Courtney Bates, the younger sister of Valerie, and her friends go to their condo for a weekend getaway, but Courtney can't get rid of the haunting feeling that a supernatural rockabilly driller killer is coming to murder them all.
An unknown killer, clad in World War II U.S. Army fatigues, stalks a small New Jersey town bent on reliving a 35 year-old double murder by focusing on a group of college kids holding an annual Spring Dance.
An eighteen-year-old high school girl is left at home by her parents and she decides to have a slumber party. There is friction between some of the invited guests and the new girl, who is better at basketball than they, so the new girl decides to stay at home (which is conveniently across the street from the host's house). Meanwhile, a murderer of five people with a propensity for power tools has escaped and is at large, and eventually makes his way to the party, where the guests begin experiencing an attrition problem, with only the new girl to help them. Written by
Ed Sutton <email@example.com>
Many critics of the time, Siskel and Ebert as I recall, and others considered the "slasher" films of the time to be misogynistic. I presume mostly because many women/girls died deaths as grizzly as those suffered by the males. One thing they missed, and apparently not lost on Rita Mae Brown, was that it was almost always a female that "dispatched" the killer at the end, sometimes with the help of a male lead. On the one sheet for this movie we see the killer with a drill hanging between his legs like an oversized penis and the message is clear--fight back women and you wont get "drilled". But dont get me wrong guys, on the way to her womens lib message, the director provides more than her share of titilation for your average slobbering teenage(or older) boy. Brinke Stevens also does one of her famous butt shots in this one. Read the message, ignore the nudity, or enjoy the nudity and ignore the message: This movie works both ways.
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