THE TERROR BEFORE THE MASK: 'FRIDAY THE 13TH' (1980) - THE LANDMARK SLASHER

Tom Savini's gore effects for the brutal murders are the main draw of Friday the 13th. Credit: Paramount Pictures/Warner Bros.

Spoilers and violent images are included. 

It is hard to view Sean S. Cunningham’s original Friday the 13th in a vacuum, away from the franchise he unintentionally created. This is due to its poster boy slasher villain, Jason Voorhees, and his infamous hockey mask that has become so recognizable in the mainstream. There was a Friday the 13th released in every year of the 1980s, bar 1983 and 1987, and Jason had become a ’80s pop culture icon. So much so that non-horror fans were aware of him, and did not even necessarily, know the character by name. When they thought of the genre, what would often come to mind was a hulking hockey-masked maniac massacring scantily clad beautiful young women. Jason had become emblematic of slasher horror, a cinematic movement Friday the 13th had opened its blood gates to; a deluge of rip-offs of a rip-off flowed out.

Cunningham has stated that he did not aspire to make high art, as he just wanted to make a scary good time, by exploiting the phenomenal success of John Carpenter’s slasher template, Halloween (1978). Carpenter’s film itself is possibly influenced by Bob Clark’s proto-slasher, Black Christmas (1974). Paramount Pictures wanted to milk the Halloween cash cow too, so they picked up the domestic rights to Friday the 13th for $1.5 million, and with a $1 million advertising campaign aimed at teenagers and young adults, they distributed wide this $550,000 exploitation picture. While the independently released Halloween became a hit, it did so by gradually opening in territories over the course of a year and a half, right up to the release of Friday the 13th, which was an instant cult smash. It made a ‘killing’ at the box office with a take of $39,754,601, and grossed another $20 million from international distribution by Warner Bros. Then other studios started picking up small low-budget slashers, and released these in cinemas everywhere. Friday the 13th had kick-started the first slasher cycle.

These types of trash flicks with no star actors were usually seen in the seedy grindhouse fleapits on 42nd Street, Manhattan, New York, and on the drive-in movie theatre circuit across America, released by shady distributors to make some easy money. This was the first time that a reputable major Hollywood studio had released such a film, so general audiences could go see it in the clean and luxurious surroundings of their local multiplexes. Honest workers and students were going with friends and partners, amongst the safer company of other regular folk, as opposed to the low lives of drug dealers, junkies, pimps, prostitutes, and street thugs.

Audiences lapped up the focal selling point of the shockingly realistic set-pieces, in which a likable bunch of teens are gruesomely dispatched one-by-one in loving graphic detail, realized by SFX wiz Tom Savini. Even though around half of the murders happen off-screen, we still see the horrid aftermaths. This made for an intense visceral experience, and added the gore factor to the slasher template. It is in stark contrast to John Carpenter’s minimalist approach in Halloween that focused on eerie atmosphere and taut suspense and tension, and has little bloodletting. Friday the 13th is almost as much Savini’s film as it is Cunningham’s, as the director mostly just points the camera at the execution of these practical special make-up effects creations. But he does pull off some effective highlights, with well-paced, suspenseful and tense, and genuinely creepy sequences that deserve more credit than they are given.

Screenwriter Victor Miller (1940 - 2026) creates an unsettling atmosphere with moments of quietness, both compressed and expanded, in a deliberately paced slasher piece that demands our patience. Aside from setting up the premise and the lore, and throwing in a red herring, the first act is almost plotless. It mostly plays out like a slice of teenage life in the woods, as we get to know and like this small group of characters. It generates our fears for them due to the horror we witnessed in the opening, and the horror returns when their bodies start piling up from the beginning of the second act. Even then, the killer commits their murders on the quiet, because they stalk the teens unbeknownst to them, so they do not get the chance to defend themselves.

