Society is a bizarre movie. Some might quibble with me labeling it “Lovecraftian”, but there are definitely elements that fit.
I saw this thing while stationed in Germany in the early 90s. A lieutenant and I would regularly swap weird movies with one another to try to ‘out-weird’ the other. He made me watch Naked Lunch and I made him watch this. He won.
Society starts out weird and rapidly gets weirder. The main character Bill Whitney (Billy Warlock) is a member of a rich family in Beverly Hills. However, he never feels like he fits in either with his family or wealthy society. Not only is there an odd feeling of alienation, but he catches glimpses of bizarre, body-contorting imagery. Is it in his mind? Is he going insane.
Sis is very flexible.
A friend from school gives him a tape of his family in what sounds like a twisted orgy. When he plays it for a therapist, it’s completely different and normal. Corpses appear only to disappear when the authorities arrive. Bill’s obviously losing his mind, right?
Not so much. This movie was created by Brian Yuzna. Yes, that Brian Yuzna. Re-Animator and From Beyond Brian Yuzna. So you know the explanation won’t be that simple.
It turns out Bill is adopted. His family–along with most of the upper crust in Beverly Hills–are a different species. They’re parasitical creatures that (literally) feed off the poor to survive. Bill was only kept as a sacrifice for his adopted sister’s ‘coming out’ party.
No joke will do justice to this.
If this sounds like thinly-veiled social commentary about class structure–ding! You’re a winner! It definitely is. This is where it somewhat parts from Lovecraft. Howard would typically have the alien creatures be from inbreeding or from crossbreeding with aliens (The Shadow Over Innsmouth and The Dunwich Horror). Although I don’t think Howard would have minded this too much. He didn’t concentrate so much on class as race.
Anyway, the analogy is about as subtle as a nuclear weapon. Doesn’t matter so much, though. This isn’t a movie that takes the analogy too seriously. Plus, it’s incredibly weird
Worse than a Charlie Sheen party.
and surreal. The ending ‘coming out’ party is not something you’ll be likely to forget anytime soon. If you thought From Beyond was a mind-scrambler, just watch!
I don’t want to give too much away, as half the enjoyment of this movie is being surprised at how fucking weird some of the elements are. Did I mention it’s weird? The final “Party” is worth the price of admission alone.
The Hidden (1987) is an obscure science fiction film starring Kyle MacLachlan after his role in Blue Velvet, but preceding his Twin Peaks fame. Despite several tropes, the skewed plot line makes it an enjoyable distraction.
Essentially a warped version of the “buddy cop” genre, Michael Nouri plays L.A. detective Thomas Beck. Beck pursues and (apparently) fatally injures spree killer Jack DeVries (Chris Mulkey) during the chase. FBI Special Agent Lloyd Gallagher (MacLachlan) later confronts Beck, saying DeVries is still a threat.
“Mr DeVries, we think you might have a throat infection.”
Meanwhile, in the hospital, DeVries jumps up and attacks a heart patient Jonathan P. Miller (William Boyett). DeVries pops opens his mouth and out crawls a hideous, slug-like alien. It crawls down Miller’s throat and takes him over, letting its old host collapse. Miller runs off to commit more of the random violence in the same manner as DeVries.
After this starts, Gallagher tries to convince Beck that Miller is a partner of DeVries who is every bit as dangerous, despite no criminal record.
You can probably guess how the rest of this goes. The evil alien continues to jump through host bodies while the authorities struggle to catch up.
Aliens are teatotallers.
It’s fairly obvious from the beginning that Gallagher is another alien. MacLachlan does a brilliant job of being “not quite right”. He conveys a vibe of alien without much scenery-chewing. Not only his weird questions, but MacLachlan’s deliciously “off” mannerisms. There’s an especially amusing dinner scene with Beck’s family, where Gallagher gets tipsy. Bloody hilarious. My favorite part is when Beck asks him where he’s from. Gallagher points straight up. “From up north?” Beck asks. Gallagher nods.
It turns out Lloyd is an alien “cop” (named Alhague) and the evil alien is a criminal who killed Alhague’s family. Yes, it’s a cop revenge story.
That’s a damn fine ray gun.
