Editorials
6 Underappreciated Slasher Villains From the 2000s
A lot of horror fans assume that the “Slasher Flick” was killed off in the 90s, with the most likely culprit being Wes Craven’s loving satire, Scream. While it’s true that the many incarnations of Ghostface helped to expose the subgenre’s overused tropes and weaknesses, slasher movies never really died; they just became less mainstream as the years went by.
Nevertheless, the 2000s actually had a surprising amount of innovative slashers. Not only were we graced with grittier and more menacing re-imaginings of classic villains like Michael Myers and Leatherface, but we also saw quite a few attempts at original antagonists attempting to follow in their footsteps.
That’s why I decided to compile this list of the most underappreciated slasher villains from the 2000s, as I think there’s a lot to love about that strange era in horror when filmmakers tried their best to combat the cynical outlook of a post-Scream world. Naturally, these aren’t the *only* good slashers from that era (hell, we had gems like Hatchet‘s Victor Crowley and arguably even Jigsaw), but characters that I think deserve more attention from horror fans.
Keep in mind that we’ll be focusing on the characters themselves rather than the overall quality of their respective films, and don’t forget to share your own favorites with us in the comments below.
Now, onto the list!
The Reeker – Reeker
A supernatural twist isn’t uncommon among slasher villains, but the Reeker stands out as a rotting harbinger of doom. Created by Dave Payne, this unique antagonist can be described as the physical manifestation of the desert itself, hunting down his ill-fated victims like a death-obsessed force of nature.
His zombie-like gait and dilapidated garments are cool enough, but the Reeker’s characteristic distortion effects are what really cements him as an otherworldly monster. Reeker and its sequel, No Man’s Land: Rise of the Reeker, may not be masterpieces, but the unique premise and memorable villain make them worth a watch if you’re in the mood for some desert-based thrills.
The Mountain Man – Cold Prey
Boasting films like Dead Snow, Trollhunter and Thelma, Norway is no stranger to horror, but one of their most important contributions to the genre has to be the murderous Mountain Man from Cold Prey. For those who haven’t seen it, Cold Prey (originally titled Fritt Vilt) is an unapologetically straightforward slasher with a frigid setting and a badass killer.
The Mountain Man’s design might be deceptively simple, but he more than makes up for that with an intimidating presence and absolutely brutal kills. From a distance, his ragged winter clothing and menacing gait actually give him an “Abominable Snowman” vibe, which adds even more tension to an already-thrilling film and its excellent sequel (better not talk about the third one, though).
Mick Taylor – Wolf Creek
I heard about Wolf Creek long before I actually watched it, as a couple of schoolmates explained the film’s horrific plot to me during recess after having seen it over the weekend. Young Luiz was absolutely terrified by their account, but years later I finally watched the damned movie and fell in love. Greg McLean’s direction is solid and the leads are likable, but Jon Jarratt absolutely steals the show as the lovably psychotic Mick Taylor.
A sociopathic bushman with a deep hatred for tourists, Mick is the pinnacle of Ozploitation terror, and proof that you don’t need a creepy mask or nightmarish mythology to become a memorable slasher villain. In spite of a gritty and down-to-earth first outing, Wolf Creek‘s antagonist was popular enough to return in both an over-the-top sequel and a woefully underseen television show, assuring us that Mick Taylor still prowls the Australian wilderness, having the time of his life gutting unsuspecting travelers.
Babyface – The Hills Run Red
Babyface may be the only killer on this list that never returned in a sequel or spinoff, but that doesn’t make this doll-masked murderer any less memorable. I won’t spoil the fun by revealing the truth behind The Hills Run Red’s spooky antagonist, but suffice to say that this meta-commentary on horror is a surprisingly gruesome throwback to 70s schlock.
In typical slasher form, Babyface first appears to be yet another mute villain, but he actually has one of the most chilling and memorable lines in the movie, as well as an appropriately gnarly design. While I’d love a return to the violent world of Dave Parker’s The Hills Run Red, this original outing still holds up as a satisfying midnight movie with a legitimately scary killer.
Chromeskull – Laid to Rest
The creation of dedicated horror hound Robert Hall, a practical effects god and a damned fine director to boot, Chromeskull is much more than a slick outfit and shiny mask. This snuff-film-producing killer serves as a showcase for Hall’s impressive gore effects and manages to both scare audiences as he pursues innocent victims while also entertaining us with beautifully over-the-top kills.
As I’m writing this, we were just hit with the tragic news that Hall has passed away, leaving behind a treasure trove of contributions to the horror genre. While we may never see the planned third entry in the Laid to Rest saga (it wouldn’t feel right to have anyone else behind the camera on these films), Chromeskull will remain as an indie icon, created by a die-hard horror fan for the enjoyment of others like him.
The Collector – The Collector
The Collector holds a special place in my heart as one of my favorite horror films and an example of why slasher movies would benefit from more likable protagonists. Josh Stewart’s resourceful thief Arkin is just as memorable as the hulking Collector himself (wonderfully played by Juan Fernández), and seeing them face off against each other among nasty deathtraps makes for a thrilling experience.
However, this list is all about the villains, and I can’t even remember the last time we saw a killer as dedicated to his gruesome craft as the devious Collector. Armed with cruel devices and a creepy leather mask (not to mention those eerie dead eyes), the Collector intimidates both physically and psychologically, always one step ahead of his unfortunate victims.
The Collection may have gone a bit too far in exaggerating the killer’s abilities, but I’m still dying to see another sequel. Unfortunately, The Collected was apparently abandoned by producers after only 8 days of shooting, so we can only hope that Marcus Dunstan and his crew can somehow regain the rights to the production and let the Collector wreak havoc once more.
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.
Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.
Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.
A bridge troll reaches up for food and finds Hans decked out in armor.
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