Editorials
‘Skinner’ – 1993 Serial Killer Slasher Starring Ted Raimi Remains Under the Radar After All These Years
Found in your local “Shower After Watching” section of the suspicious flea market around the corner is 1993’s Skinner. And it’s probably the only movie in that bin to feature an acting performance from daytime talk show host Ricki Lake. Seriously.
This little piece of rarely spoken about horror history is one part Henry: Portrait of a Serial Killer and one-part uncategorizable madness that I’m semi-shocked is still available to watch at all, much less to be reached in an instant on Tubi.
In the film, directed by feature director turned porn director Ivan Nagy, Dennis Skinner (the great Ted Raimi) is an active serial killer who murders mostly prostitutes and then skins them, stitches them back together and wears them while talking about his childhood and saying things like “This really is the clothing…..for a divine soul.”
Skinner darkens the doorway of Kerry Tate (Ricki Lake) who’s desperately looking to help her truck driver husband (David Warshofsky) with the bills by renting out one of their bedrooms in their home. They befriend each other and he struggles nightly with the urge to, you know, skin her alive. An urge that he takes out on many “ladies of the night.”
Meanwhile, Heidi (Traci Lords), a survivor of a past Skinner attack, spends her days shooting up in hotel rooms and talking to his picture, swearing her vengeance. We pan back to this about every ten minutes just in case you forget. As Skinner unfolds and his victims continue to pile up, Heidi comes closer and closer to catching him while he comes closer to giving in to his urges to kill Kerry and peel her like a Fruit Roll-Up. The sexual tension also rises between them as her husband becomes more and more suspicious of what’s going on with Bill Nye The Serial Killer Guy and his wife whom he can’t stand. Ricki Lake just kind of stumbles around the house pretending that she’s okay in this situation and making really gross meals for everyone to eat.
Skinner feels like a film that should have its place next to something like Thankskilling for its absolutely insane moments and trashy volition but thanks to a great performance from Ted Raimi, a haunting score, and an overall frightening vibe, it manages to stand out as something that sticks with you much longer. There’s something frighteningly believable about Raimi’s performance as a soft spoken, nervous, and overtly happy seeming person with a twisted night life. He’ll pick up a prostitute, sheepishly ask her to close her eyes while he undresses and then will show up overtop of her wearing someone else’s skin and screaming. It’s definitely up there with performances like Mark Duplass in Creep or Michael Rooker in Henry: Portrait of a Serial Killer but is surrounded by a deluge of video nasty-isms and strange moments that you can’t help but laugh at. At one point he just chugs a glass of water like he’s being electrocuted and splashes water all over the place for absolutely no reason other than to add to the fact that he’s weird as shit.
On the other side of the door, Ricki Lake’s strange acting performance is the perfect juxtaposition. Her clueless innocence to anything and everything around her just feels like you’re watching a field mouse be dangled in front of an anaconda.
When these two are in the same room together the awkwardness is overwhelming. They will be having a normal conversation and the next thing you know he’s helping her de-skin the grossest looking turkey you’ve ever seen in your life and awkwardly rubbing his hands in the creases of the turkey breast. Immediately after they start dancing together, hands clasped with chicken goo all over their fingers. Be right back… I have to wash my hands.
Eventually, Ted Raimi’s Jake Gyllenhaal in Nightcrawler-esque performance can only hold up so much. The Ahab character becomes laughable camp, repeating the same lines with overdramatic C-movie flare and even the haunting score that at one point reminded you of a John Carpenter score becomes tiresome and repetitive. It’s more like spending a day inside the mind of Patrick Bateman in American Psycho than actually watching American Psycho.
With a little narrative direction, a few cut scenes (maybe one character completely) and a better ending, the film could have reached the cult status of something like William Lustig’s Maniac. Not to be, however, as it never really figures out how to land. Skinner is not a movie I will recommend to everyone but I will say that it’s one that’s stuck with me since I saw it as a kid. Fans of the darker, more twisted side of horror will definitely want to add this one to their watch lists.
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
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