by Steve Habrat
In 1979, a violent little dystopian action thriller from Australia introduced a majority of the world to an unknown actor by the name of Mel Gibson. Made for only $400,000, director George Miller’s Mad Max barely made a ripple in the United States, and it wouldn’t be until the 1982 sequel Mad Max 2: The Road Warrior that American audiences would be familiar with the gruff Gibson. Today, many genre fans consider Mad Max to be one of the greatest action films ever made, second only to it’s follow-up, but the original film actually fails to live up to some of the hype that surrounds it. There are spurts of exploitation violence, high-octane car chases, and fiery car wrecks that are sure to please anyone who considers themselves a fan of savage cinema from the 1970s, but the revenge aspect of Mad Max, which reveals itself in the last fifteen minutes of the film, seems crammed in and brushed over. Despite the flawed climax, Mad Max does have plenty of apocalyptic action and death-defying stunts to keep you pinned to your seat (Holy destroyed camper, Batman!) and there are colorful characters galore. The major draw here is Gibson and his performance as Max, an upstanding Main Force Patrol officer who is the king of the gang-infested highways.
Mad Max opens on the desolate highways of Australia, which is in ruin due to the dwindling supply of oil. The highways are infested with motorcycle gangs who crash into small towns, raid their supplies of oil, and terrorize the town citizens. The only ones fighting for law and order are the Main Force Patrol, a leather-clad police force who battles the gangs in their supped up Interceptors. One of the best officers working for the MFP is Max Rockatansky (played by Mel Gibson), who is extremely skilled when it comes to high-speed pursuits. After Max runs down escaped motorcycle gang member Nightrider (played by Vincent Gil), vicious gang leader and Nightrider’s friend Toecutter (played by Hugh Keays-Byrne) vows to track down the MFP officers responsible for Nightriders death. Max and his partner, Jim “Goose” Rains (played by Steve Bisley), respond to attacks by Toecutter’s gang in a local small town and when they arrive, they arrest Johnny “The Boy” Boyle (played by Tim Burns), Toecutter’s protégé. It doesn’t take long for Johnny to find a way out of jail and while he is being escorted out, he makes violent threats against Max and Goose. Johnny meets back up with Toecutter and the two start plotting revenge against Max and Goose. The gang soon makes good on their violent threats against the MFP officers, which forces Max to consider retirement from the force. However, when the gang attacks Max’s family, he takes to the highways to dish out a little revenge.
Early on, Miller sets the bar high with a breakneck car chase that features more destruction and more eye-popping stunts than any CGI offering of today. A family’s camper is turned to dust as a car goes ripping right through it, Interceptors spin and tumble wildly about the highway, and Max watches over all of it with calculation, waiting for the proper moment to strike. It’s like a futuristic chase through the Wild West as Miller pulls his camera back to reveal the parched and rocky Australian landscape. Miller follows the chase scene up with an intimidating raid on a rundown town, which acts as our brutal introduction to Toecutter. It drips in exploitation even if some of the nastier stuff if kept just off screen and it nicely builds up a slew of despicable villains that we sincerely dislike. As Mad Max speeds on, the film slowly starts to loose the momentum that it gathered in those opening moments. Each new attack or action sequence seems to pale in comparison to what we saw early on. Miller gets back on track briefly when Max’s family is horrifically attacked while they flee on foot down that dreaded highway, but then the film takes on a hurried tone, almost like Miller just wants to finish the revenge side of the film off. The climax is way too brief considering its importance and it fails to really let the viewer feel or savor any one moment. However, the final sequence that finds one character handcuffed to a wrecked vehicle is undeniably influential.
While the action and suspense of Mad Max may slowly slip, Miller makes sure that his cast is one of the most memorable in the action genre. Gibson is electrifying as Max, a skilled MFP officer and softie family man who fears the horrors of his job may push him over the edge. Some of the scenes between Max and his wife, Jessie (played by Joanne Samuel), are a bit too sweet for some of the harsher moments of the film, but these scenes make Max’s violent transformation all the more intense. When Gibson unleashes his gruff vengeance, you can tell that he was born to be action star. Bisley is enthusiastic as Goose, Max’s ruthless, motor-mouthed partner who meets a particularly grisly end. Tim Burns gives a dazed performance as Johnny, Toecutter’s depraved protégé who enjoys rapping and attacking anyone who dares cross him. Hugh Keays-Byrne gives a particularly disturbed performance as Toecutter, a shaggy biker who is calm one minute and then foaming at the mouth the next. His fury over the death of Nightrider is guaranteed to send a chill. Roger Ward has several great moments as Fifi, the hulking MFP captain with a strong man mustache and a bald dome. There is something exciting about the way he encourages his officers to track down this bloodthirsty gang by any means necessary and he reveals a softer side when he tries to convince Max to stay on the force.
Despite its abrupt climax, Mad Max does have an unusually fast paced feel about it. It comes, it entertains, and then it speeds off down the highway. The style that Miller applied to Mad Max has also clearly rubbed off on many action and science fiction directors over the years, especially the look of the cars, which all have an armored predatory aesthetic about them. It is also worth tracking down the film just to admire a film that applies real stunts over computer fakery. It truly is amazing to see what Miller was able to pull off with so little. It lacks polish but the action is unshakably raw and in your face. As far as the violence goes, there is a hearty dose of blood and gore, but most of the really nasty stuff is implied. I don’t think there is anyone out there who would want to see what Toecutter and his gang do to Max’s son. There is an extra graphic scene near the end that finds our hero stumbling down the highway with a smashed up hand and a bloody leg. Overall, for all the action junkies out there, Mad Max is certainly a must-see if you haven’t already experienced it. It isn’t the smartest film you are ever going to see, but its impact on action cinema does make it an essential film within the genre. However, the sins of the climax prevent it from truly becoming a classic.
Mad Max is available on Blu-ray and DVD.
by Steve Habrat
With director Marc Forster and Brad Pitt’s epic World War Z swarming the global box office, I thought it would be a good time to countdown the 15 best zombie movies of all time. Now, if there is one thing that I know in this world, it is zombies. I love ‘em. I cut my teeth on Night of the Living Dead when I was just a little sprout and I never looked back. I’ve dabbled in everything from the Italian splatterfests of the late 70s and 80s to all of Romero’s heady zombie romps. I’ve thrilled at the sprinting zombies and I’ve chuckled right along with the new string of “zom-coms.” Hell, I even religiously watch The Walking Dead when it is on AMC. So, without further ado, I give you my picks for the top 15 zombie movies of all time. I do hope you’re craving some brrrraaaaaaaaaaiiiiiinnnnnnssss!
15.) Let Sleeping Corpses Lie (1974)
Director Jorge Grau’s surreal 1974 chiller doesn’t feature the undead in thick hordes like many of the films on this list. No, this film was made when the zombie subgenre was still suffering from some growing pains. However, it is still a massively chilling, impeccably acted, and brutal zombie movie made in the wake of the collapse of the counterculture. With an alien score that would have been perfect for any 50s science fiction flick and spine tingling wheezes creeping over the soundtrack, this go-green atomic freak out is an absolutely must for zombie fanatics and horror freaks, especially the final blood-soaked twenty minutes.
14.) Grindhouse-Planet Terror (2007)
In early 2007, Robert Rodriguez and Quentin Tarantino unleashed this passion project into an America that frankly didn’t get what the duo was trying to do. Well, America, you missed out. This scratchy double feature kicks off with a gooey bang in the form of Rodriguez’s Planet Terror, a pus-filled tribute to zombie godfather George A. Romero and Italian goremaster Lucio Fulci. Brimming with tongue-in-cheek violence, melting penises, machine gun legs, and kerosene action, Planet Terror is a self-aware charmer that is guaranteed to churn your tummy. Keep an eye out for an extended cameo from Tom Savini, who did the make-up effects in Romero’s Dawn of the Dead and Day of the Dead.
13.) Shock Waves (1977)
Way before Call of Duty: Nazi Zombies took the world by storm, this little-known but unnervingly creepy tale about a troop of goggle-clad SS ghouls patrolling an abandoned island snuck into theaters and then was largely forgotten. Fueled by a ghostly atmosphere and flooded with horror icons (Peter Cushing! John Carradine! Brooke Adams!), this sun drenched chiller doesn’t feature the same old flesh-hungry ghouls ripping victims limb from limb. Nope, these guys march out of the water, sneak up on their victims, and then violently drown ‘em. Trust me, they are VERY cool. With a score guaranteed to give you goosebumps and an immensely satisfying last act, this is a low budget B-movie gem that deserves to be showered in attention. Track it down and show your friends!
