Scream Killers Over the Decades

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Best Of Best of Movies Featured Scary Movies and Series

Ghostface has had many identities from the original Scream to Scream 2022, here are all the scream killers.

The Ghostface killer became a horror film icon the moment he, she or sometimes they first appeared in 1996’s “Scream,” terrorizing Sidney Prescott (Neve Campbell) and the residents of Woodsboro. Since that Wes Craven classic has been released there have been 5 movies in the franchise. Each new and arguably clever Scream killer has had their mysterious identity reveled in the end of the film with varying responses from audiences. Much like Scooby Doo we all await the removal of the infamous Ghostface Scream Killer mask.

Scream 2022 Slasher Poster featuring ghostface and the cast

Scream (2022) Killers aka Scream 5

Scream 5 picks up in Woodsboro 11 years after Scream 4. The characters have had an entire decade of normal life since the last killers were taken care of. Dewey and Gail have divorced and Dewey has taken to the bottle. Sidney has children and a life of her own far away from Woodsboro. With calm comes the innevitable storm though.

The release of Stab 8 has fans furious with deviations from the original plot and the introduction of ridiculous new weapons and characters. And Ghostface is determined to re-write this as a proper requel.

Ghostface re-emerges bringing the original characters back together. As a requel requires a sacrifice of an original character, Dewey does not make it through this film.

Amber Freeman and Richie Kirsch are the Scream 2022 or Scream 5 Killers

The killers from Scream 5 are reveled as Amber and Richie two fanatic fans of the Stab movie that have taken the requel into their own hands. They attempt to frame Sam Carpenter (turns out this is Billy Loomis’s daughter from Scream 1) but ultimately meet the usual demise.

Scream 4 (2011) Killers

Scream 4 movie poster featuring a face blended into the number 4

Scream 4 2011 was a bit of surprise since the trilogy had been completed with Scream 3 in 2000. Wes Craven and much of the original cast announced in 2010 that Scream 4 (Scre4m) was a go and we got another chance to see the Ghostface slasher in action. Scream 4 aka Scre4m performed a bit better with audiences than Scream 3. Receiving a decent 60% on Rotten Tomatoes.

Scream 4 is fun, but more clever-clever than fiendishly ingenious

Philip French Guardian

Sidney Prescott, in order to get over the trauma of the Ghostface Killer’s murderous rampage a decade earlier, has written a self-help book. She returns to Woodsboro for her book tour and reconnects with old friends Gale Weathers and Sheriff Dewey. Sidney’s arrival home sparks Ghostface’s return, putting Sidney and everyone she loves in danger.

Jill Roberts and Charlie Walker are Scream 4’s Killers.

Jill Roberts and Charlie Walker Scream 4 killers seen kissing

This time around it is Sidney’s niece, Jill Roberts who dons the Ghostface mask and costume. Jill’s homicidal rampage is the result of growing up with the infamous Sidney and always being second to her epic tragedies and life. Her jealousy overcomes her so she decides to become the next Scream Killer. Like Billy, she betrays her co-murdered, Charlie Walker by stabbing him in the heart. Albeit more successfully than Billy did with Stu in the original.

In the closing scenes Sidney shoots Jill in the hospital even though reporters claim that Jill is the only one to survive the massacre. Did Jill somehow survive and will make a re-appearance in Scream 2022? We’ll find out January 14th!

Scream 3 (2000) Killer

Scream 3 movie poster featuring the case and an eye in a 3

Scream 3, the finale of the trilogy had a rough go with fans receiving abysmal scores on Rotten Tomatoes and other review sites. This was originally meant to be the final movie, however 10 years later Ghostface returned in Scream 4 and now in 2022 we have Scream 5 or Scream 2022 coming out. You just can’t keep Ghostface down!

The cast is good. And so are director Wes Craven’s inventive stagings of these set-tos. Not so good is the absence of hip cross-references to the classic horror tropes.