Composer Harry Manfredini’s main theme greatly resembles the striking strings ensemble of Bernard Herrmann’s composition for Alfred Hitchcock’s granddaddy slasher forerunner, Psycho (1960). Manfredini’s motif cue sting alerts us to when the mystery killer is on screen, together with cinematographer Barry Abrams’ point-of-view shots.

The pre-title sequence features the first use of POV to tell us that the killer is on screen. Credit: Paramount Pictures/Warner Bros.

The cold open in the period setting of 1958 establishes the summer camp location in the fictional rural town Crystal Lake. It sets the grisly tone, as it features the obligatory first stalk and slash set-piece to whet our appetites, with the double murder of a young couple of camp counsellors that were getting it on. We see the first use of the first-person perspective of the psychotic killer, used to evoke a sense of voyeurism. The technique was innovated by Michael Powell (1905 - 1990) in his cult classic psychological horror, Peeping Tom (1960). This prologue tells us that sex = death, just as the opening of Halloween, when we see through the POV of the six-year-old Michael Myers, him repeatedly stabbing his older sister Judith to death, after she just had sex with her boyfriend. Both sequences serve as the backstories of the present day events.

After the title sequence, the narrative time jumps to Friday 13th June 1979 (the year the film was made). We meet hitchhiking cook, Annie (Robbi Morgan). She gets a ride from local truck driver Enos (Rex Everhart, 1929 - 2000) halfway to the reopening Camp Crystal Lake, which the locals have nicknamed “Camp Blood”. Walking to the truck, they cross paths with prophet of doom, Crazy Ralph (Walt Gorney, 1912 - 2004), who exclaims about the camp, “It’s got a death curse!” This town drunk is a red herring, and foreshadows the horror instore, codifying the slasher trope of the doomsayer from the older generation warning the younger generation of their impending tragic fates. He has memorable lines like, “I’m the messenger of God. You’re doomed if you stay here.” Keep this in mind.

Enos also warns Annie that Camp Crystal Lake is jinxed, and feeds us exposition. He tells her about a series of tragic incidents out of chronological order: a couple of camp counsellors were murdered in 1958; a boy drowned in 1957; a bunch of fires happened, but does not specify the date; and when they tried to reopen in 1962 the water was bad. Enos mentions the most important event between two of the events it triggered - the murders and the fires - so it is not on our minds over the course of the proceedings.

Screenwriter Miller has ticked a box for a whodunit. Taking place in a small countryside town, the history of these crimes has more of an effect on its residents, sending ripples through the community, which relates the backstory to the young outsiders. As the perpetrator was never caught, it has dire consequences for them, because they are staying in the same location where the crimes were committed.

 The lovable town drunk, Crazy Ralph (Walt Gorney), establishes the doomsayer slasher trope. Credit: Paramount Pictures/Warner Bros.

Then we are introduced to the rest of the camp counsellors. Driving to the camp are lovers Jack (a post-National Lampoon's Animal House Kevin Bacon) and Marcie (Jeannine Taylor), and their third wheel jokester friend, Ned (Mark Nelson), a character type that will become archetypical in the slasher sub-genre. When they arrive, they meet: owner Steve Christy (Peter Brouwer), who has been fixing up the place for its reopening; final girl Alice (Adrienne King), who is an art major; Bill (Harry Crosby, son of Bing), who is Alice’s love interest; and Brenda (Laurie Bartram, 1958 - 2007), who is an animal lover. Victor Miller created these characters for the youth of the day in mind to identify with. Despite the one-dimensional characterisations of these teenagers, they are portrayed as well-meaning, fun loving, and carefree, so we care about them. We value them as sympathetic victims purely of circumstance, when their lives are tragically cut short in the most brutal and callous of ways. A clear distinction between the annoyingly obnoxious kids that would populate slasher cinema.

