Roses Have Thoughts

Scott Spiegel’s Intruder is a low-budget slasher that thrives on inventive kills and atmospheric tension but struggles to elevate itself beyond genre conventions. Set almost entirely within the confines of a small-town supermarket, the film is an entertaining, if formulaic, entry in the late-80s horror landscape.

The premise is straightforward: the employees of a grocery store are wrapping up their late shift when they become the targets of a mysterious killer. What follows is a classic game of cat and mouse, punctuated by grisly deaths and moments of dark humour. While the story itself isn’t ground-breaking, the film’s unique setting adds a layer of novelty. The aisles, stockrooms, and meat counters of the supermarket provide a claustrophobic and visually dynamic backdrop, effectively utilised by Spiegel to create suspense.

Elizabeth Cox stars as Jennifer, the resourceful and likeable heroine. Cox gives a solid performance, bringing just enough charm and vulnerability to make her plight engaging. Renée Estevez offers strong support as Linda, Jennifer’s best friend, while Dan Hicks steals scenes as Bill Roberts, the eccentric store manager whose unpredictable behaviour keeps viewers guessing. Horror aficionados will enjoy spotting Sam and Ted Raimi in small but memorable roles, adding a touch of cult appeal to the film.

The real standout, however, is Spiegel’s direction. A protégé of Sam Raimi, Spiegel brings an energetic visual style to the film, employing quirky camera angles, close-ups, and creative tracking shots that lend Intruder a kinetic quality. The kills are as inventive as they are graphic, with practical effects delivering some memorably gruesome moments. One standout sequence involving a bandsaw is both shocking and darkly comedic, highlighting Spiegel’s flair for mixing horror with tongue-in-cheek levity.

Where Intruder falters is in its pacing and narrative depth. The first act is slow to build, and much of the dialogue feels perfunctory, serving only to move the plot toward its inevitable bloodbath. The whodunit aspect of the story, while mildly engaging, lacks sufficient twists to sustain tension. Additionally, the killer’s reveal, while effective in its simplicity, may feel underwhelming for viewers expecting a more intricate payoff.

The film’s low-budget origins are evident in its limited scope and occasionally uneven performances, but Spiegel makes the most of his resources, delivering a tightly contained slasher that leans into its limitations with charm and creativity.

For fans of 80s horror, Intruder is a nostalgic treat, offering enough gore and inventive direction to satisfy genre enthusiasts. While it doesn’t reinvent the wheel, its charm lies in its simplicity and commitment to delivering thrills. It’s a film that doesn’t aim to be anything more than a fun, bloody romp, and on that front, it delivers. A solid, if unspectacular, entry in the slasher genre.

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