Richard Schickel – TIME Magazine

Scream 3 picks up in Hollywood where Stab 3 is being shot, with Gale Weathers and Dwight Riley on set as advisors to director Jennifer Jolie. Ghostface, who has other plans, decides to kill the cast in the order of the screenplay. Sidney aka Sid Prescott comes out of seclusion to help solve the mystery and stop the latest Scream Killer.

Roman Bridger is Scream 3’s Killer

Scream 3 Killer Roman Bridger seen in a black hooded robe

Scream 3’s killer is discovered to be Roman Bridger Sidney’s half brother. Turns out her mother had another child when she herself was an actress in Hollywood. Side note – Sidney’s parent’s infidelity has certainly fueled this franchise.

Roman Bridger is the first Scream Killer to act alone. He is driven by jealousy of Sid’s fame. In the end he dies much like Billy in the first Scream.. shot in the head after several dramatic final attempts at Sid’s life.

Scream 2 (1997) Killers

Scream 2 horror movie poster featuring the cast and two faces of the main actress in the background

The horror comedy sequel did not disappoint. Kevin Williamson, who wrote the trilogy, provided a five-page outline for the sequel to Scream when auctioning his original script, hoping to entice bidders with the potential of buying a franchise. So, that worked out really well. Scream 2 fell just short of the original earning 172 million, which is a huge accomplishment for a sequel. Especially one behind such an epic release.

The rest of the cast of disposable archetypes deadpanned about why ”sequels suck” — a particularly funny joke, since this one didn’t.

Chris Nashawaty – Entertainment Weekly

Sidney and tabloid reporter Gale Weathers survived the events of the first “Scream,” but their nightmare isn’t over. When two college students are murdered at a sneak preview of “Stab,” a movie based on the events from the first film, it’s clear a copycat killer is on the loose. Sidney and Gail, as well as fellow survivors Deputy Dewey and Randy have to find out who is behind this new murder spree, before they all end up dead.

Mrs. Loomis (Debbie Salt ) and Mickey Altieri are the Killers in Scream 2

Mrs. Loomis aka Debbie Salt uses film student Mickey Altieri who wants to be caught so that he can blame violent horror movies for his crimes. Sound familiar? Mrs Loomis blames Sidney for Billy’s death in the original Scream and she plots out her revenge with the impressionable Micky. Seems the Loomis family really know how to charm accomplices. Neither killer make it out alive though and Sidney lives to fight another 3-4 movies.

Scream (1996) Killers

Scream movie poster featuring the main actress Neve Campbell

Well this was epic was it not? Loaded with twists and turns this whoidunit slasher mystery crossover breathed new life into the genre. The 80’s were the slasher golden era and by the end of the 90’s slasher flicks were headed straight to video, but leave it to none other than Wes Craven to bring something a little different to the table. Scream performed extremely well with audiences, especially for a slasher flick. . And it was the birth of the now infamous Ghostface Killer.

Through reinvention and self-awareness, Scream brought the slasher genre to new, fun, and bloody heights.

Kristy Strouse Wonderfully Weird and Horrifying

The sleepy little town of Woodsboro just woke up screaming. There’s a killer in their midst who’s seen a few too many scary movies. Suddenly nobody is safe, as the psychopath stalks victims, taunts them with trivia questions, then rips them to bloody shreds. It could be anybody…

Billy Loomis and Stu Macher are the original Scream Killers

Original Scream Killers Billy Loomis and Stu Macher seen talking with blood on their shirts and face

Billy sets out to take revenge on the Prescott family who he blames for his parents splitting up and his mother abandoning him. Both Sidney and her father are to die for her father’s affair with Billy’s mother that drove her away. In a complex plot, including framing a side character Cotton Weary for the murders, Billy and Stu go on a murderous rampage in the quaint town of Woodsboro. Stu has little excuse aside from being influenced by the charismatic Billy. Their demise is epic, but the Ghostface costume they use becomes the thread for the next 4 movies.