Victor Miller has placed the teens in a remote location away from adult supervision to be systematically murdered like lambs to the slaughter. They are stuck in an outlying backcountry area, during a heavy thunderstorm at night, with electricity out, telephone lines cut, and all means of transportation off limits, while they are oblivious to someone stalking them, and we are the only ones let in on this. It is a simple yet terrifying concept. Camp Crystal Lake popularized the slasher’s exploited settings of summer camps and other isolated environments - the backwoods in general, amusement parks, college dorms, etc. Places we can easily find ourselves in, and so it provides a real sense of dread and potential doom. Mario Bava’s 1971 giallo/slasher prototype, Reazione a Catena/Chain Reaction (A Bay of Blood, Twitch of the Death Nerve), was the first to do this, taking place at a secluded bay side mansion.

Steve drives out of the camp in a green SUV to go to town for supplies. Straight after, a same colour SUV picks up Annie. The roof is down, whereas the roof of Steve’s was up, and the colour of the license plate on the back is blue, whereas on Steve’s it was yellow. Once Annie is in the passenger’s seat, we see her from the driver’s POV, as she tells them she will be the cook at the reopening Camp Crystal Lake. The driver then speeds up, goes right past the road to go to the camp, and Manfredini’s pounding score plays. There is then the first of two chase sequences - the only instances in which the victims know they are being stalked. The vehicles’ similarities will play a crucial part in the finale, because Alice saw Steve leave the camp in the SUV.

On another note, for future reference, when we see the killer’s legs as they are chasing Annie, they are clearly a man’s legs.

Poor Annie (Robbi Morgan) gets it in the woods. Credit: Paramount Pictures/Warner Bros.

Crazy Ralph sneaks in to the camp and warns the group, a sign of their imminent deaths. Soon later, Ned follows the killer into a cabin. Just as a thunderstorm is about to hit, Marcie tells Jack she has been scared of storms since she was a child, and describes her recurring nightmare, “… the rain turns to blood, and the blood washes away in little rivers.” As it starts to pour, so begins, A Long Night at Camp Blood, which was the tentative title of the script. The second act of the film is when it comes alive.

As Jack and Marcie are making love, on the bottom of a bunk bed in the same cabin Ned followed the killer into, the camera pans up to the top bunk and Ned’s throat slit corpse, and then there is a close-up of Marcie’s face as she climaxes. She then leaves to use the bathroom. As Jack lies on the bed smoking a cigarette, a drop of Ned’s blood falls on his face, and then, suddenly, from beneath the bed, a right hand (of a man) grabs his forehead, and their other hand rams an arrow through the mattress and into the back of his neck, piercing through, and blood spurts all over his chest. The slasher film’s intrinsically linked sex and death has never been so explicit. As Jack and Marcie are having sex, the dead body of their friend is laid out above them, and the killer is underneath them.

Despite our anticipatory anxiety for the inevitable, we are still shocked by the viciousness of Marcie’s murder, because, obviously, we did not know how it would play out. In an “Oh, shit!” moment, we see behind her on a wall in the bathroom, a silhouette of an axe being raised. She then turns around to see it held high, lets out a loud scream, then we see it come down, and a hanging light shade that swings wildly when the axe makes contact with it. We see the axe buried in the left side of her once pretty, destroyed face, as she falls back, and slides down a shower curtain and out of frame. The axe hitting the light shade makes for a nice touch in the execution, as it bridges the driving of it into Marcie’s skull, and when the camera returns to the swinging light shade for the last shot of the scene, it makes for haunting imagery.

 Once so Pretty. The destroyed face of Marcie (Jeannie Taylor). Credit: Paramount Pictures/Warner Bros. 

