The Prowler

Episode 306, 2 Guys and a Chainsaw podcast

Todd: Hello, and welcome to another episode of Two Guys and a Chainsaw. I’m Todd

Craig: and I’m Craig.

Todd: Well, here we are on week three of our very specific theme month of 1981. slasher movies cuz 1981 was a pivotal year for slasher movies. Anyway, there’s sure were a lot of them. We’ve done several horror movies in 1981.

If you get on our Patreon, uh, and you become a member, you can visit our mini. So where we talk about exactly why. I’m not gonna pretend we did. It was all me why I thought had this crazy idea of choosing 1981. And, uh, all of the movies that we’ve seen in 1981, as well as the ones we kind of wanna see, uh, and, uh, why it just sort of seemed to be a banner year for slashers, at least a pivotal sort of turning point between between two eras.

So we’ve done two before and this one, uh, is one that I have been wanting to do forever. The Prowler. I don’t know. It’s just, you know, I never saw it growing up. Have you, have you seen this? Nope before or? Nope. Okay. So yeah, I never seen it before, but it, it popped up every now and then on lists, surprisingly, a couple magazines, put it on one of the top 25 or 50 slashers of all time.

Not in like the top 10, but a little lower on the list, but I’d never seen it. I don’t even know if I’d seen it on the shelves in the horror section when I was out there, it’s purely something that the internet delivered to me. Mm-hmm this is a movie that Tom Sini, the. Inevitable special effects artist, you know, who kicked off the Friday, the 13th franchise did incredible work on, um, night of living dead and Dawn of the dead.

And is an, a legend in the special effects industry. Still consider this considers this, some of his best work. In fact, he was the man behind the mask for at least a kill scenes in this movie. Right. Uh, and so, uh, I thought, well, that’s pretty significant. And then the director of it is, um, a guy named Joseph Zeto.

Yeah. Joseph Zeto and you know, , I know when you hear that, right.

Joseph Zeto, uh, he’s has 10 directing credits to his name, the Prowler. He did. He did a horror movie before this called Blood Rage, which sounds kind of interesting. This movie apparently got him enough cred to do Friday the 13th: The Final Chapter, which when was, when Tom Savini was invited back into the series, they thought that was gonna be the last, uh, Friday, the 13th movie.

Um, and so they, you know, put their heart and soul into it, Corey Feldman’s in there anyway. Um, and then he goes on from this to do a bunch of like, it’s just total eighties. I love it. Um, Missing In Action Invasion, USA, Red Scorpion, Delta force. Eighties action movies that were also a dime a dozen, just like the horror movies were also was the executive producer for he’s back the man behind the mask.

I’m a big Alice Cooper fan. And Alice Cooper did the, the music video for the theme song of Friday the 13th. So it’s kind of interesting, but uh, now he’s consulting producer for a TV series. He hasn’t really done much since the late eighties, but anyway, this is one of his seminal works. And so we’re reviewing it.

Craig: I assumed you picked this movie. It’s so funny, but I just assumed that you picked this because the director was the director of Blood Rage, which is not a movie. That sounds interesting. It’s like one of your favorite movies 

Todd: no, no, no, Craig you’re mistaken. This is different. This is BloodRage. One word. Blood Rage

two words is the Thanksgiving one. Okay. Bloodrage, one word, which don’t get me wrong. Got me excited when I first saw it, but I thought, no, I would’ve known this in advance. Okay. Bloodrage, one word, is about like a, a guy killing prostitutes. Gotcha. Apparently, maybe we should end up doing it at some point because it’s got kind of Maniac vibes.

It’s like a very underground kind of grimy New York sort of style movie. That might be interesting in its own. Right. But 

Craig: no. Okay. Yeah. Easy mistake I suppose. Um, yeah, but yeah, it’s interesting that you mentioned Maniac because Tom Savini came immediately off Maniac and did this movie. Hmm. And if you see Tom’s name on something, you know, you’re in for a treat because the guy is just a genius when it comes to, uh, practical, special effects.

He’s, he’s just fantastic. And that’s, you know, I was talking about this movie last night and I said, there’s not much notable about it except. The special effects are amazing. Yes. Like these are some of the best practical effects that I’ve ever seen. I was 

Todd: blown away. Yeah. I was not expecting to be blown away. I was also, my stomach was turned a little bit. Yeah, 

Craig: right. Well, I, I read the, you go hand in hand Uhhuh I read somewhere that, um, the director went to a screening and I don’t know if it was an usher or a security guard or, or somebody he told this guy that he was the director and the guy was like, oh man, you really killed those people.

Didn’t you like, that’s how real it looks. It really looks super real, frankly, like to the point where usually when you see practical effects, you can, you, you can see behind the curtain a little bit, you know, you can kind of tell how they did it, 

Todd: little stretchy latex, or like you kind of that, that head looks a little fake, you know, that kind of thing.

Right. And 

Craig: this, there were at least a couple of the kills that I was like, I have no idea how he did that because it looks totally real. Mm-hmm , it’s crazy. Overall. Really? I was underwhelmed with the movie. Yeah. But it’s worth the price of admission just for the special effects of which there are a lot because.

There are quite a few kills and they happen pretty regularly. You don’t have to wait around. There are some scenes that I thought dragged out a little bit, but again again. Yeah, I know, again, it pays off with, uh, the kills that look amazing. It 

Todd: does again, just laying out all the cards on the table. My sort of summary of how I felt about this movie is exactly as yours as a story.

It’s stupid. Mm-hmm, it, it’s not atypical for any slasher movie. We watch. In fact, it’s very much paint by numbers, checks all the boxes. It’s got all of the stuff that you expect from a 80 slasher movie, which I like that nowadays is why I watched them. I kind of wanna see all of the kit and the, you know what, I’m going to expect the formula.

Yeah, sure. But the form. Yeah, the formula. But in this case, there’s a formula. But the numbers don’t add up. Yeah. 

Craig: There’s nothing to it. Like the first of all, they set up a motivation that doesn’t make any sense. Mm-hmm and then they introduce this cast of characters who have no personality at all. Uh, you don’t, you don’t get to know anything about these people other than, you know, just the very most surface that like, she’s the good girl and she’s the kind of bitchy slutty girl.

That’s it. They have no defining personal characteristics at all. I D I didn’t care about them at all. I barely bothered to even write down their names because who cares? Yeah. Who the killer was? I thought was super predictable. Yeah. Within the first 15 minutes, I was like, oh, it’s that guy? . And it 

Todd: was the only one it 

Craig: could have been.

Well, I, if, if it was anybody that we had been introduced to at all, there’s only one person it could have been. And, uh, it, it was then again, the motivation didn’t make any sense as far as timelines are concerned. Yeah. So all you’re right. Like all the pieces are there, but they just don’t fit together.

