Archive for Friday the 13th

Slasher Icon Kane Hodder lined up for Horror Con UK 2016

Posted in Horror Attractions, Horror Festivals, Love Horror with tags , , , , , , , , on February 25, 2016 by Hayley's Horror Reviews

The organizers behind Horror Con UK have announced some exciting news on their Facebook page. Since the reveal that the UK’s first ever Horror convention would be returning to Magna Science Park in Sheffield this July, fans and supporters of the event have been eager to see which guests would be lined up.

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Last year featured the late Gunnar Hansen (AKA. Leatherface in 1974’s Texas Chainsaw Massacre), Tom Savini (FX Artist on Friday the 13th, The Burning, Texas Chainsaw 2 etc.), and Bill Moseley (Star of Devil’s Rejects, House of a 1000 Corpses and also Texas Chainsaw 2) to name a few.

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The Yorkshire based event that celebrates blood, guts and gore on film as well as other mediums proudly revealed that the first guest to bring shock and terror to Britain this summer would be the legendary Kane Hodder, best known as the definitive Jason Voorhees. Hodder is the actor and stunt man who played the machete-wielding maniac in the most films beginning with Friday the 13th Part VII: The New Blood (1988) up until bad movie favourite Jason X (2001); that bizarrely saw the Camp Crystal Lake killer conquer space! Hodder is not only known for his Jason role, he also portrayed the terrifying swamp mutant Victor Crowley in Adam Green’s blood-soaked shocker Hatchet (2006) and its two sequels.

Tickets for the event can now be purchased on the website, with some great offers available! http://horrorconventions.merlintickets.co.uk/ 

Horror Con 2016 runs from Saturday July 9th & Sunday July 10th.

Keep updated on 2016’s goriest UK event over on FacebookIt’s the perfect event for fans of the gorier side of film to get together and celebrate everything they love about the genre while supporting up and coming and independent filmmakers and much, much more!

Check out coverage from last year’s event here.

Hayley Alice Roberts.

Hayley’s Horror Reviews. 

 

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RIP Betsy Palmer (1926-2015)

Posted in Women in Horror Recognition Month with tags , , , on June 1, 2015 by Hayley's Horror Reviews

Sad news for the horror community was announced last night, as slasher icon Betsy Palmer passed away from natural causes at the age of 88.

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Beginning her career in the 1950’s Palmer is best known to genre fans as the vengeful Mrs Voorhees in the original Friday the 13th (1980), the mother of classic killer Jason. Despite only initially taking the role to pay for a new car and infamously claiming “What a piece of shit! Nobody is ever going to see this thing.” Palmer eventually embraced her role as the deranged if not protective mother who went on a murder-spree, ridding Camp Crystal Lake of all its wayward teenagers in revenge for the careless death of her son. She reprised the role in a cameo for the sequel Friday the 13th Part 2 (1981) and took part in documentaries including Camp Crystal Lake Memories: The Complete History of Friday the 13th (2013) and Going to Pieces: The Rise and Fall of the Slasher Film (2006). She attended horror conventions and enjoyed meeting her fans who held a certain enthusiasm for the horror genre and her work in the Friday franchise.

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With Pamela Voorhees, Betsy Palmer was responsible for bringing a memorable and shocking villain to life. Little did audiences know that the knife-wielding maniac was non-other than an unsuspecting, charming former Camp Cook. Palmer gave one hell of a performance switching from sweet-natured lady to all out psychopath at the turn of a hat. If it wasn’t for Palmer’s heart-pumping reveal during Friday the 13th’s finale it may not have reached the level of iconic status that it has. Mrs Voorhees helped lay the groundwork for more interesting roles for women in slashers, not just the final girl type or the vapid cheerleader who inevitably gets decapitated. Having Mrs Voorhees as the killer also contributed to Friday not just being a another Halloween knock-off.

 

Betsy Palmer was and always will be a horror legend that will be sadly missed by all her fans.

Her Legacy will live on.

RIP to an unforgettable woman of horror.

Hayley Alice Roberts.

Hayley’s Horror Reviews.

