Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Leoni Haney Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Winifred The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Woodyanders Troubled and neurotic artist Kay (a fine and sympathetic performance by striking redhead Sarah Kendall) suffers from frightening recurring nightmares about gruesome murders that begin to come true after she decides to spend a vacation on a barren island with her protective husband David (well played by Frederick Flynn), her jerky brother David (a nicely irritating turn by Alan McRae), and David's wife Brooke (a solid portrayal by Carol Kottenbrook).Director J.S. Cardone, who also co-wrote the compact script with Bill Ewing, relates the engrossing story at a steady pace, ably crafts a supremely spooky and unsettling atmosphere, takes time to develop the characters, maintains an appropriately gloomy tone throughout, delivers several strong moments of graphic gore, and ends things on a haunting grim note. The remote island setting projects a potently unnerving feeling of isolation and vulnerability. Karen Grossman's polished cinematography makes neat use of a smooth gliding camera. Robert Folk's lush orchestral score hits the shivery spot. A worthwhile fright film.

GL84 Struggling with terrible dreams, a woman is talked into a vacation with her brother and several friends on a small island for a relaxing getaway realize that the nightmares revolve around a demonic entity that now been released into the world and must confront the creature to survive.This is one of the most underrated early-80s slashers out there. One of the best aspects of this one is the central storyline which is quite entertaining and offers up plenty of suspense. As this one concerns a thirty-something artist who has suffered from the same recurring nightmare since childhood where she is stalked and killed which form the basis for her new paintings and becomes increasingly obsessive about putting those images on canvas, the early setup here is quite involved yet still manages to give this a decent set-up. As her nightmares become more vivid, the more in danger they are all in by someone or something from her dreams, which is a clichéd one to be sure, but it makes for a fun time here due to the more adult setup rather than the more youthful approach at the time. That also gives this one some really great elements to play with, as there's a large amount of suspense and atmosphere coming from the film. The film has a storm sweep through the place, causing a really great tension as there was always a raging thunderstorm, and with the really interesting and creepy design for the house, the stalking scenes in here get somewhat chilling at times. From the beginning, the place has a completely suspenseful vibe and lets this one generate some solid moments here from the first one up in the attic when the group first arrives, the later one down in the basement where the killer strikes using a rather unconventional trap finally kill them off and some tense scenes around the house where the killer comes around to pick off the last remaining group-members for some rather fine stalking with the greatness of the chase throughout the house which ends this on a high note. It even has a few fun moments for the gorehounds which all combined make for a great viewing as this here has only a few small problems with it that are what keep it down somewhat. The main problem is that there's a double flaw in the way it's paced. The first one is that the middle segment of the film is remarkably dull and boring. The majority of the time is spent wandering around the house spouting off to whoever who will listen about what the dreams have just been going on, and it really manages to pad out the film with an aggravating, annoying subplot while also doing little to move it forward after what has already been said about it. That also has the factor of throwing up the notion that the film is barely over an hour long and still feels like an eternity, which shouldn't happen. A film of this length with the style of body count means that it should flow quickly and there's none of that in the film. Otherwise, these here are what keep the film down.Rated R: Graphic Violence, Language, Brief Nudity and a mild sex scene.

tomgillespie2002 Another day, another grossly absurd video nasty slasher film. J. S. Cardone's The Slayer offers nothing new to this (even by 1982) very tired sub-genre, each bringing nothing new to the screen - a tiresome effort to profit, and take advantage of horror tropes. Two couples go to a remote island on holiday, the two females based on cliché, as they appear aggressively unhappy about the trip before it even starts (typically ungrateful women! (sic)). Kay (Sarah Kendall) is an artist who paints from her nightmares, and she instantly feels uncomfortable on setting foot on the island.Of course, once they have spent one night in the rental house, they begin to be mysteriously killed off, a fact that Kay believes she is responsible, as she had dream-premonitions of the gruesome events. With its dull colour pallet of browns, greys and yellows, this is pretty dull stuff. The plodding story could have been trimmed by at least 20 minutes, as the director seems to simply fill time with tedious rummaging, and bizarre and pointless dialogue.One thing that does elevate this "shocker" is the supernatural manifestation of the monster, with its skeletal head, brightly lit in flaming orange colours. However, this image is left for the last shot on the island, and despite the movie tradition of not showing the beast until the end, this film may have benefited from a more prominent monster. The epilogue is bizarre in itself, bringing nothing to what had happened previously and possibly not really having any relation to the film at all - although, by this time I was so disinterested that I may have even distracted myself purposely to get away from the atrocity.www.the-wrath-of-blog.blogspot.com

bml84 This is one of those odd little films which isn't particularly good but does stay in the mind long afterwards.I originally saw it in the 80's and its core idea of fate and misaligned time really appealed to me. And the pitchfork murder was highly effective, although the 'hook' killing didn't quite come off. Also the entire ending was quite effective in 'looping' the movie.Watching with an older eye the idea strikes one that the killings could actually be the lead character herself, her inherent psychosis triggered by the trip (she certainly is portrayed as 'strange' throughout) and the 'Slayer' simply a manifestation of that madness.But thats if you want to analyse it, otherwise enjoy it as a straightforward Friday night horror romp.And don't go exploring noises in the cellar after ;-)