Todd: Right. Yeah. Motivations don’t make sense. Choices that characters make in the movie are absolutely baffling relationships between people are strange to the point where, when I was done with the movie, I, so I watched it on my computer. I have VLC player. I, I used to play video files and it automatically restarts, like it just loops mm-hmm when the movie’s done.

And I just let it go, cuz I was like, all right, I think I need to rewatch at least the first five, 10 minutes of this movie. Maybe it can fill in some gaps because I had so many questions at the end of the movie. There were, there were just so many gaps in continuity in, in motivation. And I, it did help a little bit watching the first 10 minutes, but it’s because I’d already seen the movie.

So I remembered some names. And so I was listening for names. I don’t know, man. It’s it’s just, it’s not 

Craig: good. Well then you’ll have to fill me in because ultimately I don’t get it. Like, 

Todd: uh, it’s still tenuous, but we’ve seen much worse. We’ve seen way worse. 

Craig: Yeah. It’s. It’s typical. 

Todd: And to its credit, it’s actually well made in a, in a technical sense.

Like that’s true. The cinematography is nice. Yeah. The, 

Craig: the cinematography is better than some of the, even the Friday, the 13th movies. Yeah. 

Todd: It really is. The people are pretty, you know, they’re, they’re nice to look at, you know, the acting is. Fine. There’s nothing terribly wrong with it. It’s pretty typical for the era and the material they were given to work with.

And that, like we said, the kills are insanely brutal and impressive. Uh, so, you know, it’s, it’s, we’ve seen really amateurish shit and this is not amateurish shit. It’s just very poorly written. And maybe that’s the worst thing about it really. Mm-hmm it just doesn’t make a lot of sense. Right. So, yeah, I, I, which is a.

Craig: Yeah. I mean, it’s, it’s not as bad as I expected it to be because I had never even heard of it. Like to maybe there are people out there who know about this movie, but I had never even heard of it. So for me, it seems to be kind of obscure and usually. The things that are obscure are obscure for a reason.

And yeah, maybe there’s maybe the bad writing is the reason here, but they shopped it around to production companies and one production company made an offer to release it. But, um, the producer of the film, I guess wasn’t satisfied with the offer and decided to just fund the release himself. So they blame that limited release for the reason that it isn’t more well known.

Mm. I don’t know, but I knew nothing about it coming in, but I was looking forward to it, especially when it started, it seemed to kind of have kind of an interesting premise. It started with promise. Yeah. Like it opens, it opens with this news footage from 1945 of the queen, Mary, the ship returning all of these, um, soldiers from world war II.

And they, you know, it talks about. , you know, how all of these men are heroes and will be celebrated by their communities and by their loved ones, et cetera. But then the announcer’s like, except for those who will be getting a dear John letter. Mm . The opening feels like the beginning of an old movie. Like, it feels like this is gonna be a movie made in the 

Todd: forties, you know?

This, they did very, very well. Uh, I mean, first of all, like you said, it’s, it’s not just like an old, it’s like an old news reel, right? That they used to play. Yeah. Our boys are coming back from the war and blah, blah, blah. And it’s very well done. And it’s, it sounds like, and looks like something that would be from that era for 

Craig: some, the psychological victims of war.

It will be a long road back. These men will need time to rebuild the lives. They set aside when uncle Sam called for others, the GIS of the dear John letters, it means starting over replacing what they have 

Todd: lost. It starts out. The subtitle says it’s 1945. It’s got this big, gorgeous house that these college age, I think kids are coming in and having a graduation party.

And it’s a mix obviously, as it would be of soldiers who are coming back summer in uniform. And it’s really well executed. Like the costumes are on point. The hairstyles are on point. The language is on point. There’s a band playing on stage, playing jazz, you know, rag time, big band, time music. And even the announcer and the guy who’s up there, the stuff he’s saying and the way he’s saying it, it sells it a hundred percent.

And I was like, God, like these people knew what they were doing. Like, you know, they 

Craig: didn’t even wanna play. Keep your MI off. My girl, the drummer told 

Todd: me his wife wouldn’t 

Craig: let him in the house. 

Todd: If he ever showed up again where that 

Craig: little brown jug, 

Todd: so let’s cheer him up and everybody swings. We watched some of these low budget films and you know, they try it period.

And you know, it’s just obvious it’s low budget and they, they try it a little bit, but they don’t really know what they were doing. And I feel like these people knew it. Yeah. I felt like the movie could’ve continued that way for who knows how long I would’ve been satisfied. 

Craig: It would’ve been a better movie.

yeah, it would’ve been a better movie if they had stuck to 1945. But even before that, like right after the news footage, then you see, again, it looks almost like hitch cocky and or from that era, um, this letter, and it is a dear John letter from some young woman talking about, uh, I hate to have to say this to you.

I don’t wanna say it. And, and, and like the letter is scrolling so we can read along with it. It’s in black grainy, black and white. Um, and basically this girl is saying, I know I promised I’d wait for you, but I, I can’t wait any longer. I don’t know when you’re gonna be coming back. I’m young. I have to live my life now.

I’m so sorry. And then it’s signed Rosemary, which is supposed to be the setup presumably for the motivation, because then we find out when we, when we’re at this dance, um, it focuses on one young couple and they’re a good looking couple, but the, the guy wants to get out of there and go to the point, you know, to make out or make out point.

Yeah. Yeah. And, uh, when they get there, they go to this really cool location, which was, you know, shot on a real location at a church. It’s, it’s a gazebo, um, in the middle of a pond, you know, with a bridge out to it really. Cool place. Yeah. And, and, you know, and it’s lit with like string lights and stuff looks cool.

They go out there, they’re making out a little bit, it’s very tame. Um, but then eventually the power goes out and we see this scary guy lurking, and eventually they are killed with a pitch fork. The guy drives the pitch fork through the both of them as they’re embracing one another. But he, the, the killer who is done up in like full military tactical gear.

So I guess completely unidentifiable, even his face is covered like in net mesh or something, which is 

Todd: weird. Hi, his face is covered in like a, I mean, it’s not modern. Maybe this is the way things were in world war II for like, I don’t know somebody who needs to be supremely camouflaged, Uhhuh, but I had a hard time believing that the killer could even see out of that.

Right. But it’s good. I mean, you know, for that, I mean, it’s supposed to be. Spooky. And so that it’s, it’s pretty spooky. 

Craig: Yeah. Well, and, and at the very last thing, he, the killer lays a rose in the girl’s hand. And I don’t know when it, it it’s, it’s very soon that we find out that this girl was the Rosemary from the letter.

Right. So it, it seems to set it up that the person that killed this couple was I just presumed the guy that she wrote the letter to like, yeah, he was scorned and potentially mm-hmm, damaged from his time in the war. And that’s logical. That makes sense. But then we jump to 19 80, 35 years later, 35 years 

Todd: later, 30, 19 80.

