Book/Publication of the Week- Fangoria Magazine

Book/Publication of the Week- Fangoria Magazine

It was in 1986 when I discovered Fangoria Magazine. A comic book store in a beat up shopping arcade in York in the UK had started stocking it on import from the US. I instantly began buying it and fell in love with the publication. 

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The down at heel (but still sadly missed) Davygate Arcade in York, UK where I bought my first issue of Fangoria from in 1986.

There was a brief time after that that Fangoria couldn’t be bought in the UK anymore as SS Thatcher had purposely banned it’s import and other similar ones (Gorezone and the French Vendredi 13 were two such) as they were viewed as being obscene and as the spectre of the Video Nasty moral panic from a few years earlier was still looming large. But this didn’t last long and the magazines were restocked and horror fans were kept happy. 

A couple of years after this I started to escape the small town of York and escape to the big city of Leeds which was close by. There was a great film memorabilia store there called Movie Boulevard that stocked actual back issues of Fangoria that covered the late 70’s/early 80’s golden era of the slasher films and the time period when new horror movies were seemingly being released every week. I picked up many older issues from there including issue number 1 and also the issues that featured Halloween 2 & 3 on it’s front covers, amongst others.

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The Halloween sequels featured on Fangoria’s front covers

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When I moved to London to study Film in the early 90’s I found even more back issues in the amazing film stores there including the Music and Video Exchange in Notting Hill that were selling issues for as cheap as 50p a pop!

So what was it/is it that makes Fangoria so indispensable? In a word- everything. The articles on new releases, the pieces written about classics from the past and forgotten gems that are still unjustly under the radar of most horror hounds and the essays on films ripe for reappraisal that were criticised and ridiculed on first release by critics who sneer at most horror.

There were also pieces on the still vile MPAA and how they were trying to butcher the horror fare being released back then. In fact, I remember Fango’s editor Tony Timpone being one of the few people defending horror as a genre against the censors and so called ‘moral guardians’ in the US at that time. 

But it was also the ads for horror masks, for soundtracks and t-shirts. And it also featured the classified column which contained horror-based snippets from readers and their profound offerings (‘Jason SUX!!!’). 

To me, Fangoria felt like a vital piece of Americana, a gorgeous monument of American popular culture that only confirmed even more my love of this very special country over the pond.

Fangoria was also loved by those in the horror film industry. There were even pictures of actors on the sets of various productions reading the magazine.

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There were even cameos of the publication in various prominent films.

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Debbie reads Fangoria in a hammock in Friday the 13th Part 3D…

 

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…perusing an article on Tom Savini

 

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Her enjoyment of the Godzilla piece was interrupted though. You know what happens next…

It’s funny that a magazine can fully encapsulate that golden phase of my horror obsessed childhood. Fortunately one does and that’s Fangoria. It’s THAT special to me and thousands of others all over the world.

Fangoria continues to this day and is still as great as ever even though the golden age of horror is well and truly over. I’m glad it’s still being published. Now, we just need gorgeous coffee table books/compendiums of it’s back issues.

Until this is the case we can still look at back issues which have been scanned by others and ready to be perused due to the beauty of the internet. The Halloween 2 issue is here whilst the Halloween 3 issue is here. In fact, there are LOADS more issues on this site which can be found here

Soundtrack of the Week- American Gigolo (1980)

Soundtrack of the Week- American Gigolo (1980)

Giorgio Moroder’s soundtrack for Paul Schrader’s 1980 movie about a highly sought after male escort played amazingly by Richard Gere is perfection.

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Just as the movie portrays high living, sophistication but with a gritty menacing underbelly, so does the music. Tracks Night Drive, Palm Springs Drive and Night Drive (Reprise) all effortlessly convey a decadence which is a perfect way to usher in such a decadent and affluent decade such as the Eighties. But they also convey just how incredibly tough this new era was. There are sometimes movies and pop songs that capture the zeitgeist of the time at which they’re made and this movie and it’s soundtrack encapsulate this to a tee.

But there is also room for more avant-garde fare with The Apartment being experimental but not feeling out of place on the album.

But the best song on the album is also one of the best singles ever released. Blondie recorded Call Me especially for this movie with the version on the soundtrack being longer, more epic in scope and even with an extra verse. Debbie Harry was the perfect choice of singer for a soundtrack that ushers in this exciting new decade. Debbie would also lend her vocals to the soundtrack of another masterpiece the following year, John Waters’ Polyester. Now THAT soundtrack needs to be released!

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Moroder’s score for American Gigolo was nominated for an Academy Award and a Golden Globe.

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Soundtrack of the Week- Blood Simple (1984)

Soundtrack of the Week- Blood Simple (1984)

This week’s soundtrack chosen to be recommended for all you lovers of film excellence is Carter Burwell’s genius soundtrack for the Coen Brother’s 1984 masterpiece Blood Simple. Their modern take on a Texan film noir has the perfect musical accompaniment with the music on this collection.

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The simmering, brooding action of the movie is matched by the simplistic and poignant soundscapes on offer here. This soundtrack features the best use of simple but effective piano music since John Carpenter’s Halloween.

The gorgeous title track, the multi-layered Chain Gang, the marimba heavy build of Monkey Chant…all of these tracks are stellar and I’m so glad that they were finally released on record 3 years after the film’s release. Paired with the similarly excellent music for the equally excellent Raising Arizona on the same album, this makes this album an essential addition to any self respecting film music fan’s collection.

And whilst you’re at it, don’t forget to download It’s The Same Old Song by The Four Tops which unfortunately isn’t on this collection but features prominently in the movie.

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Soundtrack of the Week- The Fog (1980)

Soundtrack of the Week- The Fog (1980)

I actually think John Carpenter is as great a musician and composer as he is a film director.

A great example is his amazing soundtrack for his 1980 masterpiece, The Fog. Just as the film was a traditional ghost story rooted in the past but taking part in the present, his soundtrack completely conveys this.

There are the pianos and synths present on his scores for Halloween and it’s sequel but there are also musical nods to the past representing the timelessness of the campfire story being told to us as it plays on the screen. In fact, the starting story by John Houseman told to the assembled children around a fire on the beach makes an appearance as the first track on the soundtrack.

But it’s also worth noting how Carpenter conveys the concept of the fog within the music. There is the recurring motif on some tracks of air being released and spreading out. The way the fog moves is also represented on some tracks with a sense of it gliding through the music as a living, breathing malevolent being (the start of the epic Antonio Bay especially demonstrates this).

I felt like I have grown up with this soundtrack as I bought the Varese Sarabande edition in 1994 when I arrived in London to study film analysis, the 2000 Silva Screen edition which featured even more tracks not present on the previous edition but it is the 2012 Silva Screen edition which is the most complete edition you can buy. It contains cues not used on the original album all of which are great and the whole album is also remastered.A lot of these cues were used on the Special Edition DVD which was released in the early 00’s.

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The 2012 Silva Screen edition of the soundtrack. The most complete collection of the film’s music and remastered to boot. Buy this one.

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The Varese Sarabande edition…

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…and the 2000 Silva Screen edition

An essential soundtrack to an essential film, The Fog is an example of Carpenter firing with all six guns.

Poster of the Week- The Terminator (1984)

Poster of the Week- The Terminator (1984)

This week’s chosen poster is the UK quad for The Terminator. An absolute classic and I’m loving the artist’s representation of part man/part robot Arnie.

