Tom DeSimone’s 1981 slasher film Hell Night is a perfect encapsulation of the formula: scary place, nubile college-age kids drinking and doing drugs, and an insane, deformed killer on the loose and angry for no apparent reason other than that the partiers have invaded his home. Almost 27 years ago to the date, Roger Ebert wrote that Hell Night “is a relentlessly lackluster example of the Dead Teenager Movie,” and he couldn’t have been more correct. He even namedrops The Burning and Friday the 13th. DeSimone is following the formula to the letter, but there’s a reason why the ’80s slasher prospered for so long: it works.
In Hell Night‘s case, its central conceit is also its most interesting: take Linda Blair, all grown up and happily showing off her womanhood after a successful childhood stint in The Exorcist, and throw her into a creepy manse along with three other goofy college kids. The setup evokes a natural response in the audience, as DeSimone chooses to focus the first act of the scene around the house itself; he even sets up some supernatural elements as Blair’s character Marti encounters a transparent spirit in the house. The faked haunted house elements by the fraternity president add some much-needed scares to the film to help Hell Night get going, and by then its murderous killer has made his appearance.
It helps that Garth Manor is dripping with atmosphere, sometimes quite literally thanks to all of the candles throughout the house. There are secret passages, underground cellars, and other areas that add menacing mystery to the halls of the mansion. It’s the same sort of set piece out of which Hammer wrung suspense, and it works just as well here – we’re not traipsing around woods now, and despite the film’s formulaic design, DeSimone works in some refreshing elements as well.
One of the most interesting is the likable aspect to most of the characters (barring Suki Goodwin’s bimbo blonde Denise). Blair’s Marti is a mechanic whose sole interest in the fraternity is getting free stuff out of it; Jeff (Peter Barton) is a rich boy with a heart of gold, forced into the fraternity because it’s what his family expects; and Seth, despite looking to get off, seems like a good guy once he escapes the manor and comes back with a shotgun he steals from the police station. DeSimone spends quite a bit of time on character, and that helps the audience root for these characters who we know are destined to die.
With that said, Hell Night falters in its final act with scenes that are overly long (and at 101 minutes, Hell Night certainly could have used some trimming). Its killer is also rather lackluster, a combination of elements from other horror films like The Texas Chain Saw Massacre, The Burning, and The Hills Have Eyes all rolled into one; the backstory, while attempted, leaves something to be desired because there’s no twist to what the audience is presented with at the beginning of the film.
There’s a lot to like about Hell Night, though, even despite its formulaic approach and slower pacing. Blair is a treat on-screen, and the film’s violence, while tame in comparison to some of the other films released at the time, works well to give the audience something to imagine. A good score and a surprisingly effective location make Hell Night a fun slasher film that won’t surprise but will absolutely give viewers a hell of a good time.