Craig: Yes. And, and they haven’t, and they’re 1980 and it’s the same location. And they’re setting up for a graduation dance again. And we find out from the main character, Pam, um, who, the second you see her? I say this, like every slash year movie, we watch the second, you see her, you know, she’s the final girl and she is, yeah.

She’s the nice, pretty blonde girl played by an actress named Vicky Dawson. She looked familiar to me, but then I looked at her credits and I didn’t recognize anything. Yeah. Um, I don’t know. Maybe 

Todd: she’s just could say that like about everybody in this movie, pretty much 

Craig: super familiar and yeah, I, I, I stopped writing down there.

The names of the actors, because every time I looked, I was like, I there’s nothing. I’ve seen that I can identify them from, I don’t know, maybe a lot of them have done soaps. You know, some of them are still working in film and TV, but one was 

Todd: in reservoir dogs. 

Craig: Yeah. Some of them have done some, some big things.

We find out very early on from her because she casually mentions that she has written an article for their school paper about the reason that they haven’t had this dance for the past 35 years. And it’s because this guy like captain or corporal or something. Clap him 

Todd: chat him. Yeah. Chat major, 

Craig: major.

Chatham has forbidden it for, I don’t know how he had the power to forbid it, but he has, and he’s forbidden it for the past 35 years because it was his daughter, Rosemary who had been murdered that night. Well, apparently he’s wheelchair bounds now and doesn’t have the authority to forbid it anymore. 

Todd: to, to prevent it anymore.

So, so for 35 years, they’ve all been shopping at the bit to have a graduation party in this house. And damnit, now that he’s had his stroke, they can go up against him. And so it’s so stupid. 

Craig: It’s weird. It doesn’t make any sense. And I was really. I was super confused because initially they’re, they’re talking about this, it’s a graduation dance.

I assumed it was high school. Yeah, 

Todd: me too. But I guess 

Craig: it can’t be though. It’s not, I guess it’s college. 

Todd: Look, if it’s high school, some people are robbing the cradle here that, well, see, that’s 

Craig: what I thought was weird because the main girl, Pam is really super flirty with the town deputy and I’m like, I, and I I’m in my mind, I’m like, well, I mean, we’re coming right off the seventies.

I guess high school closer though. High school girls were very much fetishized, you know, back in those days. So maybe that was, is a, a thing, but I think they’re supposed to be more college age. I don’t know who can tell. Yeah. Uh, they, they, you know, the, the way that these movies are cast, these actors could just have easily have been playing high school kids.

Todd: Yeah. The actor who played him, he was a. Decent looking guy again. I thought I knew this guy, Christopher Gaman. I, I was like, oh, I’m gonna look him up. He’s gonna be in at least five other horror movies. And he’s not he’s, he’s been on TV in like the edge of night in 80 to 81 and a TV series called Texas two of things.

I’ve never seen. Hasn’t done anything since 1986, but apparently was a, a producer for soaps. Like as the world turns, he was an executive producer for like the whole series. So another world the same deal. He looks like a guy who would be in soaps, not a guy who would be producing soaps. Right. But he definitely looks older than her.

He’s the deputy of the town. And he’s up there flirting with all the girls. There’re hanging up the thing he flirts with the one girl flirts that the other girl Pam comes up. Oh, I see your eyes are wandering or something like that. Uh, and then you kind of realize they’ve got a little thing going, or probably have had a little thing going.

You know, it’s fairly casual, 

Craig: I guess, because he’s casual. Yeah. , he’s flirting with the other girls too kind of, or the other girls are flirting with him and he’s not well resistant to it. He’s very much open to it. It seems. And, and 

Todd: yeah, and, and we kind of get to go around, we get to meet the rest of the town and there’s just all these little cliches that sort of pop in, but in their own unique way, and it’s very disjointed, right?

Like he goes and, and so he goes, and he sees the sheriff and I don’t remember the Sheriff’s name, but immediately the sheriff tells him, Hey, uh, just to let you know, the state 

Craig: police called about Laura ago, somebody robbed a market up near Columbus, cut some kid up and took his car. They think may be headed this way.

Are you still gonna leave? And I can’t start this summer without fishing now, you know that I never could, besides you’ve been here for two years now, you can handle anything that might come along. 

Todd: You gotta be extra careful. like what? No, this is, should be a big deal. 

Craig: yeah, but, but I’m, but I’m leaving. Yeah, I’m sure it’ll be fine.

Yeah. And if it’s not just call me and 

Todd: there’s a lot of reassurance going on here like this, I, I actually felt bad for this guy. I’m like it, you know, it was, he was throwing me shades of scream. You remember Dewey from scream? Yeah. Where? Yeah, totally. I just felt like Kevin Williamson took the Dewey character from this guy because he said he watched a ton of 80 slasher movies before he wrote scream, uh, and was inspired to write scream because he thought of how cliche and weird they were.

And I thought he got Dewey from the guy in this because although Dewey was like the brother of, one of the girls in scream in this way, he, it’s not too far off. He’s like no sort of a boyfriend of one of the girls, but he’s still being treated like. Inadequate. This is your big day. You’re gonna be by yourself in charge of the town.

While I go off on my fishing trip. And later on in the movie, Pam herself is like dissing on him, you know? So I, I felt, I felt major Dewey vibes there, and David Arquette did a better job than this guy did with it. but he had better material to work with 

Craig: too. Well. Yeah. I mean, David ake was playing it for the comedy as he does.

And as you know is really good at that. Right, right, right. This guy plays it straight, but it is, I think you may be on to something because they, they are, uh, strikingly similar and then it becomes for. About five minutes, a sorority house movie. where we meet, uh, I guess Pam lives in a sorority house and she’s got all dorms, his friends who we meet.

Yeah. They call it 

Todd: dorms. Is it dorms? They call it the dorms. That’s how I figured it was college. Yeah. But yeah, you’re right. It’s just the girls’ dorm or whatever, I 

Craig: think. Yeah. Yeah. And, and we are introduced to her friends who, again, really have no personalities. Like here, here are my descriptions. Sherry is the short blonde haired friend.

Uh, Lisa is the tall, skinny brunette friend. Like that’s it? Like they don’t have any other personality. Yeah. 

Todd: You I’m not E I couldn’t even keep track of. In the movie really? Uh, 

Craig: no. Well, you don’t have to. I mean, they’re just fodder for 

Todd: the killer, which is typical by the way. 

Craig: Yeah. And, and, and they’re all getting ready for the dance.

I did like this. I did like that. They just get to it. Like, it’s not like there’s this big build up, you know, like it’s the day of the dance. Let’s go to the dance. Yeah. So they’re all getting ready for the dance. Meanwhile, we see that the Prowler is getting ready too. He’s lacing up his boots and he’s getting ready for the dance.