Off-screen kills are never popular with slasher/horror fandom, and this sequence is never talked about, but it is well staged and executed. When Brenda is in her cabin lying on a bed reading a book, she hears the ghostly sound of a young boy’s voice crying out for help from the darkness outside. This is the killer mimicking a child’s voice, but sounds authentically like a child. Brenda, concerned for their safety, goes out to search for him using a torch, and only wearing a nightgown. The boy can still be heard in the thick of the thunderstorm, until his voice suddenly stops when Brenda finds herself at an archery range where the killer has lured her to, and they put on the lights that blind her as she stands in front of a target. Soon after the lights have come on, the film cuts to the exterior of the cabin Alice and Bill are in, and we hear Brenda let out a deafening scream. Earlier, we saw Brenda putting up the archery range, and when she finished positioning one of the targets, Ned, messing around, used a bow to shoot an arrow into the target while she was standing right next to it. Due to this foreshadowing, we get an idea of how she is killed. A child’s voice calling for help to a young woman alone at a remote location, in the pitch-blackness of night, during a heavy thunderstorm, then those blinding lights, and her death scream, are chilling imagery and sounds. This moment stayed with me after my first viewing of the film.

Bill delivers the immortal line in slasher cinema - “I’ll be right back”, and so we know he will not be. When Alice discovers him dead, we get a close-up money shot of his bloodied carcass pinned to a cabin’s door with arrows, and his throat is slit.

This brings us to the finale. Alice is holed up in a cabin, and the killer terrorizes her by throwing Brenda’s body through a window she is standing by. Alice then sees the headlights of a vehicle pull up, and seeing a SUV, she mistakes it for Steve’s, unaware that he has been murdered, so she rushes out, and is met by a woman we are seeing for the first time. Set up in the first act, this is how Alice comes face to face with the killer, and is now more vulnerable without the protection of the cabin.

Chilling imagery and sounds can be seen and heard in this never talked about sequence. Credit: Paramount Pictures/Warner Bros.

We could clearly see that the killer’s hands and legs were a man’s, but now we are presented with a stocky middle-aged woman with a butch haircut. Whom are the filmmakers kidding with this cack-handed gender swap reveal?

The woman tells Alice that her name is Mrs. Voorhees (Betsy Palmer, 1926 - 2015). After she feigns innocence over Brenda, she tells Alice about the boy who drowned in 1957. The negligence of the camp counsellors because they were having sex, caused her unsupervised young son named Jason to drown, when trying to swim in the lake by the campgrounds where she worked as a cook. She tells Alice that after what happened that she could not let them open the camp again. She tells her that today is her son’s birthday, falling on the superstitiously unlucky 'Friday the 13th'. This started the trope of the slasher villain revealing themselves and their motive to their last intended victim. Mrs. Voorhees is delusional in her belief that she is saving other children from the tragedy that befell her son by murdering innocent people to make sure the camp stays closed. Half of her is a sympathetic grieving mother; the other is a deranged vengeful murderess. This is elevated by the brilliant manic energy of Betsy Palmer, who is the most experienced actor here, and easily the best.

Harry Manfredini’s sound effect of “ki ki ki, ma ma ma” represents Mrs. Voorhees’ psychosis of schizophrenia, as she has auditory hallucinations of her deceased son Jason telling her, “Kill her, mommy!” The “ki” comes from “kill”, and the “ma” comes from “mommy”. This is a role reversal of Psycho - the mother is alive, and the son is dead.

We did not get to meet Mrs. Voorhees from the outset, as a seemingly good person nobody suspects. It is a cop out in a mystery film when a character introduced for the last 20 minutes, reveals they are the killer and their motivation to the survivor, within their first two minutes of screen time. This is horribly lazy writing that insults our intelligence.

"[Friday the 13th] started the trope of the slasher villain revealing themselves and their motive to their last intended victim." Credit: Paramount Pictures/Warner Bros.

