BAD DREAMS gets a lot of flack for resembling a certain other eighties horror franchise but it offers many unique charms of its own. Cynthia (Jennifer Rubin) survived a group cult suicide as a child (and a thirteen-year coma) only to wake and find the deceased cult leader (Richard Lynch) still has her number and plans to force all her pals to seemingly take their own lives unless she returns to him.

That Cast

Every Five Favorite Things post I contribute is likely to feature the actors or cast as a favorite feature and I'm fine with that. I can't imagine loving a movie and not digging the people in it. Whoever did the casting for BAD DREAMS deserves an award for hitting the nail on the head with every part. We get the quintessential virtuoso villain Richard Lynch as the linchpin baddie, Jenifer Rubin who excels at being the likable scrappy outsider, E.G. Daily with her sympathetic sprite-like charm, Dean Cameron with his edgy humor sharpened to cut deep and Bruce Abbot as the soothing doctor with sweater weather vibes. And that's not even half the players! You also get Susan Ruttan as a chain-smoking cynic and stuffy Harris Yulin as a conservative quack among others. It's like the Avengers of awesome eighties- era actors and let me tell ya, they all deliver.

The Direction

First time director Andrew Fleming (who would go onto direct the classic THE CRAFT) shows much talent in the way he dispenses suspense and allows the multitude of characters to all shine individually. There are a few scenes that make me flinch no matter how many times I watch the film and there are a slew of stylistic choices that elevate the film above many of its contemporaries.

The Elevator Scene(s)

The first time we get a good gander at the film's fried-faced offender is truly startling and expertly jarring. Deceased cult leader Harris suddenly appears behind Cynthia in an elevator and it's impossible not to be stunned by the beautifully gruesome make up effects. Sure, he's got a crispy skin condition like the more popular Freddy Krueger but it's also more realistic, and tonally darker. In fact, his more aggressive, less jovial energy is not unlike Freddy's revamped persona in WES CRAVEN'S NEW NIGHTMARE years later. One of the most effective elements of this scene is the use of epileptic seizure courting strobe lights along with incredibly compelling editing. It's very disorienting and alarming. There's also a tamer elevator scare later on in the film when one of Cynthia's new found allies calmly enters the elevator and half of it is blocked from view thanks to a medical cart. An anonymous worker pushes the cart away, which instantly exposes the film's phantom presence waving and smiling from behind her. It's so simple and efficient and works better than most special effect laden set pieces.

The House/The Cult

Is there anything scarier than a cult? Cults freak me out — always have and always will. What could possibly make a person give up the reins to their own existence? And in the case of this film, how dumb do you have to be to allow someone who looks like Richard Lynch to pour gasoline on your head? It boggles the mind. I will say that the crazy cult people in this movie did indeed receive one good perk for their devotion and that is that they got to live in this really beautiful and cool looking house (before they burned alive inside it screaming for a chance to rethink their life choices). One of my favorite shots from the film is a sly but appropriate ode to Andrew Wyeth's famous painting "Christina's World."

Forgivable Flaws & Excusable Derivatives

When I saw BAD DREAMS when it first came out, I mostly loved it but was disappointed by the ending reveal that seemed to render the best parts of the movie null and void. Over the years I just accepted the too rational (yet agreeable in its condemnation of the overuse of pharmaceuticals) climax as a bitter pill I had to swallow to enjoy it. The devastating part is that the DVD includes the original ending that fixes many a flaw by offering a supernatural compromise that allows for two sources of evil and the revelation that Harris is Cynthia's father! Oh what could have been! Besides diluting the film's denunciation of toxic families, removing the original ending sabotaged the likelihood of an interesting sequel/rematch! The studio even nixed the use of the band X's "Burning House of Love" over the end credits in favor of Guns and Roses' "Sweet Child O' Mine"– I take that somewhat personally.

