SteinMo
What a freaking movie. So many twists and turns. Absolutely intense from start to finish.
TrueHello
Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.
HottWwjdIam
There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.
Scott LeBrun
Give writer / producer Ruth Avergon some credit for injecting some interesting details into this movie, Lorimars' contribution to the slasher film cycle of the late '70s and early '80s. She had done some research into the headhunters of Papua New Guinea, and from that comes her idea for "Night School": the students at a girls school in Beacon Hill, Boston, are being decapitated, by a psychotic, savage motorcyclist. But that's not the fun part: the fun part is the killers' modus operandi includes leaving the heads in water, whether a duck pond, bucket, fish tank, or sink is used. What do the girls have in common? They're attending the anthropology class of a professor, Vincent Millett (Drew Snyder), who is apparently some sort of chick magnet.Done in a style that hearkens back to the Italian giallo films that helped to inspire the slasher film, "Night School" may come as something of a disappointment to some fans of the sub genre. Its nudity is rather tastefully done, and while there is a fair amount of gore, the kills themselves are never shown. However, the movie benefits from its urban setting, and the filmmakers, led by director Kenneth Hughes ("Casino Royale" '67, "Chitty Chitty Bang Bang"), create some fine atmosphere, using the Old World flavour of the city to their advantage.Among the talents behind the camera are composer Brad Fiedel ("Just Before Dawn", "The Terminator"), who gives this movie a wonderfully haunting score, and cinematographer Mark Irwin ("Videodrome", "Scream"), who was able to work quickly and efficiently. Adding a unique presence to a slasher movie is beautiful Brit brunette Rachel Ward, from whom it's hard to remove ones' eyes. She and Hughes were actually brought in to replace the original lead actress and director, but it's fortunate indeed that they got involved. Leonard Mann is the amiable, low key detective investigating, with the equally engaging Joseph R. Sicari as his comedy relief partner.Filmed on a budget of about $1.2 million for a five week stretch in the cold Boston spring of 1980, "Night School" had actually won an award at the Avoriaz Film Festival in France, and remains a somewhat under appreciated slasher film. Granted, this is one of those stories where it ain't exactly too hard to figure out whodunit, but the movies' undeniable assets more than make up for that. It's a good, enjoyable horror film worthy of discovery or rediscovery.Seven out of 10.
lost-in-limbo
Probably best recognised for being the debut feature for of the ravishing British actress Rachel Ward, but "Night School" deserves a little more credit for that lone reason. I wasn't expecting it be as good it was, but while it's your by-the-numbers mystery psycho slasher it managed to resourcefully up the suspense and intrigue in some well presented set-pieces. The usual revelation behind it all doesn't come as much as a surprise (where we seem to be quite ahead of the clueless detective/s scratching their heads), along with the second twist (which is even more foreseeable), but then it ends with a neat final one which seems to be a mock send-up of the typical shock closing. "Don't you ever take your job seriously". I'm kind of surprised by its middling to poor reputation, as I found it more than competent than its 80s crop. Good atmospheric, authentic locations are masterfully framed by cinematographer Mark Irwin. His expressively flowing camera stages some inventive frames and effectively helps building up the tension before the initial shock. He films the ominous looking killer (decked in black leather and bike helmet) quite well. Director Ken Hughes' slick touch lets it flow, nailing the terrorising tension with a real sting to its tail. Hughes style kind of reminded me off Hitchcock, but the modern unpleasantness is evident (slicing and dicing with ritual decapitation on mind, but little is seen) and lurking within is a sneering sleazy undertone. The black and white story remains interesting, due to the solid performances (Leonard Mann, Drew Snyder, Rachel Ward and an amusing Joseph R. Sicari) and particularly sharp script. Brad Fiedel composes the score in an understated manner, but it eerily works. A modest psycho slasher offering.
HumanoidOfFlesh
A killer in a motorcycle helmet is decapitating attractive babes attend a night school class taught by an anthropology professor.It all has to do with some head-hunting rituals from Papua New Guinea.Very enjoyable cop drama/slasher with some elements of giallo.There is a truly sensual shower scene with a a ravishingly beautiful Rachel Ward and three decapitated heads of victims are found in various strange places including an aquarium.The killings are mostly off-screen and there is a bit of sleaze.The melodically creepy piano based score by Brad Fiedel of "Just Before Dawn" is truly effective.If you enjoyed "What Have You Done to Your Daughters" give "Night School" a chance.It truly is one of the slashers that resembles the Italian giallo that inspired the genre in the first place.8 out of 10.
Scarecrow-88
Someone, dressed in black helmet, jacket and pants, is attacking students who attend the anthropology class of Professor Millet, an established womanizer bedding his students under the nose of his girlfriend Eleanor Adjai(Rachel Ward, lovely, but lacking in performance, having trouble with the dialogue under her thick accent). The killer uses a curving knife as a decapitation device, leaving the severed heads in liquid, whether it be bucket, pond or aquarium. It's up to Harvard grad lieutenant Judd Austin(Leonard Mann)to find the killer, who leaves little-to-no trace of evidence, except the unorthodox methods of the crime scene.Okay psycho-thriller benefits from Fiedel's terrific score which is, at times, melodic, menacing & piercing. The music provides the director, along with his moody neo-noir photography of the city streets at night as the killer stalks his/her prey, to build good suspense even if the pay-off is less satisfying. The twist isn't much of one if the viewer is paying the least bit of attention. A certain waitress in a bar, for instance..who would kill her in such a fashion? Or, the method of execution on those who attended the class of Professor Millet..who'd have a reason to use such a method and why place the heads in liquid? You even get an answer towards the end, so the reveal leaves little impact. A good twist can work wonders, but this film suffers because of that, I felt. The film also is lacking in delivering really strong attacks, an essential ingredient in the slasher genre for which this belongs. We see the biker-outfitted psychopath, with his/her curving blade, slice at the victims, whose face displays the horror they find themselves with blood spread across walls, but nothing is ever elaborated, and practically everything happens off-screen. There are some moments of depraved kink such as a tribal sex sequence between Eleanor and Millet using bits of meat and blood while bathing. And, it's sleazy..the lifestyle of Millet who sleeps with his female students or the night school's lesbian superintendent who attempts to seduce a conquest of her teacher's before the killer interrupts. The decapitated heads are hinted at, some discovered by surprised folks like citizens who find the severed head of an employee in a fish aquarium, or the bar owner noticing his waitress' head in the sink, immersed in water. The film, typical of both giallo thrillers and 80's slashers has a a couple of red herrings, such as a peeping tom who works as a garbage man at the local tavern which yields the murdered waitress and Professor Millet himself(..for he's quite the authority in tribal customs and methods).There's a stab of black comedy at the very end regarding the lieutenant, who is the only one who knows who the true killer is yet can not prove it, and someone behind the seat of his car, which finishes this with a nice, tasteless touch. I think the low IMDb score is ridiculous. This may not be a shining example of cinematic grace, but it's got some fine elements that deserve better than a 2.9/10.