Friday the 13th solidifies the entwining of sex and death/the sin met with punishment implied in Halloween. Victor Miller makes it unequivocal by giving Mrs. Voorhees the urgency of sex = death that propels her vengeful murderous rampage on the horny young camp counsellors. The slasher film inhabits the puritanical, conservative, and Christian/Catholic world, as the killers represent their abhorrent views on pre-marital sex in a morbid moral lesson. In Friday the 13th, the warnings from Crazy Ralph - ‘the messenger of God’ - carry the underlying ominous threat that the teenagers’ so-called misdeeds will not go unpunished. The female victims in slashers are not usually promiscuous, as they are in normal, healthy, and monogamous relationships, but because the sex is pre-marital, they are nothing but sluts in the church’s narrow-mindedness. Alice is the quintessential final girl: she is not sexually active (possibly a virgin), sensible, resourceful, and survives when confronting the killer. While the final girl is morally upright, because of her intelligence she is able to think critically, and can decide what she wants to do, unlike the followers of blind faith. When the final girl dispatches the killer who embodies this poisonous worldview, she vanquishes it.

The other chase sequence leads to the final showdown that takes place by the lake. It results in Alice decapitating Mrs. Voorhees with the machete she used to attack Alice with, which is captured in all its gory glory in slow motion.

We then hear Manfredini’s tranquil closing theme, but this reassurance is false. An exhausted and traumatized Alice boards a canoe, takes it out on the lake, and falls asleep. In the morning, the police turn up, they shout to her, and she wakes up and looks up. As the calming music still plays, the camera slowly and suggestively zooms in to the right of Alice, in the seemingly safe surroundings of the stillness of the lake. Then suddenly, we see the horrifying imagery of the decomposed and hideously deformed boy, Jason, rise from the lake, and pull Alice under the water in revenge on her for killing his mother. Alice then wakes up screaming in a hospital bed. I first saw Friday the 13th growing up in the 1990s, when I got my parents to rent it for me on an old dirty worn out VHS tape from our local video store. Despite the suggestive camera movement in this scene, I was still horror-struck by what happened, because up to this point, the film was grounded in reality, with not one hint of a supernatural element. Then it turns out to be a Carrie-esque nightmare sequence. This is one of the most finely crafted final jump scares in cinematic horror history, and is one of my most vivid memories of my misspent youth watching movies.

In the hospital, Alice asks the present police officer about Jason, and he tells her they did not find a boy, to which Alice replies, “Then he’s still there.” She turns her head facing the camera, as we hear the return of the end theme, which now takes on a more poignant meaning, when the picture transitions to Crystal Lake, and the camera slowly zooms in on ripples in the water. If we can view the film as a singular work, there is heartbreaking melancholic beauty in this final shot. Half-way through the third act, it became the tragic story of a broken woman. She went insane when her world collapsed from losing her only child, a mentally challenged hydrocephalic boy, who she struggled to raise, but loved unconditionally. When he drowned, his body was never recovered from the lake, and so it did not give his mother closure. Jason is a dead child used as a plot device. He is the catalyst to the present day events, existing only in referential dialogue, flashbacks, and a dream scene. In this context, it is something more psychologically disturbing. The story was never supposed to be expanded.

One of the most finely crafted final jump scares in cinematic horror history. Credit: Paramount Pictures/Warner Bros.

The original Friday the 13th is a genre landmark for three reasons: it was an anomaly, because it was something the masses had never seen; it ignited the slasher boom; and it started a franchise that would give us one of the most iconic horror villains. The film is a collection of some of slasher cinema’s most memorable moments realized by: Sean S. Cunningham’s workmanlike direction, Tom Savini’s convincing gross out SFX, Victor Miller’s serviceable to their single mindedness but flawed screenplay, and Harry Manfredini’s terrorizer soundtrack. It is nowhere near the masterclass filmmaking of Halloween, nor as well made, or as entertaining, as other slashers released later, including some of its own sequels, but is better than other entries in or out of the series that scraped the barrel. It does exactly what it says on the tin, as a grimy exercise in a sustained night of terror, encapsulated in a perpetual atmosphere of dread and isolation. “They were warned… They are doomed… And on Friday the 13th, nothing will save them.

© 2026 Dave J. Wilson. All rights reserved.