For more of my work on Friday the 13th and Mrs Voorhees, check out:

Halloween Month: Friday the 13th (1980)

The Top 6 Psycho Mom’s

Halloween Month: The Burning (1981)

Posted in Halloween Month with tags , , , , , , , , , , , , , , , , , , on October 20, 2014 by Hayley's Horror Reviews

This week its time to present a campfire chiller all vengeful and bloody ready for Halloween. With the Abertoir Horror Festival on its way next month, complete with a notorious video nasties theme, it seemed appropriate to offer one of the first films that made it onto the UK’s banned list back in the 1980’s. Now while I’m all for recommending a certain iconic hockey-masked wearing, machete-wielding psycho that goes around slaying sexually-charged happy campers, The Burning is an interesting film in its own right. This is mainly because while the film pays homage to the sub-genre and shares its style and themes with the studio-slasher from the previous year, Friday the 13th (1980), it doesn’t wholly stick with expected conventions. However for its time of production The Burning still played it safe in terms of not diverting too far from conventionality. The early 80’s saw a out pour in popularity with the stalk’n slash teen movie and this was one of the earliest. Before Freddy Kruger there was Cropsy.

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A summer camp prank goes horribly wrong when a group of young teen males band together to exact revenge on their mean caretaker Cropsy (Lou David). What begins as a harmless scare turns into terror as the boys accidentally cause a drunk Cropsy to burn alive after knocking over a lit, decomposed skull. After five years of hospital rehabilitation, Cropsy is unleashed back into society, hell bent on murdering groups of youths near the summer camp he endured his fateful accident. The hormone-driven adolescents have no idea what’s in store once Cropsy and his sharp shears returns to bump them all off.

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The Burning materialized following well-known movie producer Harvey Weinstein’s desire to break into the film industry. Spotting the opportunity to capitalize on the success of low-budget horror films such as Halloween (1978) and The Texas Chainsaw Massacre (1974), Weinstein discovered a niche and then began to swap scary stories with his producing partner Michael Cohl. Recalling the legend of The Cropsy Maniac (the intended title) that he heard at a upstate New York summer camp as a child, Weinstein and Cohl had an idea on their hands. Upon the film’s release certain reviews (one found in J.A. Kerswell’s Teenage Wasteland (p.192) suggested that The Burning had attempted to replicate the success of Sean. S Cunnigham’s Friday the 13th which coincidentally was released a year prior. Weinstein has adamantly stated that he wrote his treatment for The Burning in 1979 and registered it in April 1980 a month before Friday the 13th was released. Tom Savini who was noted for his effective make up work on Friday the 13th opted to work on The Burning over the second part in the Friday franchise also released in 1981. His effects that transform Cropsy into a frightful monster are exceptional, providing a sense that he’s not quite human like the storytelling campers talk about within the film.

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The Burning is a classic tale of a murderous maniac exacting revenge on those who wronged him, one that has been heard from a friend of a friend and so on. Cleverly The Burning doesn’t let on as to whether the events of the film are real or not. Are we the audience just part of a campfire tale? Delving into the anxieties modern society faced such as the rebellion of youth and the lack of adult authority, The Burning is one of many 80’s horror films that achieves the notion of paranoia. Much of the killings take place during daylight which frighteningly allows the threat (the killer) to step into our supposed safe every day lives.

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There’s plenty of horror in store but also an interesting mix of teen movie/comedy tropes involving pre-marital sex ( a big no in slashers!) and elements of the coming-of-age film which lulls the viewer into a false sense of security as the The Burning really does slow-burn before getting to its bloodiest moments, allowing us to get acquainted with the young campers and their care-free attitudes that makes us forget horrible things are about to happen. There’s a sense of friendship at play as The Burning does something rare in comparison to the lot of slashers, it shortly does touch on the subject of remorse experienced by the remaining survivors following the discovery of the bodies of their dead friends on the abandoned raft; highlighting the severity of the ghastly events and their impact on the young.

Glazer is persistent for Sally’s affections.

Just like several films of its era, The Burning is a fable to suggest that if teenagers engage in sexual activity there will be dire consequences. However this is made complex throughout the narrative, the young female characters aren’t completely susceptible to the charms and occasionally forcefulness of their male peers, providing uncomfortable viewing. Interestingly, Cropsy’s first three on-screen victims are female (excluding the infamous raft scene). The first is a prostitute that Cropsy visits on his release from hospital, a sequence echoing the famous scene from Peeping Tom (1960), where we see the victim’s fear from Cropsy’s point-of-view. The second is Karen (Carolyn Houlihan) after she behaves like a cock-tease towards Eddy (Ned Eisenberg). She goes as far as skinny dipping with him but refuses to let him go the whole way, apprehensive due to his ladies-man persona, Karen worries that she’ll just be another “statistic” which hints as a metaphor to the fear of contracting a sexually-transmitted disease. Despite her decision to not have sex she still ends up dead, ironically a statistic in a teenage bloodbath. The frustrations of Eddy and Karen mirror those of the killer’s, all based in rejection, rejection from human contact.