12.) 28 Weeks Later (2007)
It seemed like an impossible task to try to do a sequel to Danny Boyle’s terrifying 2003 game changer 28 Days Later, but that didn’t stop Hollywood from giving it a try. Surprisingly, 28 Weeks Later, which was produced by Boyle and directed by Juan Carlos Fresnadillo, is an intimidating follow-up that goes bigger and louder than the previous film. Clearly crafted for a summer audience, 28 Weeks Later is an effects heavy blockbuster that finds much of London being reduced to ashes, but the acting is top notch, the smarts are in place, and the zombie…sorry, INFECTED mayhem will leave you breathless and shaking for days.
11.) Day of the Dead (1985)
The third installment in George A. Romero’s zombie series was a bomb when it was first released and unfairly dismissed by many critics including Roger Ebert. You should know that the shockingly dark and cynical Day of the Dead has many tricks up its sleeve. Perhaps the angriest zombie movie ever made, Day of the Dead is the work of a man who has completely lost his faith in humanity and our ability to work together. Did I mention that it also features an intelligent zombie? Yeah, wait until you meet Bub. While much of the zombie carnage is saved for the shadowy climax, Day of the Dead is still a film that spits fire. I’d even go so far to say that it is one of the most important films of the Regan Era.
10.) Return of the Living Dead (1985)
This punk rock “zom-com” from writer/director Dan O’Bannon passes itself off as an unofficial follow-up to Romero’s 1968 treasure Night of the Living Dead. The characters all openly acknowledge the events of that film, but they do it all in neon Mohawks while snarling rock n’ roll blares in the background. With plenty of gonzo action and a swarm of ghouls that howl for more “braaaaaaiiiiiinnnnnssss,” Return of the Living Dead is like a living, breathing cartoon. If that doesn’t convince you to attend this ghoul shindig, wait until you catch a glimpse of the tar zombie, one of the most visually striking zombies ever filmed. Rock on!
9.) The Dead (2011)
The newest film on this list is actually one of the most impressive throwbacks of recent memory. The Dead is basically a road movie smashed together with Lucio Fulci’s Zombie and a forgotten spaghetti western. It could also be the most beautiful zombie film on this list (aside from Dellamorte Dellamore). Taking place on the parched African landscape, The Dead will send shivers as its zombies slowly shuffle along in the background of nearly every single shot, making you wonder if our two silent protagonists will ever make it out of this situation alive. While the last act dips, The Dead never lets up on the intensity. Just watch for a scene where an injured mother hands her infant child off to Rob Freeman’s Lt. Murphy as zombies close in around her. Pleasant dreams!
8.) Re-Animator (1985)
It seems that 1985 was the year of the zombie. We were treated to gems like Return of the Living Dead, Day of the Dead, and Stuart Gordon’s cheeky horror-comedy Re-Animator. A bit more restrained that some of the films on this list (but not by much), Re-Animator is a big glowing tribute to science fiction and horror films of years passed. It has a little something for everyone, all wrapped up in a big Sam Raimi-esque wink. Did I mention that it can also creep you out big time? Featuring a must-see performance from Jeffrey Combs and a zombie doctor carrying his own head, Re-Animator is a science-lab romp that will have you shrieking one second and giggling the next.
7.) Dawn of the Dead (2004)
Zack Snyder’s speedy remake of George A. Romero’s masterpiece was probably the most expensive zombie movie of all time until World War Z came crashing into theaters. It was also much better than it had any right to be. While it will never trump the heady original, Snyder makes an energetic gorefest that will make horror fans giddy with delight. The film has a stellar opening sequence that is followed by grainy news reports of a world going to Hell, all while Johnny Cash strums his guitar over bloody credits. From that point, Snyder lobs one gory gag after another at the audience, the most fun being a game of spot a zombie that looks like a celebrity and then turns its head into hamburger meat. Oh, and if the film didn’t have enough blood and guts already, wait until you see the chainsaw accident near the end of the film. It’s a doozy.
6.) Dellamorte Dellamore aka Cemetery Man (1994)
From the late 70s through the mid 1990s, Italy had severe zombie fever. In the wake of George A. Romero’s massively successful Dawn of the Dead, the Italians cranked out more knockoffs than you can shake a severed arm and leg at. Many of them were cheapie exploitation movies that lacked artistic vision, but right before the craze died off, director Michele Soavi released Dellamorte Dellamore aka Cemetery Man, a gothic zombie fantasy that truly is unlike anything you’ve seen before. Surreal, sexy, and episodic, Dellamorte Dellamore borders on arthouse horror and has earned fans as high profile as Martin Scorsese. The last act of the film is a mess and it seems like Soavi wasn’t exactly sure how to bring the film to a close, but this is certainly a zombie movie that you have to see to believe.
5.) Shaun of the Dead (2004)
In 2004, American audiences were introduced to British funnyguys Simon Pegg, Nick Frost, and Edgar Wright, and we were all the better for it. The first “romantic comedy with zombies,” Shaun of the Dead is a side-splittingly hilarious romp that can also be quite terrifying what it sets its mind to it. Loaded with nods to classic zombie movies (each time you watch it you will spot another tip of the hat), endlessly quotable jokes, and some eye-popping gross-out gags, Shaun of the Dead is a surprisingly sweet film with a core romance you can’t stop rooting for. Also, Romero has given it his approval, which automatically makes it a zombie classic.
4.) Zombie (1979)
Lucio Fulci’s 1979 grindhouse classic Zombie (aka Zombi 2) was the first Italian knockoff inspired by George A. Romero’s Dawn of the Dead. It is also the best Italian zombie movie out there. Entitled Zombi 2 in Italy to trick audiences into thinking that the film was a sequel to Dawn, Zombie is a beast all its own. Without question the most violent and exploitative zombie film to emerge from the Italian zombie movement, Zombie is a tropical blast of excess that will have your jaw on the floor. Gasp as a zombie has an underwater battle with a shark (you read that correctly, in case you were wondering) and dry heave as a woman has her eye gouged out by a piece of splintered wood (shown in an extreme close up). And that is Fulci just getting warmed up! Approach this sucker with caution.
3.) 28 Days Later (2003)
Danny Boyle’s 28 Days Later is not technically a zombie movie. The red-eyed, blood-spewing maniacs that dash through the streets of devastated London are suffering from a virus known only as “RAGE.” Still, the ghouls are very zombie like as they sprint towards their victims like coked-out marathon runners. Gritty, grim, and absolutely terrifying, 28 Days Later is an impeccably acted and smartly directed apocalyptic thriller that astounds with each passing second. The climax has split viewers, but in my humble opinion, it is an unflinching glimpse of human beings at their absolute best and absolutely worst. This is an essential and influential modern-day classic.
2.) Night of the Living Dead (1968)
In 1968, George A. Romero crafted a film that would go on to lay the foundation for the zombie subgenre. Cramped, creaky, and infinitely creepy, Night of the Living Dead is a lo-fi horror classic that continues to sit securely on the short list of the most terrifying films ever made. Romero instantly throws the viewer into the chaos and flat-out refuses to give us any sort of explanation for why the dead-eyed cannibals outside are trying to pound their way into that boarded up farmhouse. All we know is that something is very wrong and the situation seems to be steadily getting worse. Brimming with Cold War anxiety and flashing images that would be right at home in a forgotten newsreel from the Vietnam War, Night of the Living Dead is a film that will stick with you the rest of your life. A true horror classic.
1.) Dawn of the Dead (1978)
Ten years after he shaped the subgenre, Romero returned to give audiences his ultimate apocalyptic vision. Often imitated but never duplicated, Dawn of the Dead is the king daddy of zombie movies. Set just a few short weeks after the events of Night of the Living Dead, Dawn of the Dead begins with a flurry of blood and bullets ripping across your screen, assuring the viewer that once again, Romero is taking no prisoners. Once Romero decides to usher his four protagonists off to the Monroeville Mall, the satire kicks into high gear. Launching a full-scale attack on consumer culture, Romero dares to compare mall shoppers to his shuffling ghouls that wander the aisles of JC Penney. He also warns us that our inability to work together will be the death of us all. Featuring heavy character development, heart-pounding action sequences, and a devastating conclusion, Dawn of the Dead stands as a pulse-pounding masterpiece not only for Romero, but for the entire zombie subgenre.
