Fans of slasher horror movies understand that there is an underappreciated variance within the genre, whether it is a darker, slow-burn with a relentless killer, or an iconic visage of terror racking up as many bodies as possible in a bid for a franchise. Indeed, the latter approach has led to a plethora of iconic killers, from the small but deadly Chucky to the unstoppable force of evil that is Michael Myers. While these slasher icons seem to take the bulk of the glory, others live on in infamy, those whose entire modus operandi is too disturbing to last more than one feature.

When considering revered slashers focused on the disturbed mental state of a character, fans tend to think of Maniac, Angst, or Henry: Portrait of a Serial Killer. However, a film from New York, Abel Ferrara’s The Driller Killer, presented the early archetype for gritty slashers with killers who are only meant to survive a single movie. The Driller Killer, nearly 50 years after its release, remains a shocking experience and one that deserves more accolades for the profound influence it has had on cinema.

‘The Driller Killer’ Came From the Underground

Reno Miller is a struggling New York artist, struggling to pay the bills, at odds with his noisy punk neighbors. Reno finally finds a release from his declining mental state in the act of killing, starting with targeting the homeless population before working his way up to others. His choice of weapon: a drill. As Reno becomes more violent, the lines between reality and fiction start to blur. The Driller Killer ultimately exists as an exploration of one man’s mental decline, set against New York’s gritty underground; its slasher elements are more tenuous, but they are undoubtedly present, thanks to some gruesome kills involving a drill.

While the film was one of the first of its kind, it did not necessarily garner much acclaim upon release. It was essentially created for the New York underground crowd by someone deeply immersed within it, particularly in the city’s ‘no-wave movement,’ which led to many transgressive filmmakers and experimental, now-revered music. The Driller Killer would gain some notoriety when it was subsequently included in the infamous ‘video nasties’ list, which helped propel other now iconic films like Cannibal Holocaust, The Evil Dead, and I Spit on Your Grave into infamy.

Yet, after that period, some who found that success went back into fading into moderate obscurity, with The Driller Killer not having nearly the same notoriety as those previously mentioned. The gritty aesthetic, the punk-infused soundtrack, and the visceral violence were shocking, but for longevity, the movie rests with the cult fan base; it was never meant to become a franchise like The Evil Dead, both in execution and intent. Still, the film’s influence can certainly be felt today.

‘The Driller Killer’ Is One of the Most Influential Slasher Films

Rochelle Films

Existing in a landscape of urban decay, a struggling protagonist suffering a mental breakdown, and injecting music (notably punk aesthetics) into a horror-fueled story, have become somewhat familiar in many ’80s horror films. The influence of The Driller Killer, at least spiritually, can be seen as a product of the type of merging of culture, social commentary, and brutality that would lead Abel Ferrara to make the film. The feature would serve as a precursor to other cult films, such as Maniac (1980), Cruising (1980), Basket Case (1982), and Combat Shock (1984). Moreover, the movie still stands as a gritty, yet authentic, portrayal of New York life at a time when 42nd Street was less a tourist destination and more a hub for illegal activities and an emerging art scene created by outsiders.

Longtime film critic and published author Jonathan Rosenbaum was one of many to give the film a more favorable impression, stating, “I put off seeing Abel Ferrara’s second feature for years because of its title, but when I finally caught up with it I found it a lot more interesting and substantial than I’d imagined,” adding, “(The Driller Killer) not only anticipates American Psycho but offers a fascinating look at New York’s bohemian art scene circa 1979.” The Guardian, in discussing the importance of The Driller Killer in Ferrara’s career, would state, “If Ferrara is indeed a Van Gogh, then The Driller Killer is his Potato Eaters – an early work that displays, in rudimentary form, all the groundbreaking innovation of the mature works.”

From a critical perspective, The Driller Killer has undergone reassessment and appreciation since its release, both because of how it framed a specific turn in cinema and also as the groundwork for Abel Ferrara’s early career. Yet, there is a joy in watching a slasher film with a wicked wit and a gruesome dive into madness. As the saying goes, “I don’t know much about art, but I know what I like.” The Driller Killer can be viewed as an underappreciated slasher film with something to say, or it can just be a great time for horror hounds who appreciate some extra grit with their violence.

Should You Watch ‘The Driller Killer’?

Rochelle Films

Slasher fans know what they enjoy best, and if the body count and sensational kills from an unstoppable force of evil are your bread and butter, you may want to skip over The Driller Killer. Yet, for those who appreciate more visceral and shocking horror, with an emphasis on psychological decline, The Driller Killer still packs a punch decades after its release. Moreover, those who have seen other cult films, like any of the ones mentioned above, particularly Maniac, should also check out Abel Ferrara’s gruesome slasher. The Driller Killer is in the public domain and is available for free online and on various streaming platforms.

Release Date

June 15, 1979

Runtime

96 Minutes

Writers

Nicholas St. John

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  Carolyn Marz

  Carol Slaughter

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  Harry Schultz

  Dalton Briggs

The best TV dramas of all time are carried by powerful, perfectly executed scenes like Snoop buying a nail gun in The Wire’s season 4 premiere. A really well-written, well-acted scene acts as both a crucial piece of a larger narrative and a standalone masterpiece.

Shows like Breaking Bad, Succession, and The White Lotus are full of incredible scenes. From Don’s carousel speech in Mad Men to Christopher’s disastrous intervention in The Sopranos, these are the greatest scenes from TV dramas.