Released a mere year after NIGHTMARE ON ELM STREET 3: THE DREAM WARRIORS and featuring one of its stars along with a similarly complexion-challenged antagonist, BAD DREAMS rightfully was called out for its undeniable familiarity. In my book though it's worth enduring some slings and arrows if it means we're gifted another horror flick set in a psychiatric hospital (plus if it weren't for cinematic opportunism, there'd be no PIRAHNA or BATTLESTAR GALACTICA and is that the kind of world you want to live in?). All these years later the creative shortcut feels way less objectionable and I'd take BAD DREAMS over several of Freddy's post DREAM WARRIORS output anyway (not naming names).

It's routine in the genre that a hit film would produce wannabes and in this case a great deal of the similarities are on the surface rather than in spirit. Like its heroine, BAD DREAMS has a lot of baggage and is far from perfect but it never fails to hold my interest and I'll always root for it to find the appreciation it deserves.

I wrote about THE ATTIC a bunch of years ago HERE but I can never get enough of this movie so I thought it deserved a Five Favorite Things flavored tribute…

The Acting

Hey! Two of my favorite actors in one movie! Although I doubt Carrie Snodgress and Ray Milland would identify THE ATTIC as the highpoint of their respective careers, I can't imagine anyone who could deliver as much to either role. At the time both actors were routinely pigeonholed into somewhat similar parts (Snodgress as a flighty loon, Milland as a cantankerous stick in the mud) and yet both here seem game as hell to present the apex of what they were often being typecast. Snodgress is wonderfully vulnerable yet marginally threatening as brokenhearted, semi-delusional spinster librarian Louise Elmore and Milland is effortlessly contemptible as her overbearing, sabotaging father Wendell. It's almost like watching a virtuoso ping-pong tournament as these two legends spar against each other.

Monkeys, Chimps and Apes!

Our girl Louise is obsessed with monkeys. She collects them, they are her spirit animal and they give her much needed comfort against the realities she can't accept. One day her only pal impulsively buys a real "monkey" (a chimp complete with accompanying circus music) for her to love from the pet store (as one does) and Louise brings it home to the great annoyance of her joyless father. I'm a simple man and nothing in the world is as amusing to me than an ornery old man being tormented by a mischievous chimp; it's just a delightful scenario. Sadly, Louise's bold move to follow her own wishes rather than her father's begins a chain of events that are truly tragic (but not before Louise fantasizes that her chimp turns into a gorilla and gives her father a beat-down). I gotta say, Louise's murderous revenge fantasies are often amusing but they also have a twisted off-kilter vibe that is keenly eerie.

The Songs

THE ATTIC was released in 1980 but you'd never know it by the oddly misplaced song inserts that seem plucked from a mellow-seventies 8-track tape. Come for the suicidal whimpering of "Who Cares", stay for the rental bike excursion theme  "Come Love Me Again" which was written by the same lyricist (Ayn Robbins) who penned ROCKY's "Gonna Fly Now".

The Melodrama

I admit that when I first stumbled across THE ATTIC on television as a teen, I was a little disappointed in its lack of bloodshed or supernatural happenings. Louise is rather like a classic Tennessee Williams character who is trapped in a world of her own due to a hopeful moment in her past transforming into a tar pit of broken dreams and abandonment. I guess what I'm saying is, it's kinda sappy at times but there remains a dark, slyly sharp gothic undercurrent that should satisfy those who enjoy subtler psychological horror. Snodgress was a mere 35 when the film was made but much of the familial betrayal themes present here echo those found in WHAT EVER HAPPENED TO BABY JANE? (62) Poor Louise may seem pathetic at times but she exerts a heroic effort to change course and a generosity of spirit that is truly admirable. Sadly she is ultimately thwarted by meddlers in her midst so in that respect I'd also liken this tale to other tragic character-driven horror faves like PSYCHO II (83) and MAY (2002).

That Strange Connection

I'll always be fascinated by the fact that the characters of Louise Elmer and her wheelchair utilizing pop Wendell previously appeared portrayed by different actors in an earlier film. 1973's Curtis Harrington helmed flick THE KILLING KIND was written by the same two writers (Tony Crechales & Gary Gravet) as THE ATTIC and apparently they became so curious about what these secondary, briefly-appearing, character's backstories might be that they wrote them their own film. I'm eternally grateful they did. Otherwise, I'd never have gotten to see Ray Milland throttled by an ape.

