Tony Maylam
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Filmography
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Connections, in both directions
Feeling more like a direct homage to 1970s slashers such as Friday the 13th and The Burning, with plenty of genre references like Carrie and Stephen King, 1978 delves much more into the classic slasher elements.
The aforementioned genre is, of course, used to populate — for better or worse — the 80s horror films seen in the likes of Friday the 13th (1980) and its subsequent sequels, The Burning (1981) and Sleepaway Camp (1983).
The sleepaway-slaughter hallmarks of the 1980s such as The Burning, Friday the 13th, Madman, Sleepaway Camp and Cheerleader Camp belonged to a disreputable, sleazy sub-genre that cannot be genuinely replicated by such mainstream studios as Fox (which produced Fear Street) and Netflix (which eventually bought the films).
Especially given films like Friday the 13th , The Burning , and Sleepaway Camp all being beloved by horror fans for their campground setting, it seemed like an obvious choice to deliver a straightforward, summer-themed slasher, only for Janiak to once again totally circumvent expectations.
A decidedly ’80s trend, its ingredients — teens holed up in a secluded spot away from adults, ripe for sex, drugs and mayhem — have been employed to various degrees of success, from the classics ( Friday The 13th , The Burning ) to the forgettable ( Cheerleader Camp , Sleepaway Camp ).
Teenage Sex and Death at Camp Miasma (2026)
Directed by Jane Schoenbrun
influenced by The Burning (1981)
Themes
That disparity is found in the fandom of many old school horror films—“Friday the 13th,” “Sleepaway Camp,” “The Burning,” and more—where people love the atmosphere, lustful set pieces, and elaborate kills, yet recognize that it’s not exactly “high art.”
…it also gives us the kind of imagery you know to expect from someone who grew up watching Sleepaway Camp, Friday the 13th and The Burning…
Patrick Lussier’s Drive Angry tries to spice things up with its effective use of 3D and by cobbling together as many exploitation clichés as possible: the Daisy Duke-wearing hot girl who can kick ass; the badass who grizzles, shoots and drinks; the overqualified character actor providing exposition (David Morse); and, finally, the smooth villain (Billy Burke) with better hair than the hero, if only to compensate for a lack of manhood and, as Rutger Hauer put it in Split Second, “bigger fucking guns.”
That same affinity is on display in “Freaky,” although the mask is quickly ditched and the clever carnage is increased, matching the most gruesome deaths of “The Burning,” “The Prowler” and other hits from that bygone era.
The end result is a seriously disagreeable piece of work that instantly establishes itself as the worst sci-fi horror flick to come around since 1992's Split Second, which effectively cements Pandorum's place as an Ed Woodian debacle of almost unprecedented incompetence.
Bong’s regular cinematographer Hong Kyung-pyo (who also shot last year’s The Burning ) frames the two locations of the semi-basement and the mansion with social realism in one and cool precision in the other.