If all this sounds cheesy, it’s actually not. Or not much. The performances in this are wonderful, despite the bizarre premise. William Boyett has a wickedly good time being the heart patient turned evil alien. His murder spree is both amusing and horrifying. Of special interest is when the alien possesses a stripper named Brenda (gorgeous Claudia Christian of Babylon 5 fame). She fondles herself in front of a couple of cops before shooting them with an assault rifle. This is after she humps a drunken lecher to death.
Claudia’s role is . . . I’m sorry, was I saying something?
There aren’t many special effects in this. I suspect it’s deliberate–a combination of shrewd writing and budget considerations. The few that do appear are pretty effective. The alien slug switching bodies is skin-crawlingly impressive. I think it’s a case of “less is more”.
MacLachlan’s freaky acting in this is worth it, even if you don’t care about the rest of the film. Go dig up a copy and enjoy.
Hawk the Friggin’ Slayer. Yes, I’m going there. You bet your ass.
Cast your mind back (if you’re young enough) to the year of 1980. There, gifted unto the world was the glorious cheese of Hawk the Slayer. I first witnessed this wondrous spectacle on HBO (before there were more than one.) This happened briefly after the insidious, Satan-worshipping evil of Dungeons and Dragons possessed me. Other than the animated Lord of the Rings and The Hobbit, D&D fandom had few cinematic representatives.
Then along comes a cheesefest filled to the brim with elves, dwarves, giants, magic swords and witches. Oh sweet Demogorgon, yes!
What did I care that the majority of the special effects consisted of glowing superballs, smoke pots, shiny hula hoops and bad stop-motion arrows? It mattered naught! To battle!
I AM NOT OVERACTING!
Anyway, the plot is pretty simple. Bad guy brother Voltan (played by the scenery-chewing Jack Palance) kills his father the king. Good guy brother Hawk (played with wooden fortitude by John Terry) gets the gift of “The Mindsword” from dad and swears to avenge his death. The power of The Mindsword (so far as I can determine) consists of reacting to the wielder’s mental commands and lighting the way through a haunted forest at one point. Other powers are a bit murky–try again later.
Voltan sports a Darth Vader style helmet that helps conceal his burned features. Burned, incidentally, by Hawk’s lady love right before Voltan kills her. Yeah, Voltan’s a shitty brother. You can kinda see why he’s never invited to family reunions.
Years later Voltan’s ravaging the countryside, like a good villain. He kidnaps the Abbess of a convent and tries to ransom her back to the church. Unsure which god the church
Still better than most of the D&D groups I’ve known.
worships. Scientology? Instead a crossbowman named Ranulf (W. Morgan Sheppard) wounded by Voltan seeks a group to help rescue the Abbess and defend the convent. This is where we get a “Magnificent Seven” vibe as a group of misfits (Player Characters or Murder Hobos–you decide) is assembled by Ranulf and Hawk. The group consists of: Gort the Giant (Bernard Bresslaw from Krull “fame”), Crow the Elf (Ray Charleson), Baldin the Dwarf (Peter O’Farrell) and The Sorceress (Patricia Quinn).
At least half of these folks are recruited by rescuing them from brigands. Seriously, there are brigands all over the place. Brigands stealing. Brigands trying to burn witches. Brigands cheating at archery contests. It’s like a brigand convention. I figure half of this world’s population is brigands.
The lion’s share of the rest of the movie consists of the group playing cat and mouse with Voltan and killing a lot of his redshirts. Lots. How Voltan kept recruits with his attrition rate just tells you more about brigand overpopulation than the quality of his leadership. Keep your brigands spayed and neutered.
There follows the inevitable confrontation between the brothers. You can guess what happens.
This film was slapped together in six weeks for a mere six hundred thousand pounds in Buckinghamshire, England. (This explains the preponderance of British actors in it.) The
I’ve got this trick I do with a fish . . .
movie had a theatrical release in the UK, but the production company ITC went tits-up before it could be released in the United States. Instead it became cable television fodder and a warm, cheesy memory to hordes of nerds everywhere. Afterward, it became a cult movie classic to the point that a campaign happened to create a sequel called Hawk the Hunter. Unfortunately, the Kickstarter campaign failed miserably.
For many years I tried to find Star Command somewhere on the web. The difficulty lay in the fact that I couldn’t actually remember the name of the damn thing. Until recently, I had only seen it once–20 years ago. However, thanks to the wonder of YouTube, I tracked it down and re-watched it.