So, do you agree? Disagree? Did I leave something off of the list? Feel free to leave me your picks! I’m dying to hear them!
by Steve Habrat
In 2007, Quentin Tarantino and Robert Rodriguez introduced mainstream audiences to exploitation cinema or “grindhouse” cinema with their sleazy double-feature experiment Grindhouse. Their experiment failed to resonate with audiences, at least at first, but in the wake of Grindhouse, there was a growing interest in exploitation cinema from the mid 1960s until the mid 80s. Glorifying sex, violence, and depravity, “grindhouse” movies were “ground out” in dingy old movie palaces or rickety drive-in theaters while a wide range of colorful audience members smoked dope, pleasured themselves, mugged other audience members, heckled the screen, and relieved themselves in soda cups to avoid a trip to the creepy bathrooms. Ranging from spaghetti westerns to European zombie movies to cannibal films to blaxploitation flicks to all out pornography, exploitation had many forms and a good majority of them were absolutely awful. However, there were more than a few stand outs that managed to hold up over the years and earn respectable cult followings. So, without further ado, here are Anti-Film School’s ten best grindhouse films of all time. Take comfort in the fact that you can watch them in your own home, far away from the junkies of 42nd Street!
WARNING: EXTREMELY GRAPHIC IMAGES
10.) I Spit on Your Grave (1978)
Israeli director Meir Zarchi’s stunningly graphic rape/revenge flick has become one of the most infamous grindhouse films ever made. The film notoriously enraged critics upon its release and even caused Roger Ebert to write one of the most scathing film reviews of his career. I Spit on Your Grave is trashy, sleazy, mean, brutal, and harrowing, with plenty of sex and violence to fuel a dozen exploitation pictures. So what makes it so awesome? Folks, when this poor woman unleashes her fury, it will have you simultaneously cheering her on while covering your eyes and reaching for the barf bag. I Spit on Your Grave was remade in 2010, but the polished presentation and evidence of a studio budget failed to pack the punch of the gritty original.
9.) The Texas Chain Saw Massacre (1974)
Tobe Hooper’s The Texas Chain Saw Massacre is one seriously scary movie. Believe me, folks. It may also make you want to take a shower, become a vegetarian, and never go anywhere near the Texas border. Wielding a nerve-frying sense of realism, this grim and grimy tale about a group of young friends who come face to face with a family of murderous cannibals led by Leatherface was inspired by the heinous crimes of real life serial killer Ed Gein and famously spooked the horror-hating critic Rex Reed. Surprisingly, Hooper adds little gore to the mayhem and instead relies on the thick Texas heat, dilapidated brans, abandoned meat packing factories, and rusty family-owned gas stations to keep us on our toes. Wait for the final fifteen minuets, with a gut-churning family dinner, star Marilyn Burns screaming herself horse, and Leatherface doing a dance of death in the middle of a highway.
8.) Faster, Pussycat! Kill! Kill! (1965)
Sexploitation king Russ Meyer’s snarling Faster, Pussycat! Kill! Kill! is one of the funkiest films you are ever likely to see. It has just about everything an exploitation fan could want: ass-kicking go-go dancers, drag races, fist fights, big breasts, sadistic backwoods males, and switchblades. It is like a living, berating cartoon that wouldn’t hesitate to rip your throat out. It is precisely this pulpy, comic book touch that makes Faster, Pussycat! Kill! Kill! such an essential grindhouse thrill ride. The action is breakneck, the fights are bone-snapping, the races are smoking, and the go-go dances will have the male viewers hot under the collar. The middle section of the film begins to sag, that I will admit, but the curvy Varla and her no-nonsense attitude keeps the entertainment level as high as it will go.
7.) El Topo (1970)
The film that started the midnight movie craze, Alejandro Jodorowsky’s El Topo is a work that you can’t even begin to fully understand or truly put in words. It’s a spaghetti western that really isn’t a western at all. At times spiritual, at times existential, at times beautiful, but almost always brutal beyond belief, El Topo follows a lone gunslinger named El Topo (played by Jodorowsky) on his quest to confront a handful of cunning warriors lurking out in the desert. At the time of its release, John Lennon and Yoko Ono were very vocal about their love for El Topo, and over the years, it has caught the attention of David Lynch, Peter Fonda, Dennis Hopper, Marilyn Manson, and Bob Dylan. There is no doubt that El Topo will shock, swoon, and appall all who see it, sending the viewers away to discuss and debate the surreal string of images that Jodorowsky springs on them. You truly won’t believe your eyes.
6.) The Streetfighter (1974)
You can’t have a list of the best grindhouse films of all time without including this wickedly savage Sonny Chiba classic. The Streetfighter is a mess in the plot department, but you’re not here to for a mind bending story. No, you’re here to watch Sonny Chiba, who seriously makes the best facial expression ever while throwing down with a sea of bad guys, rip some guys balls off, rip another dude’s vocal cords out, and sock a guy in the gut so hard that he barfs (trust me, there is a hell of a lot more). It’s great and it is even better if you watch it with a group of friends that howl every time someone memorably bites the dust. The Streetfighter ended up being the first film ever to receive an “X” rating for violence and even by today’s standards, it would make most splatter directors blush. It stands proudly as one of the greatest kung-fu films ever made.
5.) Halloween (1978)
Believe it or not, John Carpenter’s icy tale of the Boogeyman in suburbia was indeed a grindhouse movie. Made by an independent studio and on a shoestring budget of $325,000, this terrifying slasher pic is widely considered to be the most successful independent feature of all time. Halloween is the ultimate example of less-is-more and it inspired a slew of holiday-themed slashers that emerged in the wake of its popularity. There is so much to love here, from the spine-tingling score to the seemingly supernatural Michael Meyers, and plenty to give the viewer nightmares for a week. Halloween was followed by a number of sequels, two of which are worth checking out, and a gritty, ultra-gory remake in 2007 by shock rocker-turned-director Rob Zombie. There have been countless imitators, but the original Halloween remains the scariest slasher film ever made.
4.) Ilsa, She Wolf of the SS (1975)
One of the more extreme and sexually graphic films on this list, Ilsa, She Wolf of the SS, was one of the original women-in-prison grindhouse films. Directed by Don Edmonds and shot on the leftover sets of Hogan’s Heroes, Ilsa, She Wolf of the SS has earned its reputation through its borderline pornographic sex scenes, prolonged sequences of torture, its surprisingly serious approach to the silly material, the grim ending, and Dyanne Thorne as the sadistic Ilsa. Seriously, wait until you get a load of Thorne’s Ilsa. If taken for what it is, Ilsa, She Wolf of the SS is pretty entertaining even if you’re constantly closing your eyes or watching with your jaw on the floor. In October, I actually had the pleasure of meeting Dyanne Thorne and she was a gigantic sweetheart even if she was dressed in her Nazi uniform. For those looking to cut their teeth on the savage stuff, make sure you get ahold of the blood-splattered Ilsa, She Wolf of the SS. It is the real deal.
3.) Thriller: A Cruel Picture (1974)
Would you believe that director Bo Arne Vibenius, the man behind Thriller: A Cruel Picture, once worked with Swedish art house director Ingmar Bergman? If you’ve seen Thriller: A Cruel Picture, you probably can’t. The ultimate rape/revenge film, Thriller would chew I Spit on Your Grave up and then spit it out, place a double barrel shotgun to its head, and then blow its brains clean out. The tagline warned viewers that Thriller was “the movie that has no limits of evil” and it really meant it. Following the beautiful young Frigga (played by bombshell Christina Lindberg), who is abducted and forced into a life of drug addiction and prostitution before she snaps and goes on a killing spree, Thriller: A Cruel Picture is about as rough and tough as a motion picture can be. Vibenius unleashes graphic sequences of sexual intercourse (complimented by a shrill static sound effect to make the viewer cringe) and slow-motion shots of Frigga’s tormentors tumbling through the air while gore spills from the bullet wounds. He also gouges the eye ball out of a real corpse. So, do you think you have the stones to go up against Thriller: A Cruel Picture?