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When I found the above quad on the internet I saw that there were so many great posters for this film from different countries that deserve to be seen. Below is the Polish poster. A design classic.

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This is the Thai poster. Looks nothing like Arnie but who cares. This is seriously brilliant artwork.

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A special mention to the UK video sleeve that I remember so fondly from my youth.

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Soundtrack of the Week- The Thing (1982)

Soundtrack of the Week- The Thing (1982)

It was dreadful news when I heard about film maestro composer Ennio Morricone’s recent passing. He was one of the greatest film soundtrack composers of all time with his scores lending the sonic landscape for so many cinematic masterpieces.

My favourite soundtrack by Morricone is the score he composed for John Carpenter’s The Thing in 1982. He didn’t even get to see the completed film when he wrote and performed the soundtrack as Carpenter was in the midst of editing the film and so it was from this incomplete state that Morricone came to write and realise his musical accompaniment.

Just as the film starts slowly and builds in intensity,  so does the soundtrack with the beautiful Humanity- Part 1 with it’s underlying menace as almost a warning of the full-on dread and horror to come. This is followed by the cello-heavy warnings of the track Shape as the music starts to build up as do the film’s events.

The sudden change in the film’s events are expertly captured on the next track Contamination as random discordant sounds multiply layer upon layer whilst getting faster and faster whilst becoming more mutated until the track is akin to aural insanity. Just as certain irreversible events within the film (I’m being ever so careful not to spoil the film for anyone who hasn’t seen it!) leave the audience feeling that this is completely uncharted territory for both horror and sci fi, the music feels the same- a piece of music like this has NEVER been heard on a film soundtrack before and the effect is startling, disorientating and brilliantly effective.

The next track Bestiality is full of sturm und drang with it’s slabs of cello building up and up, again layer by layer until it reaches a shocking conclusion. It perfectly mirrors the action within the film. The Antarctic research unit has been rocked by events that will make sure that it’s never the same again.

A major theme within the film is that of the ominous silence and deafening quiet as the members of the research unit have to wait it out to see who will be the next to manifest signs of being the next host of the alien intruder, contemplate what can be done when this happens and how they will determine who the next will be. This disarming sense of silent and disquieting dread is also captured on the soundtrack and effortlessly conveyed in Morricone’s music. The stirring Solitude, the electronic pulse and distress signal of Eternity (here Morricone shows that he can excel not just when writing for an orchestra), the underlying dread, menace and claustrophobia of Wait, the heartbeat of Humanity- Part 2 that slowly builds into a low simmering manifestation of underlying menace and the impending terror of events to come.

This is all stellar stuff and completely revolutionary for the horror genre and film in general. This is music that has been conceived by a composer who has dared to think outside the box to accompany a film made by a director who has dared to do the same. This is a big reason why The Thing is a masterpiece and still beloved by fans and critics alike today.

The edition of the album that I bought was the 1991 CD by the ever brilliant Varese Sarabande (pictured below).

The album has now actually been remastered from the original master tapes and this edition will be next on my purchase list.

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The artwork for the new remastered edition

Soundtrack of the Week: Prom Night (1980)

Soundtrack of the Week: Prom Night (1980)

Every week I’ll be recommending one of my favourite soundtracks and why I like them. Hopefully this will inspire you to investigate more, buy the album or dig it out of your collection if you already have it so that you bask in it’s glory again.

This week is the turn of the Paul Zaza/Carl Zittrer soundtrack for the 1980 Canxploitation slasher movie, Prom Night.

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Whilst the film should have been a feeble Halloween/Saturday Night Fever/Carrie hybrid, it proved to be so much more. Great moments of terror, tension and genuine grittiness are punctuated by disco scenes (disco certainly doesn’t suck when it comes to this film!) leading up to the prom, great moments of character development and an introspection that is way too nuanced for other slasher fare of the day.

This is all perfectly manifested in the music on this soundtrack too. Firstly though I have an admission to make- I didn’t even know this soundtrack existed remastered on CD and expanded with extra tracks not included on the original vinyl LP. When I heard that some of the tracks were for pieces of music not used in the original film I thought, ‘Oh no! Filler!’ How wrong I was! The extra songs greatly embellish and expand upon the general vibe of the film.

The tracklisting works very well indeed. Theres the sturm und drang of the music used to underpin the terror scenes (the brilliant piece which accompanies the killer calling each of his future victims is here), the joyous disco songs (my life is better for knowing that there is a song titled ‘Love Me Til I Die’ in a disco inspired slasher movie) that are featured also find their way onto the CD along with others that weren’t used which are just as fantastic.

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Just as Synapse’s Blu Ray of the film helped to resurrect the film with a flawless restoration and a whole plethora of extras, this soundtrack contributes to this resurrection with Prom Night ready to rightfully takes it’s place amongst the vanguard of the slasher movement. Yes, it’s not as good as The Undisputed Champion of this subgenre (Halloween, in case you were wondering) but it’s at the forefront of the B+ movies which followed in it’s wake.

Prom Night the soundtrack is available on Perseverance Records.

Top 10 Horror Movies From The 1980’s

Top 10 Horror Movies From The 1980’s

Theres a video for this list here.

10. Monkey Shines

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When an athlete (Allan) is hit by a truck and left a quadriplegic, a scientist friend recruits a monkey that has been trained to help assist disabled people to fully carry out their lives. Ella the monkey starts to bond well with Allan but soon this bond becomes a lot darker as he thinks that there might be some kind of telepathic bond with his new companion which then transforms into Ella enacting revenge on anyone who Allen displays anger towards. This escalates quickly.

This was Romero’s first film since the amazing Day of the Dead three years before and was further proof, if it were needed, that Romero continued to make intelligent horror films and that, just like Cronenberg, his directing career continued to flourish and evolve into unexpected avenues.

A film about a psychotic, telepathic monkey reeking havoc in a disabled man’s life was new territory for Romero and (yet again) he knocks it out of the park with deft direction, all round amazing performances and a tension that becomes palpable with every passing scene.

The film still has the ability to shock. I could say more but I’m not going to ruin this film for anyone. This is a noteworthy entry in Romero’s stellar body of work and one of his best films.

9. The Stepfather

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Henry Morrison is a chameleon like serial killer who assumes an identity, invades a chosen family and then decimates it. We see him change his identity, leave the family home within which hes killed all of the family members (their bodies are still strewn around) and go off to repeat the whole process again.

He picks a widow with a teenaged daughter and worms his way in again.

The Stepfather felt like it was part of a new trend in horror- films that were polished, brilliantly made but very, very violent. It feels so raw and brutal that it makes for uncomfortable viewing especially when you find out that the film is based on a true story. John List had killed his family, cleaned up the murder scene (their house), told neighbours that his family were going away for a while and then vanished. He had even cut himself out of all of the family photographs. Brian Garfield based The Stepfather on this true life case.

There is deft direction, great performances all round but especially from Terry O’Quinn as the central character. And what a performance! It’s one of the most unnerved, deranged and fucked up turns I’ve ever seen in a movie. Yes, it’s up there with Betsy Palmer as Pamela Voorhees and Andrew Robinson as Scorpio in Dirty Harry. It’s that crazy! Also, watch for all of the nuances to his performance and his OCD obsession with everything being ordered and regimented.

Theres also something deeply disturbing about seeing these violent acts being carried out in a home that is so perfect that it looks like it’s from the world of advertising.