I kind of liked the thing back in 1996 with the original viewing. I feared it would become awful with two decades under my belt. Did it?
Umm . . . yes and no.
First, a basic rundown. Star Command is meant to be a pilot for a series on UPN. Written by Wild Cards and Next Generation veteran Melinda M. Snodgrass, it feels a lot like a Heinlein or perhaps David Weber story. That’s not a quality judgment, merely a thematic one.
It’s a space opera setting where humanity splinters between Terrans and colonists. As best I can deduce, the colonies formed their own government and broke away from Terran control. Not a new space opera concept, but not the worst I’ve seen. Both sides claim a rare Earth-like planet while they scramble for resources and war is brewing.
The story follows the crew of a corvette named Surprise with a training crew. The Surprise flies into the disputed system for a scouting mission but gets ambushed by the rebellious colonist government, during which the senior officers all die–and rather quickly. The ship is crippled but managed to land on a frozen moon and fake its destruction. This leaves the cadets to stop the five enemy cruisers with their one corvette.
The writing isn’t bad. Plenty of time-honored science fiction novel ideas are here which rarely make it onto television or movie screens. Cliches become cliches for good reasons.
Melinda does her best to incorporate hard science fiction elements. The ships have lasers and missiles–instead of phasers and shields. Radiation screws up things. And so forth.
The acting is passable. It won’t win any awards, but I’ve seen worse.
The setting is interesting enough I wouldn’t mind more. It certainly feels a lot more classic sci-fi than most science fiction movies and television.
Morgan Fairchild looks pretty good in this, even though she’s in her mid-forties.
The special effects have not aged well. They were passable for 1996, but . . . ugh. Computer graphics have a short shelf life and these weren’t cutting edge in 1996.
The sets look like Babylon 5 rejects. Actually that’s unkind to Babylon 5.
The costumes are . . . well, I’m not sure what they are. The uniforms appear to be a combination of Next Generation and something from a 1960s Heinlein space navy promotional poster.
Morgan Fairchild dies very quickly.
The robot in it is like Johnny 5’s retarded cousin. I get that they were trying to have a robot that looks like a robot, as opposed to a guy in makeup, but don’t try it without a budget. Just don’t.
So how does it stack up with my memory? Better in some ways but worse in others.
I’ve noticed a lot of hate in several internet spots, but I don’t quite get it. Sure, this jalopy is rusty and clunky, but not worth the disdain. Perhaps I enjoy it more because I can see the designs and intentions behind the flaws. This could have been a passable series. Suppose Babylon 5 or Next Generation had been judged solely by their pilots? (shudders)
Is it cheesy? There’s a bit of Cheddar.
Flaws? Goddamn right.
Bad costumes? Yes. However, I did enjoy the miniskirts for graduation. However, I enjoy miniskirts for virtually any occasion.
Honestly though, I’d rather watch this than a polished turd like Independence Day or its ilk. I’ve had worse times.
The Warstrider series entered by consciousness way back in the early 90s. I only became aware of it because the author, a William H. Keith Jr., wrote several Battletech books. Those Battletech books, while game books, were so outstanding I instantly started following the Warstrider books.
They didn’t disappoint.
The series begins in the 26th century, set in a future space empire ruled by Japanese. The empire is strongly prejudiced against non-Japanese citizens. Despite that, the main character, Dev Cameron, joins the Imperial Military. He does so to help the reputation of his father, who died in disgrace during Imperial service. This death happened in connection to a war against the Xenophobes.
The Xenophobes are an alien species which dwell underground on several planets. They tunnel easily through the earth and consume any minerals and technology they encounter. Ignoring all attempts to communicate, the Xenophobes annihilate all other life forms.
Dev enters into battle against these foes, first as an infantryman and later as a warstrider (mech) pilot. The series starts out as a simple military sci-fi story of rah-rah action. It doesn’t stay that way.
First, this is the first series I read that used nanotechnology as a major plot point. Both the humans and Xenophobes (later renamed ‘Nagas’) make extensive use of it. The implications of nanotech are explored in war, medicine and the nature of humanity. There is a major power creep in the series, reminiscent of E.E. “Doc” Smith’s books. Unlike Smith’s books, however, Keith does his best to maintain a level of hard science. He approaches nanotech, biotech, virtual reality, mental links, quantum communication and even space and time warps with scrupulous detail.