Sally’s death scene. Sex = Death trope.

 

Cropsy’s third victim is Sally (Carrick Glenn). Sally plays hard to get against Glazer (Larry Joshua), who’s persistent and makes promises of a wonderful experience. On the outside Glazer is a brute and disrespectful to his peers but demonstrates signs of naivety and vulnerability. Sally eventually gives into him but the sex is far from the greatness she expected and is then the next to meet her demise. Even though the female characters are written a little more than one-dimensional with elements of headstrong personalities, they all fall into the the sex equals death category which wasn’t turned on its head until mid-90’s horror and beyond.

Todd, The Final Boy seeks out to defeat Cropsy.

Now where the film differs from its Halloween’s and Friday the 13th’s is by subverting the traditional dynamic of the inclusion of the final girl. The active character this time round who faces the killer head on is in fact male and one of the pranksters from the beginning of the movie, camp counsellor Todd (Brian Matthews). From a storytelling point of view this made sense with Todd confronting his mistakes in early adult-hood as he was partly responsible for Cropsy’s disfigurement. Interestingly he rescues another male character, Alfred (Brian Backer), the observant one that first sees a glimpse of Cropsy from the window early on while the others dismiss him. Together these characters embody the tropes associated with the final girl. The Burning remains one of the only films of the genre to feature a final boy instead with Todd representing the muscle and Alfred the mind. Together they combine the essential ingredients for a horror movie survivor while eliminating the boy saves girl or vice versa convention.

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The identification with the killer in slasher cinema was fast becoming a sub-genre staple. Point-of-view shots from Cropsy are depicted early on within the film, the effect was created with the use of vaseline rubbed onto the camera lens to indicate distortion. In this case the teenagers describe him as a monster and use him as scary-story material but from an audience perspective there is a slight sense of empathy for our shear-swinging psycho. The Burning doesn’t establish enough as to what sort of brutal acts Cropsy conducted during his time as a caretaker and whether he warranted such an unpleasant fate at the hands of the kids who claimed his cruelty. Therefore there’s a complexity at play as to who’s side the audience should be on, or possibly we’re meant to see it from both angles. Unlike Michael and Jason, Cropsy does not disguise himself with a mask, however he embodies the tropes of the silent killer. His burned face was possibly an early inspiration for Freddy Krueger.

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Strangely, the BBFC over here in the UK had let Friday the 13th off the hook and was released uncut in 1980. James Ferman, the censorship director at the time had deemed it too “far-fetched” to even be considered realistic. However by 1981 things had changed. 26 cuts to the gore effects were made to The Burning when it came out on September 23rd 1981 with a big, fat X certificate. The 26 seconds did reduce the impact of the film’s goriest scenes which depict close-ups of impalements courtesy of  a sharp object. When home video was on the rise, Thorn-EMI allegedly put the the uncut version of the film by accident onto VHS. This was where the controversy began. When the film was seized under the Obscene Publications Act, Thorn-EMI tried their hardest to ensure the government that they had not purposely intended to release the film in its original state. They attempted a compromise where they would bring out a BBFC-approved version, however video-store owners and gore-hungry horror fans alike tried to keep their copies of the version that was meant to be seen making it one of the most infamous video nasties of the decade. Looking back now in 2014, it does go to show that when banning certain films, while letting others into the public domain unscathed that were thematically similar to each other that there was little knowledge about horror films when it came to censors, making them appear contradictory and ignorant but this is something that has been covered exceedingly well in both of Jake West’s Video Nasties documentaries, Moral Panic, Censorship and Videotape (2010) and Draconian Days (2014).

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The Burning is one to watch this Halloween. While it didn’t hit the same chord as the Friday the 13th franchise or generate mindless sequels (thank God!), its a gem in its own right. While not the greatest horror film ever made, its by far not the worst, it includes some of Tom Savini’s best FX work and an insight into a different slasher perspective. Who could forget the iconic imagery of Cropsy holding up his shears ready to kill?! Its based on a real-life urban legend too! The Burning launched the careers of Holly Hunter, Jason Alexander and Fisher Stevens, all the best actors start out in horror (yes I’m referring to you Johnny Depp!). But best of all you can watch it completely and totally uncut!