Note: I've seen THE ATTIC so many times that I was able to write this without a re-viewing but I had to watch it again just in case I remembered anything wrong and because I couldn't remember the monkey's name (it was Dickie). And let me tell ya, it all hit me so much harder! The comedy seemed more explicit, the sorrow seemed infinitely deeper and I found myself newly enraged by the actions of Louise's father. I'm just in awe of the way film can continuously gift new layers to a viewer each time they watch it and the older they get. The way Louise feels about monkeys is the way I feel about this movie.

It was June 2011. I was standing in front of a packed room in a Long Island hotel, leading a spirited panel on slasher films to celebrate the release of my then-latest anthology project Butcher Knives & Body Counts: Essays on the Formula, Frights, and Fun of the Slasher Film. Several of the book's contributors were in attendance, including novelist Stephen Graham Jones, Halloween (the holiday, not the film) expert Lisa Morton, Fangoria's Tony Timpone, and esteemed From Zombo's Closet blogger John Cozzoli, among others.

Everything was going swimmingly—I was in my element among my people waxing philosophical about slasher films. Seriously, what could be better than to be standing before a crowd hanging on my every word about a genre I love? Then someone asked a pretty pedestrian question: "So, what's your favorite slasher film?"

Everyone I've ever known expects me to say Halloween, largely because of my predilection for all things Jamie Lee Curtis. A few others might expect me to answer with Friday the 13th because that's always been right up there in my personal rankings; honestly, they're an interchangeable #1 and #2 depending upon my mood and the day—at least up to that point. And then I open my mouth.

"Curtains," I answer confidently and without hesitation.

Mouths in the audience hang agape at this stunning admission. I'm even a little stunned myself yet oddly relieved and even slightly empowered. I've just audaciously skipped perhaps the two most obvious and revered of the golden age slasher films—and at least a half dozen others infinitely more qualified—and picked one of the most overlooked, (technically) poorly made and edited messes of a box office bomb and proclaimed it my favorite.

In front of witnesses.

No one is more surprised as I am, but as I begin to speak in an attempt to elucidate just why this one-time slasher stinker has implausibly leaped over the handful of slashers that predictably land atop most film buffs' listicles, I've even managed to convince myself of an improbable truth: Curtains is a damn good slasher film. Here are my five favorite things that make this my truth:

1: The Element of Mystery: I've long held that the best slasher films are the ones that incorporate an element of mystery. Although Michael Myers stalking the leaf-strewn streets of Haddonfield never fails to elicit goosebumps, there's something to be said about not knowing who's committing the camp counselor carnage of Friday the 13th until the film's third act. Whodunit became as compelling a plot point as the method of execution in films like Happy Birthday to Me, Terror Train, Prom Night, Graduation Day, The Prowler, Urban Legend, and, of course, Scream. In Curtains, the set-up is pure Agatha Christie: Five actresses, all vying for the same coveted film role, converge at the remote home of the film's esteemed (and very sleazy) director to audition. A sixth actress never even makes it to the house, failing her audition with a knife to the gut. Before the first act is over, the cast is snowbound and someone in a hideous hag mask begins to systematically dispatch with the competition in true slasher style. It's tremendous fun trying to figure out who's behind the hag mask—and the third act reveal doesn't disappoint.

2: The Ice Skating Scene: Even a broken clock tells the correct time twice a day, and that adage holds true with the infamous ice skating sequence in Curtains. Despite the film's myriad flaws, horror buffs largely agree that Christie's kill is one of the most beautifully filmed and executed in all of slasherdom. From my own Butcher Knives & Body Counts essay "Paging Miss Marple":

"What makes the scene both audacious and unnerving for slasher fans is that it takes place in broad daylight, breaking long-standing slasher convention, and the killer comes after her on skates. Few diehard slasher films will argue that the sight of old hag face skating across the frozen pond in graceful strides toward an oblivious [Lesleh] Donaldson isn't one of the most genuinely chilling cinematic moments ever. There is a pure poetry to the scene, with the curve of the scythe that slowly emerges from behind the killer's back matching the artful curves of the skates as they cut through the ice towards Donaldson. The actress, who first blinks in confusion in the bright sunshine before that moment of amalgamated shock and terror, plays the scene to perfection."

