Tobe Hooper.
At the mere mention of his name, which of the late filmmaker’s works leap to mind?
The Texas Chain Saw Massacre, of course. Certainly his most iconic film, and surely his masterpiece.
How about that film’s gonzo 80s sequel? Or perhaps Eaten Alive, his EC-tinged grindhouse film featuring a maniacal hotel proprietor and his pet crocodile? Maybe your mind leaps to his blockbuster spook story Poltergeist, his nightmarish alien invasion remake Invaders from Mars, or his superb television miniseries adaptation of Stephen King’s Salem’s Lot?
But what of The Funhouse, Hooper’s stylish, scary entry in the then-burgeoning teen slasher boom? Released in 1981, a golden year for releases in that subgenre, The Funhouse stands as a vital entry in the filmmaker’s canon, marrying his penchant for dark humor and grisly horror with a studio budget, paving the way for much of his work throughout the next decade.
At the mere mention of his name, which of the late filmmaker’s works leap to mind?
The Texas Chain Saw Massacre, of course. Certainly his most iconic film, and surely his masterpiece.
How about that film’s gonzo 80s sequel? Or perhaps Eaten Alive, his EC-tinged grindhouse film featuring a maniacal hotel proprietor and his pet crocodile? Maybe your mind leaps to his blockbuster spook story Poltergeist, his nightmarish alien invasion remake Invaders from Mars, or his superb television miniseries adaptation of Stephen King’s Salem’s Lot?
But what of The Funhouse, Hooper’s stylish, scary entry in the then-burgeoning teen slasher boom? Released in 1981, a golden year for releases in that subgenre, The Funhouse stands as a vital entry in the filmmaker’s canon, marrying his penchant for dark humor and grisly horror with a studio budget, paving the way for much of his work throughout the next decade.
- 9/9/2022
- by Jason Jenkins
- bloody-disgusting.com
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