2.) Cannibal Holocaust (1980)
Ruggero Deodato’s “found footage” gross-out Cannibal Holocaust was so realistic, that when the film premiered in Milan, Deodato was arrested and charged with obscenity. Certainly not for everyone, Cannibal Holocaust has become the most controversial movie ever made and it lives up to its reputation. Featuring strings of unblinking violence with barely a cut to be found, real footage of animals being killed (this aspect of the film particularly disturbed me), and the most repulsive sex/rape scenes every filmed, Cannibal Holocaust is the film that goes all the way and doesn’t even consider looking back. Believe it or not, Cannibal Holocaust is a shocking reflection of the violence lurking in even the most “civilized” human beings, something you’d never expect from a film that seems content to wallow in depravity. The film sparked a number of copy cat cannibal films that emerged out of Italy throughout the 80s, but none could match what Deodato created. Deodato has since stated his regret in making the film, but Cannibal Holocaust has earned a fairly respectable cult following. It is certainly not for the faint of heart.
1.) Zombie (1979)
Legendary Italian horror director Lucio Fulci has been widely considered to be the “Godfather of Gore” and he certainly lives up to that reputation with Zombie. Released in 1979 and marketed as the sequel to George A. Romero’s zombie epic Dawn of the Dead (the films have no connection), Zombie is about as fun and icky as a zombie film can get. It is gratuitous with its blood and guts as well with its nudity (breasts are flashed for seemingly no reason at all). Zombie certainly lacks the sophistication of a Romero zombie film and absolutely no one expects it to make a profound statement about society, but it does get the zombie action right. Rotten corpses claw out of the grave, freshly infected shuffle through rickety tropical ghost towns looking for victims, a zombie battles a shark (yes, you read that correctly) and ghouls rally together at the climax to infiltrate a bordered up makeshift hospital. And boy, does it feature some nasty looking zombies. A midnight movie of the highest order, Zombie is balls to the wall insanity. Fun Fact: Zombie‘s trailer promised queasy viewers a barf bag with their ticket!
by Steve Habrat
Did you ever think that Ben “Gigli” Affleck would become a respected Hollywood director who now has three great films under his directing belt? Yeah, I would have never guessed that either, especially after also seeing Reindeer Games and Daredevil. I thought he was doomed for the bargain bin but over the years, he slowly climbed onto the A-list by carefully choosing roles that would repair the damage done to his career by J. Lo and J. Gar. I was seriously impressed with his 2010 Boston heist thriller The Town and left wondering what Mr. Affleck would deliver to us next. Now we have his political/hostage thriller and Hollywood send up Argo, which is based on recently declassified events. Vacillating between chuckle-worthy jabs at Hollywood and their big budget copycat projects and knee-jerking suspense set during the 1979 Iran hostage crisis, Affleck smoothly explores jaw-dropping history (with tweaks here and there) while measuring out a pinch of nostalgia for cinema buffs (that retro Warner Bros. logo stamped on the beginning of the movie). Basically, Argo is one of the best films of the year, a real crowd pleaser brimming with starry-eyed jingoism and unmatchable performances that all deserve to be recognized by the Academy of Motion Picture Arts and Sciences. They sort of owe Affleck one, especially after overlooking The Town for a Best Picture nomination.
Argo begins on November 4th, 1979, with militants storming the U.S. embassy in Tehran after the U.S. provided shelter for the recently deposed Shah. All the employees inside the embassy are taken hostage but six lucky ones manage to escape to the home of Canadian ambassador Ken Taylor (Played by Victor Garber). With the group’s safety in question, the U.S. State Department begins devising ways to pull the group out without getting them killed. The State Department calls in Tony Mendez (Played by Ben Affleck), a CIA specialist who has had experience in getting people out of nasty situations. One evening while watching Battle of the Planet of the Apes with his son, Mendez gets the idea to use the story that the group is actually a Canadian film crew scouting locations for a science-fiction film called Argo. After finally convincing his cranky supervisor, Jack O’Donnell (Played by Bryan Cranston), the two get in contact with Hollywood make-up artist John Chambers (Played by John Goodman) and sleazy film producer Lester Siegel (Played by Alan Arkin) to help them create a fake movie. As Mendez and his team race to make the Star Wars knockoff seem as authentic as possible, the militants begin to suspect that some of the employees escaped right before the embassy was stormed and they set out to track down every last escapee.
While Argo never does much to really shake the viewer out of the feeling that you’ve seen all of this before in thrillers past, Affleck still gets a free pass with the idea that these events really took place (you can’t deny real life heroics). He may manipulate here and there for effect and granted, it works for dramatics, but it is such a crazy slice of reality that you easily ignore the predictable beat. And while the thrills may be familiar, they feel like they are cranked up to eleven. Affleck’s previous films had plenty of edge-of-your-seat moments and hold-your-breath action and Argo is no different. You’ll tense up every time the film leaves U.S. soil and ventures into chaotic Tehran. Affleck never misses a moment to capture the agony and fear that those six Americans were feeling as they waited for a way out of their extremely dangerous situation. And just wait until the end escape; with Affleck and the shaky six as they march through an airport loaded with steely-eyed guards sniffing out Americans. These scenes are the work of someone who truly understands suspense and how to put the viewer through the ringer. Affleck breaks up this suspense with witty moments of hilarity as Arkin and Goodman deadpan about the Hollywood studio system. The comic moments are a much-needed break from the somber warnings of life and death (bodies hang from cranes in the streets of Tehran, a grim reminder that the stakes are high) and give the film a flamboyant quirk.
Further making Argo a must-see are the performances from the main players, all of which are Oscar worthy, in my humble opinion. Affleck has never been better as the weary CIA escape artist Mendez, who rarely sees his son and turns to a bottle of hard liquor when things aren’t going quite his way. Cranston is his usual rock hard self as he O’Donnell, Mendez’s boss who can unleash fury like you wouldn’t believe when the chips are down. I’m still amazed that Cranston quietly flies under the A-list radar but he manages to do it. I just wonder when this guy is going to explode. Goodman is fantastic as make-up artist Chambers, who squints through oversized glasses and burns through lines like, “So you want to come to Hollywood and act like a big shot without actually doing anything? You’ll fit right in!” It is a dream come true when he is paired up with Arkin as the smart aleck film producer Siegel. Arkin doesn’t stray from his usual cranky demeanor and it fits perfectly when he declares, “If I’m gonna make a fake movie, it’s gonna be a fake hit!” His best moment comes when he snarls, “Argo fuck yourself!” Kyle Chandler (King Kong, Super 8) also drops by and really sizzles as Hamilton Jordan, the Chief of Staff to Jimmy Carter. He’s another one, along with Cranston, who is on the verge of really breaking out but just stays low-key.
Argo never ceases to amaze considering all the different styles that Affleck blends together throughout its two-hour runtime. The scenes where Mendez and his team sit inside earth toned government offices and suck on Pall Malls seem like they were ripped out of any political drama from the 1970’s. There is a warm affection for classic science fiction and forgotten B-movies from the mangy days of Hollywood, when trash was king. There is a chilling urgency and grainy realism to the scenes where the Iranian revolutionaries rock the gates to the U.S. embassy before storming over and breaking in. It’s all a bit too unsettling, especially with recently events in Benghazi filling the evening news. Yet nothing clashes in this liberally charged plea for peaceful approaches to violent conflicts. It is a virtually flawless film that leaves you stunned that this outlandish idea actually saved the lives of six Americans. Politics aside, Argo is certainly going to be an awards season darling when the race for Best Picture begins. It is astonishingly consistent (not one scene seems wasted or useless), staggeringly hopeful even in its darkest moments, and beautifully acted at every turn. I can’t wait to see what Affleck does next.
by Steve Habrat
I’ve always been fascinated with The Amityville Horror and the real-life story of the Lutz family. In high school, I even convinced my English teacher to let me write an essay on the story and do some research into what took place in that legendary home. While the story told by the Lutz family may have been fabricated, the DeFeo family murders that took place in 112 Ocean Avenue, Long Island still chilled me to my core. Naturally, while I was writing the paper, I also took a trip to the local video store to rent director Stuart Rosenberg’s 1979 film The Amityville Horror, which was based on the book of the same name by Jay Anson. While The Amityville Horror 1979 is infinitely better than the 2005 remake, the film is still plagued by a number of plot goofs that are extremely hard to ignore. Also troubling is the lack of a thrilling ending and the fact that the Lutz family, at least the cinematic Lutz family, never seems to be in grave danger as they make their hasty escape from that evil home. Still, The Amityville Horror 1979 does have some pretty snappy performances, especially from James Brolin as the axe wielding George Lutz, who seems to be loosing his sanity each day he remains in the home, and Margot Kidder as Kathy Lutz, George’s loving wife who has to watch her family fall apart at the hands of cranky poltergeists.
