On the 13th of each month, I write about a movie whose title contains the number 13.
Also known by the more accurate title City in Panic, the 1986 Canadian exploitation movie 13 is a weird mix of surprisingly forward-thinking social commentary and typically grubby low-budget slasher-movie aesthetics. The acting is terrible, the pacing is awkward, the dialogue is blunt and utilitarian, and some of the camerawork is seriously questionable (although I saw the movie on Amazon Prime in what was obviously a rip from a degraded VHS copy, so I may not be able to accurately judge the visual style). But this is a movie from 1986 that explicitly takes on the AIDS epidemic, with an often compassionate (if also sometimes clueless) perspective on tolerance and understanding for those afflicted.
That is, of course, contained within a plot about a serial killer stalking the streets of an unnamed city (shot in Toronto), and an edgy radio talk-show host basically taunting the killer. The movie's hero is Dave Miller (David Adamson), who's kind of a smarmy know-it-all, and who becomes bait for the killer known as M when he encourages the mysterious figure to call in to his show. M brutally slashes his victims and carves an M into their flesh, and police soon discover that all of the victims have AIDS, and most are gay men. There are some crude ideas about homosexuality and the spread of AIDS in this movie, but there's also a blatantly homophobic and sexist police detective who is consistently chastised and corrected by his colleagues, as a sort of avatar of outdated, intolerant attitudes (that also hinder the investigation).
Somehow Dave's friends and colleagues seem to be disproportionately afflicted with AIDS (and are all keeping it a secret), so a bunch of people that he knows fall victim to the killer. Some of the murders are staged with style, including an opening that mimics the famous shower scene from Psycho and a particularly gruesome scene in which a man gets his penis chopped off at a glory hole. The movie tries to walk a line between salaciousness and thoughtfulness, and it doesn't really succeed, in part because the acting is so uniformly awful that none of the more sensitive moments are particularly convincing, and in part because the low-budget effects are also not all that convincing, despite the homages to classic films (Fritz Lang's M, namesake of the killer, also gets referenced). The AIDS angle is really just a framework for your typical serial-killer cheapie, with a rushed resolution to its mystery topped off by some condescending moralizing by Dave in a closing voiceover. It's not exactly a shining example of social progress, but at least it has a few distinctive elements.