This relatively low-key film’s reputation has snowballed over the years and is now regarded as a cult classic.

The Stepfather’s director went on to make a film even more controversial- The Good Son starring Macaulay Culkin.

8. The Stuff

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A white goo is found to be bubbling out of the ground by workers. It’s found to be edible, sweet and highly addictive. The yoghurt like substance is then branded as The Stuff, sold and marketed. It sells like hot cakes as it’s sweet, highly addictive and, most importantly, has no calories! But, unfortunately, The Stuff is actually a living, toxic and parasitic organism that turns it’s consumers into zombies before eating them from the inside.

Because of The Stuff and it’s success, sales of ice cream are affected to such an extent that former FBI agent David ‘Mo’ Rutherford is hired by confectionary industry insider Charles Hobbs to find out exactly what The Stuff is and how it’s success can be sabotaged. Rutherford also teams up with a young boy called Jason who sees that The Stuff is actually alive and the dangerous addictive effects it can have. I love the part of the film where Jason becomes to a one-man army against The Stuff, attacking displays in local supermarkets and smashing glass freezers that contain the product.

This film is not just a really effective horror film but is also very humorous and also a very perceptive satire on advertising, consumerism and even the military (Paul Sorvino stars as a retired Colonel who leads a squad to battle the zombies and destroy the product using brute force). Its very telling that when the workers discover the goo bubbling up from the ground they instinctively want to taste it.

I love the adverts we see for The Stuff as well as it’s logo and packaging. The film is so perceptive and accurate that it feels like this could actually happen! Dollars and pounds are more important to corporations and capitalism over humanity and safety.

A great film from the great Larry Cohen.

7. Intruder

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A supermarket closes and the staff start to restock for the next day. A jealous ex-boyfriend of an employee is making a nuisance of himself and had to be removed from the premises shortly before it closed for the night. The employees then start to be dispatched of by a killer who is locked in the store with them.

What is it about supermarkets and shopping malls that make them so brilliant as locales for horror movies?

This film was directed by Scott Spiegel who was a high school friend of Sam Raimi and Bruce Campbell who both star here. This was also produced, and indeed stars, Lawrence Bender who was later introduced to Quentin Tarantino by Spiegel and the rest, as they say, is history.

This film is terrific with the darkened and isolated location of the supermarket being perfect for a killer to be running rampant within. The deaths are gory, innovative (my favourite being the head sawn in two by a meat slicer and then put back together but not aligned. One of the best special effects I’ve ever seen) and carried out with real panache.

There are some great directorial flourishes that are also noteworthy and set this head and shoulders above other late 80’s slasher fare. For example, check out the camera shot through the dial of a telephone. Inspired.

Watch out for the unexpected and brilliant ending.

6. Cujo

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Yet another adaptation of a Stephen King with 1983 being a bumper year for great films made from his work.

A young mother and her child pull into a mechanic’s as her car is spluttering it’s last breaths of life. What she doesn’t realise is that the area is being terrorised by a giant St Bernard dog called Cujo that is actually rabid. What happens is that they are now stranded with the dog attempting to attack them if they try to leave the car.

The main ‘siege’ segment of this film is like a very intense play with just three players. The clastrophobia is ramped up as Donna tries everything she can to somehow get out of the car to get to the adjacent house and call for help as her son’s health is deteriorating swiftly. The humid weather is also conveyed effortlessly with the viewing experience being just as uncomfortable for the audience as it is for Donna and Tad.

But its also the build up to this scene that is so interesting. Donna is shown not to be the smiling unreal mother from the world of more pedestrian films and advertising. Her marriage is on the rocks and she has been having an affair behind her husband’s back.

There is also interesting characterisation regarding Cujo’s owners with the mother Charity taking their young son to stay with her sister and get him away from her alcoholic husband, Joe.

It’s this characterisation which expands the canvas regarding the film massively and prevents the movie being just a mildly interesting B-movie.

Another plus point is that there are unformly great performances from all of the cast but especially from the ever-brilliant Dee Wallace who rises to the challenge of depicting the trapped mother whose maternal instincts come to the fore as she must escape to save her son and herself. The siege scenes are a masterclass of brilliant acting, fantastic staging and how tension is evoked, heightened and sustained expertly. These scenes are some of the most nerve-racking I’ve ever experienced watching a film.

When I saw Cujo for the first time I felt it was greatly overlooked. Recent times have been kinder to the film with a stunning new Blu Ray release that gives the film the loving treatment it so richly deserves.

5. Friday the 13th Part 4: The Final Chapter

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When this was released my friend and I just happened to be in the video shop when it was being put onto the shelves. My friend’s mother as with us and so we asked if she could rent it for us. She said, ‘Yes’ (!)

Yes, this was cut by the BBFC with the brutality of some of the scenes trimmed or excised completely such as the infamous ‘machete slide’ scene. But there was still enough in it to give me sleepless nights. In fact after we had watched it, it was dark and I had to have my friend’s dad walk me home as I was so scared.

What makes this Friday 13th my favourite instalment? Well, after the high-camp of part 3 (well it was camp compared to the other Fridays at least) it was back to business with this entry. Back to the dark, shadow hued locales (Part 3 was brighter than the other films so that the 3D it was filmed in would work to it’s maximum potential as dark surroundings aren’t conducive to that technique), back to the brutality and cruelty of the earlier films. Who would you call for this feat? Tom Savini, of course. With Savini’s return we get kills that aren’t just more painful but that are amazingly orchestrated, innovative and distinctive. These were generally blunted by the cuts made by the BBFC when the video was released 1987 but the film is now available uncut here in the UK. We get to see Jason taking a hacksaw to a victim’s neck followed by a massive twist of said neck which almost completely beheads the poor man, a woman who is pinned to a wall whilst Jason as good as guts her by inserting a knife in her stomach to pull it upwards, a woman is thrown through an upper floor window to land on the top of a car with all of the windows exploding outwards all at once. Violence and brutality have never been so beautiful.

We get some great characters in this instalment also. When Jason’s body arrives at the local morgue from the end of Part 3, the morgue worker is there to induct him. He is called Axel and is shown to be so inappropriate in his role that it’s untrue. Not only is he eating a cream cake (that he places on down on top of Jason’s corpse whilst he needs to sign the relevant paperwork) but he makes sick jokes about a female corpse in the room who he thinks is good looking. He sits down and is enjoying Aerobicise: The Beautiful Workout  when he receives the hacksaw neck twist from Jason.

We also get the genius of Crispin Glover in this sequel before he starred as Marty McFly’s father or started appearing all unhinged on TV chat shows. His character is worried that he might be seen as a ‘lame fuck’ when he finally gets with a girl (this is later disproved later on in the movie) but also displays quite possibly the quirkiest dance moves ever captures in the annals of horror movie history. On asking where the corkscrew is later on, Jason obliges him by stabbing said implement into his hand and sinking a meat cleaver into his face.

Then we get Tommy Jarvis played by Corey Feldman. He’s a young boy who’s into horror movies and making masks. He would reappear in Parts 5 and 6 after defeating Jason at the end of this epic (thats after he has shaved part of his head to resemble Jason as a young boy to confuse him which, of course, reminds the audience of the kind of deep psychology used by Ginny at the end of Part 2 putting on Pamela Voorhees’ jumper, and hey presto, becoming Jason’s mother to him).

