Deadly Friend (1986)

NOVEMBER 4, 2007

GENRE: MAD SCIENTIST, TECHNOLOGY
SOURCE: DVD (OWN COLLECTION)

As far as I am concerned, DVD took a decade to hit its peak. That would be last month, when they finally released Wes Craven’s Deadly Friend legitimately (a bootleg DVD popped up at conventions for years until Warner announced it as part of their Twisted Terror collection). The DVD is still wholly disappointing (mono sound, no extras, doesn’t even have a fucking scene selection menu), but I don’t mind. I hadn’t seen the film since I was like 8, and retained fond memories of it (if only of the film’s most memorable moments – i.e. the basketball kill) I was mighty curious to see how it would hold up now that I am older and wiser, not to mention stupider.

What I didn’t remember was how fairly goofy the movie was. It’s essentially a kid’s movie, but with insane gore. I mean, he’s got a big yellow robot; he meets cute with not only a girl but a guy (the movie’s kind of weird); fights with a neighborhood bully, plays Halloween pranks... there’s even an old woman neighbor who they all fear. It’s sort of like a less whimsical Monster House. I honestly think the target audience for this movie are folks who were kids who were allowed to watch horror movies when it came out and are now easily amused assholes. Because really, who the fuck else could possibly enjoy this movie if they saw it for the first time as an adult? But on the flipside, you couldn’t be considered a very good person to recommend it for small children, what with all the rampant gore and violence.

Jesus, LOOK at this fucking thing.

Of course, the basketball kill is pretty much the most famous scene in Wes Craven’s career; the type of thing Youtube was invented for (strangely, going by the trailer, one would assume this kill was a reshoot, as the spot shows the victim being killed by getting smashed into a door). And it still holds up (i.e. makes me laugh my ass off) as well as it did back in 1987 or so. However, there aren’t many other kills in the film (the killer robot/zombie angle isn’t even introduced until about the 2/3 mark), but there’s enough gore in them to keep gorehounds happy.

Kristy Swanson has never been better, playing an expressionless robot.

The ending is pretty astounding. Showing signs of the “What the FUCK”ity of the Craven who would make Shocker, the conclusion finds a fully formed robot somehow nested inside the corpse of the girl. It bursts through her skin, complete with big monster teeth, and presumably eats the hero (offscreen). Then we hear, for about three straight minutes, the film’s non-theme theme song, which is just some guys going “Bee-bee. Buh-buh-buh-Bee-bee BEE-BEEEEEEEEEEEEEEEE” over and over. What the christing hell? Shocker may be the finest moment in Wes’ career (in terms of sheer awesomeness, not actual quality), but it is now abundantly clear to me that Deadly Friend laid the foundation for it.

This one’s based on a book simply called "Friend". I can’t imagine it’s anywhere near as hilarious, but I must know. Someone please buy it for me for Christmas.

What say you?

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Based On Novel, Craven, Mad Scientist, Technology,

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October Extras #28 - Scream 2 (1997)

OCTOBER 28, 2007

GENRE: SLASHER
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2004 (?) (DVD)

The only time I ever dressed up for a movie was for Scream 2. And by dress up, I mean: “Wore my Ghostface mask in the lobby for a few minutes”. This was also the days when I didn’t care about spoilers... I had read the script beforehand and even asked someone on their way out if the killer in the script was the killer in the movie (note – it wasn’t). Needless to say, I was pretty excited for the film.

I wasn’t let down too much, and over time I have grown to really like the sequel, almost as much as the original. It’s not as clever as the first one was (though you gotta love a sequel in which characters try to think of sequels that surpassed the original), but it’s still an effective slasher (the 3rd film was neither). And it contains what I still consider to be the most horrifying death in slasher history – Randy. Everyone loved Randy (particularly me, who, like the character, was a movie nerd who worked at a video store and was in love with Neve Campbell), and even now, having seen the film probably half a dozen times, I still sort of hope he’ll survive this time around (imagine if “Navigational Cinema” was employed in a film that was actually good?). His death also results in a true slasher movie rarity – a character’s death actually resonating. There’s a scene shortly after where Sidney says that she could call Randy’s mother, only to discover Dewey already took care of it for her.

