Friday the 13th (1980)

Friday the 13th (1980)

[7] Producer/director Sean S. Cunningham admits Friday the 13th was a post-Halloween cash grab, but slasher fans decided there was plenty of room in the world for more than one killer franchise. All Cunningham needed was a great title that…
Martin (1977)

Martin (1977)

[7] Everyone associates George Romero with his zombie flicks, but if you ask the director, he'll say the dark character study Martin is his favorite work. Martin is a young man (John Amplas) who believes he must drink blood in…
Maniac (1980)

Maniac (1980)

[7] More of a verite, psychological approach to the slasher genre than most of the '80s slasher windfall, William Lustig's Maniac rises above its exploitation roots by putting us inside the killer's mind and keeping us there, even as his sanity…
The Prowler (1981)

The Prowler (1981)

[6] When a WWII vet returns home to find his true love in the arms of another man, the town scores a legendary double-murder. Thirty-five years later, the town decides to throw the same dance... and the killer decides to…
Creepshow 2 (1987)

Creepshow 2 (1987)

[6] It's not nearly as good as its predecessor, but I kinda like two out of the three tales in Creepshow 2.  The first story, Old Chief Wood'nhead, is about a wooden statue that comes alive to avenge the murder…
The Perks of Being a Wallflower (2012)

The Perks of Being a Wallflower (2012)

[8]

Logan Lerman (from the Percy Jackson movies) stars as Charlie in this coming-of-age drama/romance about a socially awkward high school boy who finds solace among the ‘freaks’ while overcoming a past trauma that left him hospitalized. Emma Watson (Hermione from Harry Potter) and Ezra Miller co-star as Sam and Patrick, Charlie’s newfound friends. Together, the trio bond over music and star in a production of The Rocky Horror Picture Show — very much the counter-culture sort of kids. Things go swimmingly until Charlie starts to fall for Sam, and Patrick’s secret relationship with a member of the football team is exposed to the whole school. As these and other dramatic entanglements threaten to destroy his new friendships, Charlie also begins having painful flashbacks surrounding the death of an aunt.

Dawn of the Dead (1978)

Dawn of the Dead (1978)

[9]

Ten years after Night of the Living Dead, which pretty much invented zombies as we now know them, George Romero went back to the well and made a sequel that I like even better. Never content to make a zombie movie that is just a zombie movie, Romero infuses Dawn with a statement on the soul-numbing effects of crash commercialism. It’s excellent fodder for college essays, but the message isn’t too overbearing. Dawn functions first and foremost as escapist fare, a kind I particularly enjoy. I mean, how cool would it be to live in a giant mall, even if (especially if?) it was under siege by the living dead? Dawn also benefits from the same claustrophobia and documentary-style film making Romero employed in the first film.