Second to that is examination of political systems and how they might work (or not work) in a space civilization. This was my first serious encounter with the concept of classical liberalism or Libertarianism. It was also (at the time) dealing with the U.S.’s paranoia over the growing power of Japan. Most of the action is between the breakaway Confederation and the Hegemony/Empire, rather than against aliens.
Third, it tries to approach alien mindsets, first with the Nagas and later with other alien races encountered by humanity. In later books it deals with the concept of humanity’s minds interlinked through technology becoming a new entity.
Finally, it’s an outstanding war story. Keith keeps the action going even when the methods and even the concepts of warfare change beyond easy comprehension. He also keeps the stakes personal, even when all of humanity becomes a giant “Battlemind” fighting against a robotic group mind from the center of the galaxy(!)
Keith’s work blew me away when I read it in the 90s and hasn’t lost its punch. The concepts are pretty crunchy, but Keith manages to give the elements to you in bite-size pieces. The technology is also a bit prescient, I think. The potential of nanotechnology is staggering IRL.
Warstrider is so layered, I can’t really do it justice in a brief review. I recommend you check it out. It’s available on Amazon, only now it’s under another of Keith’s pen names: Ian Douglas.
In the ancient days of yore (1983) I viewed a movie called Krull. It is a strange tale. Neither science fiction nor fantasy. Not great, but not terrible. I weep for the movie it could have been.
This chimera of a movie is the tale of an alien invasion of a fantasy world. Sort of. Details are a little fuzzy.
Essentially, a big bad called “The Beast” invades the planet Krull with an interplanetary castle called The Black Fortress. The fortress disgorges a bunch of (literally) faceless bad guys called “slayers” (no, not the band,) armed with one-shot blasters called “neon spears”. The slayers run around conquering Krull for The Beast apparently has a bit of a hard-on for Princess Lyssa (Lysette Anthony). I can almost see his point, as she’s a fine-looking woman, but planetary invasion seems like overkill. The Beast apparently thinks that the way to woo her affections is by kidnapping her and slaughtering her family. Not exactly progressive.
“Hey, could you hold onto this nuclear weapon for a bit?”
Standing in the way of The Beast’s incredibly violent nuptial plans is Prince Colwyn (Ken Marshall). Slayers interrupt their wedding ceremony when they nab Lyssa. Their wedding is meant to unify their two kingdoms against The Beast. Instead, we get to see pretty much every soldier they have die in one night. Anyway, in what would be an important plot point in a better movie, the wedding ceremony involves a ceremony where Lyssa hands Colwyn a magical flame. Or rather, she tries to before the slayer wedding crashers arrive.
Fear the Death Frisbee!
Lyssa gets abducted, Colwyn gets injured and everyone else in the castle dies. Along comes Ynyr, the Old One (no, not Cthulhu.) Ynyr (Freddie Jones) is a kind of Obi-Wan mentor to Colwyn, and leads him to find a magical weapon called The Glaive. Colwyn finds this magical, edged Death Frisbee after a very boring climbing sequence which ends with him pulling The Glaive out of lava. I think it’s meant as a “test of faith”, but I’m not sure.
Armed with the Death Frisbee, Colwyn and Ynyr set out to find The Black Fortress. The snag is that the fortress teleports every morning to another place on the planet. Now, how The Beast maintains any logistics with that setup, I don’t know. I do know it makes it pretty hard to storm the evil headquarters. Probably pretty hard to receive any mail, too.
“Fred, did you notice a black fortress there last night?”
Along the way, Colwyn and Ynyr pick up a gang of followers. Ergo the Magnificent (David Battley) is a magical faerie-type fellow, who has a running joke of trying to transform others into animals, only to become the animal himself. Rell the Cyclops (Bernard Bresslaw) tags along with the backstory of how The Beast cheated his people of an eye to see the future–but the only thing they can see is their own deaths. Finally, a group of outlaws led by Torquil (Alun Armstrong) joins up. Liam Neeson, in one of his early roles, plays an outlaw named Kegan.
This motley band sets out to find the Black Fortress in a series of encounters with a body count akin to a Friday the Thirteenth movie. Torquil’s outlaws serve admirably as redshirts and have worse life expectancy than V.A. patients. There are a couple of decent fight sequences and a memorable stop-motion giant spider with the “Widow in the Web”. Unfortunately, slow pacing and ponderous editing neutralize a lot of the good stuff.
