First Scream to the Last
Adrian Roe
Copyright © 2014 Adrian Roe
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Introduction
As most horror fans will tell you, there is something very special about genre pieces from the eighties.
The decade seemed to produce some of the most endearing characters, and unforgettable movies. This
was also evident in the box office returns, with Horror films becoming a serious sell and a home video
market in its infancy that was quick to embrace, and exploit this.
I would often believe that the affection for these movies was simply limited to the generation that had
grown up with them, and remained loyal to the cultures that defined it. That would certainly offer a
logical explanation, but I quickly realized the popularity of these films ran much deeper than that.
Speaking with fans of the genre from varying age groups, the inescapable fact was that many of the
favorite films chosen were from the eighties. Whether a teenager or someone much older, we all seem
to be very familiar with this decade. What is it that had created this almost subconscious awareness?
The decade seems to have generated a presence and left an indelible mark on the genre, and our
conscious.
Films, and most in particular Horror films, are a reflection of society and the cultures present, and the
eighties was the perfect storm. Not only the dawn of the video age, this decade was extremely diverse
and vibrant, particularly for the younger generation. Horror films tend to (but not always) focus on our
adolescent years, and here lies the secret to the riddle. The eighties was the last major Cultural
Revolution for the young, with music and technology evolving at an exciting pace, it gave a colorful
and entertaining backdrop for all of these movies. Such an influential period it was, that its influences
are still seen and felt today.
The explosion in popularity for these films began in the late seventies, where the seeds were planted
with such classics as Halloween, The Hills Have Eyes, Black Christmas, Carrie, and The Texas
Chainsaw Massacre, to name just a few. There is the argument that this decade spawned the true
classics of the genre, and that is perhaps a story for another day. This book however will focus on the
genre’s phenomenal popularity that was enjoyed in the eighties, and explore the films that made it
happen.
Covering every single film from the decade would have been virtually impossible, so apologies if your
favorite movie is missing. I have tried to offer an insight over an extremely broad spectrum however,
and within these pages we will attempt to catalogue and review some of the key moments that this
fantastic decade had to offer.
Throughout the course of writing this book, I have been honored to have many directors; actors,
producers and writers of the time contribute toward the work. First Scream to the Last not only
represents a passion of genre fans, but also the very people that made it possible.
Supported with exclusive interviews from some of the key directors and producers of the time, it
offers a fascinating insight into what has remained a very special time in film making for all involved,
and fans alike.
Special Thanks
I would like to extend a special thanks to the following individuals, for their involvement and
contribution towards this work.
Collaborators and associated interviews include:
Wes Craven
Tom Holland
Brian Yuzna
Tom McLoughlin
Dee Wallace
Joe Augustyn
Victor Miller
Neil Affleck
Eileen Davidson
John Philbin
Adrienne Barbeau
Marsha Dietlein
Mick Garris
Barbie Wilde
Cortney Palm
Felissa Rose
A Nightmare on Elm Street / Shocker
Fright Night / Childs Play
Re-Animator
Friday the 13th Part VI: Jason Lives
The Howling / Cujo
Night of the Demons
Friday the 13th
My Bloody Valentine
The House on Sorority Row
Return of the Living Dead
The Fog / Creepshow
Return of the Living Dead Part 2
The Fly II
Hellbound: Hellraiser II
Silent Night
Sleepaway Camp
Chapter One
1980
Friday The 13th
When do the cultures and social climate that define a decade truly begin? Does everything change on
December the 31st at midnight? This is of course not the case, and film along with all other art forms
will evolve at it’s own pace following previous material and influences.
By the end of the Seventies the blueprint had been well and truly laid down for what was to become an
explosion of Horror film. Towards the end of the decade we had been left with an established subgenre that was becoming ever increasingly popular – The slasher film. With titles such as Black
Christmas, Tourist Trap, When a Stranger Calls, and of course Halloween, proving to be a huge hit
with fans, we should not have been surprised with how the Eighties began, as it picked matters up
where the previous decade had left off.
After John Carpenters 1978 ‘Halloween’, which is still regarded by many to be the best slasher film
ever made, 1980 was about to provide us with another cult classic which owed a great deal to its
predecessor.
Inspired by the success of Halloween, Friday the 13th was a film produced and directed by Sean S.
Cunningham. Filming actually began during September of 1979, so I cannot think of more suitable
film to begin with as we usher out the Seventies and bring in a brand new decade.