Credit: Paramount Pictures/Warner Bros.

BRINGING THE WAR HOME: 'THE EXTERMINATOR' (1980) - URBAN VIGILANTE JUSTICE

After avenging the tragedy of his friend, John Eastland becomes the exterminator of society's ills. Credit: StudioCanal

The tagline on the theatrical poster of The Exterminator reads, “In war, you have to kill to stay alive… on the streets of New York, it’s often the same.” There is a moment in the film when protagonist John Eastland (Robert Ginty, 1948 - 2009) tells his best friend and brother-in-arms, Michael Jefferson (Steve James, 1952 - 1993), “I found the guys that did this to you, and I’ve taken care of it. It’s strange; it feels like we were back in Nam. It didn’t matter whether it was right or wrong, I just did it.” Michael is lying on a hospital bed and is on life support, as John tells him this. Michael is a husband and father of two, who saved John‘s life in the Vietnam War. Michael was the victim of a vicious attack by a street gang named the Ghetto Ghouls, in which they gouged his spine with a meat hook, leaving him paralysed for life. John retaliated with swift and brutal retribution.

Much like Michael Winner’s Death Wish six years before it, James Glickenhaus’ The Exterminator was born from the frustrations of citizens inhabiting densely populated cities. This was due to the high crime rates, and the police and politicians’ inability to deal with it and protect them. Filmed at the tail end of 1979, it unflinchingly depicts the urban decay of New York of the era. It is a nasty piece of exploitation - a gritty, grim, grimy, sleazy, and über violent vigilante actioner. It is set in two locations of the city: 42nd Street, Times Square, which ironically, is populated by the grindhouse theatres that showed exploitation pictures such as this, and in the cesspool of Hell’s Kitchen. Its lack of visual flair only works to its advantage in painting a bleak portrait of the mean streets that are mostly shot at night.

However, the film is thoughtful with its sympathetic portrayal of Vietnam veterans’ inner turmoil, as they try to cope with their returns to society and fit in, just four years after the end of the conflict. John’s PTSD deepens the narrative, as his traumatic experiences have left him with deep-seated scars, and we empathize with him. He is a quiet loner, has no other friends, has no family, other than Michael and his wife and children, and he is fiercely loyal to them. After John takes revenge for his friend, he gets the hunger for vigilante justice, and turns New York City into his personal warzone. He now has another use for his military training that gives him purpose. He has found his place by being judge, jury, and executioner of the dregs of the society he has been forced back to. He has been a delayed bomb, and it took him being pushed too far to go off. We root for him to take out the scumbags, as he remains compassionate to their victims. What Robert Ginty lacks in charisma and versatility as an actor works within this context, as his character is an everyman like you and me. This is what makes him identifiable as an anti-hero. John sends a letter to the media signed with a nom de guerre (war name) as ‘The Exterminator’.

John deals out brutal punishment on a scum child sex ring. Credit: StudioCanal

One of the most compelling parts of The Exterminator is inspired by Martin Scorsese's Taxi Driver (1976):

A man picks up a 20-year-old female hooker. He turns out to be a child sex ringleader, when he takes her to his “chicken place”, which is a street slang term for a prostitution house where young children are provided to paedophile clients. Here an elderly state senator wants to have a threesome with her and a boy. She is disgusted by this, so refuses and tries to leave, but they take her to a bed, tie her to it, strip her, and the old vile pervert scalds her breasts with a soldering iron.

Later, by chance, she approaches John on the street as a potential customer, and he accepts her proposal, so they go to a seedy room. When she undoes her blouse, he sees her unsightly scars, and she tells him what happened. He promises her nobody will hurt her again. He tracks down the child sex trafficker and his client that did this to her. He gets into the place by posing as a sex trader who wants to sell a boy. When he gets the response he needs for confirmation, it makes him angrier and his punishment of these sick fiends more severe, as he dispatches them with such malice.