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Hayley Alice Roberts.

Hayley’s Horror Reviews.

**Third Anniversary Review** Embracing the Dark Side: Why We Watch Horror? A Personal Piece.

Posted in Anniversary Pieces, Horror Festivals with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 18, 2014 by Hayley's Horror Reviews

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To many of us Horror films are an integral part of who we are. They’re something that has shaped our interests and is a genre that continues to both fascinate and terrify us. There are several types of viewers when it comes to Horror; there’s the casual viewer who will take an interest and perhaps watch out of endurance with the possibility of generating a sense of fear. There’s those who completely dismiss horror due to squeamishness or not realizing  the underlying metaphors beyond the imagery presented before them; and finally there’s the the Horror fan, a category myself and many awesome people I’ve come to know over the passed few years fall into. The Horror fan is passionate about what’s going on in the genre, we adore the classic films that have shaped our knowledge from the Universal Monsters to the Hammer’s Horrors. We have an appreciation for the trends, conventions and tropes and make time to consume the latest in independent film through attending genre festivals. We also may be avid viewers of Sky’s Horror Channel and purchase niche magazines e.g. Scream Horror Magazine and Fangoria. But why is it we have a particular attraction to the dark side? to the macabre? to all things gory? Why is it we watch Horror?

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Don’t fear the Horror Fan!

Many psychologists have concluded that fear itself taps into our primitive subconscious. This insightful article explains Sigmund Freud’s theory regarding our fascination with horror, his interpretation suggested that strange, unexplained images found in the id are suppressed by the ‘civilized’ ego whereas another famous psychologist Carl Jung expressed the idea that there are a form of archetypes deep within our subconscious that are linked with images continually present within the horror genre. Interestingly this sort of indicates the possibility that this is an integral part of everyone however the horror fan seems to embrace their primitive subconscious more than those who object to violent imagery. Over the years I have endured criticism for my taste for the bloodier side of film. “How can you watch something like that? It’s Sick!” is a common assumption and in fairness, how anyone interprets any of imagery is subjective. To suggest that each and every one of us have violent tendencies somewhere in our make up is pretty scary to comprehend however as horror fans, the fact that we subject ourselves to these images on a frequent basis can act as a form of catharsis and as an outlet for our deep-rooted aggression. I am a firm believer that the link between watching horror films and violence in society is incredibly weak and is more than often caused by untreated psychological issues. That said, if that’s all we watched horror films for it would be a pretty tedious exercise and without a doubt Horror holds a great deal of entertainment value.

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One of the most relateable pieces of literature I have come across is Mark Kermode’s ‘I was a Teenage Horror Fan’ which is featured in Martin Barker and Julian Petley’s book Ill Effects: The Media Violence Debate. Kermode discusses how the horror fan deciphers a deeper meaning of the images we see on screen.  Despite coming from a different generation, similarly to Kermode I became fascinated with horror at a young age, as a pre-teen to be exact. My favorite television shows at Primary School age were Buffy The Vampire Slayer (1997-2003)Are You Afraid Of The Dark? (1991-2000) and Goosebumps (1995-1998). I had already been terrified by Nicholas Roeg’s dark children’s film The Witches (1990) and would always re-watch Return to Oz (1985) when it was broadcast on TV. Even when I watched Disney films, the villains seemed more interesting than the heroes/heroines. While originally frightened by the obscure and uncanny, the older I got the more obsessed I became. I would always gravitate toward Horror VHS’s at the local rental shop, curious of the sinister looking monsters that appeared on the artistic covers, Pinhead and Freddy Kruger being stand outs.

Without prior knowledge of Freddy Kruger, this video case in particular appeared unnerving to my younger self.

As Kermode discusses his curiosity with The Exorcist (1973) on its initial UK release in 1974 due to hysteria and word of mouth from those who had seen it, the media hype surrounding these films only encourage that curiosity to grow bringing determination to see the horror on screen unfold for ourselves. For me the films that have caused controversy during my own generation include The Bunny Game (2010), A Serbian Film (2010) and The Human Centipede Films (2009, 2011), I have only seen the latter films mentioned but genuinely feel there has been unfair misconceptions surrounding them, its definitely clear that since the moral panics of the 80’s, not a great deal has changed in certain cases however horror has generally become a slightly more accepted form of entertainment. During my childhood, horror films were always  playground discussions in terms of who had seen what and how terrifying the film was but to my knowledge I was one of the only ones who let that sense of fear and enigma become a life-long interest.