He is at this, like they’re putting on their dresses, he’s lacing up his boots and like sheathing his knives and, and 

Todd: things. And here’s the other weird thing though, right? Like they’re talking about the, the house across the, which just is like across the lawn, basically. Right. Where they’re, they’re in the dorms and then there’s this big, beautiful mansion where major Chatham lives, they’re chatting about how, oh, major cha you know, oh, be careful undressing in front of the window major.

Chatham’s got eyes and like, oh yeah, he’s got eyes. Well then how about this? And the girl exposes their boobs and the major Chatham is indeed in the window across the way. Yeah. Uh, 

Craig: looking at them and he’s clearly on the second floor. And then later in the movie characters go to the house and one of them goes upstairs to look around and says everything up there is all wrapped up in sheets.

I doubt he’s even been up there in since his stroke because he is in a wheelchair and we just saw him up there. 

Todd: exactly. , it’s hilarious. I’ll major chat him. I have so many questions. About major chat with this movie, right? 

Craig: Why? Like, does he, he doesn’t even have any lines. No, he just creeps around and then he just disappears and I have no idea 

Todd: way, never say happened to him.

And, but a whole lot of shit happens in his house for some reason. I still don’t understand. Yeah. Yeah. Well, 

Craig: uh, again, you know, we get right to it. Like most of the girls are ready to go, but Sherry is taking the world’s longest shower. Yeah. And, um, I always appreciate that. So they, so yeah, I mean, and, and you get some nudity.

She, okay. So everybody else is left, but she’s still in the shower and we start getting like killer POV shots. Um, there are a lot of jump scares in this movie. Yeah. To the point where it really kind of becomes annoying, like. Okay, I get it. And actually, this is a good time to say I really liked the score of this movie.

Oh. And I thought that it, it would’ve been a really good score for a movie that for a better movie. Yeah. Or a scarier movie, because there’s so much. Tension and buildup in the score that in this movie only pays off with lame jump scares for the 

Todd: most part or not at all. Like that’s, what’s so maddening.

Sometimes the movie did not deserve this score. Right. But the score happens to provide sometimes oftentimes the only tension in the movie. Yes. I think nobody does more prowling than Pam and her boyfriend Uhhuh. the Prowler doesn’t prowl as much as these two do through scenes where they’re walking way too slowly down the hallway of an otherwise empty house wandering around.

I felt like sometimes the movie was just trying to meet its 90 minute run time. Oh my God. Even with that, it falls short at 89, but still like if it hadn’t had these long ass scenes that are supposed to be tension filled, however. The director, I think at this point or the editor or whoever’s responsible, doesn’t quite understand how to build the tension.

The score is the only thing that keeps it interesting. And nothing 

Craig: happens. Yeah. It’s just Pam and mark. Most of the time, like creeping around a house or even better. It, I feel like this happens at least two or three times. He’ll go to creep around someplace for a really long time and find nothing and, and leave her in the car.

Yes. And, and, and so we just, we just watch him prowling around finding nothing and her sitting in the car for like five minute stretches with nothing, nothing 

Todd: to her, nothing happens. right. But the music is acting like any second. Now some shit’s gonna go down. Right. It’s carrying the whole thing and other, but, but there’s no payoff.

Craig: We do get, you know, AF right after everybody else leaves, she’s still there. You think the Prowler is creeping up on her, but it’s a jump scare. It’s really her boyfriend, Carl. And he’s like, uh, you started without me. And she’s like, well, how fast can you get your clothes off? And he’s like, well, time me. And he goes into the bedroom and starts taking off his clothes.

But the Prowler pops up behind him and stabs him through the top of his head. Oh my God. Down the knife comes all the way out through the bottom and there’s lots of blood and this one looks pretty good. Yeah. I, I, I mean, no, that’s, that’s a lie. It looks really good. But compared to some of the other ones, this one’s almost like you just don’t see enough of it to be able to appreciate it.

Look, there is a lot of 

Todd: blood. I mean, I, I feel like it lingers on him for quite a while. Like on his face, his, his eyes like roll up into his head or 

Craig: something. I didn’t understand that his eyes go completely white. Yeah. I just figured I didn’t get it at all. Well, 

Todd: you know what I was thinking, first of all, this was super brutal and I was shocked that something, this brutal, I, you know what I was thinking of, actually, I was thinking of what was the movie.

I think it was pieces. When they’re on the water bed and the killer stabs this woman through the back of her head and it comes outta her mouth. Oh yeah. And that was pretty shocking cuz you don’t usually see something like that. And that hurts a lot. this guy, you know, he’s getting stabbed through the head, through the brain and it, it, you see the point of it come out his chin and it looks real.

I mean, it looks good to me. It does look good. It lingers on his face. And I think this is a thing about the kills in this movie that make it very different is that they lingered longer. Yes. Than these kills usually linger. And so it really uncomfortably so focused on the suffering. It’s not like stabbed through the head.

I’m dead. It’s like stab through the head. Right. And you can see the life slowly going out of this guy in a very unpleasant way. His eyes are rolling up into his head. I don’t know what happens if you get stabbed in the brain, but probably a bunch of weird shit. You know what I mean? That bothered me a lot.

Craig: yeah, it was gross. But immediately then Sherry is in the shower and, uh, the, the door of the shower is, uh, kind of opaque, foggy. So she sees. A man approaching. She assumes it’s Carl, but it’s not. And then the Prowler opens the door. She screams and he pitch, forks her through the abdomen and lifts her up and you see right up close the pitch fork in her.

And it, I can’t begin to tell you how real it looks. Yeah. Like it looked so real. Yeah. I, I have no idea how he did it. I have no idea. And the lifting. Yeah. And just the way that the, the times of the fork like pressed into her skin, it looked like real skin. It didn’t look like plastic or foam. Yeah. Again, no idea how it was done, but it looked amazing and it did it lingered for a while.

It, it, it cuts away from that back to the dance. And mark comes in looking for Pam, but he gets pulled away by Lisa who apparently is. I guess the slutty friend cause she’s there with a guy too, but she’s totally making the move on mark. And then there’s a, a, a goofy moment where mark finally gets to Pam who is like serving the punch and Lisa seemingly intentionally like bumps into mark, which causes mark to bump into the table and spill.

Punch all over 

Todd: Pam, look, this whole deal with mark at the party is bonkers. Right? He told her he was gonna show up for her. Uh, he shows up at the party, you know, he’s at the front door. And like you said, she’s behind the table. So there’s a distance, but a crowd between them. But he immediately makes eyes with her.

She makes eyes at him. He smiles, he waves his head and he’s sort of trying to make us through the way through the crowd. And then Lisa just jumps in and starts trying to dance with him. And mark suddenly starts dancing with Lisa, not in a way like, oh, okay, maybe this girl’s drunk. I’m gonna tease her. But, but you know, I’m gonna work my way towards pimp.