Newlyweds George (Played by Brolin) and Kathy (Played by Kidder) Lutz purchase a seemingly peaceful Dutch Colonial home in Amityville, New York. The couple, along with Kathy’s three children, instantly falls in love with the home despite the gruesome murders that took place a year earlier. As the family moves in, Father Delaney (Played by Rod Steiger), a friend of Kathy, comes to bless the home. Shortly after Father Delaney begins his blessing, flies attack him and a booming, disembodied voice commands him to “GET OUT!” Father Delaney flees from the home without explanation and is slowly consumed by madness and plagued by bizarre demonic forces. Meanwhile, the Lutz family begins to have strange experiences in the house, each more terrifying than the last. To make things worse, George suffers a drastic shift in personality. He is testy and has a fascination with the axe that he uses to chop firewood. As the events in the home become increasingly more violent, Kathy begins to take a closer look at the history of the home. She also begins battling for George’s sanity.
Released by an independent studio, The Amityville Horror 1979 surprisingly has plenty of special effects and visual shocks ready and waiting for the viewer as they tour this legendary house of horrors. The opening sequence of the film, with Ronald DeFeo, Jr. marching through the home in the middle of a nasty thunderstorm and gunning down his family is certainly an eerie sequence. It is ripe with splashes of gore and heavy with an unshakeable evil atmosphere that cuts deeper with each crack of thunder and flash of lightning. Director Rosenberg has a difficult time topping his stellar stage setter and struggles to recreate that same atmosphere when the supernatural kicks into high gear. The film then snowballs into a flurry of slamming doors, disembodied voices, oozing ectoplasm, homicidal madness, and even a giant demonic pig with very little pay off. While the events are certainly creepy, the film botches a major plot point involving George Lutz’s striking resemblance to Ronald DeFeo, Jr. Don’t hope for any elaboration on this plot point because the film drops it just as quickly as it brings it up. Ignore the plot holes and just tremble at the black sludge oozing out of the toilets! Someone call a plumber.
Despite an uneven plot, the cast fully commits to the project, especially Kidder and Brolin, who appear to be having a pretty good time. Brolin has a nice time shifting from shaggy family man into perpetually freezing psycho who could snap at any minute and chop his family up with an axe. Kidder, who was coming off the high that was Superman, is a treat as religious housewife Kathy. The duo has chemistry, enough that it can cover for some of the other screw-ups in the script department. Steiger is over-the-top fun as Father Delaney, who falls apart from his memorable ghostly encounter in the home. His crowning moment comes when he is struck blind during a hair-raising church service sequence. Natasha Ryan ups the horror as Kathy’s young daughter, Amy, who has the creepiest imaginary friend on the planet. At times, Rosenberg seems well aware that children can be immensely disturbing so he works Ryan in any time he can and urges her to bring up “Jody,” her spirit chum who has a commanding hold on the young girl. Irene Dailey also shows up as Kathy’s Aunt Helena, a nun who gets physically ill from stepping inside that horrific home.
There is no denying that the build up crated by Rosenberg is actually scarier than the noisy climax. Once again set in the middle of a storm, the Lutz family decides to make a break for it as the ghosts unleash absolute hell on them. Walls ooze blood, doors slam, and the chandelier threatens to fall to the floor as they all speed walk to the family van only to realize that they have forgotten the family pooch. Brave George decides he is going back into the house alone and that he is going to venture down into the basement, where more horrors I will not reveal here have been discovered. The problem with the climax is that you never really fear for George as he makes his way through drippy funhouse. I was actually more afraid for the dog than I was for George. The film does have a creepy score composed by Lalo Schifrin will certainly send a few more chills your way and even aid in the creation of a sinister atmosphere. Considering an independent studio released the film, The Amityville Horror went on to be one of the most successful films of 1979. I’m sure it had plenty to do with the fact that the film was really wearing the “based on a true story” tagline on its sleeve. Overall, The Amityville Horror isn’t nearly as scary as you hope it will be but it does have a handful of jump scares that never cease to get you. The film is well acted, it has a nice build up, and it does have one hell of an introduction. Now if we could just ignore those glaring plot holes and that bunk ending.
The Amityville Horror is available on Blu-ray and DVD.
by Steve Habrat
While watching Don Coscarelli’s 1979 horror film Phantasm, it is truly hard to believe that Coscarelli was only 23-years-old while he was making the film. Treating the horror film as high art, Coscarelli’s Phantasm is a remarkable vision for a young mind and there is a sense of calm control as the film builds to its spacey climax, but the real clincher is the doom-tinged sense of dread that continuously washes over the viewer as events snowball into something much more sinister. Phantasm indeed gets by and earns praise for its nightmarish imagery aided by moaning organs that give these images a vague gothic facade, but Phantasm seems like just a collection of images that Coscarelli found scary with very little coherence connecting them. Coscarelli attempts to link these images with a hit-or-miss plot that is only sporadically articulate with some repellent hints of pretention thrown in. With artistry and atmosphere doing all the work, we are able to forgive the flaws in the story but another distracting element manifests in some of the questionable acting, an aspect that Coscarelli doesn’t seem very confident in as a director. Still, Phantasm has the spooks and for that, it shouldn’t be missed, especially if you’re a fan of gritty horror from the 1970s. It also has the Tall Man and you should be very afraid of the Tall Man.
Jody Pearson (Bill Thornbury), a 24-year-old musician, is raising his 13-year-old brother Mike (Played by A. Michael Baldwin) in a small southern California town. The two boys lost their parents at an early age and they have been taking care of themselves ever since. Close family friend Reggie (Played by Reggie Bannister), a sincere family man who happens to be the neighborhood ice cream vendor, checks up on Jody and Mike from time to time just to make sure they are doing okay. Out of fear that Jody may leave, Mike follows Jody every time he leaves the driveway. One day, Mike follows Jody to a funeral where the both catch a glimpse of a strange dwarf-like figure creeping around the cemetery. Mike also happens to catch a glimpse of the local mortician (Played by Angus Scrimm) picking up a coffin as if it weighed nothing and tossing it into the back of his hearse. Mike quickly tells Jody about what he saw but Jody simply waves him off. After Mike follows Jody and a girl to the same graveyard one evening, Mike is attacked by the same dwarf-like figure. The attack leads Jody to believe Mike and the two boys, along with Reggie, begin to investigate the cemetery, but they soon regret their investigation when the mortician begins attacking them with an army of alien dwarfs and an array of futuristic weapons. Things really get dangerous when the boys discover that the mortician may come from another dimension.
Going heavy on the fantasy, Phantasm does seem a bit too mystical for the late 1970s, when things were grounded in gritty realism with just faint hints of supernatural forces at play. Even the demonic offerings from that time seemed just a little too real for most people to handle, even to this day. Phantasm gets really bizarre, especially when other dimensions and alien grave robbers emerge from the darkness. Still, Coscarelli keeps things properly grounded when he can and the grainy film used to shoot the picture adds that familiar feel of watching some disturbing home video footage that was packed away for many years. At times, Phantasm can be unintentionally hilarious, from the Jawa-like dwarfs that dart around the graveyard to a scene involving the cheapest looking red-eyed insect you have ever seen. And yet you can’t fault Phantasm for any of this due to the small budget that the filmmakers are forced to work with. There are a number of shocks that do work, from a scene involving the hood being ripped off a dead dwarf that reveals yellowish ooze pouring out of its mouth to a scene involving a flying sphere that latches on to the head of one victim and turns his brains to goop. The sphere scene initially earned the film an X rating but the X was soon changed to a more accessible R.