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Kermode mentions that there’s a certain solitude that originally comes with being a genre fan. He recollects his late night visits to grindhouse London cinemas to enjoy X-rated double bills in which he’d be surrounded by like-minded people who in his words would be ‘getting more out of the movies than passing scares, watching them again and again, learning them, studying them’. Whereas I was never fortunate to experience horror in the cinema until at least the age of 15, prior to that I would record endless VHS tapes of the Elm Streets, the Friday 13ths, Scream’s etc. and of course watch them alone with pure enthrallment. I was determined to watch anything that was listed in the TV guide with the tag ‘Horror’ even if I was unfamiliar with its content and would end up watching a terribly bad film. Despite this, being a horror fan meant it was difficult to find other people to relate to back then. It also wasn’t until I studied a Horror module at university I was able to develop different ways of thinking about the films I’d grown up with and always loved.

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Community is a vital part of being a horror fan. It was 2009 when I attended my first full horror festival at Abertoir, which has been an annual tradition ever since. In 2011 I also began to visit Sheffield for Celluloid Screams. Attending these goreific events has allowed me to meet and socialize with others who share my interest. Not only do we watch a selection of brilliant movies but there’s the opportunities to discuss them afterwards and even meet the filmmakers behind them. One of the most appealing aspects of horror fandom is this close-knit community. Filmmakers in general are approachable and happy to give time to their fans and the fans themselves are some of the friendliest people I’ve ever come across.

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Therefore, there are several reasons why horror films are so appealing and why being a fan of them is incredibly important. There’s the enjoyment of the suspense and tense atmosphere, the familiarity of the tropes and conventions displayed, the opportunity to study the genre and discover interesting metaphors that say something profound about our society. There’s the sense of catharsis violent imagery can provide us with as well as the ability to identify with the characters we see on screen in some way or another. We also can’t forget the adrenaline rush a thrill ride of terror can give us, there’s the iconic imagery we come to recognize as well as the wide spectrum of sub-genres on offer from slashers in masks to the spooky supernatural. We keep watching because there’s so much more to discover as horror continues to transform and adapt. While there are times when Horror films may seem tired and repeated there’s always still plenty of underground gems that really blow our minds, Horror still has the ability to shock and scare us and we indulge.

I’d like to say a massive thank you to the amazing horror community that have supported me over these passed three years, it really means a lot and has provided me with some fangtastic writing opportunities that I hope will continue.

Thanks for Reading.

Hayley Alice Roberts

Hayley’s Horror Reviews.

**For last year’s Second Anniversary Review on Urban Legends in Film Visit:**

https://mshayleyr1989.wordpress.com/2013/05/17/second-anniversary-review-part-one-urban-legends-in-films-television/

https://mshayleyr1989.wordpress.com/2013/05/18/second-anniversary-review-part-two-movie-mayhem-the-shocks-behind-the-scenes/

Mother’s Day Special: The Top 6 Psycho Mom’s!

Posted in Women in Horror Recognition Month with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 30, 2014 by Hayley's Horror Reviews

Happy Mother’s Day to all the awesome mum’s out there. In the horror film, mother’s have played an integral part in the makings of some of our beloved psycho killers. So, what better way to spend mother’s day than counting down some of my personal top five maniacal mother’s who have created carnage on our blood-splattered screens for several decades. These martriach’s would go to any warped lengths for their children and that’s why we love them! I’d like to dedicate this review to my own mother as a thank you for introducing me to the horror genre at a young age, attending some of the UK’s best festivals with me and for generally being awesome.

