cinemas became filled with films that followed the slasher formula with the stories being set on or around a special event or time, such as the prom in Prom Night, or college hazing as in Hell Night, or a fateful day like Friday The 13th. And then, within that setting, having a group of young high school or college co-eds being stalked and cut down by a killer with a grudge, till one feisty young girl…or sometimes a couple…is left to fend off our killer. For the most part these films took themselves very seriously and had a somber mood and moderate pace with the violence level being anywhere from fairly tame, like in thrillers like Terror Train or over-the-top gory as in Willaim Lustig’s Maniac or Charles Kaufman’s Mother’s Day…though, let’s not forget that some of the gorier entries where a result of the success of George Romero’s ultra-violent Dawn Of The Dead which started it’s own trend of extremely violent horrors that predominately came out of Italy and was spearheaded by filmmakers like Lucio Fulci. There were some rare instances where a director had a more humorous approach like Joe Dante’s The Howling or An American Werewolf in London, but horror/comedy is nothing new and the early 80s horror films predominately followed a more serious direction at this point in time.

Monster movies like The Boogens or Without Warning or supernatural horrors like The Fog and  The Boogeyman also followed the slasher format with victims being isolated and killed off one by one, leaving a frightened heroine to fend for herself with the occasional surviving love interest to help her survive. And for the first two or three years of the decade, theaters where inundated with such horrors to the delight of screaming fans. And we got many a classic horror flick out of it. But like any trend, such as the 70s possession flick trend inspired by The Exorcist, these things run their course. But not only did 80s horror start to open up with more supernatural themed flicks like the A Nightmare On Elm Street films, that cleverly added an incorporeal villain and surreal elements to the slasher formula, but the films started to reflect the overall buoyant mood of the 80s with brighter cinematography, more humorous tones and even began to reference and acknowledge past films and filmmakers. The first ‘inside’ reference I can remember was Sam Raimi’s subtle shout-out to Wes Craven by having a The Hills Have Eyes poster displayed in the basement of the old cabin in 1981’s The Evil Dead…to which Craven responded by having Heather Langenkamp watching Evil Dead on TV in the first Elm St movie. In terms of the lighter tone, the first time I noticed it was back in 1982 with Friday The 13th Part 3. When I saw it at my beloved Oritani Theater, I was kind of taken back by it all. The film had a very colorful production design, had a lot more humor than the first two installments…including characters that seemed to be there just for comic relief…and seemed to almost be having fun with the fact that we’ve been through this twice before. Jason went from a creepy, deformed backwoodsman to a hulking comic-bookish monster complete with iconic hockey mask. The film’s trademark kills were a bit more elaborate and far-fetched, as if the filmmakers were getting a bit playful with Jason’s M.O. The tone shift seemed to be starting, but without knowing what was to come in following years, I was simply disappointed with the flick and had no idea the trend would continue.

And the shift did continue with the advent of Freddy Krueger who was creepy at first, but quickly became a wisecracking, demonic gremlin that pulled people into his dream world for elaborate and outrageously gimmick-laden fates. The movies were far more fun than scary, but these films at least were more creative and imaginative than the simple stalk and kill films that came before them, though I missed the intensity and the serious tone of films like The Prowler. Flicks also started to jokingly reference their inspirations, like 1986’s Night Of The Creeps which names every character after a horror film director of that era like “Chris Romero”, “Cynthia Cronenberg” and James Carpenter-Hooper”. We also got MTV inspired films like the music filled and music video styled Return Of The Living Dead, the classic The Lost Boys, as well as, the neon-lit Vamp. Those films were far more entertaining than they were frightening as The Lost Boys even has a touch of Spielberg in it’s over-all tone…reminding us of the stark example of what happened when Carpenter’s grim and gory extraterrestrial The Thing went up against Spielberg’s bug eyed visitor from E.T. in 1982No better an example of the start of audience change of taste in the 80s than was the beating Carpenter’s now classic sci-fi/horror got from critics and at the box office…though, I saw it at least three times in a theater!

The trend continued with even lighter and more humor-laced films as we headed toward the 90s with flicks such as Waxwork, Chopping Mall and Night Of The Demons which were loaded with as many laughs as they were scares and gore. The MTV generation was being fed films that were faster paced, brightly colored and took themselves far less seriously as the arrival of music video and the end of the Cold War had created an era that was a bit more overindulgent and the films of the day reflected this. Even somewhat more serious horror like 1988s Intruder and the 1985 classic The Re-Animator still openly had a good time with their premises and occasionally winked at the audience, which films now acknowledged were sitting there and were familiar with the type of flick they are seeing. Earlier 80s films rarely acknowledged that they were a movie and that there was a horror savvy audience watching, but the second half of the decade was filled with movies that referenced those earlier films and were quite aware of themselves and who their audience was. They played to that audience instead of simply telling their scary story. And at this point Freddy Krueger was turning girls into giant cockroaches and Jason was a zombie battling telekinetic teenagers. Even the old school boogiemen had traded in their scares for more outrageous and silly story lines with each installment, as almost every horror hit became a franchise. Michael Myers also returned in 1988 to now stalk his young niece…why not his second cousin too? Needless to say by the time 1990 rolled around, horror had become burnt out and silly until horror master Wes Craven would revive it as pop-culture-reference filled heavy nostalgia with a bite in Scream… but that is another story.