Ghostface has already gone down in history. You can find the costumes everywhere these days and in 2022 we expect that trend to continue. Once we know how Scream 2022 ends we will update this list. Is that really going to be the end or are we going Jason, Freddy or Michael Meyers here? TBD

The History of Slasher Movies

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Featured Scary Movies and Series

Slashers are some of the most prominent films in the horror genre, and tend to be some of the most fun, self-aware and unabashedly violent films around. You can credit vintage flicks such as Psycho or Peeping Tom for laying the groundwork for the slasher genre, and 1974’s Black Christmas for first bringing all the elements together into what is undeniably a “slasher movie”. However, horror’s most energetic and mischievous sub-genre has a rich history behind it, which extends much further than a few standout motion pictures.

The Checklist

To begin, slasher films are made up of a few mandatory components:
A killer, usually masked and often on a path of blind revenge for some past tragedy.

The Slasher’s Victims


A group of youngsters, usually hormone driven and stupid, to be stalked by the killer. These can range from a group of schoolmates, to campers and counselors in a woodland retreat, and sometimes even a street-worth of families if Michael Myers gets involved.


One of these youngsters, primarily a girl, who abstains from the sinful behaviour of the rest and ends up being the last alive, sometimes defeating the killer. Slashers have always had a reputation of misogyny, and the idea of frequent ‘final girls’ portrayed and strong female leads is the best argument against this. Friday 13th: part 2 (1981)’s Ginny Field and A Nightmare on Elm Street’s Nancy Thompson are two great examples of women who overcome insurmountable odds to bring the fight straight back to their respective monstrous antagonists.
These particular tropes have become almost ritualistic to slasher movies, and it would be hard to call any film a slasher without the inclusion of all of them.

The Setting

The Cabin in the Woods (2011) Movie Poster
The Cabin in the Woods (2011)


An isolated setting, such as a campsite or cabin in the woods.
Buckets of blood and shock-value violence. While not all slashers are b-movies, and vice versa, a gritty excess in blood and gore can commonly be found in both.

The Mood


A crude, sometimes low-brow sense of humour, particularly in the 80s when the genre began to parody itself and grow exponentially because of it.

The Villain

Michael Meyers in a mask from Halloween Slasher film
Michael Myers masked slasher

The powerful masked villain is the most recognizable trait of the slasher genre, and we have Germany in the late 50s and 60s to thank for that. Based on the works of British novelist Edgar Wallace, Germany’s Krimi films (short for “kriminalfilm,” or “crime film”) focus mainly on these elusive antagonists, considering them important enough to frequently use them as the film’s title. Face of the Frog (1959) and Creature with the Blue Hand (1967) are prime examples of these. The stock cast archetypes found in slashers were also present in these pictures, in their more primitive forms. They usually include female protagonists, a group of victims to be systematically picked off, an officer on the case who is central to the plot and even a comic relief character. With all of these features, and of course the inclusion of some shock violence to spice up the proceedings, krimi films were some of the earliest artistic works laying the foundations for the slasher genre.

One type of early slasher that was directly influenced by krimi pics were Italian giallo films. Giallos often focus on a murder investigation featuring a masked killer, but they dial up the gore and sexuality to obscene degrees, carving themselves a distinct niche in the horror genre.

The Roots of Slasher Films

Blood and Black Lace 1964 Movie Poster from the original slasher film featuring two women and a skeleton hand with a knife in it


For all of its features, Mario Bava’s foundation-laying masterpiece Blood and Black Lace (1964) is as close to the first true slasher as an analysis could find. A mysterious killer in a huge black coat and hat stalks a group of female models while wearing a stocking over their face, creating an unsettling, featureless figure. This immediately iconic image burned an imprint into the giallo genre and its contemporaries.

The 1960s had only just begun when the UK was given two of the most legendary and influential releases in slasher history. For starters, Michael Powell’s controversial Peeping Tom shocked and confused audiences with its lurid sexual content and bizarre plot involving a serial killer documentarian who dispatches women using a knife stuck to his tripod, and films the results. While some see the thoughtfulness and understanding of human impulse and nature in Powell’s flick, others merely write it off as ridiculous proto-slasher voyeurism. Whatever your opinion, this is a chilling look into the psychology of a serial killer, with textured character exploration, heaps of satirical wit and a sense of colour use that still dazzles to this day.