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6. Mrs Koffin, Mother’s Day (2010)

  • Played by Rebecca De Mornay

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In a performance uncannily similar to that in 90’s thriller, The Hand That Rocks The Cradle (1992); Rebecca De Mornay yet again plays an unhinged woman with maternal instincts. This mother will do all she can to protect her sons, even kill! When a bank robbery goes wrong, the three Koffin brothers turn to their mother for assistance in occupying their old house while taking the new owners and their friends hostage. Initially Mrs Koffin acts friendly towards the frightened individuals, but once she questions them about supposed money her sons had sent her to that address and the group fail to comply in giving back what’s rightfully her’s, things get nasty! With a calm and collected exterior, Mrs Koffin soon shows she’s not to be messed with, permitting her sons to carry out unspeakable acts of violence on the innocent victims. Ambiguous and unsettling, this psychological thriller keeps the audience on edge unknowing what the mother will do next! Mother’s Day was originally a 1980’s exploitation, Troma film directed by Charles Kaufman that has since garnered a cult following, but in this case Darren Lyn Bousman created a glossy, loose re-telling to fit in with today’s Hollywood standard of remakes. That said, Rebecca De Mornay proved to be the perfect casting choice in an overall enjoyable film.

5. Beverly Sutphin, Serial Mom (1994)

  • Played By Kathleen Turner

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Kathleen Turner is superb as the crazed suburban housewife who gets her kicks out of murdering those who don’t comply by her rules! In John Waters warped social commentary on media violence and its effects on society, deranged Beverly Sutphin becomes somewhat of a serial killer celebrity gaining empathy and support from her adoring public. She is most defensive when it comes to her two teenage children Chip and Misty, she brutally runs over her son’s Maths teacher who claims he needs psychological help due to an “unhealthy obsession” with horror movies and graphically impales her daughter’s love interest when she spots him with another girl. Beverly isn’t the most subtle of serial killers, she doesn’t cover her tracks well and is pretty much suspected from the off. She gets her thrills from terrorizing her neighbor with obscene phone calls and isn’t afraid to be vocal about her distaste for others behavior. She is however a lot smarter than first assumed and manages to defend herself in court, getting the backs up of her antagonists and influencing the jury to set her free. In a extraordinary Waters style twist, Beverly’s husband and children are fiercely loyal to her, campaigning for her release while unashamedly basking in the fact their mother has murdered six people with some gruesome methods. In a film very much commenting on the changing society of the 90’s and media influence, Beverly is a glorified serial killer much to do with the fact she embodies what a lot of women could relate to, the fairly normal housewife and mother archetype who is not to be underestimated. The themes in this black comedy such as blame on media violence and the glamorization of murder trials still holds relevant. Beverly is one quirky killing mother not to be messed with. Remember, always recycle and rewind your video tapes!

 

4.  Mrs Bates, Psycho (1960)

  • Played By Anthony Perkins

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Arguably one of the most iconic mother’s in horror, Mrs Bates is integral to son Norman’s psychosis and despite being a rotting corpse she makes a prominent presence in Alfred Hitchcock’s classic adaptation. Driven by jealousy, in life Mrs Bates behaved in a controlling manner towards her only son, forbidding him any romantic involvement and claiming any woman with her as an exception were “whores”. Norman lived isolation with his mother for several years until she embarks on a relationship with Joe Constidine who encourages her to open the infamous Bates Motel. Feeling his mother slipping away from him following neglect, Norman cruelly poisons her and her husband to be in a staged suicide attempt. Unable to deal with his loss with guilt weighing heavy on his shoulders, Norman brings his mother back to life in a sense as she becomes a section of his personality, motivating his psychotic tendencies against women he develops an attraction for. Norman dresses in her clothes while maintaining her mummified corpse. By the film’s end Norman becomes institutionalized with his mother’s personality consuming him. She acts as a justification for his murderous ways. Mrs Bates was heavily influential on one of the suspense genre’s most well-remembered killers. When Hitchcock released Psycho he achieved a hair-raising effect on his audience especially with the reveal of this macabre mother’s decaying corpse and Norman Bates’s disturbed split personality. Her legacy lives on!

3. Mrs Loomis, Scream 2 (1997)

  • Played By Laurie Metcalf.

