The 1980s was the day of the Slester film, when dozens of films about masked murderers were often making their way through teenagers, the victims made their way in theaters and video stores shelves.
It is absolutely vibe that director and co-author Matt Palmer has to capture Netflix’s new hit horror film “Fear Street: Prom Queen” in the latest installment in “Fear Street” franchise. The “Prom Queen” is set in 1988, and the story of a killer staring at Prom Queen finalists at the Shedside High can be picked up by the 1980s slasher film.
I felt the “prom queen” a fun, if the disposable experience experience, but as a long-term Slester-Movie fan, I felt motivated to go back mainly and see real things. If you are interested in checking the origin of the “Fear Street: Prom Queen” style, then my favorite here is five of the 1980s slesters.
‘A Nightmare on Elm Street’
Easily the best ’80s slasher movie (and one of the best horror films till now), writer-director Ves Krewen haunted, habitat suburban doubt Robert Anglund offers Robert Anglund as a supernatural serial killer Freddy Krugger, who is now a dead child killer who is the ability to attack her in her dreams Is.
Freddy is a horror icon, and Anglund immediately makes her unforgettable because she appears that the Plasid Springwood terrorizes the teenager of Ohio.
Freddy is matched by the prescribed teenager Nancy Thompson (Heather Langenecamp), which is convinced that his classmates are being killed in their sleep, even if no one else believes in him. Nancy is a fierce but weak hero, and his internal force in standing for Freddy that gives his emotional power to “nightmare”.
The latter franchise is uneven, but the original film of Krevan is an excellent work.
‘Hello Mary Lu: Prom Night II’
The first “Prom Night” is a low-Jamie Lee Curtis Horror Entry, but it is more entertaining in semi-barrier-which was originally made as a fully unrelated film-is more entertaining, with humor and a welcoming feeling with humor and a welcome audball tone. It is the best Prom-related slasher film, which features a ghost of a murder that took a revenge after 30 years.
Mary Lu Maloni (Lisa Shrej) has the body of a current student and during the reign of terror, all with the goal of once again crown the prom queen.
As “Feer Street: Prom Queen”, it is worth the murder for the title, and director Bruce Pitman staged some inventable deaths as Mary Lu kills her to return to the top of social hierarchy.
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‘Sleepaway Camp’
Summer camp is a common setting for Slester films (including “Fear Street: 1978”), and “Sleepway Camp” is one of the most memorable, not only for its notorious shock.
It is even before the off-center, starting as aunt controlling the unwanted performance of Desary Gold, who sends the introverted main character Angela Baker (Felisa Rose) to the Sleepway Camp, where she is constantly tight by other campers.
As Angela’s suffering begins to die one by one, often creatively in a fierce ways, writer-director Robert Hiltzic puts the audience on the edge, questioning Angela’s mental state and her position as both a victim and a potential criminal.
The film’s quir identity handling is both bold and potentially problematic, but it seems more groundbreaking as time. A mixture of sexuality, trauma and vengeance makes the “Sleepway Camp” in a rigid, cruel experience.
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‘Slambar party massacre’
Renowned mystery novelist Rita Mae Brown originally wrote the script for this clever film as a Slester-Movie Parody, and while director Amy Holden Jones presents it in a more straightforward manner, it is still filled with cheerful humor.
This may be a stretch to call a “The Slambar Party Genocide” feminist, but filmmakers usually move a male-oriented perspective, and the killer has a lot of opportunities to joke in a huge drill.
Kishore-girl characters also have a lot of opportunities to take off their clothes, as they meet together for a sleep at a girl’s house while her parents are away. A genocide, courtesy of a running killer, but at least several fake-outs as real murders, and Jones maintains a playful view style, even things become bad.
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‘Friday 13th Part VI: Jason Lives’
Most glums “Friday the 13th” high point of franchise this is the uninterrupted sixth installment, which brings into self-conscious humor, yet another story about hockey-to-address killer Jason Worhez takes out a series of conflicting victims.
At this point, this series is largely its own recognizable formula, and author-director Tom McLaglin Toys give a lot of references to the film’s own equality, with the expectations of the audience. McLaglin also makes Jason (played by CJ Graham this time) in a completely supernatural force, requiring his frequent revival.
While the previous installments can be salty and sexually sexually harassed, “Jason Lives” holds a throback monster-movie vibe more, making it often almost nutritious than the Slazy Slester style. It is a vibrant, bright place in a franchise that is more severe and repetitive.
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