Psychock

This really wasn't a bad film at all. For me personally, what really kills a lot of these types of movies or at least brings them down quite a bit is the poor acting.

I mean, this is 1979, in my lowly and wretched opinion Not the very best time for films and especially for realistic or believable acting. But, the director/writers did a good job here with the story and dialog.

And, seriously... Take about 80% of all the Slashers of the 1980's and how many of them have anything even Close to good acting. Normally, they are full of paper thin stereotypes, usually completely unrelatable and not realistic whatsoever.

So, that alone to me sets this film above most later Slashers. I was quite surprised that these characters did indeed come across as real people and their interactions and dialog weren't just some superficial, 'Hip' nonsense, but interchanges that the audience could actually buy into. Overall, I feel this is quite rare in these types of low budget Horror movies, especially Slasher films.

Apart from the above average acting (and remember, most of these people other than a couple of known supporting actors like Cameron Mitchell and the rather odd choice of Avery Schreiber, were relatively unknown) the story sets a pretty good tone and mystery about what is going on.

The plot isn't terribly deep or complicated, but with the good cinematography, nice locals, and decent writing and directing, I thought it was a good, slightly above average Slasher, especially for such an early one.

If you enjoy watching commentaries, it is a fun listen with both writers and the lead actress.

So, nothing that's going to rock your world or change your viewpoint on life, but a relatively fun and engaging early Slasher that you might enjoy if you like films like this.

~~~~~~~~~~~~~~~~~~~~~~~~~~ My Particular Way of Rating:

5 - Flawed, but perhaps with a little entertainment value here and there for some.

6. A decently passable story maybe worth a watch.

7. A solid film, well made, effective, and entertaining.

And, obviously, you can probably figure out what above and below these would mean... : )

The slasher film was one of the more popular eighties horror sub-genres, and as a result; a lot of truly awful slashers were made. This one isn't particularly brilliant, but it's more than decent and has more going for it than the vast majority of similar films from the same period. Most of the eighties output was directly influenced by John Carpenter's overrated Halloween, but this film appears to take more from the original slasher - Alfred Hitchcock's masterpiece Psycho - than the aforementioned modern slasher, which is definitely to the film's credit. The film puts it's focus on just one location; that being a boarding house near to a beach. The house is run by Mrs. Engels, who leaves her son Mason in charge as she prefers to stay locked in her upstairs room. Scotty Parker arrives at the house after searching all over town for a room. She gets a room there and pretty soon she is introduced to the other three house mates and mingles with them well. However, it soon becomes clear that there's a member of the household that she hasn't been introduced to, and it's not long before one of her new-found friends turns up dead.

I have to be honest and say that I probably wouldn't have bothered tracking this one down if it wasn't for the fact that it features the great Barbara Steele. Steele doesn't get the lead role, but she is by far the most memorable thing about the film with her deliciously insane character. The plot plays out very directly, and there is little or no attempt to be clever at all. This certainly isn't a bad thing, however, as it means that writer-director Denny Harris (with his only film) is able to put the focus on the popular slasher elements such as murder and atmosphere. The film isn't very bloody compared to its counterparts; films such as Friday the 13th, but there's a few brutal murder sequences contained within the film, and this is sure to please slasher fans. The foreboding and tense atmosphere is a result of the focus on the central location, and the old house at the centre of the film gives it a nice feel throughout, which is also one of the film's main assets. The conclusion is somewhat predictable; but you can't expect much else from this sort of film, and while Silent Scream isn't massively impressive, it's better than a lot of slashers and comes recommended to fans of the sub-genre.

For a film as cliche ridden as Silent Scream, it's a minor miracle that it came out as enjoyable and fun as it did. The story is well-worn and only slightly remixed for the late 70's/early 80's slasher craze. A young college student finds herself without housing, so she finds a room for rent at a spooky beachside home operated by a repressed young man and his nearly mute mother. Pretty soon, the bodies are piling up and family secrets are flying out of closets left and right.

Only a useless cop subplot (featuring Cameron Mitchell and Avery Schrieber) kills the pacing here and there and feels extraneous. The cast happens to be a likable, agreeable bunch with the charming and spunky Rebecca Balding leading. Veterans Yvonne DeCarlo and Barbara Steele show up to add some class to the seedy proceedings and it works. Silent Scream feels like a cut above most of the early slasher glut due to an emphasis on suspense, mood, and interesting characters.

A better than average cast helps to make this horror film a decent watch, along with a reasonably good script (written by brothers Jim & Ken Wheat and Wallace C. Bennett) that has some memorable twists. It's graphically bloody at times but also has fine atmosphere, and a healthy nod to "Psycho" in its use of an imposing beach side house.

College student Scotty (Rebecca Balding) is in desperate need of a place to live and ends up at this house, owned by a weird family, the Engels. Unfortunately, Scotty and her fellow roommates won't know just *how* creepy this family is until it's almost too late. When one of the kids is murdered, a subplot develops with two detectives (Cameron Mitchell, Avery Schreiber) investigating the case.

The cute Balding is an appealing lead in this story, given effective theatrical treatment by commercial veteran Denny Harris (in his only feature credit). Helping a great deal is a grandiose music score by the under-rated Roger Kellaway, who also composes a period style song for the show. There is some good suspense and many ominous shots of the house and its interiors. The shocks are well realized, as well.

Yvonne De Carlo is also among the familiar faces appearing. Mitchell and an effectively serious Schreiber are fine as the detectives. In addition to Balding, Steve Doubet and Juli Andelman are similarly likable. Brad Rearden is great in the role of the nerdy Mason Engels, the films' one true tragic character. And horror genre icon Barbara Steele is a treat to watch in a non-speaking role.

Lovers of the horror films from this period should find a fair deal to enjoy here. "The Silent Scream" is enjoyable stuff that deserves a viewing from them.

Seven out of 10.

Let it begin. Post-Halloween slashers are in force. But this just made it in before the major onslaught, and admirably it's a above par entry. Actually it probably has more common with "Psycho" , and touch of "Black Christmas", than most brain-dead slashers. The one-note story is quite typical and fairly bare on building much in the way of sub-plots, but it's the dreary, underlining atmosphere that smothers the gloomy seaside mansion and invokes a real unsteadiness of slow-burn tension. Even the performances lend well, and the central outlook on a dysfunctional family (who rent out spare rooms in their mansion to students) grows incredibly eerie. A silently steely Barbara Steele is memorably striking in her support role, while Rebecca Balding is competently fine as the main heroine. Cameron Mitchell and Yvonne De Carlo also show up. There's a subtle stylishness to Denny Harris' direction in many effective sequences, where obviously his less concerned about a body count and ghastly shocks. The feel is more like an old-fashioned Gothic-tale, with psychotic-drama currents. A problem though, would that there happened to be many flat (or dead-air) moments. Dead silence, and believable actions aplenty. It's low-budget shows, and minimal scope gives the film a tight, dank and creaky vibe that works. Even the vast, forlorn coastal location choices, and shadowy, cob-web house-bound settings are nailed down to perfection. Roger Kellaway's hysterically sombre music score had that familiar sound to it, but Michael D. Murphy & David Shore's murkily prying cinematography really sneaks up onto the viewer. Even within the empty passages, it still emit's a spine-tingling ambiance and workably solid performances by the cast.