The film centered on a group of young camp counselors, who would work at Camp Crystal Lake
throughout the summer. Crystal Lake has a dark past, and one that will come back to seek revenge on
the councilors in brutal fashion.
In what Halloween offered in suspense, Friday the 13th had in violence and gore, in a movie that
offered the audience far more blood than had previously been seen in a slasher picture.
Cunningham, who did not even have a script when releasing promotional advertisements for the film,
had previously worked with Wes Craven on ‘The Last House on the Left’. Convinced that his title
would lead to success, he rushed out an advertisement in Variety magazine in the hope that it would
flush out any potential lawsuits regarding the title. Once the title was secured, focus could be placed
on the script for this future classic.
Victor Miller, who interestingly drew on his own childhood fears when writing the story, wrote the
script. I had the pleasure in interviewing Victor in 2013:
Where did the inspiration come from to write Friday the 13th?
Poverty and a family of origin, which lent itself well to the idea of a mother who would kill to punish
anyone for mistreating her son. My mother, sad to report, was not that kind. My childhood fears were
all used in the crafting of this screenplay.
Were there any other horror films of that time that you enjoyed, and helped to influence the story?
Halloween and Psycho.
Were there any aspects of the movie that did not follow your original story line?
Only the scene with the motorcycle cop which was not of my writing, because it cut against the idea of
a location which made it impossible for the kids to be aided by cops, militia, National Guard, Cavalry,
etc.
As a fan, what is your favorite scene from the movie?
Mrs. Voorhees recalling her son and vocalizing for him in her insane state. And Manfredini’s score
using those words.
Did you visit the set at all during production?
I was on set when Tom Savini and his assistant shoved the arrow through Kevin Bacon’s throat, a
physical impossibility, but a dramatic triumph.
Friday the 13th went on to become a phenomenal success; did you have any idea when writing it that
this would be the case?
I would have been happy if it had earned its investment back.
In your opinion, do any of the sequels follow the same tone as the original – and if so which one(s)?
I would not know. My intention had nothing to do with Jason as a killer in as much as he was dead
dead dead at the beginning of my film.
What are your thoughts on the sequels?
I don’t know. I have not seen any of them.
Years later, and with the benefit of hindsight – is there any part of the story that you would have
changed if you could turn back the clock?
Not really. I am so impressed by Savini’s special effects I would hate to see it in CGI. And Harry
Manfredini’s music is at least as important as any of the other aspects that made this film a hit.
Finally, of all the great slasher films made in the eighties, do you recall any one film that you
particularly enjoyed?
Halloween.
Filming for Friday the 13th actually took place on a Boy Scout camp that is still open to this day. Tom
Savini, who was quickly becoming an established special effects artist, having previously worked on
‘Dawn of the Dead’, was onboard to supply the incredible special effects. The soundtrack for the film
was written by Harry Manfredini, and is widely accepted as a key to the movie’s success (much like
Halloween before it).
Friday the 13th’s blend of atmosphere and high body count in gory detail ensued the film’s success,
and paved the way for what was to become a huge franchise.
With an estimated budget of $550,000 it went to take over $39.7 million at the US box office, making
it one of the most profitable slasher movies of all time.
The Shining
If the horror genre has a masterpiece, many would argue that The Shining would be just that, even
seminal perhaps.
Released in May of 1980, this adaption (albeit not direct) of the Stephen King best seller was directed
and produced by Stanley Kubrick, who left us with an extremely powerful and eerie vision.
Shot mainly at the EMI Elstree Studios in Britain, The Shining took just under a year to shoot. It was
one of the first movies to use the ‘Steadicam’, enabling Kubrick to capture such scenes as Danny
riding through the hotel, and the hedge maze. Upon the film’s release Stephen King was not overly
impressed with Kubrick’s adaption, as the movie does differ considerably from the novel. King was
quoted as saying,
‘It's like a great big beautiful Cadillac with no motor inside, you can sit in it and you can enjoy the
smell of the leather upholstery – the only thing you can't do is drive it anywhere. So I would do
everything different. The real problem is that Kubrick set out to make a horror picture with no
apparent understanding of the genre. Everything about it screams that from beginning to end, from
plot decisions to the final scene.’