Then there is the acting, some of which is okay and some of which is really awful. The most iconic performance in Phantasm is without question the Tall Man, the super-strong mortician that stomps around and terrorizes the boys. He twists his face into some of the most deranged expressions and his eyes will reduce you to quivering jelly. When he appears, you know things are not going to end well for the person he is going after. The two leads, Jody and Mike, are saddled with delivering some truly awful dialogue and at times, they even seem a bit unsure of the actions they have been asked to perform. Jody is easily the cheesiest as he tries to deliver macho one liners that hit the ground with a splat when they leave his mouth. Mike is asked to just run around and repeat over and over that he is not afraid as baddies leer at him in the dark. Reggie is a little better but he isn’t on the screen long enough for us to ever really invest in his character. Then there is the really peculiar scene that has Mike visiting an old Fortuneteller (Played by Mary Ellen Shaw) and her granddaughter (Played by Terrie Kalbus), which has them asking Mike to stick his hand in a black box that bites. These characters add to the hypnotic mystery of the film but their presence is a bit inexplicable when we look at the big picture. I guess it was all about foreshadowing?
In addition to some creepy imagery, Phantasm does have one hell of a memorable score, perhaps one of the best to ever come out of the horror genre. The score actually covers for some of the sillier aspects of the film and it is guaranteed to give you goosebumps, especially if you choose to view Phantasm after dark. As the film reveals more and more about its paranormal grave robbers, the terror that the film was working hard to build deflates right before our eyes. Coscarelli does give us a brief glimpse of this alternate universe, one where the sky is burned blood red and hooded dwarfs slave away in a barren desert. We don’t get much of an explanation for this alternate universe and we only catch a quick glimpse, which allows the film to recover and keep the dread high. At times, the film slips into non-linear montages that do catch you off guard, mostly because they come at a time when we think we have everything figured out. Once again, it is effective in the way it throws us off but I wish certain moments would have made a little more sense. The film also has some incredibly precise editing, which is extremely effective in the opening cemetery sequence where hooded ghouls are just barely glimpsed. Overall, Phantasm isn’t perfect but you can’t help but admire it on the grounds that this was made but a 23-year-old with some serious proficiency. It may not rank as one of the best horror films to emerge from gritty age of horror, but it sure works hard to make sure you remember it when the lights go out.
Phantasm is available on DVD.
by Steve Habrat
It is no big surprise that Ridley Scott’s new science-fiction epic Prometheus is dividing those who have flocked to see it so far. The film deals with one of the most controversial topics around: creation of the human race. Set in the Alien universe, this semi-prequel to the 1979 classic indeed gives us quite a bit to think about after we have stumbled out of the theater and finally caught our breath. With Prometheus, Scott dares to ask a lot of really big questions. Where did we come from? Who created us and why? These are questions, whether viewed from a scientific angle or from a spiritual angle, that are not easily answered. At least not yet anyway. It appears that Scott and his writers, Jon Spaihts and Damon Lindelof, understand this and they opt to give us small answers to these big questions, which may frustrate many viewers but realistically, that is just the way it is. Frankly, I don’t believe that Scott and his writers ever truly set out to give crystal clear answers to the questions that Prometheus raises. Furthermore, my hat is off to Scott because he refuses to hold the audience’s hand throughout Prometheus, forcing them to do the unthinkable and (gasp!) think for themselves.
Prometheus begins in the year 2089 with archeologist couple Elizabeth Shaw (Played by Noomi Rapace) and Charlie Holloway (Played by Logan Marshal-Green) discovering a star map in an ancient cave. They believe that the star map, which lines up with other star maps from several other seemingly unconnected ancient cultures, is an invitation from humanities creators called “Engineers” to travel to space and find them. Two years later, Shaw and Holloway are aboard the spaceship Prometheus traveling toward the distant moon LV-223, which is where they believe the “Engineers” are living. The acting head of this expedition is Meredith Vickers (Played by Charlize Theron), a snippy employee of the Weyland Corporation, which is the company that funded the expedition to LV-223. Upon arriving on the moon, the crew dashes out to explore what appears to be an ancient temple but they soon discover that this temple may be housing something that could spell doom for the human race. They also quickly realize that they are not alone in the curved tunnels of the ancient structure and that there may be individuals in their crew who are not there for scientific reasons.
The less you know about Prometheus going in to the film, the better it actually is, at least in my opinion. I was absolutely floored by how Scott has expanded his ash-colored universe from Alien and I was practically drooling at all the mesmerizing special effects. There is no doubt that this is the work of a true master of cinema. While many have raved about the visual presentation of Prometheus, it is the ideas here that many are in an uproar about. The film will no doubt cause controversy, especially when it answers the mother of all questions. Yet at times Scott and his writers tiptoe around certain definitive answers, partly because I don’t think they want to kick a hornet’s nest. Whether you believe in Darwinism or you believe a high power made us in his image, Prometheus makes sure it has everyone covered, from those who don’t know what to believe to those who clutch tightly to their crosses. Scott presents debate after debate between characters, bait to get our brains working and he is damn good at it too. On the surface, it could be read (and quickly dismissed) as a warning not to seek out your maker, but underneath, it is pushing us to at least ask a few questions to each other.
When you are not marveling at the special effects and your brain is not swimming from all the creation conversation, you will be glued to all the spellbinding acting from a handful of professions who are on top of their game. The standouts here are Rapace’s Shaw, Idris Elba’s Janek, the captain of the Prometheus, and Michael Fassbender’s slim and crafty android David. Shaw takes over for Sigourney Weaver’s level headed Ripley and gives us a much more subdued version of the Ripley character. She has a slower growth into full-blown ass-kicker and she gets one of the movie’s grossest moments (a self-surgery scene that requires her to cut in to her own stomach), a scene that is sure to become iconic. Near the end, I got chills of excitement when she grabbed an axe and readied herself for a brutal battle of life or death, a scene that was alive with Ripley’s spirit. Elba’s Janek, who is quick to tell Theron’s Vickers that he is “just the captain” has a lot more on his mind than just figuring out how to get the other sixteen passengers off LV-223 safely. I really enjoyed his weary compassion. While Elba and Rapace hold their own, the film belongs to Fassbender, who continues to impress me with each new film he is in. Early on, we see his character, alone on the Prometheus while the others are locked in their stasis chambers, hanging on every scene of Laurence of Arabia, playing basketball, dying his hair, and watching the dreams of the other crewmembers. He has a funny walk, beams when the elderly Peter Weyland (Played by Guy Pearce) tells him he has been like a son to him, and he longs to be viewed as one of the humans, even as darkness begins to creep into his mainframe.
The rest of the supporting cast does a good job, even if some of them get lost in all the action. Theron’s Vickers is a much more controlled villain here than she was in Snow White and the Huntsman. She is a lot more convincing as an evil corporate stooge rather than a cackling wicked witch. Guy Pearce shows up in a most unexpected (and surprisingly persuasive) role as the elderly Peter Weyland, a wealthy man who isn’t only interested in a new scientific discover. Logan Marshall-Green as Holloway was the only character I had a hard time liking. At times he felt a bit forced and even a bit cliché next to all the other characters that were much more vividly drawn. He is there only to be the love interest for Rapace’s Shaw and to cause some major problems later for our axe-wielding heroine. If I had one complaint about Prometheus, it would be him, especially since there was a lot of hype around him being the new up and coming actor of the moment. Rafe Spall and Sean Harris also show up memorably as Milburn and Fifiled, a botanist and a geologist who come face to face with some real nasty organisms.
Overall, Scott’s Prometheus is one big, expensive, flashy, 3D question mark of a movie and to be honest with you, I absolutely love that it is. I was mesmerized from the hypnotic opening sequence to the fiery finale that gives a nice big wink to the ’79 classic that inspired all of this (trust me, you’re going to love it). It may take some time for audiences to appreciate what Scott has done here, but as years pass, I see Prometheus becoming a chilling and grotesque classic that makes its way into film textbooks. If you get the chance, experience this sucker in 3D because it really adds to the film’s harsh and rocky environment. Many may tell you that Prometheus was an overhyped disappointment but I say that Prometheus has landed on movie screens to challenge us in ways most films refuse. It is nice to know that Hollywood still believes that some audience members like to use their intelligence at the movies from time to time and to be sent away with a lot to ponder.
by Steve Habrat
After seeing the slow burner that was Ridley Scott’s 1979 Alien, you would never in a million years expect the follow up would be a breakneck action-thriller that refuses to let up. James Cameron’s Aliens is just that breakneck action-thriller, one that flaunts grand industrial style, chest-bursting thrills, and enough explosions that would make Michael Bay envious. Taking the world that was briefly seen in Alien, Cameron cleverly elaborates on Scott’s vision and delivers a world full of corrupt corporations, billowing doom, sleeveless masculinity, and hair-raising maternal protection (Both Ripley and the Queen!), all while strapping us in and sending us on a stomach dropping roller-coaster ride. Watch out, because you may get splashed with acidic alien blood! The true beauty of Aliens lies in the fact that, while most sequels resort to over-explaining everything, Cameron doesn’t explain, he just expertly expands the scope to give us a bit more breathing room.