The actors are all very British–with the exception of Ken Marshall. The actors are all very competent–with the exception of Ken Marshall. Seriously, Ken isn’t strong enough to carry a movie. The guy’s a block of wood, made worse by the solid actors around him.
My biggest complaint is probably the ending. The Glaive/Death Frisbee finally gets used against The Beast (and why he didn’t use it in previous fights isn’t explained) only to be useless. Then suddenly Lysette hands Colwyn that marriage flame and now Colwyn can shoot friggin’ Godzilla-sized flames! Apparently nobody at the wedding party mentioned “Oh, by the way, you can use that marriage flame like a super-flamethrower. I mean, if you wanted.”
(beats head into wall)
Can you foresee me in better movies?
I can’t help but wonder who decided this ending made sense. It could have been fixed to make sense. I can think of a half-dozen ways off the top of my head. But no, they decided “Nah, this is good enough.”
That’s what irks me the most about this movie. There are several moments throughout where it starts to work, only to slam into a wall. The production values are excellent. The acting (with one glaring exception) is solid. The musical score by James Horner is outstanding. With a rewrite and somebody other than Ken Marshall, this movie had a lot of potential. Hell, even with Ken Marshall they could have muddled through.
I can still enjoy parts of this movie. The points which rise above. Mostly, I just mourn for the movie it could have been. It might be why I’m an aficionado of Spelljammer and similar fanboy nonsense.
It’s worth watching once for the oddball nature of it and those moments I mentioned. Check it out.
Quatermass and the Pit, or as it’s known in the U.S., Five Million Years to Earth, is a Hammer Film production of a BBC serial. The phenomenon of Quatermass is a uniquely British craze. It has had influences on science fiction for decades, but most Americans are completely ignorant about it.
The original Quatermass series on the BBC was tremendously popular in Britain in the 1950s. It would not be unfair to compare their popularity during their period as something akin to Star Trek in the U.S. Only three were produced: The Quatermass Experiment, Quatermass II and Quatermass and the Pit. Their influences echo, as both Stephen King and John Carpenter cite them as influences. In fact, King’s book The Tommyknockers is nearly a remake of The Pit (or perhaps a ‘homage’.)
Hammer made the previous two serials into films, titled The Quatermass Xperiment(The Creeping Unknown in the U.S.) and Quatermass II (Enemy From Space in the U.S.) The Pit is the first one in color and the first to use Andrew Keir as the main character. The first two films are well, mediocre. The scripts and acting are solid enough, but the production values are weak–especially with The Quatermass Xperiment. They’re not much above the production values of the original, live serials. They feel more like serials uncomfortably squashed into movies. Pit, however, feels like a big screen movie, and in color to boot.
The film starts out with a discovery of humanoid fossils in a London Underground dig site at Hobb’s End. Paleontologist Matthew Roney (James Donald) is brought into to supervise the site. Roney discovers a buried metallic casing. He believes it to be an unexploded bomb from The Blitz.
Professor Quatermass is brought in, along with his new ‘compatriot’–Colonel Breen (Julian Glover.) Quatermass loathes Breen, as the military forced the colonel into his rocketry program. The two men investigate the supposed bomb, only to find it something else. It appears to be an ancient spacecraft.
A workman tries to drill into it, only to have his strongest drill bounce off. The vibration it creates causes a reaction which opens up a sealed area. Within are the bodies of several giant, tripodal insects. Roney and Quatermass examine the decaying bodies and decide they must have come from the Mars of five million years in the past.
Meanwhile, the workman is struck by a kind of ‘psychic fit’ while working in the spacecraft. He runs in fear, throwing objects around with telekinesis. Through investigation, Quatermass finds all sorts of folklore and legends surrounding Hobb’s End. The ship’s effects activate anytime the ship is disturbed in the ground.
Roney uses a device that can record dreams (just run with it) to try to record impressions from the ship. His assistant, Barbara Judd (Barbara Shelley) has the strongest reaction to the ship and they record her dreams. The images captured shows the Martians purging hives in a racial genocide. They wipe out all that are ‘different’. (This is probably the weakest part of the movie, as the special effects consist of grainy images of bugs on sticks. It’s bad. A bit more spending on visual effects here would have helped.)