Kubrick’s own defense of his movie as quoted from a previous interview,
‘With The Shining, the problem was to extract the essential plot and to re-invent the sections of the
story that were weak. The characters needed to be developed a bit differently than they were in the
novel. It is in the pruning down phase that the undoing of great novels usually occurs, because so
much of what is good about them has to do with the fineness of the writing, the insight of the author
and often the density of the story [...] Diane and I talked a lot about the book and then we made an
outline of the scenes we thought should be included in the film. This list of scenes was shuffled and
reshuffled until we thought it was right, and then we began to write. We did several drafts of the
screenplay, which was subsequently revised at different stages before and during shooting.’
There have been countless stories of record breaking takes being made, and actors (namely Shelly
Duvall) experiencing incredibly difficult times on set resulting in illness. Jack Nicholson became so
familiar with the constant changes in script that he would eventually resort to learning his words a few
moments before filming, after abandoning the countless scripts he was given in frustration.
The Guinness Book of Records actually has the scene of Wendy swinging the baseball bat at Jack
while backing up the stairs being taken 127 times. This has been disputed, but with other scenes taking
an even higher number!
With a budget of $19 million, the Shining went on the take over $44 million domestically.
There are actually three versions of the film, the original release running at 146 minutes, the US cut at
144 minutes and the international cut which runs at 119 minutes. The US cut removed a hospital scene
at the end of the film, with the international cut removing various scenes that were away from the
hotel. All versions are approved by Kubrick, making for a popular debate as to which version is the
‘genuine’ and completed film.
With its finely balanced mix of suspense, gore, eerie atmosphere and a tight cast, The Shining has
succeeded in pleasing not only horror fans but also mainstream cinemagoers alike.
As with many of Kubrick’s films, The Shining has become regarded as classic through time, and held
up by many as the best horror film of all time.
Maniac
One of the more gritty and darker exploitative films from 1980 was William Lustig’s ‘Maniac’, which
was written by Joe Spinell and C.A. Rosenberg.
Spinell also played the lead role of Frank, who as a middle aged loner would prowl the streets at night
in search of female victims to scalp and murder. Once in possession of this trophy he would return
home to dress his collection of mannequins with the bloody scalp. After dressed to his satisfaction,
Frank would sleep and talk with the chosen mannequin, as he felt the trapped victim belonged to him
forever.
Spinell, who was previously seen in Rocky, gave a genuinely disturbing performance as Frank and was
instrumental in the film’s success and future cult status. Tom Savini was on hand to provide the
special effects, and also had a role in the movie as one of Frank’s unsuspecting victims. It was
probably the goriest moment in the movie as we see him have his head blown off with a shotgun!
Filmed between October ’79 and January 1980, Maniac had an estimated budget of $350,000 with a
US gross return of $6,000,000. Being shot under such financial restrictions, many of the scenes were
shot without the correct city permits, and therefore had to be completed incredibly quickly with a
hasty retreat before the police turned up!
Caroline Munroe was the heroine of the movie, who interestingly got the role due to her then producer
husband putting $200,000 into the film.
Maniac gave us a twisted and dark insight into the mind of a serial killer and the graphic, gory killings
ensured that this film quickly became recognized as a cult classic. So much so that a remake was
released in 2012.
The Fog
The 70s had already seen director John Carpenter team up with Jamie Lee Curtis with huge success, so
what better way to start the 80s than with another film starring the scream queen in waiting!
Written by Carpenter and Debra Hill (who also produced the movie), The Fog offered a more
supernatural premise. An eerie fog bringing the ghosts of a vengeful shipwrecked crew to the sleepy
town of Antonio Bay. This was the backdrop for what was Carpenter’s first theatrical release since
Halloween.
Carpenter and Hill were actually inspired by a visit to Stonehenge in England, where they witnessed
an eerie fog in the distance. The story was also inspired by the British film ‘The Trollenberg Terror’.
Carpenter’s then wife, Adrienne Barbeau, was cast as the female lead with Tom Atkins cast as Nick
Castle. Jamie Lee Curtis was given the role of Elizabeth, and commenting on the role she said ‘That’s
what I love about John. He's letting me explore different aspects of myself. I'm spoiled rotten now.
My next director is going to be almost a letdown.’
Shot in 30 days and made on a budget of $1 million, The Fog was a commercial success bringing in
domestic box office returns of $21,378,000. A remake was also made in 2005.
The Fog offered a strong cast, a classic haunting atmosphere and a pace that kept the viewer
interested. What was missing in early cuts of the film was gore.
