Fangoria‘s online arm gave visitors a ‘Christmas gift’ this year, an exclusive short movie produced by Robert Galluzzo (The Psycho Legacy) and written/directed by Drew Daywalt (didn’t know his work until this).
What drew me to My Name Is Kris Kringle was a killer santa role played by R.A. Mihailoff – Leatherface in Texas Chainsaw Massacre 3! As a fan of Silent Night, Deadly Night, To All A Good Night and the like I’ve been patiently waiting for the return of the santa slasher film (sorry, I couldn’t get through five minutes of Santa’s Slay).
My Name Is Kris Kringle didn’t deliver on the setup.
This is a good thing.
Let me explain…
When the slasher (carrying a decapitated head) is apprehended by police in the very first minute, every killer santa template goes out the window. The remainder of this roughly 10-minute short takes place in the copshop, and builds to an utterly chilling twist carried completely by dialogue.
In summary, this was a complete 180 from what I expected – an anti-slasher slasher.
At time of writing, My Name Is Kris Kringle can be viewed on the Fango homepage.
There’s a story circulating among slasher fans that goes a little something like this: Bob Clark took this young guy named John Carpenter under his wing to help show him how to direct feature films. While serving as an apprentice, Carpenter learned Clark was working on sequel to Black Christmas called Halloween. A few years later, Carpenter stole Clark’s Halloween concept and created the modern slasher film. At least some parts of this slasher urban legend are true. Carpenter was associated with Clark at one time and Clark had an idea for a film called Halloween that would’ve featured the return of the killer from Black Christmas. But when asked about the connections between his holiday slasher and Carpenter’s classic, Clark claimed Carpenter never stole anything from him. Whether the story is true or not, it sheds light on how Bob Clark is seen by some as a major influence on the slasher genre.
Another contribution to the slasher genre can be found in Clark’s ultra creepy Deathdream (AKA Dead of Night). This underrated fright flick shot in Florida just happens to be Tom Savini’s first film. Clark liked Savini’s work so much that he kept him around for Deranged, a film Clark produced for his friend Alan Ormsby. Savini went on to become the sultan of slash and splatter after working with George Romero and Sean Cunningham. But Bob Clark gave Savini his start in horror films. Blue Underground’s Deathdream dvd contains a brief interview with Savini who shares his memories about working with Clark.
Popcorn is a favorite here at Retro Slashers, but the production was so troubled that it destroyed the friendship between Clark and Alan Ormsby. Bob Clark produced the film and was forced to fire Ormsby three weeks into filming after the financial backers got nervous. Mark Herrier, who’d acted for Clark in Porky’s, was brought in to finish the film because Clark thought the actor could handle the responsibility. Despite some flaws, Popcorn is still an entertaining entry in the genre Clark influenced with Black Christmas.
If you would like to see some of Bob Clark’s non-genre films, then check out Fox Movie Channel. FMC usually plays Porky’s, Porky’s II, Turk 182, or Rhinestone several times a year. Hell, it seems like Porky’s is shown several times every month. A Christmas Story airs for 24 straight hours on TBS every Christmas. If you’re in the mood for high camp, hippies, and re-animated corpses, then check out Children Shouldn’t Play with Dead Things. But if your in the mood for a double dose of goosebumps, then I suggest you watch Deathdream and Black Christmas back to back.
As for Bob Clark’s version of Halloween, onecan only wonderat what horrors might’ve been unleashed on the silver screen if Clark had completed the project. Clark’s notes might be lost, but I like to think a rough draft or an outline for a script is sitting in a draw or an old box just waiting to be discovered. Right now Clark’s Halloween has to be considered a really lost slasher. In a few years, who knows. Maybe one day Clark’s story will see the light of day.