Quatermass and Roney conclude that the Martians manipulated ancient apes to evolve into modern man. They tried to have a ‘colony by proxy’ since they couldn’t survive on Earth.
When presented with this evidence, Breen and the government officials dismiss it. Breen convinces them that it’s a Nazi propaganda weapon and there’s no danger. The government allows the press in, over Quatermass’s strong objections. A workman’s blunder accidentally gives the ship a huge burst of electricity. It comes to life and begins manipulating all human minds in the vicinity. A gigantic, glowing Martian face explodes out of the Pit visible over the city. The Martian ship makes the Londoners it influences wipe out every life form that is different, including other humans. They can do so with the psychic powers at their disposal, thanks to the ship. The Martians want humanity to inherit all their behaviors, including the need to ‘purge the hive’ of all differences.
Quatermass tries to kill Roney, but manages to overcome the Martian influence. Roney is one of the few unaffected (hence ‘different’.) The two men come up with a plan to ground the Martian image to the ground with iron, dissipating the energy. Roney climbs a nearby crane, meaning to use it, but the energy causes the base of the crane to crack, sending it careening into the image. Roney neutralizes the Martian ship, at the cost of his life.
The movie ends on a very quiet, introspective note, with none of the survivors speaking. Nice, melancholy denouement.
Overall, the movie maintains a good level of tension and uneasiness, despite the odd and esoteric nature of the menace. It’s another good example of the ‘less is more’ school of tension building. The series and movies do a good job of merging science fiction and horror, without clubbing you over the head with either. Other series copy these themes in later years, including Doctor Who. In fact, episodes such as Image of the Fendahl can’t be anything but direct descendants. (Although the creator of Quatermass, Nigel Kneale, had great distaste for Doctor Who, as he felt that the series was nothing short of a rip-off of his work.)
The themes of the movie are meant to reflect the growing racial tensions in the U.K. of the fifties, but they fail to resonate. Perhaps it’s simply too far removed from the events surrounding the original series.
Check it out.
Also, the entire run of the original BBC series is available online.
I’ve been recently re-watching the original Jonny Quest cartoons from the sixties. I haven’t seen many of them since I was a kid, and some hold up fairly well, while others . . . ehhh. There are more than a few dated and embarrassing ethnic stereotypes.
Anyway, one of my favorites is “The Invisible Monster”. A scientist on an isolated tropical island accidentally creates an invisible energy creature. The monster seeks out all energy around it and consumes it–including the energy in living bodies. You only know it’s around by a weird, alien cry it makes and the burning footprints in the dirt.
This creepiness, by the way, is in what was intended as a kid’s show. Adult themes are nothing new to JQ. The creators (most prominently Doug Wildey, William Hanna and Joseph Barbera) intended it that way. They succeed rather admirably in several episodes, including this one.
The episode follows a fairly standard monster movie formula. The protagonists (Doctor Quest, Race Bannon, Jonny Quest, Hadji and Bandit the dog) are radioed by the luckless scientist. His creation kills him before he finishes explaining. They rush to the island and discover the invisible monster. Dr. Quest (being the prototypical heroic scientist) figures out what happened and comes up with a way to defeat it.
Despite a run time of only 25 minutes, the episode does an excellent job of building tension. The monster isn’t seen until near the end, with only its destruction to portray it. When finally seen, it’s not quite as frightening. The animators did a decent job of creating an inhuman blob of energy, but it comes across more as an angry scoop of ice cream. Limitations of animation budget. Plus I assume they didn’t want to scare the crap out of the little nippers.
Even with these limitations, the episode scared me as a kid. It was my first encounter with the “less is more” approach to horror and tension. William Friedkin, director of The Exorcist, one said that “Horror is watching something approach”. A good summation of the concept here. Something you don’t see is much worse than what you do. Even when I encountered this in my youth, I realized the power it possessed. Other ‘golden age’ examples are The Thing From Another World and Forbidden Planet. Less is more.
A concept so simple that a children’s cartoon can encapsulate it.
Island of Terror scared the shit out of me when I was a kid. In fact, I only made it through a few scenes before running to the other side of the house and hiding. I didn’t remember the name for years. Only with the advent of the internet could I track it down and watch it all the way through. Even that took a lot of keyword searches.
This doesn’t make it a great movie. It’s decent because of some atmospheric tricks, pacing and passable acting. Honestly, I’ll watch anything with Peter Cushing–the man turns in a solid performance in every movie. If Peter appeared in an insurance infomercial, I’d watch it.
