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.

Maniac (1980, dir. William Lustig)

A mother-obsessed New York loner goes on a killing spree. De Palma-ish slasher, with the expected Hitchcock and giallo references. Maniac works because of its grubby style, its still-effective gore, decent direction, and a sweaty central performance.