The Burning (1981, dir. Tony Maylam)

Five years after being burned alive, a caretaker returns to the woods near his old summer camp job. Derivative but somehow superior slasher, benefitting from excellent practical effects and some arty directorial moments. Nods to Psycho, Deliverance and Don’t Look Now, plus some subtlety between the horny teens and the kills.

Prom Night (2008, dir. Nelson McCormick)

A murderous obsessive escapes his facility on the night of his target’s senior prom. Keeping only the geography and one of the storylines of the 1980 original, this is a perfunctory slasher, startling only in its plot simplicity. Some depth in casting featuring The Wire alumni adds interest, but that’s about it.

Prom Night (1980, dir. Paul Lynch)

A masked killer stalks teens at their high school prom. Early entrant in the slasher subgenre, this mixes elements of whodunnit and giallo, an escaped psycho, plus a childhood tragedy to be avenged. Some arty moments in its direction; the film spawned four sequels and a remake.

Black Christmas [AKA Black X-Mas] (2006, dir. Glen Morgan)

One Christmas, an escaped killer returns to his home, now a sorority house. This first (loose) remake of the 1974 genre outlier is somewhat confusingly-organised and doesn’t hit the same gleeful stride as the same team’s Final Destination movies, but at least commits with some confident direction, gore, and a couple of weird moments.

10 to Midnight (1983, dir. J Lee Thompson)

A veteran cop is determined to bring a multiple-murder suspect to justice. Lumpen sub-Dirty Harry horror-thriller, blending police procedural with slasher pic. Despite an interesting approach to its villain, this is straightforward exploitation fare, its director’s and star’s former glories notwithstanding.

Maniac Cop (1988, dir. William Lustig)

A kill-happy cop returns from the dead to get revenge on the NYPD. Patchy late entry in the slasher cycle, this has some of the quirkiness of writer/producer Larry Cohen’s best work, but is let down in places by flat performances and unimaginative direction.

Friday the 13th Part V: A New Beginning (1985, dir. Danny Steinmann)

Still traumatised by the events of Part IV, the now-adult Danny wonders if he is responsible for a new series of killings. Undistinguished mid-series entry; Part V tries some fresh ideas, but mostly settles for a high body count and gratuitous female nudity.

Terrifier (2017, dir. Damien Leone)

A psychotic murderer dressed as a clown stalks two students on Halloween. Gleefully gory and grimy 80s throwback slasher/torture porn hybrid. Ultimately wearying, there are some genuinely funny / jarring / startling moments nevertheless.

Happy Death Day (2017, dir. Christopher B. Landon)

A female student has to relive the day of her murder again and again. Sprightly campus-based slasher horror-comedy, fairly unashamed in its mashup of Groundhog Day and Scream. Pretty good, within its limitations, leading to a direct sequel two years later.

Maniac (2012, dir. Franck Khalfoun)

A mother-obsessed mannequin restorer goes on a killing spree. A proficient and times stylish remake of the 1980 original, though it adds little except a tidier narrative and well-handled use of subjective camera; not enough to justify its existence.