It’s that time of year again. The weather outside is frightful and… well… you get the drill. It’s all chilly out there and since I just moved across the country, I am having my very first white Christmas. What can I say, it makes me all wistful and full of rage! Those horrible drivers only get worse the second the weather even threatens them. Ack! All I want to do is sit inside my semi-warm house with the cats at my feet and a good slasher on the tube. Every year, just like the snow fall, we get lists of the best killer Santa or Christmas themed horror films. I’ve even written a couple myself. Although I love them just as much as the next horror fanatic, I think we can all recite a Top Ten list which will surely have Silent Night, Deadly Night and Christmas Evil somewhere on there. Killer Santas are great, Christmas-y slashers are also, like, totally cool, but I think these lists indicate one very important thing – horror hounds love atmosphere. And what is more atmospheric than a snowbound or chilly slasher? If you said, “Well nothing could be more creepy and awesome,” you would be correct! The outdoors has always been a favorite slasher setting and since we are often saddled with a desolate forest, I find that the snow setting offers something unique, and sometimes undeniably moody. As the holiday approaches, and all of you are getting your Scrooge-on (any visit to a shopping mall will do this), why not heat up your spiked eggnog and enjoy some super creepy winter slashers? Here’s a list I pulled together:
Blood Tracks (1985) – Wow. Just wow. This awesome little piece of WTF gets points because it has no idea what it is and doesn’t seem to care one bit. It’s really a party film, I just cannot watch this on my own. But once you get the drinks flowing, this is a damn good movie. It’s sort of like The Hills Have Eyes But No Brains, and the band Easy Action is something to behold!
Curtains (1983) – Yikes! This little underrated horror film has one of the fah-reek-iest scenes ever… and we all know what it is. Old lady masks are friggin’ terrifying! Piece o trivia: I actually went to Tori Spelling’s estate sale, and this movie, amongst some other great little horror films, was in the stack! Say what you want, but she’s got good taste!
Disconnected (1983) – This is another underrated chiller that does just that… chill. Some of the outdoor scenery really puts you in that winter mood. Frances Raines (The Mutilator) puts in a great performance as the girl getting some really nasty phone calls.
The Dorm That Dripped Blood (1982) – Here’s one that isn’t really snow set, but also chills to the bone. I am a new-ish fan of this movie, but love to watch it on super gray days. I think I might just get the old trusty copy out this week! (and read another review here)
Ghostkeeper (1981) – Another rarity, Ghostkeeper works simply because of the atmosphere (and excellent Paul Zaza score). There’s not much going on except three stranded people dealing with a creepy woman, her son and their Wendigo (which is really just a big guy with a beard). The utter desolation makes this slasher-lite horror film taut and interesting, and almost makes up for the ambiguous ending.
Grotesque (1987) – Snow and punk rock hoodlums! What more could one ask for? I love this movie. It’s less of a slasher and more of a neat little allegory on who the real monsters in this world are. There are some effective moments and the great cast, featuring Linda Blair, Donna Wilkes and Tab Hunter, up the bar of what should be a totally ludicrous flick.
He Knows You’re Alone (1980) – OK, not so much in the snowscape territory, but check out Caitlin O’Heany working those tight cords and puffy ski jacket. Love her! (and read another review here)
Home for the Holidays (1972) – This early TV movie proto-slasher has a lot going for it. It’s got a solid cast led by Julie Harris and Sally Field, it keeps the action almost exclusively inside one palatial house, it’s got a great twist at the end, and I haven’t even gotten to the oodles of atmosphere filtering through this snow set horror film.
Iced (1989) – This late entry slasher isn’t very scary at all. Nope, not one bit. However, it’s something to behold. From the big hair to coke induced nightmares, this movie just screams late 80s and proudly! I love the setting, some of the acting is pretty damn good (or at least competent) and even though the twist and silly shock ending don’t make a lick of sense, this is one fun flick! And there’s a snowman! (and read another review here)
Moonstalker (1989) – Here’s another gem I discovered kind of late. I’ve had the DVD for forever, but thought it would be as silly as the title… I was right, but it’s totally that good kind of silly! Moonstalker works because you can tell everyone involved did their best. Sometimes it wasn’t good enough, but just trying makes it all seem worth it! Blake Gibbons who has found fame on General Hospital, is the semi-sexy killer and there’s lots of snow. Lots and lots of it. This is such a fun film when you need to brighten up your gray days.
Terror Train (1980) – One of the slickest early 80s slashers going, Terror Train doesn’t deal too much with the outdoors, but the shots of the train shooting through the snow-filled darkness and the scene where everyone has to wait outside until the place is inspected for devious killers, are fantastic. Overall, this is probably the best film on the list. It’s got a great premise, a fantastic setting, a creepy killer and Hart Bochner. (and read another review here)
I have been informed by a close friend of Future Kill composer and true Texan Robert Renfrow that he passed away on December 9th 2010 after a short illness. He was only 49. It feels like a major blow to me – in 2006 I interviewed Renfrow and it was one of my favorite interview experiences ever, having seen the movie an innumerable amount of times and knowing every synth tune in the back of my mind. I know he enjoyed recollecting his experiences from the movie, too.