Vic Mackey Murders Terry Crowley

The Shield

In its pilot episode, The Shield set itself apart from other cop shows right out of the gate. The episode sees Internal Affairs investigator Terry Crowley infiltrating Vic Mackey’s corrupt Strike Team to build a case against them. Initially, it seems as though Terry will be the protagonist of the show, going undercover to take down Vic.

But in the pilot’s shocking final moments, Vic murders Terry and frames a drug dealer for the killing. The undercover cop isn’t our protagonist; the corrupt one is.

Asher’s Meltdown

The Curse

When Nathan Fielder made his dramatic acting debut alongside one of the best performances of Emma Stone’s career, some critics opined that the Nathan for You prankster didn’t have the chops to go toe-to-toe with Stone. But those critics quickly changed their tune after The Curse aired its penultimate episode.

In the climactic moments, Fielder’s Asher confronts Stone’s Whitney about a cut of their reality show deliberately meant to humiliate him. Rather than getting angry like she wants him to, he doubles down on his worship and his obsession and his humiliation fetish. Whitney trembles in a stunned silence, mirroring the audience’s own reaction, as Asher melts down in front of her.

Discovering Laura Palmer’s Body

Twin Peaks

There were plenty of perfect scenes in David Lynch and Mark Frost’s supernatural soap opera Twin Peaks, but the one that got viewers hooked from the get-go was the discovery of Laura Palmer’s body in the pilot episode. The titular town seemed so quaint and sleepy, but this corpse hinted at its creepy underbelly.

This inciting incident didn’t just set up the plot that would bring Dale Cooper to town; it also established the show’s unique atmosphere. It’s an eerie, almost horror-like inversion of a small-town soap.

Tony Picks Up AJ From The Police Station

The Sopranos

We start to see the impact of Tony Soprano’s criminal lifestyle on his son when AJ tries to kill Junior to avenge his dad. After AJ is caught with a knife at Junior’s nursing home, Tony has to pick him up from the police station. The genius of James Gandolfini’s performance is encapsulated in this scene.

Gandolfini conveys disappointment and compassion simultaneously. Tony is both touched that AJ wants to honor him and heartbroken that he went down the path of violence. Tony is clearly let down, but he still deeply cares about his son.

Lalo Kills Howard

Better Call Saul

The first half of Better Call Saul’s final season played a lot like The Sting, with Jimmy and Kim pulling off a series of elaborate pranks to destroy Howard’s reputation and force him to settle the Sandpiper case. But it ended in a much more harrowing tragedy than the Paul Newman/Robert Redford caper.

When Howard comes to confront Jimmy and Kim, Lalo Salamanca enters the picture. This whole sequence building up to Lalo shooting Howard like it’s nothing is still one of the most intense things I’ve ever seen. The actors all play the horror of it perfectly.

Sam Rockwell’s Monologue

The White Lotus

Sam Rockwell’s surprise appearance was the best part of The White Lotus’ weakest season. When Walton Goggins’ Rick stops by a fancy hotel bar to see his old friend, Rockwell’s Frank fills him in on what he’s been up to in Thailand.

Everything about this scene, from Rockwell’s delivery to Goggins’ disturbed reactions to the juxtaposition of a classy setting with Frank’s tales of debauchery, is pitch-perfect. This scene came completely out of left field and ended up being the highlight of the whole season.

Desmond’s Phone Call With Penny

Lost

Widely considered to be Lost’s greatest episode, “The Constant” is both a fascinating exploration of time-travel paradoxes and an ode to the power of love. Desmond spends the whole episode flashing between 1996 and 2004, desperately trying to stabilize his place in the spacetime continuum.

The emotional climax of the episode is a phone call. Desmond finally connects with his “constant,” Penny, who’s been searching for him for years. It’s both a well-earned resolution to the plot and a heartwarming romantic moment.

Walt Calls To Absolve Skyler

Breaking Bad

The third-to-last episode of Breaking Bad, “Ozymandias,” is one of the greatest hours of television ever produced. It’s the action-packed climax of the series, where Walt’s criminal empire crumbles and his two worlds come crashing together with disastrous consequences. In the episode’s most shocking scene, Walt kidnaps his baby daughter Holly to take on the lam with him.

However, when Holly cries out for mama, Walt has a change of heart. He calls Skyler, knowing the police will be listening in, and makes up a cock-and-bull story to absolve her of her involvement in his crimes. Bryan Cranston nails this performance-within-a-performance: the mix of Walt’s fake viciousness over the phone and the real heartbreak he’s holding back.

Easy Company Liberates A Concentration Camp

Band of Brothers

If you’re telling a story set during World War II, the quickest way to cut to the audience’s bone is to take them inside the walls of a concentration camp. In Band of Brothers’ most harrowing scene, Easy Company comes across an abandoned concentration camp, still filled with emaciated prisoners, and liberates them.

Not only is this scene an accurate recreation of the real historical event, and a powerful piece of visual drama; it’s also a crucial stepping stone in the story. By this point, the soldiers have all become disillusioned with the war. But seeing the unspeakable horrors of the Nazi regime up close reminds them why they’re fighting.

Don’s Carousel Pitch

Mad Men

In real life, advertising is a soulless, artless medium. But Mad Men had an uncanny ability to mix some passion and humanity into the industry. In the season 1 finale, when Don pitches Kodak a campaign for their carousel slide projector, he uses photos of his own family’s precious memories to convey the beauty and intimacy of a home-brewed slideshow.

Don is even moved by his own pitch. Seeing these touching moments from his life with his wife and kids evokes a powerful sense of nostalgia and reminds him of the importance of family.