The Final Chapter also feels more than just another film in the Friday the 13th series. It feels like the end of an era not just because this instalment promised Jason’s demise but it also signifies the end of the Friday the 13th series as we know it and the era captured by the first four films. The end of a golden era for horror fans that seemed to start in earnest with the release of Halloween in 1978 with new horror releases appearing more and more. At it’s peak it seemed like there was a new horror release in theaters every other week. This era is also marked by the amazing horror magazine Fangoria which was there to document and celebrate this age. Joseph Zito, the director of this film was the one who suggested the killing of Jason as he could see the slasher phase was going to end soon and so it was better to be ahead of the curve.

After this film was a huge success, of course, there was another sequel. But the Friday the 13th series had started to mutate and change which is understandable. Especially as it wasn’t even Jason who was the killer in the next movie. And, for what it’s worth, whilst I eventually give up on all horror franchises, it’s the Friday the 13th series that has continued to hold my attention the most. Even the missteps (Part 5, The Final Friday) are interesting.

But for me the first four Fridays signified more than just mere slasher movies. They encapsulated a whole brilliant era for horror culture.

4. The Evil Dead

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Young friends persevere to make a horror film, get it finished and then get it distributed. Their new distributor has a hand in the new Cannes Film Festival and shows the film there. Stephen King just happens to see the film, raves about it and suddenly the movie starts to garner press and accolades. King’s endorsement was used in the film’s advertising and helped to get the film distributed worldwide.

But whilst everything was going well, a moral panic in the UK deems the film as ‘obscene’ (even though lead protestor and busybody Mary Whitehouse admits to never having seen the film (!) as she ‘didn’t need to’) which led to it being banned. The fact that it received an X rating in the US (the kiss of death of most cinemas now wouldn’t show it and most newspapers wouldn’t carry ads for the film) didn’t help matters either.

So, is The Evil Dead the most depraved, ugly and vile film ever made? Of course not. I first saw the film quite by chance. The film had been banned on video in the UK but one of my older brother’s friends was the daughter of the owner of one of our local video shops. During the ‘Video Nasties’ furore video shop owners were sent lists of films that had just been banned and instructed where to send these films back to. My friend’s father knew that a lot of business owners weren’t complying with this and more importantly, this wilful non compliance wasn’t being followed up on or leading to more serious repercussions later on. So, he didn’t send the films back and instead she brought The Evil Dead to our house when I was about 9 years old. And look at me! It did me no harm whatsoever…

The thing that struck me the most about the film was it’s comic book humour, cine literacy and the sheer innovation to make things work even though the filmmakers had a tiny budget.

Yes the film is still scary and brutal (the woods rape scene is very close to the edge still and feels out of place in the film. Sam Raimi the director said he wouldn’t include it if he was making the film today). But it’s also very funny and surreal in equal part. An example- when one of the characters is stabbed in the ankle with a pencil, the blood doesn’t splatter or gush out as would happen in real life. It pours out like a tap has been switched on resplendent with a sound effect of water being poured for good measure. The film disorientates and leaves the audience feeling dazed and confused but in a very novel way. This is especially evident in the latter part of the film which finds the last man standing, Ash on his own, his mind playing tricks on him through fear and disbelief. But the situation he finds himself in is also to blame with the ancient evil that has been unleashed completely changing the logic of his known world and making it a dark and lethal place. Check out the surreal sequence in which blood starts pouring out of every place it can pour out of within the cabin, including into the inside of lightbulbs! As Stephen King said when he sang the film’s praises, The Evil Dead made him look at films and what a film can convey in a completely different way.

If this was a comic (and theres plenty of comic-book devices within the movie) it would most probably be an EC Comic- fantastical, exaggerated and ghoulish all at once.

Originality, innovation and subversion are why The Evil Dead is my favourite movie of 1981.

3. Halloween 3: Season of the Witch

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I saw this on Thorn EMI video when I was 8 years old. I didn’t think about Michael Myers and his no show in the movie but just loved it from the first time I saw it. The plot, when explained, is the most nonsensical load of nonsense you’ve ever heard. An Irish mask and practical joke manufacturer plans to kill all of the children in America via a microchip in the back of each of the masks his company makes coupled with a signal to be transmitted via a TV commercial to be shown on Halloween. Oh, and Stonehenge has made all of this possible.

Sounds ridiculous, right?! But when you watch the film, it works! Add to the mix a great cast (Tom ‘The Man’ Atkins as well as Stacey Nelkin and Dan O’Herlihy as the evil Conal Cochran), amazing cinematography (Dean Cundey’s genius again) and quite possibly one of the best soundtracks I’ve ever heard. John Carpenter and Alan Howarth outdid themselves with this soundtrack as it sounds almost like the work of Can or Tangerine Dream but better! Everything adds up to such a haunting film full of gorgeous shots, genius music and characters that feel believeable as they’re so well sketched out and flawed. Take for example, the film’s lead Dr Dan Challis who is a great crusading hero but is also an alcoholic and serial womaniser.

The video release I saw was censored but a few years after, the film was shown on BBC1 who accidentally transmitted it uncut. The kills are very full-on and pull no punches which makes the film feel even grittier and on the edge. There is a sense of doom that permeates the whole film that really works to it’s advantage.

Halloween 3 had been reappraised over the years as the cult classic that I always thought it was. Even if it doesn’t feature Michael Myers. Halloween 3 never fails to make me feel like the 8 year old who first saw it. It holds the same mystique and power of a campfire tale told to scare and captivate children and adults alike.

2. The Fog

TheFog

One of my favourite movie viewing experiences occurred when I was in a shared house at University (studying film incidentally). It was late at night, I was all snug in bed and there was a storm outside, with wind and rain splattering against my window. It was at thing point that The Fog came onto my television. Utter bliss.

And that’s what The Fog is to me. It’s familiar, snug and comforting. It might not be as good as Carpenter’s best (Halloween, Assault on Precinct 13) but it comes pretty darn close. The tale of zombie pirates coming back to right some previously carried out wrongs in an American coastal locale has interesting characters brought to life by brilliant actors resplendent. It also has amazing practical special effects, a brilliant baroque synth score, gorgeous cinematography (take a bow, Dean Cundey- again!) and Carpenter’s genius direction and dialogue (check out the brilliant rapport between Janet Leigh and Nancy Loomis) and you have a classic film.

It also shows that it’s as nasty as the leading lights in the slasher genre but can accomplish this without gratuitous violence and an over-reliance on gore. Look at the attack on the Seagrass- there aren’t gallons of blood and acres of flesh. Instead theres the pirates with hooks, steel skewers and sound effects of bones breaking and spines being severed. In other words, kills coupled with intelligence and verve.

Apparently close to the film’s release date Carpenter watched the film, realised that it didn’t work and so he inserted new scenes with literally days to spare. It worked. The Fog is a melding of new and old (a traditional ghost story made in the slasher era) just like the narrative is (pirates in an early 80’s locale) and the film’s soundtrack (baroque played on analogue synths).

The lighthouse is another huge character within the film with it’s old, traditional use being brought into the present (another example of the old/new theme present within the film) as it now contains the town’s radio station which proves to be massively beneficial as the fog rolls in as people are without communication with each other but DJ Stevie Wayne’s (Adrienne Barbeau- as brilliant as ever) voice guides, connects and unites the otherwise separated townsfolk. Her presence on the airwaves also helps to save her son (who is about to be attacked by the marauding pirates). The roof of the lighthouse being used as a locale when the pirates descend on Stevie still feels daring and inspired.