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In an unexpected twist, the second ghostface killer reveal in the highly anticipated Scream sequel was one menacing mother hellbent on revenge for the death of her equally psychotic son Billy Loomis. Mrs Loomis is extremely crafty in terms of how she goes about getting her vengeance. Following some plastic surgery, she creates a new identity for herself as Debbie Salt, the over eager news reporter who rubs Gale Weathers up the wrong way. Popping up at the crime scene following some of Windsor College’s gruesome murders she has the perfect cover, innocently “reporting” the incidents. Her plan is calculating as she intends to frame college student and partner in crime Mickey Altieri for all the murders while taking out Sidney Prescott and Gale Weathers in the process for their part in the death of her son from the first installment. Channeling Mrs Voorhees from Friday the 13th (1980), she is purely motivated by grief and revenge. Billy became a murderer after she abandoned him following her husband’s affair with Sidney’s mother and she continues his legacy. She blames Sidney heavily for the breakdown of her family unit and won’t stop until she has her dead. Mrs Loomis is remembered for killing fan favorite and movie buff Randy Meeks who met his maker from speaking poorly of Billy. When re-watching Scream 2, its clear at which moments feature Mrs Loomis donning the ghostface attire as she is left handed when she takes to the blade. She does not succeed in her thirst for revenge as she is killed by Cotton Weary who was framed for killing Sidney’s mother in the original film. Sidney shoots her in the head one last time to make sure she’s well and truly gone. Mrs Loomis was the first female killer in the Scream franchise making her the original Ghostface Girl before myself and Caitlyn!

2. Margaret White, Carrie (1976)

  • Played by Piper Laurie

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You can’t create a list of Horror’s most psychotic mother’s without the inclusion of Margaret White. With origins in literature through Stephen King’s novel, Margaret White is the fanatical religious mother of telekinetic Prom Queen Carrie. The most memorable portrayal of this character comes in the shape of Brian De Palma’s 1976 adaptation. With an emphasis on anything to do with sex or the female body as a sin including Carrie experiencing a traumatic first period, Mrs White is the worst mother any teenager could possibly have. She raises Carrie with extreme restrictions, sheltering her from reality. When she becomes aware of Carrie’s abilities she behaves fearfully and deems her a “witch” frequently reading passages from the bible. She meets her demise following Carrie’s blood-soaked rampage at her prom. Carrie returns to her home broken and drained then Mrs White viciously stabs her, this causes Carrie to use her abilities to impale her mother in a symbolic killing mimicking a religious figure. Piper Laurie gives a somewhat hammy yet unsettling performance, this is due to her allegedly perceiving the script as a comedy but it does work well in creating an unhinged, mentally unstable character.  Due to her performance as Mrs White, Piper Laurie achieved some award nominations for ‘Best Supporting Actress’ at the Golden Globes and the Academy Awards. Playing this insane mother ultimately relaunched her career.

1. Mrs Voorhees, Friday the 13th (1980)

  • Played By Betsy Palmer

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Channeling Psycho’s Mrs Bates within the films aesthetics, the mother of the iconic, hockey masked wearing, machete wielding killer Jason Voorhees occupies the top spot. Mrs Voorhees is one of horror’s most unforgettable and unexpected twists. In a flip reverse of what Psycho achieved, Mrs Voorhees motivations stem from grief following the death of her son Jason at Camp Crystal Lake. She also has a split personality, bringing Jason through as she commits murder, slicing and dicing sexually charged youths. Like the majority of the mother’s on this list, Mrs Voorhees is overprotective and will do what it takes to shelter her child from harm. She was a teenage mother with a son born with  hydrocephalus (water on the brain), in order to protect him she shielded Jason from a regular childhood, denying him schooling. While working as a cook in Camp Crystal Lake in 1957, Jason was exposed to constant bullying and teasing. While unattended, Jason went swimming in the lake’s murky waters, unbeknown to the camp counselors who were busy with certain other matters. Jason subsequently drowned sending Mrs Voorhees on a murderous rampage seeking revenge on any teenager who sets foot in the aptly nicknamed “Camp Blood”. She reveals herself in 1979 following the camp’s re-opening and several other grisly murders. Final Girl Alice Hardy ultimately decapitates her ending her bloody reign of terror. Mrs Voorhees death is responsible for avenging Jason and beginning a franchise of  gory horror films with an emblematic serial killer at the helm. She has proven influential particularly in the construction of the previously discussed Mrs Loomis. Betsy Palmer initially dismissed the film not expecting anyone to watch it however she created a cult character and a highly memorable performance of a psychotic mother who certainly won’t let things lie when it comes to her only son. Click here for more on Friday the 13th (1980) from this site.

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Hope you enjoyed this countdown. Feel free to comment or tweet (@Hayleyr1989) on your favorite psycho mom’s! Also check out my latest debate with Caitlyn (Scared Sheepless) on Wolf Creek (2005) currently available on moviepilot.com.

Hayley Alice Roberts.

Hayley’s Horror Reviews