Aliens begins with the rescue of Ellen Ripley (Played by Sigourney Weaver), who is the only survivor of a horrific alien attack that left the rest of the crew of the space freighter Nostromo dead. Ripley goes before the board of her employer, the Weyland-Yutani Corporation, and explains what attacked the Nostromo crew. Her story is dismissed and as a result, she looses her space-flight license. To her horror, she learns that the planetoid that housed the strange ship and alien eggs is now home to a terraforming colony. After contact is lost with the colony, Weyland-Yutani representative Carter Burke (Played by Paul Reiser) and Lieutenant Gorman (Played by William Hope) approach Ripley about accompanying a unit of marines to investigate what has happened to the colonists. They tell her that if she agrees to accompany the marines and act as a consultant, they will allow her to have her flight license back. After finding the colony abandoned, the marines begin to search a nuclear-powered atmosphere processing station, where they believe the colonists are taking refuge. As their investigation continues, the marines begin making horrific discoveries within the station and soon find themselves getting attacked by seemingly endless hordes of bloodthirsty aliens.
Unlike Scott’s 1979 film, Cameron’s film isn’t as sly with its intellectual undertones and it quickly calls attention to aspects that should have been left to us to figure out. Aliens makes it very clear that the film is interested in ideas about motherhood and protection of a mother’s young. Ripley has to assume the role of mother and protector to a young girl who calls herself Newt (Played by Carrie Henn). I wish Cameron wouldn’t have thrown this aspect of Aliens in our face but sadly, he does. Early on, Newt begins calling Ripley mother and the two share an emotional scene where Ripley talks about a daughter she lost and then instantly claims Newt as her new daughter. Cameron also calls quite a bit of attention to the gender roles within the film, mostly playing with the idea of the tough guy marine who is all talk when nothing is happening but is revealed to be a coward when things get nice and violent. It is especially apparent in Hudson (Played by Bill Paxton), a mouthy marine who likes to talk big but is revealed to be a coward when attacked by the aliens. His character does begin to come around near the end, but he remains far from the hard ass he portrayed when we first meet him.
Cameron’s Aliens benefits from strong acting, mostly from Weaver, who ended up with an Academy Award nomination for Best Actress for her work in this film. While Ripley doesn’t really reveal too much new about herself, her descent into protector is undeniably compelling. She is the toughest of all the flexing bad-asses around her. Her end confrontation with the Queen alien has to rank as one of the best movie showdowns of all time. She also gets one of the best one liners that science fiction has to offer: “Get away from her, you BITCH!” She is still the teeth-gritting feminist hero that she became in Scott’s Alien and here, she comes equipped with a bigger gun and flamethrower. While Ripley is all business 90% of the time, her quieter moments really resonated with me, especially when her eyes show a brief flash of a broken heart, one that I have to assume has made her the tough gal that she is.
As far as everyone else is concerned, Reiser is perfectly slimy as the corrupt Weyland-Yutani representative who has little regard for the human life around him. Michael Biehn punches in a perfectly measured macho role as Corporal Dwayne Hicks, who growls all of his dialogue but does reveal moments of vulnerability. I have to say that next to Ripley, Hicks has to be my other favorite character in Aliens. The young Henn wins us over as the adorable Newt, who salutes Hicks when he gives orders and quickly clings to Ripley. Lance Henrikson shows up as the android executive officer Bishop who has a hard time earning Ripley’s trust. Jenette Goldstein is another tough cookie as “smart gun” operator Private Jenette Vasquez, who shows just as much strength as Ripley. Paxton’s Hudson is the only character that I find slightly irritating and the one who gets the some of the worst dialogue in the film.
Aliens turns out to posses a large amount of the tension that made Alien such an prickly experience but it happens to be woven into white-knuckle action scenes. However, I wouldn’t be quick to call Aliens a horror movie, as there is more of an emphasis on action rather than scares. For all its palpable moments, Cameron still serves up a lean storyline that locks us in its icy grip for all two and a half hours. Cameron also offers up some heart-stopping sequences that are classic cinema moments as far as I’m concerned. I absolutely love the final fifteen minutes of the beastly thrill ride. I also have to say I am a fan of the marine’s first encounter with the aliens (shown through grainy camera footage shot by one of the marines) and a scene in which Ripley, Hudson, Hicks, Burke, Vasquez, and Newt await a slew of chomping aliens to attack will have your stomach doing somersaults. The downside to all of this is the fact that Aliens just isn’t as bright as Scott’s Alien, but you will be willing to forgive because Cameron does try his best to make this an intellectually rewarding experience in its own way. Practicing some remarkable discipline in the action department while also giving us exactly what we want, Cameron’s Aliens smartly builds upon Scott’s classic while leaving its own fingerprint on the Alien franchise.
Aliens is available on Blu-ray and DVD.
by Steve Habrat
Ridley Scott’s 1979 science fiction/horror classic Alien is a film that truly understands how showing very little can scare us beyond belief. Taking place aboard the claustrophobic spaceship Nostromo, Scott terrorizes his audience by leaving basically no place for the crew to run, no place to barricade themselves in to wait out the sudden attacks by this slimy creature, and no weapon that can banish the beast to the fiery depths of Hell. While on the outside Scott has made a claustrophobic nightmare of narrow hallways and futuristic gunmetal wires, it is what Scott is doing on the inside that really gets under the viewers skin. Scott has made a film in which he reverses the sexual roles within the film. We don’t have some macho male hero to root for in Alien, one who resembles a bodybuilder with a buzz cut. Instead we have Sigourney Weaver’s feminist hero Ripley, a tough and stone-faced chick who finds herself being the last one standing against a goopy phallic creature that burst forth from a man’s chest.
Alien follows the crew aboard the commercial towing spaceship Nostromo, who are currently hauling twenty million tons of mineral ore back to good old Earth. The crew soon discovers what they believe to be a distress call from a nearby planetoid, causing them to take a detour to check out what exactly is the signal is. When they land on the craggy, windy, and gloomy planetoid, Captain Dallas (Played by Tom Skerritt), Executive Officer Kane (Played by John Hurt), and Navigator Lambert (Played by Veronica Cartwright) discover a strange ship that contains several bizarre eggs. One egg breaks open and the organism inside attaches to the face of Kane. On board the Nostromo, Warrant Officer Ripley (Played by Sigourney Weaver), Science Officer Ash (Played by Ian Holm), and Engineers Brett (Played by Harry Dean Stanton) and Parker (Played by Yaphet Kotto) fear allowing Kane back on the ship, but Ash is excited about the discover of this new alien life form. As they begin attempting to dissect the organism, they realize they are dealing with something extremely dangerous. Without warning, a new life form bursts from Kane’s chest, fleeing into the ship and rapidly growing to a gigantic size. As the crew is bumped off one by one by the hungry creature, they have to quickly figure out how to get this bloodthirsty alien off their ship and make it home alive.
Perhaps my favorite trait that Alien possesses is the way Scott blends the alien in with the Nostromo itself. I always found it so eerie the way the alien would suddenly pop out, having been in plain sight but we the viewer oblivious to the fact that it was right in front of us. It gives Alien the feel that this twisting labyrinth of a ship is coming alive and claiming victims one by one. My two favorite sequences have to be when Captain Dallas faces the alien in a tight space, the alien’s arms shooting out of the darkness but appearing almost like a tangle of wires and hardware until we see its gaping jaw as it goes in for a penetrating kill. My other favorite scene is when Ripley is in the escape pod in the final minutes of the film, the alien crouched in the fetal position inside a darkened crevice. The creature’s phallic head resembling part of the ship until it suddenly moves and roars at Ripley. Talk about a neat effect!