All of this is why The Fog is my favourite film of 1980.

1 Henry Portrait of a Serial Killer

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I first heard of this film in 1991 when Malcolm McLaren reviewed it on a Channel 4 arts show. I thought Mr McLaren would act all edgy and say that the film was very tame and didn’t affect him at all. How wrong I was! He said that he had seen the film 3 days previously to review it and hadn’t slept since! It had scared the shit out of him and that it was like he had watched a documentary rather than an actual motion picture. As soon as I heard him say this I knew I had to see this film (although with a title like this I was bound to see it anyway).

The film was released on video in the UK after being massively cut by the BBFC but it still remained a harrowing, powerful piece of work, the likes of which hadn’t been seen by film audiences before. It really was like we had fly on the wall access to serial killer Henry and his prison pal Otis (based on the real life Henry Lee Lucas and Ottis Toole who were actually a couple in reality but not within the parameters of this film) as Henry coerces (not that he needs much coercion) Otis into killing and passes down his wisdom to him regarding topics such as Modus Operandi and not getting caught. Henry also outlines some of his philosophy regarding what murder is like (‘It’s always the same and it’s always different’).

The film is peppered with unexpected intervals whereby we’ll suddenly see one of Henry’s victims just after he has killed them- the woman slumped on a toilet, her top pulled down to show her breasts, suspenders and stockings also on view with a broken bottle protruding from her maimed, mutilated bloody mouth. Or the Mom and Pop in a general store both shot dead. Or the dead naked woman’s body floating face down in a lake. These intervals are also accompanied by their respective screams. We also see other clues as to Henry’s crimes. The hitchhiker he picks up who is clutching an acoustic guitar in a case which Henry later brings into the kitchen where Otis and Becky (Otis’ sister who comes to stay with them) are sat. When asked where he got it from he just says he ‘picked it up’. Theres also the scene later on in the film where he offers to take Becky out for a steak dinner as he has a new Visa card he wants to try out. ‘You have a Visa card?!’ Becky laughs to which he responds ‘Who do you think you’re associating with?!’ It’s not explicitly stated where Henry has received this credit card from but it can be reasonably guessed.

We even get to see the stalking of a woman Henry has seen in a shopping mall car park, as he follows her to her suburban home. On seeing that her partner meets her to unpack her shopping, he drives away. But on being instructed to keep the canister of bug spray from his former job by his boss, he uses this prop to go to the woman’s house on a later occasion and finish what he had hoped to do earlier. We don’t see the murder but we get to see the aftermath. As cartoons play on a TV screen, we see her dead on the couch, a length of cord around her throat, cigarette burns on her chest.

And then there are the murders that take place on screen. These include the homosexual guy who stops for Henry and Otis’ (fake) car breakdown, the sleazy and sarcastic (but very funny) TV salesman who finds a TV actually being brought down on his head screen-first (‘Plug it in’ Henry tells Otis, providing the film with a scene of gallows humour. This sick and unintentional comedy peppers the film just like the bloody intervals revealing Henry’s victims do. More on this bleak humour later), the pair of prostitutes they have rented with Henry breaking both of their necks to the astonishment and dismay of Otis.

And then there is the home invasion scene that was and still is the bane of many film classification boards the world over and one of the most notorious scenes in the history of film. Henry and Otis break into a home whilst the family are enjoying an otherwise quiet night in. Otis is seen fondling a woman sat on his lap but whilst she is desperately try to get away, Otis holds her arms behind her back so that she can’t. Henry is seen kicking her male partner who is tied up, has a bag over his head and is on the floor at Henry’s feet. Henry is also filming the whole incident on a camcorder taken from the TV salesman they killed earlier. As all of this is going on, the front door suddenly opens and a ten year old boy walks in, sees whats going on and makes a bolt for the door again to notify someone. He doesn’t make it though as Henry beats him to it, tackles him to the floor and breaks his neck. Otis breaks the neck of the woman on his lap and is just about to sexually abuse her further when Henry tells him not to. We then see that the action is actually being watched by both men on their TV whilst they sit on a couch in their apartment. They are watching the incident for pleasure.

Becky is coming to stay with them as she is running away from her abusive husband. During her stay with her brother and Henry, she will slowly fall for Henry. She will also reveal details of her own backstory over a game of cards with him- the abuse she received at the hands of her father, the fact that she only got into a relationship with her violent husband Leroy so that she could escape her Dad. Otis had previously mentioned to Becky that he had met Henry in the jug and that Henry was there for killing his Mama. He also demands that Becky doesn’t mention it to Henry which, of course, she does. Henry tells her about it, how his mother was a whore, how she’d make him sometimes wear a dress and watch as her and her male friends had sex and then after the deed they would sit and laugh at him. The fact that he gets the method he used to kill his Mama wrong says so much. Henry also details other aspects of his upbringing- his father who was a great man before he lost his legs, the bicycles that his father gave him and his brother that were too big but were sold before he had time to grow to be able to use it properly, the brother who had ‘bone disorder’ and was deformed.

The film isn’t the quagmire of depravity that the film’s reputation suggests. There is some great black comedy within the film with the ‘Plug it in’ scene highlighted earlier being one of them. One such happens when Henry breaks the necks of two prostitutes in quick succession. On seeing Henry killing for the first time and not even knowing that he was capable of something like that, Otis’ face changes to one of disbelief of almost comic proportions with him almost looking into the camera at the audience and breaking the fourth wall. It bizarrely provides a laugh for the audience in the bleakest of situations. In fact, Otis is also a great source of humour in other scenes in the film. On picking Becky up from the airport, she has a huge suitcase and a paper bag with her belongings in them. Otis chooses the paper bag to carry and leaves her to struggle with the suitcase.  On driving to his apartment, he asks her about her husband Leroy. When she gets upset and says she doesn’t want to talk about him anymore he agrees and asks if shes hungry and wants something to eat. There’s then a short pause after which Otis asks her if she thinks Leroy is hungry and then wickedly smiles.

Just as there is (very dark) humour in the film, Henry is also depicted as charming and completely human in some scenes. If serial killers looked like the monsters they are on the outside, they wouldn’t get close enough to kill anyone. We see Henry making a waitress blush by saying she has a nice smile. Near the end of the film he meets a woman and her dog in an alleyway and goes on a charm offensive, mentioning how lovely her dog is and asking it’s name. He can use his charm when he wants to get close to a subject to kill them.

A note here about the music used within the film. The score brilliant mirrors Henry’s behaviour and temperament. For the most part it suggests a steady air of impending doom and menace whilst during the murders it curdles into wild explosions of sound complete with stingers when Henry stabs or attacks someone. These sound devices utilised during the murders wouldn’t be out of place in a slasher movie and their use here is very important. Henry feels completely separate to almost every other horror film especially the slasher genre. The use of slasher film type music shows that it can be used to even more terrifying use when utilised by such a realistic film as Henry. The film reappropriates this music and gives it a new meaning. The tagline used for the film was ‘He’s not Freddy. He’s not Jason. He’s real’. This film is so invested in real life that it’s power, rawness, and menace comes from that fact.

