What separates a “good” Slasher film from a “terrible” one is the level of talent involved with the project – a genuinely talented filmmaker can take a fairly routine script and elevate it to a higher level. Imagine if Psycho would have been directed by a studio hack instead of Alfred Hitchcock? It would not be regarded as the classic it is today and would, more than likely, been lost to time. The House on Sorority Row and its remake, Sorority Row, are not in the same class as Psycho, but both are a cut (pun intended) above your standard Slasher movie. The most striking thing about both films is that they are fairly well directed and have some truly haunting visuals. The House on Sorority Row is merely passable for its first seventy minutes, but is redeemed by its truly tense finale. It ups the stakes by not only having the heroine (Katherine) fight off the killer, but doing so in a drugged out a state – she is injected with a tranquilizer by Dr. Beck, who wants to use he
This is a blog that is devoted entirely to film analysis. I tend to analyze movies in a historical context. What were the cultural trends at the time? Why was the rationale behind the movie? I also tend to write about lesser-known movies, as there really isn't much more that can be said about most mainstream movies. I hope you enjoy!!!