7 Remarkable Overlooked Supernatural Horrors from the 1980s

      Casey Chong showcases seven overlooked supernatural horror film treasures from the 1980s…

      The 1980s experienced a surge of horror films striving to make a significant impact. While some were successful, others went unnoticed or unappreciated. Consider the supernatural horror genre; films such as The Shining, Angel Heart, and Prince of Darkness have secured their spots on the lists of many genre enthusiasts. Instead of focusing on these frequently discussed titles, let’s explore seven lesser-known supernatural horrors from the '80s that deserve a second look.

      The Appointment (1982)

      This lesser-known British supernatural horror was shot in 1980, but it didn’t emerge into the home video market until two years later, fading into obscurity. In 2022, The Appointment was revived thanks to BFI Flipside’s Blu-ray release. The film's title alludes to the titular appointment of Edward Woodward’s character, which he prioritizes over attending his daughter’s significant violin recital.

      Lindsey C. Vickers’s sole feature film opens with a gripping scene: a schoolgirl walks alone through the woods before being abruptly seized by an unseen, malevolent force. The movie takes its time developing the ominous story of Edward Woodward’s character, Ian. While Vickers’ slow-burn method might deter impatient viewers, he skillfully evokes a lingering sense of dread that builds until the chilling conclusion.

      Nomads (1986)

      John McTiernan is widely recognized for his work on Predator and Die Hard—two landmark films still discussed today. Looking back, it’s surprising to learn that his debut was a horror film infused with supernatural elements centered on ancient Eskimo spirits.

      Interestingly, Nomads doesn’t present a straightforward supernatural horror narrative; instead, McTiernan’s screenplay weaves through two interconnected tales set in the past (with Pierce Brosnan’s Jean Charles-Pommier and Anna-Maria Moneticelli as his wife) and the present (Lesley-Anne Down as Dr. Eileen Flax). At times, the film can be disorienting, and McTiernan's directorial debut remains somewhat rough. Nevertheless, he displays creative flair by merging contemporary nomadic culture with psychological thriller and supernatural horror elements.

      The Entity (1982)

      Picture an ordinary single mother who returns home one evening only for everything to change when she is sexually assaulted by an unseen entity in her own bedroom. This unearthly perpetrator is based on the true 1974 case of Doris Bither, who endured a similarly inexplicable ordeal.

      Barbara Hershey, playing the unfortunate single mother, gives an intense performance in The Entity. A role requiring hysteria can easily slip into overacting, but while that occurs occasionally, Hershey’s committed portrayal significantly adds to the film's intrigue. Director Sidney J. Furie employs dynamic camerawork to convey the visceral nature of the invisible entity that relentlessly torments Hershey’s character, accompanied by Charles Bernstein’s powerful score.

      Black Rainbow (1989)

      Mike Hodges’ varied filmography includes crime dramas (Get Carter, I’ll Sleep When I’m Dead), a campy sci-fi (Flash Gordon), and now, Black Rainbow—a supernatural thriller showcasing one of Rosanna Arquette’s finest performances. She portrays a medium using her purported psychic abilities to help audience members connect with the deceased, while her alcoholic father (Jason Robards) manages her career.

      Black Rainbow starts strong, with the initial half-hour devoted to her upbeat show before dark undertones emerge. The film aims to showcase the deceptions of the daughter-father duo as they con people into believing in their pseudoscience. When the narrative shifts, the film becomes more intriguing: Is Arquette's medium character a fraud or genuine? Hodges, who also penned the screenplay, introduces an additional storytelling element involving a mysterious assassin and a journalist (Tom Hulce) determined to seek the truth, culminating in a haunting, ambiguous finale.

      The Survivor (1981)

      This lesser-known 1981 Australian supernatural horror, based on James Herbert’s novel, opens with an air of impending doom: joyful children are playing in the park, psychic Hobbs (Jenny Agutter) is present, and a plane flies overhead. A devastating crash follows, claiming the lives of all onboard except for pilot David Keller (Robert Powell), who emerges unscathed but without any memory of the incident.

      The captivating opening scene sets the mood for the rest of the film, which experiences various highs and lows. Director David Hemmings effectively instills dread through supernatural occurrences, echoes of the crash victims’ screams, and nightmarish visuals of charred bodies. Interestingly, The Survivor was regarded as an outlier during a period when Australian cinema was heavily focused on the Ozploitation genre. Notably, it was also the most expensive Australian film made up to that time, largely due to the elaborate plane crash sequence.

      Killer Party (1986)

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