No, he just gets into it. Mm-hmm like now he’s suddenly in the moment and he’s, and he’s with Lisa. I’m thinking what? And then they come to the table, like you said, and this little thing goes down. And when Pam runs off has some choice words with mark and runs off. Lisa is just standing there. Like she orchestrated the whole thing, like what a bitch of a friend 

Craig: and it right.

And it’s really proud of herself. Right. Well, and this part too, is very reminiscent of scream because in scream, Dewey goes to the teenagers party and just like hangs out there with them. Mm-hmm like this, this was the same kind of thing. Like exactly. The cop shows up in uniform at your party. Yes. Like that’s not fun.

at all. Right. Uh, but, but Pam has to go change. So she goes back to her dorm room where these two people have just been killed and like there’s blood around, but she just overlooks it. Yeah. In fact, the Prowler is still in the bathroom. Yeah. While. In the room, changing her clothes, the Prowler lays a rose on Sherry’s face.

Uh, and you know, I, I thought that this moment was fairly tense because he could come out at any moment, but he doesn’t, but again, it’s just prolonged stuff. Like she’s in there, we see the blood that she doesn’t and then she goes out, but then she realizes she forgot her purse. She has to go back in and you’re like, you keep thinking, eventually this guy’s gonna pop out, but he doesn’t, she just goes back in and gets her purse and comes back out.

And it’s not until she’s going down the stairs that she like hears something and she looks up the staircase behind her and he’s there, you know? Yeah. And his full get up and, and she starts running around. And this scene before you, before I had even thought of. Uh, connections, you know, that you have pointed out this scene is very reminiscent of the Sarah Michelle Giller scene from scream two, where she gets chased around by the killer in the sorority house.

Mm. She eventually gets killed. Pam does not, you know, she, she bangs on a bunch of doors. Nobody’s there, presumably everybody’s at the dance. Um, she’s, you know, banging it like windows to try to get out. And she finally does, but as she’s running away, she gets grabbed by major Chatham. Just 

Todd: randomly. Yeah.

Craig: Who’s just like randomly in the yard. And he hangs on to her for a good 30 seconds. He’s in a wheelchair hugs and tries to get away. Doesn’t say anything. She eventually pulls free and runs backwards because anytime she runs, she runs 

Todd: backwards. Yes. she 

Craig: even walks backwards. Yeah. And she runs into mark.

And then we have one of these scenes where he’s like, okay, you go sit in the car and I’m gonna go look around. And he does, but he doesn’t find anything. And like, he goes up, I think she even says Sherry and Carl are, are still in there. And he goes up and he looks around, but their dorm room door is locked.

So he just doesn’t , 

Todd: he’s trying, he there’s, you can see something going through his head. Uh, am I go, should I, uh, no. It’s like, it’s like a good 30 seconds. Trip through his mind where finally he just like, nah, I’m gonna, I’m just gonna leave. Yeah. Forget it. What I would say, like just lazy filmmaking, even this chase, when she sees him at the top of the stairs, it makes no sense.

We get a shot of her. She’s at the door, she’s rattling the door handle. Then we see another shot of him. He’s at the bottom of the stairs now, but he hasn’t moved. She’s still standing at the door rattling. There’s sort of this POV shot that seems to be coming towards her. Like the killer is basically at her, but.

There’s another shot of him. And he’s still halfway across the room, this very small room. And then she runs away like right past him. Like she has to run within inches of him to get out the way she gets out. And then when she runs out, like you said, she runs outside. This guy should be on her tail. If he cares mm-hmm , this guy holds her for an inordinate amount of time before she gets away.

And then there’s just like nothing. I, it it’s just, just spatially, you know, the geometry of everything, like nothing really clicks and it shows. And so, I don’t know, I just, at this point, I realize I’m not gonna feel suspense from any chasing in this movie because it’s, they’re so poor. This one is so poorly constructed that I can’t really trust it.

You know? So how am I gonna get excited about, oh, this guy’s really on his tail when really, it just seems like, uh, the woman’s just gonna get away if they want her to. 

Craig: Yeah, well, and, and the whole thing just goes on like too long. From the time she meets mark, he tells her to get in the car. Then he goes out and looks around outside first.

And we, we see him looking around, see her in the car, him looking around her in the car, tension, tension, tension, and then he shows back up at the car and he’s like, well, I found some wheelchair tracks and some, uh, boots, uh, footprints, but that’s it. And, uh, she’s like, well, Go check inside. So he does him looking around her, in the car, him looking around her in the car, prowl, prowl, prowl and then he comes back.

Oh, still didn’t find anything. Oh. Oh, okay. Well I’m glad that we spent this last five minutes, like with nothing for you to not find anything. And then he’s like, let’s go check out Chatham’s house and they do, but we never see Chatham again. Never. I have no idea what happened to him. I have no idea what he was doing out there.

I have no idea how . I have no idea. It’s so bizarre. It it’s so weird. What, what was he doing? Why 

Todd: was he grabbing her? We’re never gonna find out cuz the movie provides no answers, but he says, let’s go check out Chatham’s house. They hop in their Jeep and then they drive. I guess across the street, across the street.

and then, and then it’s again, it’s very typical. They go up to Chatham’s house, nobody’s there, but the door is unlocked, so they go inside and then they spend the next 10 minutes prowling around this old disabled man’s empty house. Like they own the 

Craig: place. Well, and the movie shows us that the Prowler is in there.

Mm. So like there, I, I suppose that’s supposed to provide tension, but we just know he’s there. He never shows up or does anything while they look around for. A long time, a long time, this particular set, I guess, uh, was an actual location. It was a museum. And, uh, all of the stuff that was in there was like antique stuff.

So they were on only a very small crew was allowed in there to shoot. And I guess the owners were really kind of nervous. They didn’t be because nothing happens aside from people just walking around, looking around and Pam finds pictures of. Uh, Rosemary Chatham there everywhere. Like there’s a huge picture of her above the fireplace.

There’s a box full of pictures of her, just her there’s a photo album full of pictures of just her like 

Todd: yeah. 

Craig: A yearbook, whoever lived. Yeah. This, this guy major Chatham was obsessed with his own daughter 

Todd: apparently. And, and, and I just cannot get over the fact that chic just with no thought whatsoever is just opening up his desk, pulling out boxes in there.

I mean, they’re supposed to be in peril trying to solve a problem of a Prowler chasing them or whatever, but now she’s just in full investigative mode of this old guy’s house for no good reason. Right. What is she 

Craig: looking for? Oh, 

Todd: it’s so dumb. but again, it checks the boxes, right? In a better movie. There’d be a better motivation here, but in this movie, exactly.