The three central performances within the film are amazing as are their characterisations- the wide-eyed naivety and gullibility of Becky, the already corrupted and willing to be further corrupted Otis. And then theres Henry. Michael Rooker’s performance is nothing short of brilliant and is one of the best performances I think I’ve ever seen. He is a walking, talking realistic portrayal of a psychopath and sociopath. He seems to inhabit the character and, as cliched as it is, he is Henry. And with the drawl of Droopy the Dog. Apparently he stayed in character for most of the film’s shoot. A crew member would drive him to the set every day and he would talk about his background, sometimes as Michael, sometimes as Henry. Rooker’s wife found out that she had become pregnant whilst Rooker was working on the film, knew that he was in character whilst he was shooting it and so waited until filming had completely finished before she told him the good news.

I could say more about Henry but to do so would completely ruin the film for new viewers and expose major spoilers. I’ll just say that the film is now recognised as the classic it truly is, is now uncut in the UK (and many other countries) and is available in 4K on Blu Ray (I remember seeing a print before this restoration that was on Netflix here in the UK and it looked dreadful! This new anniversary edition makes up for this with the film looking and sounding the best it ever has).

A truly astonishing piece of work and not for the faint hearted. I could write more about Henry and analyse it in more depth. And I will.

 

Top 10 Horror Movies From 1989

Top 10 Horror Movies From 1989

There’s a video for this list here.

10. Beware! Children At Play

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A Troma movie that pushes the boundaries- even for Troma!

Children are disappearing in a small town in America. Rather than being abducted they are in fact being recruited to join a religious cult which practices cannibalism.

This is Children of the Corn on steroids. I first learnt of this movie when I saw the trailer and my mouth dropped open. Apparently Lloyd Kaufman said that it was this trailer that was shown before a screening of Tromeo and Juliet at the Cannes Film Festival (!) and caused most of the audience to leave!

This film is so taboo because it depicts children not only carrying out numerous crimes such as murder but also the town’s adults killing them for their actions. Cue numerous scenes of children being shot, killed with pitchforks etc. Remember to repeat to yourself whilst watching this- ‘It’s only a movie! It’s only a movie!…’

Tasteless, irreverent and controversial. But still just a film. Moral guardians and virtue signallers- get over yourselves and go and watch Dumbo for the thousandth time, dullards.

9. The Church

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In centuries gone by a group of Satanists are slaughtered, their bodies buried and a huge church built on top of the bodies to try to eradicate the evil.

The film then fast forwards to the present day (well, 1989) as we see Evan a librarian starting at the church on the first day of his job. Weird, seemingly supernatural things start to happen at the church. A first day in a new job is bad enough without a battle between good and evil being thrown in as well.

This film is a Goth’s dream come true (although no self-respecting person would have been a Goth after 1987). A slowly creeping sense of dread, a location sent from Heaven (no pun intended), a great cast and an amazing soundtrack. Also, VERY disturbing kills and horrific looking demons. The makeup and special effects for this film are amazing.

This was originally intended to be the third entry in the Demons series of films but was then conceived by director Michele Soavi to be a separate entity that would be more sophisticated than Demons 1&2. It is too, although I love the sleazy splendour of those films.

8. The Horror Show

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I read about this in Fangoria and Gorezone in the late 80’s and it looked so demented and gory that I didn’t know if it would actually be released in the UK. But, quelle horreur, it was released and uncut as House 3, part of the House franchise.

On being fried in the electric chair, serial killer Max aka Meat Cleaver Max promises revenge on the cop who sent him there, Lucas McCarthy. Max means it too after making a pact with the Devil which means that he can wreak havoc from beyond the grave.

Two of cult cinema’s biggest icons Brion James and Lance Hendriksen star as Max and Lucas making this unmissable entertainment. The effects have to be seen to be believed. They pushed the boundaries regarding how far they could go in those days when it came to taste and decency. The effects are gross which is music to the ears of any discerning horrorhound. There’s also a depraved and sick sense of humour at play within the movie which makes it even more likeable.

This film has nothing to do with the House series of movies but was just given that moniker in the UK so that more people would rent the movie. It was actually released as a stand alone movie in the US called The Horror Show.

A great movie that history has treated very well with the ever excellent Scream Factory releasing it all spruced up. And it deserves that kind of release.

7. Shocker

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Wes Craven goes full ‘horror baddie as anti-hero’ which was just what the Nightmare on Elm Street sequels (which ironically he didn’t have anything to do with) had morphed his creation Freddy Krueger into. Only this time the film promised to be a lot more graphic and full-on than what Freddy had become hence the tagline ‘No More Mr Nice Guy’.

Horace Pinker is a voodoo studying serial killer who kills the family of the policeman who is pursuing him, Don Parker. Parker’s older foster son feels that he has a connection with Pinker through his dreams. This proves handy as it leads him and his father to Pinker’s rundown TV repair shop (when he’s not a serial killer he’s actually a TV repair man). Pinker aims his sights on Jonathan’s girlfriend as retribution but is then arrested and scheduled to be executed in the electric chair. However, he’s made a pact with the Devil and will become pure electricity after his execution. And this is the next stage of the film as Pinker now has supernatural powers and can use electricity and electrical devices to possess others to do his biding for him

Whilst this film and it’s plot devices (all of em!) feel undisciplined and lacking any clear boundaries or rules regarding Pinker and what his newly found powers can permit him to do, the film is still great fun. Pinker is a great baddie and a great badass with some of the funniest one-liners and some innovative gruesome kills. Apparently Craven had to submit the film 13 times to the MPAA to get it’s certificate down from an X rating to an R. And it shows! Some of the gore scenes are still especially close to the knuckle and the film feels grittier and more hardcore because of that.

I also love the messages Craven is making about television, the media and popular culture in general. Shocker was a very crafty way for Craven to make a later phase Nightmare franchise entry that wasn’t a part of the series and without Krueger. Fans of the series were privileged enough for Craven to give them a taste of what a new Nightmare (pun not intended) might have been like if Craven returned to the fold.

A wild ride and Mitch Pileggi is bad-ass.

6. Puppet Master

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André Toulon is a puppet maker who happens upon an old Egyptian formula which is able to create life and so he gives life to his puppets. The Nazis seek to use this knowledge and are in hot pursuit which makes Toulon take his own life but not until he has hidden away his puppets for safe keeping in a wall panel. Some years later four psychics investigate the case of Toulon which leads them to his mansion. Along with his widow, they uncover the secrets of the Puppet Master in the worst possible way.

This film belongs to the ‘evil puppets/dolls/toys’ genre with other notable entries such as Dolls, Dolly Dearest, Demonic Toys and Dollman. In fact, it was this movie that crossed over with Demonic Toys for a future franchise entry.

Ever since the Ray Harryhausen skeleton scenes in Jason and the Argonauts the use of stop motion animation could be used to terrifying ends within fantasy/horror movies. This is one such film. The puppets are the stuff of nightmares, the Nazi background to the narrative is interesting and the locale of Toulon’s mansion is a very creepy setting for the majority of the film’s action.

Highly recommended.

5. Parents

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Michael is living in middle class suburbia in 1950’s America. He has very disturbing dreams and suspects that his parents are cannibals after he finds body parts hanging up in the cellar. Can he convince his school counsellor that he is telling the truth?

Parents is an expertly directed and acted dissection and subversion of the dewy eyed nostalgia towards 1950’s Americana. The reason I saw it was the oh so wholesome artwork of the video artwork that depicted the parents in their perfect kitchen preparing dinner. The image was perfect, pure cheese and very atypical. But there was blood dripping from the movie’s title and the tagline was ‘A new name for terror’ which signified that this was, in fact, a horror movie.