Dewey’s character isn’t as dumb in this movie, and his role as Sidney’s sort of big brother/protector is a nice touch. How he manages to survive AGAIN is pretty baffling, but I cheered (along with the rest of the theater) all the same. Also, his “theme” is none other than the amazing Broken Arrow theme by Hans Zimmer. Apparently, they used the score during editing as temp music, but everyone liked it so much that they actually licensed it. As great as the music is, it’s sort of distracting. It happens a lot in films, but usually in an ironic manner (such as having the Darth Vader music play over the introduction of a goofy villain); when it’s a more or less serious situation, the borrowed cues are rarely recognizable, at least to me.

One strange, never fully explained concept was that the killer(s) in this film were killing people with the same names as the victims in the first film. It’s dropped and never mentioned again as soon as it’s brought up, and damned if it ever made much sense to me. Plus, how the hell did they manage to find a couple who happened to share the same names as Sidney’s mother and Casey’s boyfriend? Why strain credibility if you’re not even going to really do anything with it?

Otherwise, solid stuff here. I liked most of the characters (except Debbie Salt, but I guess that’s sort of the point), and there are some terrific set-pieces (particularly the Dewey and Gale in the film building chase) that rival anything in the original. Like the Saw films, Scream 2 came out a year to the day after the first one, so it’s even sort of more impressive how well it came together. Especially when you consider that they took 2 and a half years to make the third and it was total shit.

Oh, and David Warner shows up.

The DVD has what has to be my favorite TV spot of all time. Eschewing almost every possible reference to the killer (or even horror at all), the spot just sort of makes the film look like it’s a romantic thriller about Jerry O’Connell and Neve Campbell’s characters, with O’Connell saying things like “I am here for you!” and Neve looking all damsel-y while Collective Soul yammers on about flowers. Yet it still has the same “SCREAM 2, RATED R!” voiceover that accompanied the more truthful spots. I highly urge you to check it out. This is back when TV spots were a standard feature on special edition DVDs, something that has been sort of phased out over the years (as has listing “3D Motion Menus” as a goddamn special feature, thankfully).

What say you?

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Craven, October Extras, Slasher,

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October Extras #14 - Scream (1996)

OCTOBER 14, 2007

GENRE: COMEDIC, SLASHER
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2004 (?) (DVD)

At Comic Con, I happened to run into Kevin Williamson at some party. As I was carrying two beers at the time (the open bar was about to shut down), I couldn’t shake his hand (plus I probably looked like the world’s biggest douchebag, wearing a Slither t-shirt and carrying two MGDs at an otherwise classy party, but whatever). So I simply told him how Scream had re-ignited my interest in horror, in particular slashers, when it first came out in 1996, and thanked him on top of it (I did NOT thank him for providing me many a fantasy of Joey Potter crawling into my bedroom to watch movies and sleep with me).

It may seem strange, but in the first half of the 90s, there were maybe 3 horror movies a year in theaters. Go back and look at your Fangorias from 1995 - they were covering Judge Dredd and Congo, because there was nothing else to cover. As a result, I was more interested in action movies until Scream came along and reminded me why I liked them so much in the first place.

Even ignoring my own personal reignited love, Scream really brought the genre back, and it’s pretty much been “in style” ever since. For the second time (the first was a movie called There's Nothing Out There, but few people, and I am not one of them, have seen it), a horror movie took place in a world where the characters had actually seen horror movies. This was mainly personified in the Randy character (whose death in the sequel remains one of the most genuinely upsetting character deaths in slasher history), who worked at a video store and had a strange affinity for Prom Night (come on dude, Prom sucks! Why no love for My Bloody Valentine???). He was the one to explain “the rules” in the film’s most famous scene, all of which were circumvented in one way or another in the next 20 minutes.

I was surprised how well the film has held up, especially with the new wave of knockoffs and parodies that have come since. Unlike most of those other films, Scream genuinely works as a slasher movie, with some great red herrings and well executed finale that neither cheats or betrays the film’s logic. As I mentioned in the Dead in 3 Days review, it’s entirely possible to solve the killer(s) identity in this film, not to mention go back and look at all the little clues that were sprinkled throughout. Also, the film’s first 10-15 minutes remain a slasher movie highlight, especially when you consider that this occurred long before the days of killing off a ‘celeb’ or important character in the first scene, which is now a staple.