They’re just opening up random shit. This random guy’s 

Craig: house. Well, like these are supposed to be clues to the mystery of right. Who the killer is, but then ultimately it doesn’t make any sense. Yes. Like I don’t know. And like, there’s this whole theme, like in every picture, Rosemary is holding a rose, there’s a rose pressed in the photo album.

We know that the killer is leaving roses. So there, like, who cares? it it’s so like on the nose. Yeah. You know, like, and it doesn’t help. 

Todd: No, she says, she even says something like. She says, uh, something like, or I guess her middle name was Rosemary and yeah. You know, so as soon as mark joins back up with her, she says, oh, but I just found out that his daughter’s name is such and such Rosemary, blah, blah, blah, Rosemary rose.

So definitely the killer must have known that she would go by rose and I’m like, well, if she went by rose and she signed her letters, rose Mary, everybody would know, everybody knows that she went by rose. like what? This isn’t even a thing. And how does that even help? And, and, and how does she make that connection?

How does she know? There’s a connection between what’s happening to her tonight at this party and Rosemary? Yeah. There’s no reason for her to make any connections. Major Chatham grabbed my hand. Let’s go check out the Chatham house. He has this daughter named Rosemary and whatnot, and Rosemary was killed 35 years ago, right?

At this similar party. Didn’t you read my 

Craig: article. 

Todd: They never found 

Craig: out who did it, but it had to be someone in town. Someone who knew 

Todd: that she was called rose and mark, that guy still might be around here. Oh man, I don’t believe this. You’re talking about something that happened over 30 years ago. Pam, the guy who chased you may be the one the state police are looking for right now.

I said, let’s get the hell outta here and go to the dance and see that everyone stays inside. 

Craig: Maybe you should call the sheriff. Thanks. I’m. They decided to go back to the dance, to tell everybody to stay inside, which they do, but Lisa, the slut, um, just misses the announcement. She, she leaves, uh, to go swimming, I guess, in a campus pool nearby.

I don’t know, by the 

Todd: way, this isn’t the first time that Lisa, um, goes swimming in the water in a film, a monk or very few film credits. She was in humanoids from the deep oh, Oh, God, I barely remember that. 

Craig: uh, so, uh, and, and her boyfriend, Paul is drunk and tries to go after her, but is stopped at the door.

So she’s swimming alone. She gets kicked brutally in the face. Um, as she’s coming up out of the pool, like coming up out of the ladder, she gets kicked by the Prowler that looked rough. Yeah. And then she kind of struggles. She struggles in the pool for a while, which at first I thought seemed kind of awkward, but then I was like, you know, what if I got kicked in the face that hard?

Yeah. I would probably be a little bit discombobulated, too true. Um, but she, she. She splashes around for a little while. And then she tries to swim, I guess, to the other side of the pool to try to get out. But the Prowler comes up behind her and slits her throat from behind. And again, it looks amazing. I can’t tell you how many times I have seen somebody’s throat get slit in a movie, but this is up close and slow and it just looks really real.

And there’s deep, lots of blood it’s deep. Yeah. And it’s, it’s lots of blood. And then he pushes her under the water and the wound continues to bleed underwater, which looks really cool. And like air escapes from it. Yeah. So I assume that there was some sort of bladder in there, but it doesn’t look like it.

It just looks like. Her neck and it lingers 

Todd: for so long, like they don’t usually do this. And like you said, about the throat slit, how many times have we seen the throat slit? It’s like a knife drawn across a throat. There’s a little drip of blood, you know, it’s probably squeezed out from behind the knife, whatever Uhhuh , but this is.

Up close. And the knife is halfway through this girl’s throat practically to her spinal cord, which is probably how a real throat sling looks. It looks very realistic. And then it just lingers on this woman bleeding out in the pool for far too long. And that’s, that’s a compliment mm-hmm, , it’s really impressive.

And, and, and I’m just gotta say, like, I’m not a gore hound. I enjoy and appreciate gore effects. And of course, part of the reason we watch these movies is cuz we wanna see something unique and different. We wanna see the, and the kills are the thing, right? It’s like an interesting kale, oh, you tried this cool kill or, oh, you know, like, like they made this look real or whatever, but I, I actually have very strong opinions about violence in movies.

I don’t want violence to be treated as something that’s just, uh, blase and ah, you know, whatever I, I want, I can’t remember which director it is that has this, this mindset that when you, when you do violence in movies, it needs to be real so that people understand that this isn’t a joke. Uh, otherwise you’re, it’s sort of morally repugnant and ironically, so I, I feel like this movie does a better job than most horror movies of making the violence so brutal.

And in your face that it’s uncomfortable. And that’s a good thing. Yeah. I don’t know. I wasn’t expecting that from this movie, I guess is what I’m saying. 

Craig: No, I mean, it’s just, the, the effects are just surprisingly good. Yeah. Uh, uh, Ms. Allison, who apparently is the female chaperone at this college dance, 

Todd: right.

Is a different, is a different time, Craig I mean, think about it. The same college dance has a dude who’s like, like sneaking up to the punch bowl and dumping vodka in like it’s grease. You know what I mean? 

Craig: Yeah. Right. Uhhuh, Ms. Allison goes to check on Lisa and she sees blood in the pool and she ends up getting stabbed through the throat, which again, it is very violent and graphic and, and looks, uh, fantastic, but also 

Todd: a little awkward.

When you think about it, you reach around somebody from behind and you take a knife and then you have to kind of like do kind of a U-turn with your hand and stab directly back into their throat. 

Craig: Yeah, but I don’t remember what I do remember is that I really, there were just some things that now even looking back at my notes, I’m like what the was going on.

Like there are these two random characters, Ben and Sally who Ben wants to make out. And Sally’s like, I am not leaving until they find that Prowler, by the way, who says Prowler, has anybody ever actually used that term? 

Todd: I think, I would say since at least the fifties or sixties, but you know, the maybe early eighties, I was pretty young 

Craig: fact that they keep saying it there’s a Prowler.

There’s a look 

Todd: out for the Prowler. Okay. Grandma

Craig: Uh, but she won’t leave cuz of the Prowler. So he’s like, we don’t have to leave. We can just go down to the basement. That’s what people do. They go down there and make out. And she’s like, okay. So they go down to the basement and we get like the, you know, killer POV shots. So we think, oh the, the Prowler must be there, but no, it just turns out to be the old man chaperone.

Yeah. Who is just watching them make out and that’s it. That’s it. We’re done nothing else happening. We’re done 

Todd: with this couple. Like 

Craig: why is this pervy old man? Just watching them make out in the shadow. So weird 

Todd: and then we never see them again. 

Craig: no, we never see any of them ever again. Uh, Pam and mark put drunk Paul in jail, which is, and it’s like an old, tiny jail cell.