The alien itself, conceived by artist H.R. Giger, ranks as one of the most iconic movie monsters in the long history of the genre. Show a picture of it to anyone and they can instantly identify what the creature is. The beast, which is kept mostly in the shadows throughout Alien, is a true marvel, one that is a skin crawling vision while also having a faint phallic look to it. The creature grows more horrifying with each small reveal that Scott places strategically throughout the runtime of Alien, revealing the entire beast at the climax but blasting it with strobe lights, a blue glow, and blurred camera angles to keep some layer of mystery to it. Scott doesn’t simply use the alien to scare us, but applies it as a thought provoking monster that is used to make comments on the male fear of childbirth (as a baby, it is flesh colored and vaguely erect, burst forth in a shower of gore fro Kane’s chest) and used to make a comment on the battle between the sexes. At the end, the empowered Ripley strips down to just her underwear and an ill fitting t-shirt as the phallic alien, with a stinger that resembles an erect penis shooting from its mouth, bears down on her. It’s a classic sequence that is both memorable for its events and the underlying subject matter, suggesting attempted rape and penetration.
Any discussion of Alien would not be complete without praising the work of Sigourney Weaver as Ripley, the empowered, no nonsense heroine who finds herself being the last woman standing in the battle between the crew and the alien. She is unrepressed and liberated, finding herself in charge of the ship in the wake of the deaths of the two men who ranked above her. Yet even from the first time she is introduced to us, she overshadows the men, all who seem slightly weak and unable to protect themselves from this monster bearing down on them. One male victim just stares in horror and disbelief as it shoots its erect stinger out of its mouth at the wide-eyed pile of flesh. Yet Ripley never falls apart, instead owning every scene she is in, even when she is placed next to Cartwright’s Lambert, who is reduced to shrieks and tears when the alien closes in. She is one tough broad and she is proud of it. Looking at the time in which Alien was made, released in 1979, right in the midst of the Women’s Liberation Movement, Ripley stands for tough and uncompromising feminism, looking this phallic monstrosity in the face and refusing to back down from it. She was a far throw from the female cliché that ran rampant in mainstream horror films at the time, the ones who ran away from the monster, the caricatures that Lambert appears to represent.
Alien is an incredibly powerful and thought provoking exercise in horror. It is an industrial mash-up of futuristic science fiction and dramatic slasher horror. Much has been made about the sexual undertones, many critics pointing out male fear of rape and penetration, the most recognizable being the fear of childbirth with the show stopping chest burst sequence, a scene that is glaringly obvious. Each and every scene has an epic gusto that tears right through it, yet each scene works in synch with the next, culminating in a strobe-like burst of seething feminism. The cut-off feeling, soggy claustrophobia, and lack of a thorough explanation of the alien all make Alien a classic among the science-fiction horror genre. Alien ultimately turns out to be B-movie material approached with an A-list touch and an extreme confidence in itself. This is an intelligent must-see horror masterpiece from the heyday of the genre.
Alien is now available on Blu-ray and DVD.
by Steve Habrat
What an idea it was to produce a film about the making of the 1922 German silent horror film Nosferatu while infusing it with a fictional, supernatural side. E. Elias Merhige’s Shadow of the Vampire is a refined vampire drama that miraculously pulls off this incredibly wild and inspired idea. F.W. Murnau’s original masterpiece is a film that has carried with it rumors of the occult, largely stemming from Murnau’s producer and production designer Albin Grau, who was also an artist, architect, and occultist. Merhige takes these dark aspects of history and uses them to ask us, “What if Nosferatu was made with a REAL vampire?” But Merhige doesn’t stop here; he then transforms his vampire, Max Schreck, into a difficult and greedy star who pushes Murnau to the brink of madness, madness for perfection in his art. Infinitely better than his visually striking but infuriatingly cryptic debut Begotten, Shadow of the Vampire has all its major components (acting, writing, and direction) in synch, creating a clear, concise vision that we can actually wrap our heads around. It seems that maybe Merhige learned that accessible core meanings have just as big of an impression as petrifying images.
Shadow of the Vampire takes us right onto the set of F.W. Murnau’s (Played by John Malkovich) Nosferatu, an unauthorized film adaptation of Bram Stoker’s Dracula. Murnau and his crew have tweaked Stoker’s story ever so slightly, altering names and places so they can still make the film. He drags his crew to places like Slovakia and Poland for on-location shooting, snapping at any crewmember that dares try to make any suggestions or attempt at slightly altering his vision. As filming in Czechoslovakia commences, Murnau’s loyal producer Albin Grau (Played by Udo Kier) and his photographer Wolfgang Mueller (Played by Ronan Vibert) have to consistently keep the eccentric Murnau grounded in reality. Soon, his “method actor” Max Schreck (Played by Willem DaFoe), who is portraying the vampire Count Orlok in the film, arrives to the shoot in full make-up and consistently in character. Murnau tells his impressed crew that Schreck will only mingle with the crew when filming and that he will always appear in character. It turns out that Schreck is actually a real vampire, one who Murnau has made a sinister deal with. Muranu promises Schreck he can feed on their vampy leading actress Greta Schroder (Played by Catherine McCormack) when they are done filming only if Schreck completes his work on the film. As the shoot unfolds, Schreck becomes increasingly difficult, threatening the entire crew and the outcome of the project.
While Shadow of the Vampire sounds like a horror film, it is actually more of a character drama and is often times surprisingly humorous. There are a few chilling moments, mostly a handful of exchanges between Dafoe’s Schreck and Malkovich’s Murnau and the final fifteen minutes. In fact, I would classify the film as more of a drama rather than a full-blown horror film. Shadow of the Vampire is chock full of must-see performances, particularly Dafoe’s transforming turn as Schreck. Much like Klaus Kinski’s unglamorous turn as Count Dracula in Werner Herzog’s faultless 1979 remake Nosferatu the Vampyre, Dafoe makes his vampire a grotesque oddity that is so old he can’t quite recall how he was turned into a vampire. You will be bowled over every time he enters the screen, the highlight moment coming when he snatches a bat out of the air, bites its head off, and then sucks the blood out of it while his eye roll around his skull in ecstasy. Dafoe successfully mutates his character into more of a creature than a man and disappears behind bulging eyes, understated fangs, pasty fake skin, and pointing ears. He really does take on a life of his own.
It may be Dafoe’s show but Malkovich makes damn sure he is remembered long after the credits have rolled. You may emerge talking about Schreck but your conversation will turn to Malkovich’s Murnau. Malkovich makes his determined director out to be pompous and pretentious, demanding but bursting with vision that he can’t quite convey unless he points a camera at something. He is as much a method director as his “star” is a “method actor”, willing to stop at nothing to capture an unmatched realism within his film. He will sacrifice any and all of his crew to achieve this and make something that is remembered for years to come, even running himself into the ground for greatness. Was the real Murnau like this? That is anyone’s guess but it could be said that Murnau did make something that is still popular today, still frightening, and contains one of the greatest performances (Max Schreck’s Count Orlok) ever filmed. Malkovich also gets the film’s best line, coming at the last second of the film.
Compliments should also go to the way Merhige approached the overall look of the film. He mixes German Expressionism, surrealism, black and white, and silent film techniques together to create a consistently alluring piece of cinema. After seeing Begotten, we know that Merhige is a stylish artist, at times getting carried away with the visuals over the story. Here he applies each technique to drive the work forward. He even goes so far to add some footage from the original Nosferatu into Shadow of the Vampire, blending his actors into that specific film. The film could almost double as a film history lesson the way he applies little qualities (gothic atmospheres, use of shadow, intertitles, kaleidoscope images, and even behind-the-scenes Easter eggs) of the genres listed above and it becomes a real treat for cinema fans, allowing them to spot and identify the traits.
All the supporting actors do fine work in Shadow of the Vampire. The best behind Dafoe and Malkovich are Udo Kier’s occultist and producer Albin Grau and Cary Elwes as the replacement photographer Fritz Arno Wagner. Over the years, much has been made over the minor occult touches in Murnau’s Nosferatu, specifically the way he used shadows, which were supposed to symbolize the dark side of reality and occult symbols that were stamped on a document that Count Orlok reads. Well, in shadows lie demons, NOSFERATU, the undead, and what if the undead were really used in the making of the 1922 classic? Shadow of the Vampire is a dramatic and entertaining “what if” that is also a great exploration of method acting and dedication to one’s own art. At least Shadow of the Vampire can spark clear conversation over the bewildered head shaking that Begotten lured out of its viewers. There is nothing to fear in Shadow of the Vampire, only much beauty to drink in and delectable performances to savor.
Shadow of the Vampire is now available on DVD.