On the cons side, Rose McGowan’s character is far more annoying than she is supposed to be (I never have or will shine to her as an actress, and remain entirely confused as to what exactly she offers as either an actress or even just eye candy), and Dewey is so stupid at times you gotta wonder how the guy even got hired as a deputy. There’s also some really bad editing (as usual, Dimension shows no respect or reverence for anything, not even the film that put them on the map, as the DVD is non-anamorphic. It’s not even the uncut version that was released on VHS!), particularly during Steve’s murder and when the killers are stabbing each other. And I remain miffed that Williamson “homaged” the killer’s motive directly from Happy Birthday To Me, which is one of the very few slashers of the late 70s/early 80s not mentioned by name in the film (or the commentary track).

Scream 2 (a future October extra, hopefully) was pretty good considering how quickly it was made (released a year to the day after the first one – which was a word of mouth hit, not a “Hey it made 100 million on Friday let’s start writing the sequel on Monday” type movie like Saw or Hostel was), if not as tight and creative as this. And the less said about 3, the better. But this one remains one of the best slasher movies, IMO, and with each subsequent disappointment from Craven and Williamson, it even sort of improves with age.

What say you?

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Comedic, Craven, October Extras, Slasher,

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October Extras #12 - Shocker (1989)

OCTOBER 12, 2007

GENRE: COMEDIC, POSSESSION, SERIAL KILLER
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2004 (?) (DVD)

Ah, Shocker. One of the finest films to have ever graced the screen. So flawless the film is, I remain confused as to why the print hasn't been stored at the National Film Registry alongside Halloween and Citizen Kane.

I am of course, joking. Shocker is a ridiculous movie with often terrible effects and totally batshit plotting (the "You got it baby!" scene alone has got to make you wonder just exactly how high/drunk Wes Craven was when he wrote it). But the movie is a riot, and I never tire of watching it. Also, for a movie so ridiculous, there are some rather subtle plot developments that I have discovered lots of folks don't really pick up on. For example, Jonathan IS indeed Horace Pinker's son. Also, a less important subplot but still worth mentioning - the stronger one's love is for Jonathan, the harder it is for him to possess them, if he is able to at all. This is revealed rather late in the film, when Pinker explains to Jonathan that he couldn't possess Pac-Man (Ted Raimi!) because he liked Jon "A little too much".

It's also quite rare, especially in the 80s, to have what is essentially a slasher movie with a male lead. The "Final Girl" is killed like 20 minutes in (and quite bloodily, also odd for the otherwise bloodless late 80s), and there's no other female in the film other than the occasional Pinker victim (and they aren't even characters, often dead the first/last time we see them). However, the girl DOES continue to be in the film, as a bloody ghost who helps Jonathan defeat Pinker with her magic necklace and of course, her undying love. Again, what the hell was Wes ON?

Of course, the soundtrack is key to the movie's entertainment value. I don't think it's possible to watch the film and not have a blast with the cheesy metal/ballads that pop in and out throughout the film (almost all of the songs on the soundtrack are actually in the movie!). The theme song is brilliant; making me wish that The Dudes Of Wrath had put together a whole album. Iggy Pop's "Love Transfusion" is another highlight. And of course, who can forget Dead On's "Different Breed"?? "He sees himself, apart from you and I! Is he from down below, or is he from the sky?" Amazing. "Shockdance", one of the few songs that don't appear in the film proper, contains lyrics that blasphemize the Our Father, leading my dad to take the tape (TAPE!) away from me as a young lad. Though all he did was put it in a drawer, so I got it back. I guess even he couldn't resist occasionally listening to Megadeth (trivia - Megadeath is a real word, but not Megadeth. So says spellcheck.) cover Alice Cooper.