3: That Creepy Doll: Curtains is notable for its use of creepy imagery. Case in point, the recurring use of a grim-looking doll—raven-haired, sunken eyes, mouth downturned into a frown—that shows up at the most inopportune times and seems to be a harbinger of bad things to come throughout the film. There are two scenes, in particular, in which creepy dolly is used to particularly good effect. In the first, Amanda (Deborah Burgess) is making her way to the audition, heading up a curving roadway in a rainstorm. She slams on her brakes: ‘Ole creepy dolly is standing in the middle of the road, arms outstretched. When Amanda gets out of the car, using her audition script as an ineffective umbrella, and crouches down in front of the doll to investigate its incongruous appearance in the middle of the road, creepy dolly latches onto her arm and Amanda screams. It's revealed to be nothing more than a nightmare, but the sequence is unnerving.

In the second scene, Christie finds creepy dolly buried in the snow at the side of the pond. She pulls it out and brushes the snow from its face. Even in broad daylight, the doll's visage is unsettling. As the film's hag-masked killer skates upon the ill-fated Christie, the ice-skating ingénue tries to block the killer's attack by thrusting the doll out in front of her—and poor creepy dolly's head gets lopped off with the killer's scythe.

4: The Prop Closet Final Chase: At the beginning of the film's third act, Tara (the late Sandee Currie)—after stumbling upon all the dead bodies in accordance with the slasher formula—finds herself in the enviable position of would-be final girl, which can only mean one thing: the protracted chase scene between her and the killer. Curtains makes champion use of its underlying thespian theme here by setting the climatic final chase in a theatrical prop closet. The setting is made creepier by its natural clutter—costume-clad mannequins, furniture, myriad stage props, eerily lit signage. It all serves alternately as camouflage for both hag-mask and Tara—well, at least until she climbs into that ventilation shaft…

5: Everything We Didn't See: What makes Curtains the true masterpiece this longtime horror nerd has come to appreciate is largely what we don't see on screen.

Wait…what?

No, you heard me correctly. Curtains is remarkable for all its lost potential. Watching it, one is struck by all the things the filmmakers could have done—hell, may have done. Curtains was a notoriously troubled, protracted production, worsened by multiple script rewrites, reshoots, and recastings that spanned nearly three years. Prom Night producer Peter S. Simpson conceptualized the film as an "adult" slasher that could be marketed toward older audiences and, by all accounts, the film's original director Richard Ciupka had begun to craft something of an arthouse thriller. But tensions between producer and director over the creative direction of the film led to the latter eventually detaching his name from the project—after only 45 minutes of footage had been completed. Simpson stepped in to complete the film, adding scenes, reshooting scenes, and excising some of Ciupka's material. The end product is something of a cinematic mishmash, which is why you'll note two separate sets of credits and a fictional director.

The lost Ciupka footage has become something of cinematic legend, with various cast and crew recollecting scenes that have never seen the light of day. In 2013, Synapse Films announced that it was planning on releasing Curtains on Blu-ray, with a new 2K transfer from the original prints, as well as a 5.1 surround sound audio remastering. Fans of the film began to buzz about the infamous Ciupka footage once again—but, alas, the fine gents at Synapse found none of the coveted footage when they received the original prints. Still, the remastered Curtains is a beauty to behold, with scenes previously unwatchable in their low-def blackness now popping with color and definition. The lost footage will remain the stuff of legend and speculation and the holy grail of slasher cinephiles, while Curtains, in all its glorious imperfection, will remain an unpolished gem in the canon of horror films.

Vince Liaguno is an award-winning writer, editor, and pop culture enthusiast. Visit his official author website HERE or his Slasher Speak blog HERE.