I once read a description of the film that said that this was like an episode of Goosebumps directed by David Lynch. And I couldn’t put it better myself.

Theres a great sense of humour at work within the film. When Michael is served dinner he remarks ‘Who were the left-overs before they became left-overs?!’

Props to the excellent cast that includes Randy Quaid, Mary Beth Hurt and Sandy Dennis- all perfect.

4. Society

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Every so often a film would be featured in Fangoria and Gorezone that looked so genre expanding when it came to special effects, make-up and general ickiness that I just had to see it when it reached these shores. But, with the BBFC in full swing this was not always the case. It took me many decades to see Luther The Geek in the UK after first reading about it and poring over the pics in my horror magazines for it to be then banned.

A Beverley Hills youth suspects his wealthy parents may not be what they proport to be.

This is a funny, horrifying and very shocking commentary on the Reagan’s America of the 1980’s with it’s different social strats and inequalities. The film also has some great observations regarding consumerism and those lucky enough to be able to buy into it fully and their insatiable addiction to it.

The director of this opus, Brian Yuzna was the producer of movies as fucked up as Re-animator. His directorial debut shows the same kind of restraint (i.e. none, thankfully) and limitless imagination and vision for this project that is effortlessly translated onto the screen.

The ending has to be seen to be (dis)believed.

3. Tetsuo

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I actually saw the sequel to Tetsuo before I saw the first film. I loved it so much I made it my duty to track down the original and I’m so glad I did.

Shinya Tsukamoto’s film is a black and white gritty looking masterpiece of surrealist visuals, mutation body horror and metal fetishism as we see the lead character eroticising the idea of himself becoming part man, part machine and then finding that it’s actually happening.

The original ads for this film mentioned the ‘two Davids’ Cronenberg and Lynch and their influence permeates this movie. But this isn’t some bad crude cut and paste of the different components and styles that are staples of their films. Tsukamoto has his own vision and it’s this that primarily shines out the brightest from this audacious, brilliant film/experience for the senses. Man Ray can be seen as an influence on this film also.

A disorientating, brilliant experience.

2. Pet Sematary

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Louis Creed and his family move into their dream home which is perfect except for the very busy road at the front of their property.

The family cat is killed on the road. Louis is advised by a neighbour of a burial ground behind their property which has the power to reanimate the dead. Louis buries the cat but is shocked to find the cat comes back but as an evil version of itself.

Louis’ young son is then killed on the road. Should Louis bury him in the supernatural burial ground and hope that he comes back to life unscathed or should he take the cat incident as a sign not to?

This excellently directed yarn has much more emotional resonance than similar horror fare probably because the source material was so well written and personal. Stephen King, for many years, refused to talk about his source novel as it was too dark for him to go into. The scene where Louis’ young son Gage is run over and killed is horrific to watch and the lengths his father will go to try to bring him back is completely believable as this character will do anything to turn back time even if it’s been shown to have cataclysmic consequences.

Mary Lambert’s direction also brilliantly ramps up the tension amazingly with the actual horror scenes being especially unnerving and uncomfortable. This film could have been a second rate TV movie with the wrong director on board. Thankfully Lambert proved to be exactly the right woman for the task with the varied events in the film being handled expertly when it comes to either sensitivity or horror.

Horror fans will also be pleased to note that this film features Herman Munster himself Fred Gwynne as Jud Crandall the next door neighbour who tells Louis about the burial ground and it’s strange powers.

This film has just been given the 4K UHD treatment and this can only be seen as a worthy  judgement as to the film’s worth.

1 Intruder

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A supermarket closes and the staff start to restock for the next day. A jealous ex-boyfriend of an employee is making a nuisance of himself and had to be removed from the premises shortly before it closed for the night. The employees then start to be dispatched of by a killer who is locked in the store with them.

What is it about supermarkets and shopping malls that make them so brilliant as locales for horror movies?

This film was directed by Scott Spiegel who was a high school friend of Sam Raimi and Bruce Campbell who both star here. This was also produced, and indeed stars, Lawrence Bender who was later introduced to Quentin Tarantino by Spiegel and the rest, as they say, is history.

This film is terrific with the darkened and isolated location of the supermarket being perfect for a killer to be running rampant within. The deaths are gory, innovative (my favourite being the head sawn in two by a meat slicer and then put back together but not aligned. One of the best special effects I’ve ever seen) and carried out with real panache.

There are some great directorial flourishes that are also noteworthy and set this head and shoulders above other late 80’s slasher fare. For example, check out the camera shot through the dial of a telephone. Inspired.

Watch out for the unexpected and brilliant ending.

Top 10 Horror Movies From 1988

Top 10 Horror Movies From 1988

Theres a video for this list here.

10. Rabid Grannies

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A group of relatives meet to celebrate their elderly relations birthday (but have disclosed that they are only there so that they may be left something in the old duck’s inheritances when they pop their clogs). A black-sheep nephew of the octogenarians who practices the black arts has been excluded from proceedings but sends a supernatural gift that turns the lovable grandmas into evil, homicidal maniacs. Fun ensues.

This film is from Troma (of course). Within this Belgian horror film, the gore and blood flow and there is also a delectable sick strain of humour at play that make the film feel like no other movie I think I’ve ever seen.

Demented, wickedly funny and one of a kind.

9. The Blob

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A remake of the Steve McQueen classic. A meteorite emits a strange pink goo type substance that is in fact alive, harmful to humans and intent on wreaking havoc. It seems to be completely sentient. This 80’s version determines the slime as in fact, a biological weapon that was sent into space after being concocted by scientists on Earth rather than being an alien entity.

By 1988 when this remake was made, special effects had progressed at such a dizzying pace that it was felt that anything was possible. Director Chuck Russell takes full advantage of this with not only The Blob doing things onscreen that could only have been dreamt of in the original film. Also, the blob itself looks aesthetically beautiful, akin to a huge oozing mass of pink bubble gum.

Kevin Dillon is certainly no Steve McQueen (but, to be fair, no one is) and this remake doesn’t have the amazing theme song that the original had, but as a special effects laden 1980’s remake this film more than accomplishes (and with real panache) what it aims to do.

8. Friday the 13th Part 7: The New Blood

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This film is basically Jason vs Carrie as one of the latest crop of teens has telekinesis. Whats more she’s accidentally awakened Jason who was chained beneath Crystal Lake thanks to Tommy Jarvis in the previous film.

This was the first film with Kane Hodder as Jason. He seems completely at home right off the bat with his first inhabitation of the role displaying a real flare and strutting confidence.

We get some great kills, some great moments of sly humour (but not the amount of meta-humour synonymous with Part 6) and a fantastic final confrontation. We also get some of the finest helmet hair ever captured on film, with ‘do’s’ so severe that they very possibly could be just as bad (if not worse) than any of the atrocities committed by Jason.

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There are also some great character archetypes that the film hams up to- the bitch, the evil doctor, the ugly duckling. There’s a shrewdness to proceedings that is really enjoyable and helps pull this entry out of being just a generic late 80’s slasher movie.

But there were also other, more radical ideas being pushed forward when this movie was being mooted. Barbara Sachs, a Paramount producer wanted this movie to be the one Friday that was seen as being ‘arty’ and wanted it to even be in the running when the Academy Awards came around. Seriously! At one point there were even mutterings of trying to attach a director of (previous) high standing to the film with one possible nominee being Fellini. Yes, seriously!!!