The strange thing about Shocker is that whenever someone mentions it (OK, replying to my asking if they have seen it), they always say "Yeah, the one where the killer goes through the TV, right?" It's sort of fascinating how this subplot, only introduced in the film's final 20 minutes, is what resonates the most. It's like Shocker is horror's answer to It's A Wonderful Life, a film everyone claims is about a guy who sees what life would be like without him, but again, in reality this is only the film's third act. There's a lot of great stuff (and again, songs!) that occur long before Pinker yells "I'm nationwide now!" and turns into a rainbow. Not that I will deny that the TV chase is the highlight of the film, but let's not dismiss the 90 minutes of story that come before it!

When I put the film on, my friend Abbie said she hadn't seen it for a while. Which is when I realized that it had been far too long since I last watched it - I've known her for 2 years or so, and I used to make it a rule that anyone I meet has to watch it with me unless they could remember it well (of course, many folks haven't seen it at all, hence the damnable lack of a sequel). I use it as a barometer of sorts; if you're the type of person that can't enjoy a cheesy, ridiculous horror movie, then you're too un-awesome to be my pal. Shocker is the best example of such type of entertainment. The upcoming remake is one I am for once opposed to - I highly doubt the soundtrack will have the level of jaw-dropping "Oh JESUS" quality to it, and they will probably make the lead a girl (and, yes, probably make the whole thing about Pinker in the TV). The film's nonsensical plotting and crude effects (why does Jonathan make a transition from projected to reality near the end?) are what make the film enjoyable. Making the movie serious would kill the whole point of it, if you ask me (and they should, for I am the world renowned expert on Shocker. I even have the book).

What say you?

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Comedic, Craven, October Extras, Possession, Serial Killer,

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Invitation To Hell (1984)

AUGUST 9, 2007

GENRE: SUPERNATURAL
SOURCE: DVD (OWN COLLECTION)

As Invitation to Hell began with a woman being run over and then getting up and killing the driver, I began to ponder the directing style of Wes Craven. Specifically, the fact that he doesn’t really have one, in terms of certain angles or motifs (i.e. Spielberg always working in "people looking" and daddy issues). Unlike early John Carpenter films (the ones with Dean Cundey as DP), which were always recognizable as Carpenter’s, Craven has never really had that significant ‘look’ to his films. Not that it’s a bad thing, but it’s worth noting. I think.

Anyway, bizarrely enough, the DP credit came up, and guess who it was? Dean Cundey himself! Weird.

A 80s TV movie starring TV staples like Robert Urich, Soleil Moon Frye, and Susan Lucci doesn’t really have much promise regardless of who is directing it, and I’m not sure anyone could pull off a really great movie about a secretive health spa, but for what it is, it’s enjoyable enough nonsense. Though I should point out that the family apparently lives next door to the Freelings, so maybe I was just clouded by my memories of their suburban nightmare.

Either way, I always have a soft spot for movies with nonsensical computer technology. The spacesuit they are designing somehow knows if something is benign or not, and there’s a scene of Urich looking at a computer database that left me laughing out loud. He asks it to search for all the people at the company that have been promoted, and it lists them all. That’s OK enough (though he puts about 20 words too many in his search), but then he types in “How many of them belonged to the Health Spa?” and the computer replies, in RED text (previous was white), “ALL OF THEM!” It’s like what Ask Jeeves pretends to be, almost 20 years before it was created!

I also took particular interest in young Punky’s rabbit doll, which is the most sinister looking goddamn doll I have ever seen in a film, even the ones where the doll was the killer.

Isn’t that haunting? Later in the film, when the health spa cult (there’s a term you don’t see often enough) has taken control of her, she goes apeshit and begins stabbing and cutting the damn thing to pieces, and from my perspective, she wasn’t really doing anything wrong.

The ending of the film is also a howler, as Urich dons his spacesuit and literally goes into Hell (which resembles one of the mid level sets from an old Star Trek episode). And then fires a laser gun at the Devil. Wow. Nowadays, TV movies are either about detectives or battered women or true crime stories (or all three), it’s nice to know that back in the day, you could see an original film of a guy wandering around hell firing Flash Gordon weapons at Satan right before the nightly news.

Oh Wes, I never thought I’d see a film of yours top Shocker in terms of pure nonsensical storytelling, but I have been proven wrong. Bless you sir, bless you.

What say you?

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Craven, Supernatural, Television,

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