Horror Slasher classics from the 1990s and 2000s to check out on HBO Max before the platform is gone
It was recently announced that the streaming service HBO Max will come to an end. The decision is part of new plans by Warner Bros. to create a new platform to also aggregate Discovery channel content, after the merger of the two mega corporations. This means that a new streaming platform will emerge and it will no longer be called HBO Max (RIP). Max worked for a little over two years, and will end its activities in mid-2023. That is, until then, subscribers and streaming fans will still have plenty of time to enjoy its content – such as the recently launched hit series House of the Dragonwhich took the platform from the air size were the access numbers.
We still don’t know more exact information about the migration of all content from Max for the house’s new streaming platform – yet to be named. Nor if subscribers will be transported immediately to the new service, or if they will need a new subscription, since the service will be bigger. It is expected that everything we have today at Max will be redirected to the new streaming, but we have to wait. With that in mind, we continue with our series of articles with the most different and diverse tips on the content of HBO Max. In the link below you will find another article, but this one is aimed at teen and nostalgic horror slasher fans on duty. The tips here are the subgenre films from the 1990s and 2000s contained in the HBO Max for you to taste. Check out.
Read too: 10 Must-See 90s Classics to Watch on HBO Max Before the Platform Ends!
After the success of Panic (1996), every major Hollywood studio wanted a slice of this pie and wanted to reproduce this Dimension Films/Miramax/Disney formula on their own. That is, the formula Panic, which revitalized teen horror movies for the 1990s, especially contained a lot of humor, references and the characters’ self-awareness – which almost broke the fourth wall. So, without wasting any time, Columbia (Sony) gave the green light to this thriller, written by the same screenwriter as Panic. The plot here tells about four friends who run over and kill a pedestrian in an accident caused by drinking and driving. Afraid of being arrested, they get rid of the body and promise never to speak of what happened again, but a year later the past catches up with them.
The same studio would invest even more in the genre the following year. After all, such films were cheap and quick to make, and they made a lot of money. picking up the mat Panic, I Know What You Did Last Summer it also became a success and opened the door to new productions of the genre at Columbia. That’s how it was created Urban legend – which also brought young names from that moment, a mysterious killer who is most likely included in the group of main characters, and most importantly: the use of a lot of humor and references from other films – although here without the same writer as the item above the thing it started to get diluted. The motto here is urban legends, used as the killer’s differential when committing his murders on the campus of a university.
I Still Know What You Did Last Summer (1998)
Like this Panicthe first I Know What You Did Last Summer was a success, spawning a sequel almost immediately. It was released the following year and moved the plot to an island in the Bahamas, where the villain Fisherman would now stalk Julie (Jennifer Love Hewitt) and a new list of victims. In fact, Pescador was poised to become the next icon of the genre – just like Jason and Freddy had been before him. And a third part for the franchise was already planned, as we can see in the final scene before the credits. However, the film did not reach what was expected by the studio, being below the original and thus putting an end to the continuity of this timeline in the franchise. A third film – which has nothing to do with the previous two – would still be released direct-to-video.
As the 1990s drew to a close, teen slasher horror films had to be reinvented all over again in order to continue to make a profit. One of the most creative and successful ideas came with premonition (2000), a supernatural slasher where death itself is the killer – an invisible entity. The plot behind premonition it’s very original and goes to the heart of the essence of horror. A group of teenagers are leaving for a school trip to Europe. One of the students has a vision that the plane they are on is going to explode, causes a ruckus and manages to disembark most of their excursion together. While everyone thinks he’s crazy, the plane actually explodes. The survivors, however, were supposed to be inside and die like everyone else – because it was simply their time. Now, death will go after those who left, one by one killing them in the most unusual ways possible. The film spawned no less than four sequels.
Arriving late to the party, something tells me that this Valentine (in the original title) would have been much more successful if it had been released at the height of the subgenre’s revival, that is, the mid to late 90’s. to be lost in a matter of a year or two. That’s exactly the case with this teen horror slasher who takes the Valentine’s Day date for himself – following in the footsteps of Macabre Valentine’s Day (a Canadian production from the 1980s). The producers even get the participation of some of the hottest young actors of the time – such as Denise Richards (output of the successes of Starship Troopers, wild girls and 007 – The World Is Not Enough), David Boreanaz (from the show angel) and Katherine Heigl (Grey’s Anatomy). The plot shows a group of friends being tormented and killed by a mysterious antagonist on Valentine’s Day. Although the film has its fans, the feeling really is of having taken the tram walking in the “post-Scream”.
What about this movie, then? We all know very well that getting a film off the ground is not an easy task, even more so if we take into account the expectation in relation to certain projects, where everything needs to be in place for the thing to work in a harmonious and planned way. In the 1980s, two horror franchises in particular were responsible for the fever that slasher movies became: Friday 13 and The nightmare time. Owners of numerous films each, fans began to feed a desire for the famous franchises to meet in a crossover between the maniacs Jason and Freddy. This water in the mouths of fans took on new contours when Jason’s franchise ended up in the hands of the same Freddy studio, New Line, and the provocation reached another level in a joke at the end of Jason Goes to Hell (1993), Masquerade’s first film at the new studio. However, in one of the biggest shots in the foot of a major Hollywood studio, fans would have to wait no less than ten years for the horror titans to meet.
Of the lot of late 90’s late teen slashers, this is the best of them. Perhaps due to the presence of the Spanish director Jaume Collet-Serrawhich has great visual appeal and the right timing for storytelling – and which would later release films in the genre like The orphan and Shallow watersand whose next project is the blockbuster black adam. The film is a remake of a gothic horror from the 50s, with Vincent Priceentitled wax Museum this way. But what the filmmaker does is take only the central idea and subvert the story, transforming it into a jovial slasher full of energy and dynamism – but not forgetting nervous moments that freeze the spine and iconic scenes of violence that marked the film in the memory of the audience. fans. House of Wax it’s visually creative, with stunning backdrops, and it really manages to create a suffocating mood of pure fear. A great example of the genre already in the 2000s.
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