5 / 10
Official trailer
Satan’s Cheerleaders is Greydon Clark’s 1977 American horror film depicting a high school cheerleading squad whose bus breaks down on the way to a championship game and whom Satanic cultists kidnap and plan to use as sacrificial victims in a ritual to summon the devil. Jacqulin Cole plays Coach Ms Johnson. John Ireland plays Sheriff B.L. Bubb. John Carradine plays the High Priest. Yvonne De Carlo plays Emily. Kerry Sherman plays Patti. Hillary Horan plays Debbie. Jack Kruschen plays Lou.
Greydon Clark and Alvin L. Fast wrote the screenplay. World Amusement Corporation distributed the film in 1977 to limited theatrical release and wide later cult reputation through cable broadcast and home-video release. Greydon Clark directed multiple low-budget exploitation productions across the 1970s and 1980s including Without Warning (1980).
Half of this movie makes me laugh and the other half makes me wish it would hurry up. Some of it is so ridiculous I can’t resist it, and some of it just sits there waiting for the script to decide what it wants to be. The 5 is for a film worth having around and not worth sitting through often.
In the cheerleader-horror crossover subgenre, Satan’s Cheerleaders is a highly distinctive entry and an exceptionally strange American horror production of the 1970s. The film works at the same time as supernatural horror, as exploitation cinema, and as something approaching accidental comedy, with John Carradine and Yvonne De Carlo bringing heavy veteran-actor weight to material that hasn’t historically rewarded the seriousness they provided. The 1977 production’s tonal instability is part of its cult reputation instead of a problem to be solved.
Viewers who approach the film expecting cohesive horror cinema encounter frustration. Viewers who allow the film to work on its own terms encounter a singular cult production of the late 1970s.
Greydon Clark’s Direction
As a director, Greydon Clark made low-budget exploitation productions that prioritized commercial viability over artistic ambition. His Satan’s Cheerleaders direction is competent instead of distinguished, with the production’s distinct cult appeal emerging from the screenplay’s strange tonal balance more than from directorial signature. The film moves quickly across approximately ninety minutes without resolving its central tonal question: serious horror, or deliberate comedy?
The cheerleading sequences early in the film are filmed with considerably more visual care than the Satanic-ritual sequences in the closing reels. Clark seems uncertain whether to commit to the horror tone or to coast on cheerleader-content commercial appeal, and the resulting structural imbalance gives the film its particular oddness. The decision to cast veteran actors John Carradine and Yvonne De Carlo as the Satanic-cultist leaders adds to the tonal confusion.
The film loses me because Clark shoots the cheerleading with real care and then rushes the cult material, so the horror never gets a fair shot. I’d have cut half the early pep-squad footage and spent that time making the cult feel dangerous. As it stands, the devil gets less attention than the uniforms.
For Writers
Tonally unstable productions can develop cult standing when the instability itself becomes part of the film’s certain identity. Satan’s Cheerleaders is more interesting as artifact of 1970s exploitation production than as horror filmmaking.
Carradine and De Carlo
John Carradine had been making films since 1930 and brought decades of horror-cinema experience to his High Priest role.
Yvonne De Carlo had starred in The Munsters television series across the mid-1960s and brought television-comedy timing to her cultist-wife performance. Both veterans appear to be treating the material with considerably more seriousness than the production around them deserves. That produces the film’s distinct surreal quality.
Carradine’s monologue sequences are the film’s most committed performance work.
The character’s invocations of Satanic mythology, his ritual preparations, and his confrontation with the cheerleaders all carry the gravity of a veteran actor refusing to phone in the work. De Carlo’s quieter wife-character scenes provide structural counterweight to Carradine’s larger material. Both performances raise the surrounding film while operating in a different tone than the rest of the production.
Carradine is the best reason to watch. He delivers those invocations as if he’s doing Shakespeare in a church basement, and I enjoy every overcooked syllable. De Carlo seems a little more in on the joke, and the two of them together are more fun than anything the script hands the cheerleaders. Throw in a sheriff named B.L. Bubb and you can see how seriously the screenplay takes itself.
For Writers
Veteran-actor performances in low-budget exploitation productions can produce particular surreal effects when the actors commit to material the production can’t fully support. Carradine and De Carlo’s Satan’s Cheerleaders work is part of the film’s cult reputation.
The Cult Reception History
Theatrical release for Satan’s Cheerleaders was limited in 1977, and it received considerably more reception through 1980s cable broadcast and home-video distribution. The film’s certain reputation as cult-cheerleader-horror entry developed across the 1980s and 1990s, with USA Network’s Up All Night programming featuring the film prominently and contributing to its late-night reputation. I think the late-night slot is exactly where this film belongs. It plays best at the hour when nobody’s asking a movie to make sense, and a daylight viewing does it no favors. Later academic horror-studies writing has positioned Satan’s Cheerleaders within the wider 1970s Satanic-panic cinema cycle that included Rosemary’s Baby (1968), The Exorcist (1973), The Omen (1976), and The Sentinel (1977). The cheerleader element distinguishes the film from the prestige-cast productions while connecting it to the same cultural-moment material. The position is interesting historically instead of artistically real.
For Writers
Cult reputations for exploitation productions develop across decades through distinct broadcast and home-video channels. Satan’s Cheerleaders accumulated its standing through 1980s cable instead of through theatrical reception.
Craft Note
Clark’s credits as director include Without Warning (1980), Joysticks (1983), Final Justice (1985), and multiple other low-budget exploitation productions across his career. Satan’s Cheerleaders received multiple home-video releases including a 2014 Vinegar Syndrome restoration that’s become the standard contemporary viewing version. The film’s reputation has remained largely intact across later decades as cheerleader-horror crossover canon, with most later productions in the subgenre acknowledging the 1977 film as foundational precedent.
Is Satan’s Cheerleaders worth watching?
I find Satan’s Cheerleaders more interesting as an artifact than as filmmaking, and that’s why it sits at a 5 for me.
Carradine and De Carlo give it more than its budget ever deserved, and the tonal mess is half the fun and half the frustration. I can’t call it good horror, and I can’t bring myself to dislike it either. Recommended for cheerleader-cinema completists and 1970s exploitation fans more than for casual horror viewing.
