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.
Five campers arrive in the mountains to examine some property they have bought, but are warned by Forest Ranger Roy McLean that a huge machete-wielding maniac has been terrorising the area.... See full summary »
A decades-old folk tale surrounding a deranged murderer killing those who celebrate Valentine's Day turns out to be true to legend when a group defies the killer's order and people start turning up dead.
The ex-boyfriend of a check-out girl at a supermarket returns at closing time to make trouble. They quarrel and the boyfriend is ejected from the store. After they lock the building up to take inventory, the employees start dying off, and the survivors must eventually find a way to escape with their lives!Written by
Ed Sutton <firstname.lastname@example.org>
When Joe's body is seen on the conveyor belt and then goes in reverse, the head falls off and rolls to the side. But in the long shot of him going back up, the head is still near the shoulders. See more »
To my knowledge, there were no slasher films set within a supermarket before this devilish debut for Scott Spiegel and later Tarantino collaborator Lawrence Bender came along. It's such a great setting for the subgenre, and the store used in Intruder is especially effective on account of its omnipresent dark corners and looming industrial machinery.
As far as the plot goes, you've seen it all before, and not even the "twist" is surprising. However, the film is so well-made that it doesn't matter. It makes up for its lack of originality with some good performances and a helluva lot of style, including unconventional camera-work (which Spiegel is clearly in love with) and brutal gore.
Intruder is especially good considering its late entry into the slasher pantheon, and actually manages to recapture a lot of the stylistic and structural panache of its early '80s predecessors. It graciously avoids the klieg-drenched, hackneyed, and tongue-in-cheek approach of its contemporaries and instead uses murky tints and plays it straight and without airs. This is easily one of the better slasher outings of the entire decade.
Also, the Final Girl wears some killer straight-outta-1989 pleated khakis.
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