In fact Carpenter was so unhappy when first viewing the first cut that he added several other scenes to
‘beef up’ the horror element and offer a more complete movie. Carpenter commented, ‘It was terrible.
I had a movie that didn't work, and I knew it in my heart’.
I had the pleasure of interviewing Adrienne Barbeau in 2014, about her lead role as Stevie Wayne:
How did the opportunity arise for you to audition for The Fog, and what appealed to you about the
film and subsequent role?
I never had to audition for The Fog. I was fortunate enough to be married to the director, who wrote
the role of Stevie Wayne for me. I loved Stevie, loved her strength, loved her heroism, and loved her
job. Imagine, she didn't have to get dressed up or put make-up on to go to work, she got to listen to the
music she loved all day long, and work in the most amazing locale! I think Inverness and Point Reyes,
the locations for Antonio Bay, are as much valuable characters in the film as the cast.
You were of course married to John Carpenter at the time, how was it working with him on set and
how was he to work for in general as a director?
I met John when he directed me in Someone's Watching Me, so I knew him as a director before I knew
him socially. I love working for him; trust him completely. You couldn't ask for a finer director. We
only had one disagreement on the set in all the films I did for him. It was a scene of me alone in the
lighthouse. John said, "Okay, take a seat and we'll shoot." "Oh John," I said, "I think she's too anxious
to sit in this scene." And John said, "Okay, stand up and we'll shoot." Who wouldn't love working with
him?
Jamie Lee Curtis and Tom Atkins also starred in the movie, and featured in other horror movies of the
time, like yourself – what were they like to work with?
Tommy was a dear friend of mine before we did The Fog and he's still one of my beloved friends all
these years later. And although we've been in at least four films together (I think I'm forgetting one),
I'm not sure we've ever had any scenes together. Maybe Two Evil Eyes, but I just don't remember. He's
one of my favorite actors, though. I could watch him non-stop. And I never had any scenes with Jamie
Leigh, either, but she, too, was a friend.
What was the hardest scene to shoot?
I guess the hardest scene to shoot was the final one atop the lighthouse where I'm being pursued by
one of the pirate ghosts. I explain that scene in detail in my memoir There Are Worse Things I Could
Do. This was long before CGI remember, and we were working with 'fog juice' that wasn't easily
controlled. They could shoot it into a scene, but couldn't make it recede. And since that's what the
scene called for, we shot it in reverse sequence and then John printed the film backwards, or upside
down, or something, making it look like the fog disappeared at the end of the scene. I guess it's easier
to understand in my book. All I know is I had to act the scene and accompanying emotions in reverse
order.
Was there any research or inspiration involved on your part to make Stevie the fantastic and
memorable character that you did?
There was a well-known disc jockey on a New York radio station in the late 60s or early 70s named
Allison Steele. She had a very distinctive, low, sensual voice, as I recall. I kept her in my mind as I was
creating Stevie.
The special effects throughout the movie are great. What are your memories of the prosthetics and
makeup used on set, and of course the creation of all that fog!
I do remember the fog juice. I think it was a combination of oil and kerosene or some other vile
smelling liquid. It was dirty and oily and smelled to high heaven.
Do you stay in touch with any of the cast that you met during that film?
I keep in touch with all the cast and especially look forward to the conventions that bring us all
together. A little trivia: James Canning, who played the fisherman on the boat whose body falls out of
the cupboard onto Jamie Leigh, was with me on Broadway in the original production of Grease in
1972. He played Doody and sang Magic Changes. I was the original Rizzo. We spent a week together
last year in NYC, rehearsing the songs for a fortieth anniversary benefit.
Have you seen the re-make and what are your thoughts?
I've never seen the remake. From what I hear, I haven't missed anything.
Prom Night
After her roles in Halloween and The Fog, Jamie Lee Curtis was quickly establishing herself as the
‘Scream Queen’ for the 80s, and Prom Night would help to further secure that honor. In fact according
to the director Paul Lynch, even finding financing for the project was proving to be difficult until
Jamie Lee was on board.
A Canadian film released during July 1980 with a budget of roughly $1,6000,000, Prom Night was a
relatively successful movie making a US box office return of $14,796,236. Leslie Nielsen stared
alongside Curtis as her father, and also the Head Master of Hamilton High.
