The Shining is such a one-off, a scary film that takes place largely in brightly lit interiors, that features few deaths and no explanation; there’s literally nothing quite like it. Kubrick’s cinematographer, John Alcott, was quite a talent, and his gifts were immediately put to good use in this unassuming little slasher movie which did no harm at all to the reputation of director Roger Spottiswoode (Under Fire, Tomorrow Never Dies) star (Jamie Lee Curtis) or even the budding career of a young magician named David Copperfield.
Terror Train also has a very clever idea that makes it somewhat unique. Yes, it’s Halloween on a train, in which a maniac boards a booze-cruise-on-rails full of partying medical students, including Curtis. The killer is wearing a disguise, and seeking revenge for a prank played many moons ago. But each victim he kills leads to a costume change, making it quite a tricky business to keep track of his movements; the audience is constantly looking for a man in a mask, but it’s the mask of the last victim you’re searching for.
Alcott goes to town on the train, framed by a beautiful exterior shot in the opening credits, and then with each compartment framed in very different light; Alcott’s use of colour certainly evokes memories of the Overlook’s past glories, and his use of diffuse lighting is very Eyes Wide Shut. And there’s lots of action on the train, including a very odd house band who conjure up a number of moods, and the novelty of several routines from Copperfield which derail the film’s momentum with their variety-show pacing.
Overall, Terror Train is something of a curiosity; back in 1981, it must have seemed like the slasher movie fad would never end, but Terror Train now appears to be one of the best of a rather tatty bunch. Cast, technical aspects and conception are all first rate; horror fans used to scraping the bottom of barrels may well find that Terror Train is worthy of a return ticket.