The sound quality in the video here doesn’t do Renfrow’s score justice (one reason the film score really needs to be released), it’s a fitting track to include here, with the title ‘Splatter’s Requiem’.
1986’s Dreamaniac was a product of the times – made during the genre’s infatuation with Freddy Krueger, it was a Faustian tale that reversed the mainstay gender roles – the main character is a male, a rock musician who makes a deal to achieve personal success, at the cost of all the women around him being offed by a female dream demon in an assortment of nasty ways (power drill, anyone?). The confused young man being hounded by the representation of a ‘nightmare female’ helps to make this the perfect companion piece to similarly gay-tinged A Nightmare On Elm St 2: Freddy’s Revenge.
The movie was released through Wizard Video, Charles Band’s video company, and came in a gorgeous cardboard ‘big box’ as was the standard for the company at the time. We caught up with director David DeCoteau a few years back for an interview that hasn’t been public till now. DeCoteau has enjoyed a long career in b-movies to this day, and it all started with Dreamaniac.
How did the project get started and when/how did you meet Charlie Band? Is it true he kicked in half the budget?
I was 24 years old. I wanted to make a movie. I developed a script called SUCCUBUS. I had 30K to invest which would get me through a 10 day – 16mm shoot. I would deal with finding the post cash later. The writer Helen Robinson (not me, but a pseudonym for a new writer who is now a major television writer) knew the development head at Empire Pictures, Debra Dion. Helen gave it to her as a writing sample and Debra loved it and wanted to buy it even though it was just a writing sample. Helen said that this kid named David DeCoteau was gonna start shooting it in a week and you should meet with him. I went in and not only met with Ms. Dion but the man himself Mr. Charles Band. What made the meeting successful is that I had a “go” picture and that is entirely different that pitching an idea that may be a treatment that could be a script in a year. This movie was gonna be shot in less than a week. Charlie wanted in. He made me an offer to cover the cost of post production, pay me back my 30K and give me a fee. If he liked the movie I could continue making as many of them as I wanted as the price was less than any of the movies they we’re making at the time. It worked. He kept his word and we’ve been the best of friends since. Next year will be our 20th anniversary of friendship. I’ve made 30+ movie for the man.
How long did it take to write the script, if you are “Helen Robinson”…
It took a few weeks if I remember right. We shot the first draft. Empire didn’t have any notes on the draft we shot.
Was the heavy metal and nightmare elements a response to the popular horror film elements of the mid-80s?
Absolutely. There was this media controversy over heavy metal lyrics at the time. That they made kids commit suicide and warped their brains. I borrowed that and the whole Freddy Krueger thing. I sold it as a female Freddy Krueger story.
Do you remember the dates or how long it took to shoot?
I think it was around the Spring or Fall of 1986. It was a 10 day shoot. Non union everything. I did the first edit in a week and then an Empire editor, Peter Trencher, was brought in to spice it up. Peter has gone on to major success as an editor of big Hollywood movies such as CHARLIE’S ANGELS. The post cost about 30k too, so the whole thing cost Charlie 60K. The house we shot in was in an area of LA near Larchmont Village. I found it driving around and saw a For Sale sign. The realtor on the sign said PAUL LEDER and I thought could this be the PAUL LEDER that directed I Dismember Mama and A*P*E? I called the number and it was the same man. We met and he rented me the house for 200 bucks a day. He wanted to help me because he loved young filmmakers and was very supportive of me. We became fast friends. He called me THE DAKOTA KID and I called him PAPA PAUL. It was a tragedy when he died of lung cancer. He was a heavy smoker. I miss him horribly.
How did you round up the cast? Also, interested in how you came to cast porn fave Kim McKamy.
Kim McKamy was lovely on the set and so talented. Her role did require nudity but she wouldn’t have any part of it. She’d do the movie if she would keep her top on. I said fine. It was the guys that we’re getting naked anyway in the movie. I was amazed she got into adult video. She did so right after CREEPOZOIDS which was my second movie for Empire. More power to her. The rest of the cast we’re hired from Dramalogue, which was an actor’s newspaper in LA like Backstage is in NYC. The cast got paid 50 bucks a day.
David DeCoteau
Was there much pay going around to the crew?
