Halloween Ends seemingly delivers a definitive conclusion to the legendary saga of Laurie Strode and Michael Myers, the 13th installment in the popular Halloween franchise that has seen many ups and downs, but has certainly helped develop some of the most important conventions in any movie. slash.
Slashers are one of the most popular and widely used horror subgenres, famous for their high body count and a psychopathic villain with very specific killing methods. Letterboxd offers a surprising but effective list of the top 10 of all time.
X (2022) – 3.6
Surprisingly or not, a 2022 film has managed to sneak into Letterboxd’s highest-rated slashers of all time. X is a prime example of a horror movie with producers as confident as its fanbase, with creator Ti West getting the green light to develop a prequel to be released the same year without even having the results of the first film.
X pays homage to the exploitative low-budget slashers of the 70s, following a group of young filmmakers who traveled to Texas to shoot a pornographic film, casually undermining the danger posed by their hostile elderly hosts and facing a dreadful fate. . The film community tends to love movies that manage to celebrate cinema while providing a fun time.
Dressed to Kill (1980) – 3.6
Dressed To Kill is not Brian De Palma’s entry into the horror genre; the talented director had already released the most iconic version of Carrie to date, but didn’t delve into slasher conventions until the ’80s. The film follows a stylish blonde woman with mysterious intentions who kills one of the patients of a psychiatrist and goes after the innocent high class girl who witnessed the murder.
Fashion and horror have never worked so well; De Palma pays great attention to artistic detail and delivers some of the most kinky and twisted scenes ever to appear on screen with plenty of styling to please all fans of exploitative slashers.
Opera (1987) – 3.6
Dario Argento is such a creative director that he managed to create a slasher subgenre himself: the Giallo. Slashers like Opera are less concerned with body count and instead focus on the cat-and-mouse game between killer and victim, always being careful with clever composition of chase and death scenes in a way that each scene is very distinct from one another.
In Opera, a young woman is stalked by an obsessive killer who murders everyone associated with him to claim her for himself. The film is not for those looking for realistic horror stories; the film rejects any relevant continuity and credible motivations for epic, bloody confrontations.
Candyman (1992) – 3.7
Slashers with supernatural entities tend to work so well because they offer unimaginable threat to victims, where their fate is already sealed the moment they play with the wrong thing.
Candyman’s curse is one of the most frightening precisely because of the constant threat it poses to each of its recipients. Even though the original film’s protagonist, Helen Lyle, is one of the smartest protagonists in any slasher film, she gets more than she bargained for after summoning an entity as ancient and powerful as Candyman.
Darkness (1982) – 3.8
Tenebre might be one of Dario Argento’s finest films, where well-thought-out production design plays a key role in conveying his creative horror elements. Argento likes to take advantage of vibrant uses of color and unconventional settings that add to his over-the-top horror. For him, horror films should be artistic rather than realistic, focusing on a visually stunning experience.
Tenebre is another stalker plot from the director, following an American writer in Italy who is drawn into a spiral of paranoia and fear as a mysterious killer lurks around killing everyone connected to him and his work. The film features many elegant choices that would be used and enhanced by Argento in Opera a few years later, a film with a similar plot. Ask any horror fan who their favorite horror director is and many of them will answer Argento, which is why Letterboxd has two films by him in its top 10.
A Nightmare on Elm Street (1984) – 3.8
Wes Craven has devoted most of his career to the slasher genre which he helped refine and improve. A Nightmare On Elm Street was his seminal film; a creative horror tale around the ruthless Freddy Krueger, a supernatural entity capable of manipulating the dreams of his victims and killing them in real life while they sleep.
Deaths are arguably the most important element of a slasher and the best thing about A Nightmare On Elm Street is how most of the kills happen in a realm of their own; the terrifying dream world of Krueger, which orchestrates gruesome but truly innovative deaths. Surprisingly, the entire Nightmare On Elm Street franchise is highly rated in Letterboxd, especially the first and third, reflecting how much the film community loves Freddy Krueger.
Black Christmas (1974) – 3.9
Different from what the film’s title suggests, Black Christmas is a brilliant horror film to watch any time of the year. In the film, a group of sorority girls are stalked by a mysterious stranger who makes terrifying phone calls and begins murdering them one by one over the Christmas holidays.
The truth is, famous holiday slashers like Halloween and Friday the 13th owe a lot to Black Christmas, and that’s arguably one of the main reasons it ranks so high in Letterboxd’s top 10. The film is surprisingly atmospheric and takes advantage of the Christmas distinction. lights to compose a visually provocative scenario, the opposite of the killer still lurking in the shadows.
The Texas Chainsaw Massacre (1974) – 3.9
The Texas Chainsaw Massacre pioneered many traditional slasher tropes and was responsible for a wave of exploitative low-budget horror films in the ’70s. Picking up a deranged hitchhiker in rural Texas is the first of many terrifying events that will happen in the lives of five friends in one day, especially when a crazed killer decides to chase them with his chainsaw.
Leatherface is unanimously hailed as a legendary horror villain, but there’s a lot more to admire in this bold ’70s slasher, from the well-developed final arc of the girls to the terrifying final scene that brilliantly captures what feels like being chased by a psychotic serial killer.
Halloween (1978) – 3.9
Arguably the true protagonist of the Halloween franchise, Michael Myers has had a slew of memorable spooky moments across 13 films, but John Carpenter’s original film remains the most iconic of them all. It’s scary, gory, and even funny at times; Myers in a white sheet ghost costume will never get old. While the other films in the franchise hold fairly low scores on Letterboxd, the first is unanimously considered a legendary slasher.
The film effectively captures the atmosphere of the Halloween season and uses it as an apt narrative tool, adding to a great atmosphere of paranoia and fear as a masked killer walks through the crowds of people in costumes and masks leaving behind a trail of blood.
Scream (1996) – 4.0
Impossible to talk about slashers without mentioning Scream. A self-aware masterpiece, Wes Craven delivers horror-movie satire that knows exactly when to build tension and when to make viewers laugh, sometimes even both; the iconic opening scene speaks for itself.
Scream is a classic that came out at the right time; the late 80s and 90s were overflowing with generic slashers that followed this same formula over and over again. Craven then decided to put together a list of all slasher lore and make sure not to use or mock it in the bloodiest way.