Then came the big one. Psycho’s impact on audiences had Alfred Hitchcock’s storytelling and filmmaking mastery to thank, along with fantastic performances from Anthony Perkins

(Norman Bates) and Janet Leigh (Marion Crane). Perkins is especially unsettling as early-slasher Bates, delivering a performance that has been replicated (or attempted to be) to this day. Psycho is as effective today as it was in 1960, with its infamous shower scene accompanied by dissonant stabbing piano keys being one of the most recognisable images in horror today. Just try and say the word psycho in a crowd of horror fans without someone going “ree! ree! ree!” and stabbing the air.

“The calls are coming from inside the house!” We’ve all heard it before. Hopefully not in real life, though the number of scary stories and urban legends that climax with this unnerving statement are beyond counting. Black Christmas (1974), which was insipidly remade in 2006, boasts a status of being the first on-screen usage of the term. Not only this, it is the proud owner of a number of conventions which have been repeated in slashers to this day. Predating John Carpenter’s legendary Halloween (1978) by four years, it used many elements that Carpenter later employed, such as frequent POV shots from the killer’s perspective. Black Christmas was also integral in solidifying the misunderstood ‘final girl’ trope that has been worshipped by slashers to this day, with Jessica Bradford (Olivia Hussey) as one of the most resourceful and well-realised of them all.

John Carpenters Halloween Slasher Horror movie poster with a pumpkin and a knife

John Carpenter’s Halloween is often considered to be the first “true” slasher in terms of tying all of the components of the slasher checklist together. Black Christmas director Bob Clark was actually telling Carpenter his idea of a sequel when he gave him the idea, inadvertently or not, for a slasher all of his own, one that would secure itself in the annals of horror legend. Clark’s idea was simply this: A psychopath would escape from an asylum around the Halloween holiday and begin terrorising the surrounding area. From this Michael Myers was born, otherwise known as ‘The Shape’, one of the more terrifying and restless of killers. One who kills (mostly) without prejudice, and with great aplomb. Halloween is of course a descendant of Black Christmas, though Carpenter’s flick stands on its own merits, and could be argued as being by far the more well-known of the two (even though a slew of sequels could be to blame for that). Carpenter plays on a very real fear in modern society, one of being attacked in your own home. Without clear motivation for any of his kills, excluding the fact that Michael and Laurie Strode (portrayed by Jamie Lee Curtis, the daughter of Psycho star Janet Leigh) were later made siblings, Michael seems to kill at complete random, which is one of the most universally terrifying concepts when properly considered.

Leather face Texas chainsaw massacre slasher movie scene of a man being sawed in half

It’s sometimes hard to believe The Texas Chainsaw Massacre (1974) even made it to the world of mainstream cinematic horror, as it remains to this day one of the more shockingly brutal, nihilistic and frequently hard-watching of slasher films. Tobe Hooper came along and redefined fright films forever with this monster. Based on the exploits of real-life serial killer and body-part handyman Ed Gein, Texas Chainsaw pushed the idea of a masked killer with a devastating signature weapon to new heights, creating one of the most infamous and universally terrifying killers in fiction, Leatherface. While the sequels made a blundering, almost lovable idiot of the man, the original shows him in all his ignorantly brutal glory. I won’t spoil anything for those who haven’t subjected themselves to Hooper’s masochistic classic, though the chainsaw wielding giant’s first appearance still sends chills down my spine. While Texas Chainsaw was one of the first to use the ‘Final Girl’ trope to such obvious effect, it will always be the relentless ferocity of the brain-damaged hulk Leatherface that defines the timeless greatness of The Texas Chainsaw Massacre.