And, and he’s like, you know, taunting them from the jail cell, which was kind of funny. Then there’s a whole part where Mr. Kingsley, the creepy, the creepy shop owner who we’d met earlier shows up in is creepy and tells them that there’s a bunch of kids at the cemetery, which is a lie. I don’t know what is going on because they go to the cemetery.

They go there, mark and Pam go there and there there’s nobody there. 

Todd: This is so hilarious. This old cemetery thing, it feels like somebody was handed the script and is like, can you just keep this going? You know, and had to write in some random shit, because it’s just like mark. He shows up, look, he wasn’t actually creepy.

The first time we saw him, the first time we saw him, he is this jokey jovial guy. And he suddenly shows up SOS. There’s a bunch of kids at the cemetery and you know, that gate’s wide open and he walks away and suddenly mark, it’s very concerned and he turns to Pam and he is like that gate. It’s supposed to be locked.

Yeah, let’s go check it out. So they go to the cemetery. There’s nobody there. But mark spends five minutes, five minutes walking about six feet between two gravestones 

Craig: while she waits in the car again again, and 

Todd: comes across an open grave. Which is interesting, but again, how does this connect to anything?

He looks in the open grave and as any of us would probably do, when we look in an open grave and see a coffin down there, Hey, let me jump down there and open 

Craig: it up. Right. Well, it seems like the coffin has been disturbed. Like I, I think like the lid is slightly a little bit off or something. 

Todd: Yeah. So he wants to open it up, but then, uh, she screams she’s in the car and she sees the face of this janitor or helper guy that was Mr.

Kingsley from the store, from the store named Otto, who we saw a whole hour ago and only an hour ago. Yeah. For 15 

Craig: seconds. 

Todd: It’s like, oh, this is the slow guy. And when we first saw him, I thought, oh, okay, well, this is one of our red herrings. Right. We’re gonna think this guy’s gonna pop up every now and then he’s gonna be the leering dude or whatever.

No. We never see him until now. He looks at, in, at her and goes, she screams that gets his attention. He jumps outta the grave and runs to her to the other side of the car. She’s on the driver’s seat. He’s on the other side. He opens the door. She’s like, I saw, I think I saw somebody, how do, how do I saw him through the, the window?

And he just doesn’t give a shit. He’s just like, oh, I know. Yeah. Okay. But there’s a grave back here. Like, like you gotta check this out and suddenly Otto’s not a thing anymore. They run, they go, Nope. They go to the 

Craig: grave and they, yeah. And they open up the coffin and it’s Lisa’s body in there. Which of course freaks Pam out.

Todd: I don’t know why, why is her body there? 

Craig: I don’t either. The name on the headstone seems to be kind of like rubbed out, but it’s obviously Rosemary’s grave. Yeah. Which they figure out at some point, 

Todd: because there’s a rose carved into the top of the tombstone. And then 

Craig: there is a. Ridiculously long scene where mark tries to call the sheriff, but the big fat guy at the desk of the like camp or whatever says he’s gonna go get him, but doesn’t.

But we had just have to watch while this big fat guy just sits in a chair. Oh. And like slams down the phone and then like slams the door and then sits there for five minutes. Mm, and then slams the door again and it’s like, oh, he is not here. yeah. I swear to God, it was the longest scene and it like just keeps cutting back and forth.

But like they’re both on the phone. Neither of them is saying anything 

Todd: yeah. It’s so long. It’s so long and stupid. And this guy, I mean, you know, uh, he’s, he’s doing his best to be this sort of like, uh, good old boy country guy. He mispronounces crappy. He says, I think he was out there fishing for crappy earlier I was like really?

And I, I read in the, the trivia and, and the only reason I bring this up is because I was thinking it while I was watching the movie. I was like that tomb. looks fake as shit. Yeah. Oh, it looked awful. And apparently the director himself was so embarrassed by how fake the tombstone looked that he was thinking about cutting.

a bit of trimming that scene down for the DVD re release he should have is 

Craig: terrible. And then there’s another completely inconsequential scene where mark tries to drop Pam off at the dance and, and he’s gonna go on investigating on his own, but she’s super offended. So she gets out of the car and stands with her back to him for a good minute, and then just turns around and gets back in the car and they drive off together.

like, why, why did we need to see this? Oh, it, it was, it’s so stupid. 

Todd: It was the makings of what could have been a good scene in a writer in, in the right writer’s hands. I mean, obviously he’s trying to create some tension between the two of them. And so she jumps outta the car and she stands there and she’s gonna go in and he’s like, oh, by the way, I’m gonna drop you off and I’m gonna go on and do this stuff.

And she’s like, what do you mean? What do you mean? And he is like, no, is this too dangerous? I can’t have you do it. And then she turns and looks at him and says, okay, will you just go play sheriff? And then there’s this long, like 15, second shot of him. Just sort of looking puzzled. it’s, it’s uncomfortable.

And I, I felt bad for this man as an actor. And then it goes back to her and she just looks at him, like you said, walks around to the side of the car gets inside. They sit there in silence for a second and then, okay, let’s go. What 

Craig: and where they’re going. I know, I know. It’s so stupid. And where they’re going is back to Chatham’s house.

Yes. I don’t know why, but, but basically what it comes down to is everything from the last time they were at Chatham’s to now could have gotten cut out. And it wouldn’t have made any difference to the plot because they just end up in the exact same spot with no new information. Really? the, the Prowler apparently.

Is there again, like, I guess he just hangs out. Yeah. He’s he’s 

Todd: there he’s been, he knew they were gonna come by. Yeah. 

Craig: They split up in the house again, just like they did before. They’re looking around the same places they looked before. The power goes out. Um, mark gets knocked out by the Prowler. For no good reason, not killed.

I don’t understand that. Like all of a sudden now the Prowler is just knocking people 

Todd: out. This was frustrating. The hell outta me, mark leaves her. He goes upstairs and we are submitted to like three minutes of him walking up each step. Like, I don’t know, like it’s made of jello or something. He’s so slow walking through this very small space and the most interesting thing he could possibly see in this house.

The newest information that he has is on the second landing. There is a door that is slightly a jar and the light is on inside and he stands there just like he stood outside that locked door of those college kids, uh, half an hour ago, debating on whether he is gonna go in. And we’re seeing these shots like, like, you know, implying that the prowlers on the other side of that door, he’s in there.

Yeah. And you just like. Nah, I’m just gonna keep going. what, so that he can go up to the same floor that’s covered, you know, where everything’s covered with white sheets, that he found nothing before. Like why did you walk past the most interesting thing in the house? 

Craig: Well, not, not just walk past it, but stand there and contemplate it for like 30 seconds.

And then, uh, Nah, nevermind. 