Yes. I paid the crew essentially their rate because there were so few of them. Cameraman, one assistant camera person, 2 lighting guys, One makeup artist, one prop and one set decorator. I think we had two PAs as well.
How did you meet and put to work Cinematographer Howard Wexler, who has since gone on to do further shows for you?
Lets just say that Howard and I used to make “love stories” together. We met when I was 19 and worked as his assistant. he’s a real find. Fast as lightning and works with a small crew. very creative and a dream of a guy to work with. Checkout his site at howardwexler.com
What was running through your head while making it. Was there time to consciously plan & change things or was it a shoot & run affair?
I wanted to make something as shocking as ReAnimator. I did plan it out but on any low budget show I compromised a great deal. We did shoot without a permit though. I hate LA.
Do you have any memories of raunchy or zany stuff that went on during the shoot?
Not really. It was a clean and professional show considering the twisted and lurid subject matter.
What were the major difficulties of making this movie?
Yeah. The makeup artist was slow. It would take two hours to get the first shot. That pissed me off because as a director, time is your worst enemy.
Did the footage make for a quick and easy edit?
I thought so. It was a long cut and Peter cut about 20 minutes out of it. I can’t remember what stuff was cut because that footage is in some unknown vault somewhere when Empire was sold to the bank.
Did Charlie [Band] visit the set much, and how much control or guidance did he have over the pic?
No. Not a thing. He said to me that he’d see me at the director’s cut. He did. Debra Dion came to the set for 10 minutes and that was it.
The film appears to have only been released on video. It got some lovingly lurid cover art and was the first of Band’s “Too gory for the silver screen” series of low budget Wizard Video titles. Was that always the plan or was it ever going to go out through Empire Pictures?
Too Gory for the Silver Screen was my idea. I met with the head of Wizard, Charles Weinert. He and I came up with ideas to sell the picture. We discussed the female Freddy Krueger concept which was used it the art and the whole concept of Direct to video. At the time many crap movies, which had no business playing in theaters, were going theatrical to help video sales. DREAMANIAC was shot in 16mm but finished on one-inch video tape. No print was available. I suggested saying that this is a theatrical movie but because of the whole R RATED issue theaters demanded that we were forced to go direct to video because the film was TOO GORY FOR THE SILVER SCREEN and could never get an R rating.
In August it was announced that Chester Turner’s mid-80’s blaxploitation killer puppet pic Black Devil Doll From Hell was coming to DVD with extensive extras, like Turner’s whole other film, Tales From The Quandead Zone. The plan was for an October release, but due to distributor issues and extra time needed to record audio commentaries, that was changed to December 15th. That too was jettisoned when a snowpile of special features opportunities presented themselves.
Project head Shawn Lewis, director of the recent unrelated but inspired Black Devil Doll, explained the delays as follows:
“Chester Turner fans are in for a treat. After speaking more with, Chester’s brother, Keefe Turner, we learned that he as the original doll from Black Devil Doll From Hell, as well as some other props from the film! As most of you know, Keefe did the voice of the doll…
The release is looking better and better everyday. But I am afraid that we may need to post pone it again, we had not originally planned on having as much involvement from Keefe, so we are going to need a bit more time to produce the audio commentary with him and some interviews.
You have waited this long to have an official Chester Turner dvd, a few more months for a killer release featuring interviews/audio commentary with Keefe and the original doll from the film won’t be too bad, no? We are doing everything in our power to make sure this dvd is everything it needs to be.”
Why take crack when you can watch this video and get whacked out of your head?! This is what I imagine Texas Chainsaw Massacre as a Japanese supermarket commercial would look like. The music is from a Nintendo Kirby game. Yes, how very disturbing.
Retro Slashers has been nominated in the category Best Horror Blog or Website for the 4th Annual Splatcademy Awards presented by Deadlantern.com’s Splattercast podcast. We’re running with four respected peers in the genre community, and voting runs to February 15th.
More longed-for rarities and hidden treasures are on the way to DVD next year! Code Red has inked an exclusive deal with VCX to release their back catalog titles of horror films. Here is the official press release, exclusive to Retro Slashers.
Fangoria‘s online arm gave visitors a ‘Christmas gift’ this year, an exclusive short movie produced by Robert Galluzzo (The Psycho Legacy) and written/directed by Drew Daywalt (didn’t know his work until this).
In August it was announced that Chester Turner’s mid-80’s blaxploitation killer puppet pic Black Devil Doll From Hell was coming to DVD with 