While many directors still try to capture the classic slasher feel in their own unique way, many have taken the genre to more comedic and self-referential territory. Wes Craven’s worldwide hit Scream (1996) acted as a meta analysis of all slashers, constantly referencing the classics while being original enough in itself to secure a place alongside them. The Wayans brothers took things a step further with Scary Movie (2000) where they played meta on meta and turned Scream and many other horror movies into a flat out ridiculous comedy. Both of these franchises have dropped dramatically in quality over many, many sequels though the potency of both originals cannot be ignored. Some manage to work laughs in between the blood in different ways, one prime example being Tucker and Dale vs Evil (2010) where two lovable hillbilly brothers are mistaken for killers when a group of camping teens begin dying around them in ridiculous accidents. Happy Death Day (2017) and its direct sequel combine slashers with the consistently growing “groundhog day” subgenre to hilarious effect, while The Cabin in the Woods (2011) tries to create lore to explain literally every other horror movie in existence. As people’s love for slashers grow and expand, so do the ideas contributing towards the genre, though even the rawest, crudest and most ludicrous of these movies will alway hold a place in the hearts of the morbid.






The Iconic Final Girl

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Featured Women in Horror
The Final Girl of Halloween (1978) Laurie Stroder
The Final Girl of Halloween (1978) Laurie Stroder

It has been said that “women in peril work better in the suspense genre … If you have a haunted house and you have a woman walking around with a candelabrum, you fear more for her than you would for a husky man.” (Clover; pg. 77) With this statement, we can almost summarize the entirety of the horror genre’s tilt towards what some might call misogyny perpetuated by the film industry’s propensity for being male-dominated. We can also build towards a much more interesting concept—that of the Final Girl.

Throughout the lifespan of horror, we see that a woman in peril is hardly a new trope within the genre—in fact, the evidence of its existence can be seen clearly in literature such as that of Edgar Allan Poe, where he regularly relied upon the formula to create suspense within his works. His perspective, however, that “the death of a beautiful woman is the ‘most poetical topic in the world,’ does little to help us in understanding where this pattern comes from. We know the Final Girl is rarely, if ever, regarded for her evolution from victim to heroine, but what is less clear is why that is such a rarity.

The Villain: Epitomizing the Slasher

The killer is with few exceptions recognizably human and distinctly male; his fury is unmistakably sexual in both roots and expression; his victims are mostly women, often sexually free and always young and beautiful ones. Just how essential this victim is to horror is suggested by her historical durability.

Carol J. Clover, pg. 77 – Her body, himself: Gender in the slasher film

The argument goes that men are victims but Clover argues that, “… if some victims are men … most are women, and the women are brutalized in ways that come too close to real life for comfort…” (pg. 77). It’s true too, that the genders are each represented in their reflections on the screen and this encourages the impulse to identify the impulse of committing sexual violence with men as well as the victimization in their female counterparts. While that association isn’t necessarily flattering to the emboldened female of the modern age, it’s been a trope for such a long time that it’s hard to deny its root in historical facts. Cross-gender identification can and has been entertained as a possibility, but only in the sense that the females watching can identify more closely with the male roles.

The Male Role in Horror: The Killer or the Failed Hero

These days, more often than not, the male viewer can only identify with two portrayals of himself—the killer or the failed hero—male parts are more marginalized, with few exceptions, their characters tend to be more underdeveloped and without fail they have a tendency to die early within the film. We see males portrayed as “policemen, fathers, and sheriffs,” who, if they don’t end up as a victim, only have enough screen time, “to demonstrate risible incompetence,” and if they’re not portrayed in this manner, they’re being portrayed as the killer.

The killer, the villain, the slasher, the butcher—he’s the one that competes with the first victim for the least amount of screen time. We barely see him during the first half of the film, but when we do finally see him as more than a silhouette or a brief flash across the camera we see a character that is hard to identify with.

Who is the Final Girl?

Gender and the Final Girl

Horror movies, especially slashers, have a tendency to boast large body counts—after all, excess is the name of the game—and as we’ve learned those bodies are usually females and pretty ones to boot. One thing that we also have a tendency to see within these same movies, is that the one character who does live to tell the tale, that is to say, if anyone is alive by the end, is fated to be female. This is the famous Final Girl that, we can reliably pick out of the crowd of horny teenagers based on her advanced character development.

