Point-Counterpoint: Slasher (2024)

Spanish horror “Slasher” attempts to slice through genre conventions, offering horror fans a fresh perspective on the masked killer mythos.

POINT: ONE TAKE FROM WRITER ALYSSA MILLER

Most horror fans will agree that slashers are where the fun is at. Gore, sex, violence, and story-building shape the genre. Many are characterized by (often needless but still welcomed) sequels. When it comes to Slasher, the boxes are checked, but how enthusiastic are those checkmarks? The practical effects are solid, but is that enough to make a good slasher film? Will it live rent-free inside of our horror-filled heads? 

Slasher marks the directorial and screenwriting debut from Alberto Armas Díaz. This Spanish-language slasher film dives into familiar territory. Julio, a young man, is forced to decide if he wants to follow in his father’s footsteps as a violent killer. When a group of tourists comes into town, Julio decides to dive in and see what killing is all about.

Unfortunately, the lack of a backstory repeatedly leaves us asking, “Why?” Why is Julio’s family into killing people? Why is Julio motivated to continue this legacy? Why are the villagers seemingly complicit in this brutality? This honestly felt like a sequel to a film I didn’t get to see. It’s clear there are some compelling answers hinted at, but the development is sorely lacking. 

The film’s plot seems as clumsy as Julio during his first kill—completely undecided about what it wants to be.

There’s a comedic undertone, but it’s not particularly funny. There are hints of motive, but none of those motives are clear. It comes out to be a bit of a muddled mess when addressing the storytelling aspect of the film. 

However, the overall tone of the movie is very intriguing.

The cinematography really draws the viewer in and brings a strong sense of curiosity. The warm shots of the landscapes and the ominous red door keep the interest going. On cinematography and practical effects alone, this movie would be considered masterful. The gore feels like it’s too little, too late, but it delivers in the end. Despite the storytelling flaws, this is a very well-shot film.

It’s easy on the eyes but a bit slow on the draw when it comes to the storytelling. 

There is also something to be said about the score of this film. As a whole, it delivers to the point where I genuinely forgot I was watching an indie film. However, there are some places where the score is inappropriate and feels disconnected from the scene, especially during the killing. Was this intentional? If so, it makes some sense but doesn’t feel like a smart choice for a slasher film.

While Slasher addresses the sexual trope commonly found in slashers, it falls flat. The sex scenes aren’t very erotic or fun, and the chance for some interesting kills is blatantly ignored.

We have all of our typical characters—the jealous boyfriend, the promiscuous one, the prude, the annoying one, and of course… the final girl. These characters are all pretty shallow and forgettable, including the final girl, which was a bummer for me. The final girl is supposed to be unique, complex, and a pillar of the film. This one just leaves a bland taste in the mouth. 

While the film’s cinematography was amazing and spectacular to look at, the story itself is riddled with holes and unanswered questions. I believe the filmmakers were on the right track, but an unpolished script derailed its promise. 

COUNTERPOINT: A DIFFERENT TAKE FROM EDITOR-IN-CHIEF STEPHANIE MALONE (EDITOR-IN-CHIEF)

Alberto Armas Díaz’s Slasher offers viewers a unique perspective on the slasher formula that’s both familiar and refreshingly novel.

At its core, this Spanish horror film is a coming-of-age story with a wickedly sharp edge. We follow Julio (brilliantly portrayed by Sergio Alguacil), a young man grappling with a chilling inheritance — a mask that symbolizes his family’s legacy of violence.

Alguacil’s performance is reminiscent of a young Anthony Perkins as Norman Bates, capturing the inner turmoil of a character torn between embracing his humanity and succumbing to the monstrous destiny before him.

Díaz’s direction shines in its visual style, with cinematographer Adrián Ortíz painting a haunting portrait of rural Spain. The film’s atmosphere is thick with dread, enhanced by Paul Andrews’ eerie score that gets under your skin and stays there. These elements combine to create a palpable sense of unease that permeates every frame, drawing viewers deep into Julio’s internal conflict.

Slasher shares DNA with genre classics like Texas Chainsaw Massacre and Psycho, as well as more recent entries like Behind the Mask: The Rise of Leslie Vernon and In a Violent Nature.

The film’s premise is undeniably engaging.

The concept of a masked, psychotic killer with a moral code — preying only on tourists while leaving locals unharmed — adds an intriguing layer to the narrative. The power bestowed by the mask, increasing invulnerability at the cost of humanity, is a clever metaphor for the dehumanizing nature of violence. The film’s focus on the killer’s perspective, offering a uniquely sympathetic portrayal, is where it really shines.

However, Slasher isn’t without its flaws.

The pacing struggles in the middle acts, occasionally failing to maintain the tension it so expertly builds. While the mask symbolism adds depth, some plot twists feel telegraphed, adhering too closely to predictable genre conventions. The film’s victims, led by Lucas (Mario Gallardo) and Ursula (Fabiola Muñoz), range from bland to obnoxious, which is likely intentional as a commentary on the subgenre but can be frustrating for viewers. Our final girl (looking much like a Spanish Sydney Sweeney), although a beauty, doesn’t do much to stand out or make us invest in her as a character.

The tonal shifts between horror and humor don’t always land smoothly, though moments like the “shroom scene” provide some genuine laughs, even if they feel disconnected from the rest of the film. It’s worth noting that some of the humor may be lost in translation for non-Spanish-speaking audiences.

I would have loved to have seen the film take its compelling premise further, and perhaps I will get that in later installments if and when they come.

I can understand how some critics and fans have felt the script was underdeveloped and the great ideas were underbaked.

With that said, I appreciated what it was trying to do enough to give it some serious points. It’s not a complete home run, but it swings for the fences and does enough to keep things entertaining. It’s an obvious loving homage to the genre films we love, and it’s very clever at times. It’s also well-made and looks and sounds excellent.

The mask looks great. And while there’s not enough tension and too much humor to deliver satisfying scares, some of the kills are quite fun, and there’s enough blood and gore to satiate those who came for the promise of the title.

Slasher is available on Digital beginning October 8, 2024.