With a body count of eight, Prom Night followed the popular cliché of students at high school getting
sliced up by a mystery masked killer! This revenge based storyline was to become the blueprint for
countless other slasher films during the 80s. Lynch managed to achieve the atmosphere and feel of a
‘who done it’ mystery thriller, but at the same time making what was unmistakably a horror movie.
This was a formula that worked well, making for what was to become known as suburban horror or the
teen slasher movie.
Modern horror has long since enjoyed becoming a parody of these clichés, but these were innocent
times and the movie going audience couldn’t get enough of the ingredients that was almost essential if
the film were to attract its target audience. The creepy caretaker, students smoking dope and losing
their virginity, nudity, the red herring and the gory death sequences were all present in Prom Night and
many other teen slashers to come.
Prom Night was followed by 3 sequels, and a remake was made in 2008.
Terror Train
After the completion of Prom Night, Jamie Lee Curtis was in demand for her next horror film, Terror
Train, which was filmed immediately after.
Another Canadian film, Terror Train had an estimated budget of $3,500,000 and was released during
October 1980. With the classic stereotypical premise, Terror Train was almost identical to Prom
Night in its structure, dealing with an act of historic wrong doing being dealt with by a bloody revenge
campaign. In fact the film’s producer, Daniel Grodnik, even described the film as ‘Halloween on a
train’.
Terror Train was Roger Spottiswoode’s debut feature, and was written by T.Y. Drake.
The unique situation that the victims found themselves in within this scenario however is that they
could not run away of course, and this environment worked extremely well with regard to building up
tension and the inevitable chase sequences.
David Copperfield, who was of course a real life magician, played this role within the movie. Unlike
many other slasher movies of the time, the killer in Terror Train would wear several different masks
while mixing with the potential victims. This would increase the mystery and drama of the events as
they unfolded, making many fans pick this movie as one of the superior offerings of the year.
The film offers less gore than some of its counterparts, but certainly made up for this with superior
suspense and atmosphere created by some extremely inventive camera work. John Alcott, who had
helped create the outstanding visions in The Shining, provided the cinematography.
The majority of the film was actually shot in a warehouse, with the train carriages having been
modified to enable enough room for the crew and cameras. Filming would take place at night with the
train being rocked back and forth to give the illusion of movement.
Terror Train went on to take $8,000,000 at the US box office, and was Jamie Lee Curtis’ 4th horror
film in just 2 years.
City of the Living Dead
During the 1970s, Italian horror movies were breaking into the mainstream and becoming increasingly
popular. High on gore and with close up shots of killings in all their detail, this became indicative of
the Italian horror film or the ‘Giallo’ genre.
One of the key releases during 1980 was Lucio Fulci’s ‘City of the Living Dead’. Although Fulci had
been making films since the 1950s, it wasn’t until the 80s that he broke through and made his presence
known to a much wider audience. City of the Living Dead was the first in an unofficial trilogy of films
made by the aptly named’ Godfather of Gore’.
The story centers on the Gates of Hell being opened, unleashing zombies onto an unsuspecting town.
The main characters, played by Christopher George and Catriona MacColl, must then battle the gory
carnage that follows in order to close the portal before the dead take over the world.
Due to the high level of gore the movie was banned in various countries, and released with heavy cuts
in others. In the UK the infamous ‘head drilling’ scene was cut, with an uncut version not being
available until 2001.
Catriona MacColl would go on to star in the two follow up films to City of the Living Dead, and her
name has become synonymous with Lucio Fulci’s work.
City of the Living Dead opened with a mixed reaction when finally released in the USA in 1983, but
has become a cult favorite amongst horror fans. These movies offered a very different form of
entertainment from the countless teen slasher movies of the day, with the creepy atmosphere and ultra
gore. Fulci knew what fans expected, and certainly delivered the goods.
The House on the Edge of the Park
Another Italian shocker from 1980 was Ruggero Deodato’s ‘House on the Edge of the Park’, which
starred David Hess who had of course shocked movie goers back in 1972 with his role in ‘Last House
on the Left’.
In fact it was his previous role in Wes Craven’s infamous film that made him the first choice for
Deodato. Hess was given half the rights to the film, such was the importance of his involvement.
A dark vision of human nature and desires, the movie follows Hess and his friend as they terrorize a
small group of partygoers that have bitten off more than they can chew. Although largely shot in one
location, the movie succeeds in compelling the audience due to its disturbing atmosphere and mature
themes. Once again, an interesting alternative to the teen slasher movies of the time.