Once picked out of the crowd, we see that her storyline is really the only one that has any attention paid to it—outside of the killer’s that is—unlike the rest of the female characters, she has been bestowed a more reasonable set of characteristics. If she’s not operating on pure luck, she likely impresses us with her intelligent watchful eye and her ability to stay more level-headed when she’s put under pressure. She’s typically the first one to notice anything is wrong, but this is generally chalked up to a “gut feeling” which shows us that her instincts are significantly greater than the characters that are more disposable. She is the only character whose view, or perspective, of the situation most closely matches our own as the audience.

We register her horror as she stumbles on the corpses of her friends; her paralysis in the face of death duplicates those moments of the universal nightmare experience on which horror frankly trades. When she downs the killer, we are triumphant. She is by any measure the slasher film’s hero. This is not to say that our attachment to her is exclusive and unremitting, only that it adds up, and that in the closing sequence it is very close to absolute.

Carol J. Clover, pg. 79 – Her body, himself: Gender in the slasher film

Women in Peril

While women in peril can be found in almost any genre—the damsel in distress is a popular motivation for any male antagonist. However, as Clover points out in her essay on gender within the slasher film, women in peril tend to work better within a genre of suspense. This stems from origins in such serial productions as The Perils of Pauline (1914); the consensus is that if we were to see a male and female wandering around a haunted house (or other precarious situation), we would invariably be more worried for the female than for the male. This perspective is all too accurate, despite the rise in female heroines in action movies and thrillers and has more to do with how much we can identify with gender and less to do with misogynistic perspectives.

Perhaps it’s the range of emotional expression that the genders are each allotted within these storylines, where the men are given the macho aggression or displays of force, women are given the displays of “crying, cowering, screaming, fainting, trembling, [and] begging for mercy.” In essence, the feminine reaction to violence, killing, or simply-put terrifying situations, is “abject terror”.

The Evolution of Perspective

We see within the beginning of these types of films that we have a more intimate view of the killer’s perspective; a perfect example of this would be the opening scene of Halloween (1978) where we are literally seeing through the eyes of a six-year-old Michael Myers as he watches his sister, who instead of babysitting him as she was supposed to, is getting it on with her boyfriend. We see him intentionally sneak through the house while his sister and her boyfriend are aggressively cuddling upstairs, and watch as he grabs the biggest sharpest knife available to him. While we don’t want to identify with this perspective, even though we are forced to see through this lens, we do experience the waxing anxiety that comes with him padding up the staircase and stabbing his breast-baring sister to death. To be quite frank though, it’s not necessarily the perspective that is really disturbing, it’s the moments where we hear the killer’s breathing or heartbeat.

This forced perspective links us, albeit unwillingly, with the killer during the earliest parts of the film, we know him before we know any other character of importance to the storyline. We know his perspective before we even know what he looks like, or in most cases, who he is and what his story might be. We know him before we know our Final Girl—this is done intentionally. Although in Final Girl (2015) we see the pattern flipped, so we see and know who the Final Girl is before we know who the bad guys are (and oddly almost want to identify with them right before they are taken out by our heroine). Aside from the minor outliers to this pattern, the progression of the film leads our shift of perspectives from the killer to the Final Girl. As Clover cleverly stated, “our closeness to him wanes as our closeness to the Final Girl waxes—a shift underwritten by storyline as well as camera position.”

By the end, point of view is hers: we are in the closet with her, watching with her eyes the knife blade stab through the door; in the room with her as the killer breaks through the window and grabs at her; in the car with her as the killer stabs through the convertible top, and so on. With her, we become if not the killer of the killer then the agent of his expulsion from the narrative vision. If, during the film’s course, we shifted our sympathies back and forth, and dealt them out to other characters along the way, we belong in the end to the Final Girl; there is no alternative.

Carol J. Clover, pg. 79 – Her body, himself: Gender in the slasher film

Final Thoughts on the Final Girl

Ultimately when it comes to the Final Girl, I don’t see mysogynistic screenplays, instead I see simple tropes in horror that were stumbled upon by writers who ultimately understood the value of a character that everyone could root for. It’s a human condition to thrive off of excess, this is true for, “sex, violence, and emotion [as they] are fundamental elements of the sensation effects of [pornography, horror, and melodrama],”—we grasp for the gratuitously violent, the gratuitously sexual, and the gratuitously depressing because of the effect they have on our bodies (Williams; pg. 3).