Another aspect of the shift that may not have been as noticeable to the average audience, but was very noticeable to film buffs was in how these films were now being made and how they looked. By 1985 the home video market was in full swing. I should know, I worked at a Palmer Video back then. Direct to VHS films were starting to appear due to the cost effectiveness of not having to produce film prints for theater showings. And a lot of the horror films of the later decade were being made with the home video market in mind. Even some of the ones that got theatrical releases lacked that theatrical look. Gone were the cinematic visuals and widescreen presentations. Flicks like Witchboard and Waxwork had the look and feel of a TV movie and were filmed in the more TV screen friendly 1:85 format. Only some of the big studio releases and films by veterans like Carpenter and Craven maintained that theatrical look in their visual styles and still looked like a movie made for theaters. A disappointment to those who find the film’s visuals as important as their story and content. And another example of how drastically movies changed from 1980 to 1990.

Whatever the course the horror films of the 80s took, I will always have a soft spot in my heart for these movies, good or bad. Whether it be the more serious chillers of the early years, or the reference heavy, lighter toned flicks that came later on, it was a decade when I came of age and was most influenced by movies and was still a time where a low budget flick like Galaxy Of Terror or Final Exam could see the inside of an audience filled theater. And not only was I proudly there to see it, but will never forget it. And now, decades later, many a night when my social calendar is empty, I can be found in a darkened living room, on the couch, with some of my favorite brews, reliving those days long gone, but never…ever…forgotten!

… and one of the reasons I now share my passion for those movies with all of you!

-MonsterZero NJ


The Oritani Theater: 300 Main St. Hackensack N.J Photo from the Mitchell Dvoskin collection




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WAXWORK (1988)

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

Waxwork is a fun horror flick written and directed by Anthony Hickox that imbues the lighter toned, more colorful style of horror flicks that were made in the second half of the 80s like Fright Night and some of the later Elm Street sequels.

The story has a group of college kids including Mark (Zach Galligan), his ex, China (Michelle Johnson), Sarah (Deborah Foreman) and Tony (Dana Ashbrook) being invited to a special midnight viewing at a new waxwork that has opened, oddly, in the middle of a suburban neighborhood. The invitation is extended by it’s mysterious owner Mr. Lincoln (David Warner) himself. All the fiends of fiction and fact are represented, such as Dracula (Miles O’Keeffe), The Wolfman (John Rhys-Davies) and the Marquis de Sade (J.Kenneth Campbell). But what our young visitors don’t know, is that through the darkest magic, each display must claim a living victim and once they all do, the represented horrors will take real form and enter our world to commit their evils upon mankind. Can these youths escape and save our world from it’s worst nightmares come true?

Hickox crafts a fun horror that certainly doesn’t skimp on the blood and gore. His plot enables the intended victims to enter a portal into the world of the subject it’s display represents, so his co-eds and characters can come face to face with Dracula, The Mummy and the cruel and lustful Marquis. The results can be deviously gruesome until our leads figure out what is going on and then try to stop the diabolical Lincoln and his plan, which then culminates in a fun free-for-all between the fiends of lore and a group of armed monster fighters led by our remaining students and the Van Helsing-like Sir Wilfred (Patrick Macnee), who knew Mark’s grandfather. The only thing that takes this entertaining monster movie down a few pegs…and some of Hickox’s other films…is that the writer/director can be heavy handed with the humor. For the most part there is an even mix of gruesome, scary and campy fun, but occasionally things get silly right in the middle of a scene that should be a bit more intense. There are some delightfully gory sequences and the gore and make-up is well done, but then we get something more of a slapstick nature that neuters the effect of the more intense moments, especially during the last act brawl. For the most part things are evenly mixed and this rates as Hickox best and probably most renown of his flicks. Some of the director’s later films, including the sub-par Waxwork sequel, get very heavy handed with the humor and it out weighs the horror elements quite a bit. At least here, it is only occasional. There is some nice suspense, too, especially in the first half when we are finding out the true sinister purpose of the wax museum and it is all very colorful under Gerry Lively’s lens. And the sequences inside the various worlds of the monsters that dwell in them are the best parts.

The cast are fine though I felt the younger members could have been a bit livelier, especially in the earlier scenes. Galligan plays the rich playboy Mark who finds the hero inside himself when he discovers there is a personal involvement for him in stopping Lincoln’s sinister plan. Deborah Foreman is cute and feisty as the girl next door, who secretly crushes on Mark and shows an interesting hidden side when thrust into the Marquis de Sade’s world. Johnson is sexy and snooty as China and she shows some real fire when she finds herself at a dinner party at Dracula’s castle, the film’s most gruesome segment. Dana Ashbrook is fine as the stereotypical wiseass, Tony. David Warner is top notch, as always, as the villainous Lincoln and Patrick Macnee is a pleasure, also, as always, as the paranormal expert and monster hunter Sir Wilfred. As for our legendary fiends, O’Keeffe, Rhys-Davies and Campbell and the rest all represent their monsters well in their sequences. A good enough cast who rise to the occasion when things get interesting.

I like Waxwork. It’s fun and gruesome at the same time and get’s things right more than it stumbles. Some of the humor gets a bit heavy handed and silly at times, but for the most part, the mix of humor and horror is fine. The veterans of the cast shine and while there could have been a bit more spark in our college co-eds, they do come through when their characters find themselves in situations from their worst nightmares…or desires. A fun flick and sadly a stride Hickox would never really hit again except for the entertaining Hellraiser III: Hell On Earth. There was a sadly inferior direct to DVD sequel Waxwork II: Lost In Time four years later.

-MonsterZero NJ

3 (out of 4) surprisingly pro-de Sade heroines.

waxwork rating