The set-up seeks our revulsion, and then we are given catharsis, as we see this slime of humanity get their comeuppance in exploitative thrills. Then we are emotionally rewarded with John’s endearing act of human kindness, when he unties a young boy who the senator was abusing, and comforts him. These scenes were shot in an illegal prostitution house on 42nd Street, which had just been closed down by the police.

Christopher George gives one of the most solid performances as Detective James Dalton, and provides moments of levity in a grim affair. Credit: StudioCanal 

Juxtaposed to these horrid events are romantic scenes between Detective James Dalton (Christopher George, 1931 - 1983) and Dr. Megan Stewart (Samantha Eggar, 1939 - 2025). Dalton is investigating John’s murders, and is himself a Vietnam War veteran. Meagan is overseeing the treatment of one of John’s low-life victims. While they are having a late-night picnic in Central Park, the other events take place simultaneously. As we hear the sound of non-diegetic sentimental music, the camera leaves them with an aerial shot to establish the bright lights of the city. It then cuts to the setting of 42nd Street, where we see the child sex ringleader pick up the young prostitute. When the heinous act has been committed, the film goes back to Dalton and Samantha’s date. This is a contrast between light and dark. We see a fledgling romance, but we are reminded that it is a harsh and cruel world by the prostitute’s horrific ordeal.

This is further emphasized during their second date. Samantha asks Dalton what it was like in Vietnam, to which he replies it was bad, but not as bad as New York. It then cuts to an old woman being mugged by the remnants of the Ghetto Ghouls. John had interrogated one of them before to find Michael’s attackers, but this time, he does not let him off. This perfectly illustrates the tagline, “In war, you have to kill to stay alive… on the streets of New York, it’s often the same.”

There are some much-needed moments of levity from George’s Dalton. He says to an interfering CIA agent, “I think you have to take a shit, it’s coming out of your mouth instead of your asshole.” Christopher George gives one of the most solid performances.

The CIA does not want the NYPD to bring in John because they would rather assassinate him. The presidential election is coming up, and they do not want to risk the trial bringing up some "embarrassing issues", because the president’s campaign promises include fixing his administration’s inability to tackle crime. They suspect John’s vigilante work is a conspiracy by an opposition party or a foreign government. John’s way of clearing up crime gets more results than the government could hope for, but it exists outside of its judicial system. They would rather take John out of the picture than let him shame its inadequacies by his more violent yet effective methods. It is not as simple as good vs. evil on the streets of New York, as nothing is black and white. Just like in Nam, it is always politics.

The UK pre-cert VHS release of The Exterminator.

The Exterminator was a hit at the US box office, grossing $5 million on a small $2 million budget, and would find more success on the home video market. I can remember it being a favourite rental of adults in the UK. When I was growing up in South East London, England, in the 1980s, I would go with my parents to our local video rental store called Showtime Video. One of my earliest memories of this is seeing the big box VHS cases of The Exterminator and its 1984 sequel, Exterminator 2. The latter of which was produced by Cannon Films, and was less successful, both artistically and commercially. The infamous image on both the theatrical poster and the video case cover of The Exterminator, features a man wearing a motorcycle helmet, and wielding a flamethrower, but this does not feature in the film. Whereas the artwork for Exterminator 2 features a man wearing a welding mask, and is using a flamethrower too, which a returning Robert Ginty does do.

The film descended into obscurity in the 1990s, but due to the rapid rise of DVD and the internet at the turn of the century, it developed a cult following thanks to film fans and commentators spreading awareness of it. At the time of writing, Arrow Video’s 2011 Blu-ray release is the best way to watch it at home.

The Exterminator delivers on its promise with satisfying brutality on the scum that deserves it. Although the pathos in its examination of post-Vietnam War anxieties, sets it apart from the slew of urban vigilante action movies of the time that were inspired by Death Wish.

© 2026 Dave J. Wilson. All rights reserved.

Credit: StudioCanal