If we were to try to label the reason for the existence of these “heavy doses of sex, violence, and emotion,” we would have to face the fact that they are there for no other reason except to excite us into reacting. Therefore, when we see this Final Girl and her implicit androgyny, her assumed virginal state, her intelligence, and her eagle-eye for understanding the situation that is unfolding before her and we say, “Yep! That would be me if I were in that situation!” We think to ourselves that we would never be the first one to die, we would run out of the house instead of cornering ourselves upstairs, we would never look back while we were running and would therefore never trip over our own feet—and we would never ever utter the phrase, “I’ll be right back.”

Work Cited

Crow, David, et al. “The 13 Best Final Girls in Horror Movie History.” Den of Geek, 30 Sept. 2020.

Kendrick, James. “Slasher Films and Gore in the 1980s.” A Companion to the Horror Film, by Harry M. Benshoff, Wiley Blackwell, Chichester, West Sussex, 2017.

Lentini, Lori. “5 Horror Movies Where Females Took a Big Bite Out of the Bad Guy.” Puzzle Box Horror, 27 Apr. 2020.

Williams, Linda. “Film Bodies: Gender, Genre, and Excess.” Film Quarterly, vol. 44, no. 4, 1991, pp. 2–13.

The Mutilator 2 Begins Production in 2022

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Featured Horror News Scary Movies and Series

38 years after the release of the 1984 cult classic slasher film, The Mutilator, writer/director Buddy Cooper is bringing back the bloodbath with the long awaited sequel, Mutilator 2. Starring such horror icons as Terry Kiser (Friday the 13th Part VII, From a Whisper to a Scream) and Damian Maffei (The Strangers: Prey at Night, Haunt), as well as The Mutilator alumni Ruth Martinez and Bill Hitchcock, Mutilator 2 brings together modern horror and a taste of the 80’s fun that fans loved from the original.

You know a film has reached cult status when Rotten Tomatoes scores it at 24% but the diehards like James O’s review really brings it all to the table.

Apr 07, 2011 – James O – on Rotten Tomatoes

From 1984 comes The Mutilator. The Mutilator is unique is a few ways that set it apart from all the other slasher movies: First, it actually has a GOOD title and end song. It’s not 80s punk rock; it has a kind of jazzy feel to it. I like how this one lulls you into a sense of security by having the first two murders being almost bloodless, and then…WHAM! Gore galore! This one is very gory, and there’s one kill that almost made me throw up (the kill with the gaffe). It’s a great slasher movie, and definitely worthy of your time.

Rating: 5 out of 5.

Alexander Taylor (Scream, Queen! My Nightmare On Elm StreetIsolation, Paramount Plus’s Unknown Dimension: The Story Of Paranormal ActivityArkansas, Eli Roth & Jason Blum’s Crypt TV) has signed on to score the upcoming sequel, from Bloody Disgusting’s article

Taylor said in a statement, “I’m so honored and excited to be a part of The Mutilator franchise. One of the best parts of this is the fact that Buddy Cooper is back! It’s rare for a legacy film to have the original writer and director come back, so you know this is going to be special. Buddy and I already have some cool themes and wild ideas for the score.”

Watch the Original 1984 Cult Classic Horror Film “The Mutilator” trailer on Youtube if you dare.

“I had 4 copies of The Mutilator (including a heavily edited family friendly version!) and a promotional standee as a kid, so to be joining this sequel, working with Bud Cooper, some of the original returning cast, and jumping back in to raise some hell with Terry… it’s surreal. I am beyond excited.” – Damian Maffei

Filming begins in 2022, so keep your eyes on The Mutilator movie Facebook (https://www.facebook.com/Big.Insane.Ed) and Instagram (@the_mutilator_shop) pages for updates.

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