Made in just three weeks on an extremely low budget, House on the Edge of the Park generated huge
controversy upon its release. When reading the initial script, Deodato said in an interview;, ‘I thought
it was too violent. I make violent films, but softer ones. But this film was full of violence, and that
made me uncomfortable. When I met David Hess, I thought that with my direction I could make him
do anything. But when I first read it, I found it quite disturbing’.
Initially banned in the UK, it wasn’t available until 2002, and even then was subject to cuts of over 11
minutes.
The House on the Edge of the Park remains one of the most controversial movies made, securing its
place as a cult favorite for horror fans to this day.
Eaten Alive!
The subject of 80s horror movies would not be complete without the mention of a subculture known as
‘Cannibal-Rape’ films.
The general premise of these movies was as the description would suggest – explicit nudity,
castration, rape, animal abuse, and graphic gore – about as nasty as things can get on a visual level.
‘Eaten Alive’ was directed by Umberto Lenzi and was one of three well-known cannibal films of the
time. This movie actually used a lot of footage from other films for the gory shots, while wrapping a
story around them. This story involves the main character searching for her sister who has disappeared
in the jungles of Asia. What follows is a gory struggle against the local cannibals!
Lenzi would follow up with another cannibal film in 1981 titled ‘Cannibal Ferox’.
Cannibal Holocaust
Perhaps the most controversial of all the cannibal films was Ruggero Deodato’s ‘Cannibal Holocaust’.
The story follows the fate of a missing documentary crew in the Amazon Jungle, whose demise we
learn via the discovery of a film reel that was taken during their expedition. The Blair Witch Project
used this ‘found footage’ method of story telling, along with countless other films some 20 years later.
Deodato came up with the idea for the movie while watching a news report on terrorism, whereby all
the focus was on the violence. His film was intended as a reflection of the Italian Media.
The film itself created more controversy than any other release, with the animal killings being a huge
issue for many involved. Actor Robert Kerman walked off the set during the killing of a coati, and
tensions were extremely high throughout production. Shelley Duvall also starred, who of course is
best known for her role in The Shining.
Included also are scenes of rape and mutilation which were indicative of the Italian exploitation films
of this era.
When released, all hell broke loose with director Deodato actually being arrested for obscenity, and
murder (this charge was later dropped). The film was banned in numerous countries and remains so in
many to this day. While the exploitative nature of this film was too much for some, its importance
within the horror genre cannot be ignored and it is widely regarded as one of the greatest horror films
of our time.
Inferno
Dario Argento’s first film of the decade was ‘Inferno’, which was the sequel to the hugely successful
‘Suspiria’.
Filmed largely in Rome, with a few scenes shot in New York, Inferno was not given a wide theatrical
release and did not manage the same level of success as its prequel. Argento has gone on record as
stating that this was one of his most challenging films, and he was actually bed-ridden with hepatitis
for a short period, having to direct some scenes from his bed! The special effects were handled by the
legendary Mario Bava whose son (Lamberto Bava) was the film’s assistant director. Part of the ‘Three
Mothers Trilogy’, the story was designed to follow on from Susperia, with another of the evil sisters’
dwellings being discovered in New York.
Starring Irene Miracle and Leigh McCloskey, Inferno still offered the audience a stylistic movie that
had Argento’s classic style written all over it. Although perhaps not as controversial or shocking as
Suspiria, Inferno still had the visionary imagery and visuals that one would come to expect and enjoy
from the Italian master.
The movie was followed up by the final part of the trilogy (eventually) with ‘The Mother of Tears’ in
2007.
The Boogey Man
Written, directed and produced by Ulli Lommel, ‘The Boogey Man’ gained notoriety as a video nasty
of the 80s and was placed on the banned video list in the UK from 1984. It wasn’t until 2000 that the
uncut version was finally released.
Appealing to the slasher fans of the time, The Boogey Man dealt with the story of a child murdering
his mother’s abusive partner. Twenty years later the spirit if this man returns for a very bloody
revenge…
Dealing with possession, abuse, and murder in a very graphic nature, The Boogey Man was one of the
first 80s horror movies to really cash in on the rapidly growing video market of the time. With an
estimated budget of $300,000 the movie managed to bring in $35,000,000 worldwide.
The film was followed by 2 direct to video sequels.