Terence Fisher is a veteran director of Hammer horror movies. He turns in a decent showing with this, even with its flaws.
The basic plot is familiar to anyone with even a passing familiarity with science fiction movies of the 50s. Scientific researchers on a remote island accidentally create monsters. Said monsters run amok. Heroic scientists come to the rescue. The monsters are unstoppable, until the heroes discover that one weakness. Monsters are defeated. Roll credits.
A rather unpleasant and unusual form of demise helps to sell the beasts. Bodies start turning up with no bones left. So they look like Silly Putty in clothes. Slow reveals also help to maintain the tension during the first half. Nobody gets a decent look at the critters until the halfway point. You merely see their handiwork and hear creepy sounds. I’ve seen better movie monsters, but then again I’ve also seen worse.
Turns out these nasties are “silicates”. They’re composed of silicon and chow down on humans for the calcium in the bones. The special effects team did their best to make them look like single-celled animals with flagellum. Unfortunately, they come across a bit more like tortoises with tentacle heads. I suspect they did the best they could with a limited budget.
The silicates are slow, but unstoppable. The island’s single boat isn’t available, trapping everyone. (This is a bit contrived. How many island communities only have one boat?) Like amoebas, the silicates divide to reproduce, growing at a geometric pace. The breakthrough occurs when a silicate is found dead—poisoned by snacking on an irradiated test dog. Being a 50s formula, one can expect radiation as a staple.
The scientists dose up a bunch of cattle with strontium-90 and feed them to the silicates. All of the island survivors hole up in the town hall, hoping the strontium will work. The silicates close in, followed by much screaming and panicking. Until the creatures succumb.
We have the obligatory denouement, where the heroes talk about the dangers of science. Then we have a: “If it hadn’t been an island, we couldn’t have stopped them.” As it turns out, scientists in Tokyo were cooperating and performing identical experiments. The movie ends with a Japanese scientist entering a lab after hearing creepy sounds. Screams follow.
The movie did leave me with one or two questions. One is the idea that an island community only has one boat. Another is how do cancer researches end up accidentally creating silicon monsters? Seems a rather roundabout method of research.
Despite its flaws, it’s enjoyable enough. Check it out.
Xanadu is a cheesy movie. Make no mistake, this movie is a quintessential 80s cheese movie. It oozes–nay, fountains–with cheese.
I still love it.
However, there is one scene in particular that stood out for me. Rose a bit above the standard cheese. It’s the “Dancin'” scene featuring The Tubes. First off, the inclusion of The Tubes is a weird choice because, well, they’re a friggin’ weird-ass band. Aside from the one single “She’s a Beauty”, they aren’t what you call a mainstream band. They mostly fit comfortably in ‘cult’ status.
The rest of the music in the movie, by contrast, is very much mainstream for the eighties. Not that I dislike ELO and Olivia Newton-John, but they’re not exactly edgy. The Tubes, on the other hand, skate uncomfortably on the edge of pornography from time to time.
Plus, Gene Kelly is in this movie. Yes, that Gene Kelly. Dancin’ in the goddamn rain Gene Kelly. In fact, this was essentially his last movie. Old bastard could still dance, too, as he did a dancing scene with Olivia in the movie as well, which was also kinda cool. Gene is not an actor one usually associates with anything the slightest bit ‘edgy’.
But I digress.
Anyway, the scene goes that the two characters Danny (Michael Beck of The Warriors ‘fame’) and Sonny (Gene Kelly) are out searching for the perfect spot for his new nightclub. They find an old wrestling arena and look around it. The two of them have two different images of the music for the club. Sonny wants a Big Band, bandstand and a retro-forties look. Danny wants a rock band in spandex and leather. The two different bands appear in the darkness of the club as they’re individually described.
Then the scenes go back and forth from the Big Band to The Tubes, each doing different numbers. Then, the two scenes ‘bump into’ one another and ‘merge’, both musically and physically. the two sets slide into one another and the dancers and musicians sync up their songs. This is all done with mechanical effects and choreography, long before CGI or anything close.
The overall effect is . . . surprisingly good. Still dated and cheesy, but not at all bad. A very interesting use of compare/contrast that links up nicely. It rises above the level of the movie quite nicely.