Todd: At this point, I thought, well, I guess the sheriff knows more than we do about telling him, okay, mark, you can do it. I know I’m saddling you with a lot. I know this is a lot of responsibility, but I’m gonna try to have some faith in you. He was, he was good to be a little cautious.

Yeah. He 

Craig: gets knocked out the lights, come back on, uh, 

Todd: for how does that happen? How does he control that from the second floor 

Craig: landing? Who knows? Pam is standing looking at that picture over the fireplace. And she happens to glance down and she sees a lock it hanging from in the fireplace. And so she reaches her hand up into the fireplace and feels a round up there for a good 30 seconds.

And I’m thinking there’s gotta be a body up there. Yeah. Which there is. But how did, like, why is she not freaking out? Like, yeah. If I reached up and felt around and there was like a skeleton, I, I think I would recoil, but she doesn’t until it falls down and it’s like a decomposed, it’s an old corpse. It’s decomposed.

Todd: So. explain this 

Craig: to me. It’s Rosemary. Yeah. Apparently the, the Prowler had gone dug up Rosemary, taken her corpse, replaced it with Lisa. I, I don’t know why. And 

Todd: went to major Chatham’s house and shoved it up the fireplace upside down. Yeah. What in the 

Craig: world? I don’t know. I have no idea. It doesn’t make any sense, but she is then confronted by the Prowler who says something like, are you ready for our date, Rosemary?

Is that what he 

Todd: said? I’m ready for our date, Rosemary and, and holds a rose out to her. And then 

he 

Craig: chases her around the house forever. There’s a kind of, I guess, tense moment where she’s hiding under like a cha lounge or something, but he’s like pitch, forking, everything all around her for a long time, but never pitch forks where she is.

And she eventually just runs away and he sees her and chases her some more. Um, and then she seems, you know, like he, they are face to face. She’s got the one broken end of the pitch fork, the fork part that he’s got the other end, which is much longer and he’s menacing her. And then out of nowhere, auto appears with a shotgun and shoots him, oh my God.

And then Otto and Pam share a lingering look that looks like, like. You you’re gonna make out at any time. well, they are now in love and they are going to get married and have a family

Todd: it’s, it’s so embarrassing. Uh, 

Craig: it, it really is. I was like, what, uh, what is happening? The, the, the Prowler is not dead. Um, and he shoots O with the gun that he apparently had on him. And then Pam and the Prowler struggle again, they’re fighting over the gun and she eventually realizes that he’s holding the barrel directly underneath his chin, but while they’re struggling, it’s like his mask is bothering him.

So he takes it off 

Todd: for our benefit. Really it struggle 

Craig: right to reveal. That it’s the sheriff. And I was like, well, obviously, yeah, like that was obvious to me from the beginning. Just nobody else it could have been. And then she, she, she blows his head off, which is a great effect, slow motion. It was a full prosthetic head that, that Savini made using a, you know, a cast of the actors real head and it is slow motion and it looks really, really, really good, but that’s the end of that to wrap it up.

It’s the next day. Oh, it’s immediately the next day. Yes. Yeah. Mark takes Pam back to her dorm. She goes up, the shower is still on and so she, she finds the bodies, Sherry and Carl there, and Carl’s body is hanging and as she’s standing there, his all white eyes open, so he kinda looks like a zombie or something.

Yeah. And he grabs her by the throat and she screams and struggles and gets away. and then in my notes, I have zombie Carl grabs her or does he cause then cuz then after she gets away, she looks back and he is just hanging there. So I guess we’re to presume that that was just in her mind because that’s it that’s the end.

It goes 

Todd: directly to credits once again, checking off the boxes. You gotta have that final jump scare at the end. Like, you know, like the tall man jumping out at you through the mirror in fantasm and Jason jumping out outta the lake. But those end with that, like Jason jumps out, pulls her down and then boom and credits.

Yeah, this is suddenly she looks at him. He’s not doing it anymore long shot of her standing there confused then credits mm-hmm then credits like they couldn’t even get that. Right. 

Craig: Ugh. Here is Mike. Okay. So it was the sheriff all along. Why, right. How is the sheriff connected to any of this? It, the time doesn’t make sense, 

Todd: like, yeah.

He’d have to be at least 60 years old if he was Rosemary’s sperm lover, I 

Craig: guess he could, if he was about 20, when he came back from war and this is 35 later, 35 years later, he would be about 55. I guess that guy could have been maybe I guess that’s what we’re, I guess that’s what we’re led to believe.

Right. But it’s, it’s so 

Todd: loose. Well, and it begs of the obvious question aside from, oh, now they’re able to do the party again after 35 years. Why is he now compelled to go on a murderous rampage of random teenagers? 

Craig: Yeah. Who are in no way connected. Yeah, right. Like if, if, if he were a sperm lover, it would make sense that he would take revenge on the, the girl and the guy, but then that’s it, you know, spur him or whatever.

Right. It doesn’t make sense that he would just randomly kill a bunch of teenagers who have absolutely no connection to anything other than the fact that they’re going to this dance. Yeah. It doesn’t make any sense. It’s stupid. It’s not a good movie in terms of the story and that those even just talking about it again and recognizing all of those times where it was so drawn out unnecessarily, it just makes me realize that it really was pretty bad.

But again, I’ll forgive those things because I’m still glad that I saw the movie because I’m glad to have seen the special effects, which really were phenomenal. Yeah. And if you haven’t seen this movie, it is worth watching for that reason alone 

Todd: agreed a hundred percent and the music. And by the way.

Yeah. While we were talking, I looked up Richard Einhorn, who was the composer of this guess who also composed blood rage? The two word title. Oh, 

Craig: funny. I knew it. They’re all 

connected. 

Todd: Yeah. I’m telling you this, this is a magical time. It’s why we’re doing it. Yeah. 1981, the Prowler. Glad I saw it. Hilariously bad movie.

Fun to watch with your friends to make fun of makes absolutely no sense, but uh, technically pretty to watch and amazing kills. And, um, mm-hmm, special effects that best. Some of the stuff I’ve seen now today, it just unbelievably good. Well, thank you so much for listening to another episode, we still have one more 1981 slasher movie coming to you next week.

Please stay tuned for that. If you like this episode, please share it with a friend. You can find us online. If you just Google two guys in a chainsaw podcast, you can find our website, provide our Twitter feed. You can find our Facebook page. You can also find our Patreon and any one of those places.

Please leave us a note. Let us know what you like about this episode, what you would like to hear coming up in the future. Please consider supporting us on Patreon. And if you do you get a bunch of goodies, including, uh, a little dive deeper into behind the scenes of what we do here, some of our random thoughts about not just movies, but about horror books, uh, maybe we’ll have some episodes about horror, video games, some stuff about us personally, coming up and a big explanation as to why we are even doing a month of 1981 slash the thing.

Until next time I am Todd and I’m Craig with Two Guys and a Chainsaw.