This all came to nothing though as John Carl Buechler who had directed Troll was employed instead. He does a great job but the mind still boggles at the idea of Fellini directing proceedings and Jason going up to collect the Palme D’Or.

7. Child’s Play

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Another movie that kickstarted a brand new and very profitable horror franchise was Child’s Play.

Catherine Hicks plays a single mother who gives her young son Andy a new toy (named Chucky) akin to the old ‘My Buddy’, the awkwardly large doll for boys (!) from the 80’s.

Very early on this movie steers into dark waters. When Chucky starts killing people beginning with Maggie, Andy’s babysitter, the police make Andy the key suspect. The issue of killer kids is still a taboo and ironically one of the entries in this franchise would be linked to the real life case of the two killer kids who murdered James Bulger in 1993.

The doll scampering around to kill people looks and feels very sinister and uncomfortable as it looks like a child is actually committing all of these atrocities (a child was actually used to act as the killer doll). Brad Dourif as the voice of Chucky is amazing as he shows that even when he isn’t on screen he can still light up a role.

A very good start to an inventive, funny and intelligent franchise.

6. Killer Klowns From Outer Space

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A film for everyone who finds clowns really sinister and scary (or sexy because of that).

A young couple are busy making out at Make Out Point when they see what looks likes like a falling star and so go to investigate. It’s there that they find, of all things, a circus tent. The alien beings in said tent all look like clowns but they aren’t here to fall over and entertain us. They hate humans and want to harvest us in bright pink cocoons. They also kill humans as witnessed by Deputy Sheriff Mooney who arrests one of them. It slaughters everyone else in the cell along with the deputy.

Fortunately the Sheriff proper realises that the Klowns are a serious threat to the entire town and sets out to stop them. Will he succeed or will they?

This film is by the Chiodo Brothers and is like a really brightly coloured acid trip with this startling vision having darker undertones beneath the surface. This is also one of those movies that has it’s own reality and an amazing vision that is fully and brilliantly conceived and realised by the filmmakers.

This film is now seen as a cult classic and I can fully see why. A sequel has been mooted for years. I hope it comes to fruition.

5. Maniac Cop

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A cop has supposedly gone psycho on the streets of New York which causes citywide panic and retribution with cops being shot or steered clear of by scared civilians. The main suspect is a policeman called Jack with another cop called McCrae diving deep into the case and trying to stop the killer as he doesn’t think Jack is responsible.

This is another film by William Lustig who made Maniac and Vigilante. With this movie he again comes up with the goods. Not only is this a cult film fan’s dream cast with Bruce Campbell, Tom Atkins and Richard Roundtree (not to mention cameos by Sam Raimi and Jake LaMotta who is Lustig’s uncle) but this is a great concept for a movie. It has plenty of tense night-time scenes on grimy, terrifying New York streets (a Lustig speciality). There’s also the genuine shock scene when Maniac Cop is revealed with the legend Robert Z’Dar and his awesome jaw coming to the fore.

Maniac Cop was cut by 5 secs by the BBFC when it was first released in the UK. This involved the shower scene that involved a stabbing and facial mutilation.

This film was followed by two more Maniac Cop movies.

4. Phantasm 2

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It was because of Phantasm 2 that I learnt of the first film. Barry Norman on his regular film review programme reviewed the movie and voiced the opinion that he didn’t even know there was a first Phantasm film. At that point I had to agree.

I rented Phantasm 2 before I got to see the first film and loved it. It was (like the first movie) unlike any other film I had ever seen, with bags of imagination and nothing over-explained. The film had a mysterious aura about it.

This film continued it’s exploration of the sinister and malevolent Tall Man with Mike from the original film (but played by a different actor) leaving the mental institution he was resident in after the events of the first film and returning to Morningside Cemetery where he starts exhuming graves. Just as he suspected, they are empty. This convinces Reggie (also from the original) to help Mike investigate further and try to stop The Tall Man.

A bigger budget, more ambitious visuals and more complex plotlines (there seems to be more of an emphasis on the psychic element that was just hinted at in the original film with the seer and her granddaughter) permeate this sequel. There are also more guns, action and gore with the spheres being given a redux and more murderous implements to kill with.

But theres still mystery, intelligence and innovation. And whats more, it’s still ingrained in this second film as it was in the first. The viewer is free to interpret events in this film and try to decide if they are actual or imagined.

Phantasm 2 is a very worthy sequel to a masterpiece.

3. Scarecrows

Scarecrows

Ever since I read about Scarecrows in an old issue of Gorezone I knew I had to see it. When I did finally see it, of course, it was cut by the BBFC. But even in this cut form it still made for a great film.

A plane full of mercenaries have stolen millions of dollars and are flying away to Mexico with their bounty. However, one of them swipes the loot and parachutes from the plane into a cornfield. Two others parachute after him to be joined by the others upon landing the plane. They all meet in a house adjoined to the field. They spot the loot which is in the field but what they don’t know is that they will have major problems retrieving it as the cornfield is home to three paranormal scarecrows who are actually alive and hate those who trespass onto their terrain.

This is a brooding, dark hued film which is perfect for such a dark and gory movie. The horror of the scarecrows is intensified by the way they have been lit with all of the action taking place at night. This lends a very sinister air to proceedings especially with the haunting locale of the nocturnal cornfield.

There’s also great characterisation with the backstory warranting it’s own prequel. The sense of mistrust and paranoia permeates the action and prepares the audience to expect the unexpected. This is no generic 80’s horror movie.

I finally saw the uncut version and it was well worth the wait. As was seeing the film on Blu ray after I first saw it on VHS all those years ago.

2. Dead Ringers

DeadRingers.jpg

More double crossing now with twins being perfectly suited for this.

This David Cronenberg movie stars Jeremy Irons as twin gynaecologists with one twin, the narcissistic Elliot, seducing and then discarding some of the women who come to their practice with his more submissive and introverted twin Beverly taking over from Elliot in the relationship but without the woman being aware of the substitution.

The twins carry out this abusive practice with actress Claire (Genevieve Bujold). But Beverly seriously falls for her and after beginning a relationship together, refuses to ‘share’ her with Elliot (which causes a serious rift in their relationship) and starts to share her addiction of prescription medication.

After she has lunch with one of her friends she learns that Beverly has a twin brother. This triggers earlier doubts she had had regarding Beverly and how differently he acted after their first dalliance together. She confronts Beverly about this and tells him that she knows what him and his twin have done.

After a reconciliation between Beverly and Claire, there is more drug use between the two before she leaves town to work on another film. With her gone, Beverly becomes depressed, starts taking more drugs and becomes obsessed with mutant women with abnormal genitalia.

Yes, there’s lots going on here! This couldn’t be more different from the plot to Friday the 13th Part 7 if it tried. This film was another example of Cronenberg going from strength to strength. Just as The Fly had been a huge hit without any sign of selling out or compromise (in other words it was just as gross as his earlier films!), Dead Ringers was Cronenberg’s most accomplished film to date. The plot had plenty of scope for his breed of body horror (check out the horrific women’s examination implements that are made for Beverly as he becomes more deranged and drug-addled), but this time it was his most polished film with a stellar and VERY well respected cast. Cronenberg aimed high with this project and asked Robert De Niro to play the twins but was turned down. He also asked William Hurt but he wasn’t comfortable playing twins. Jeremy Irons has a formidable reputation, rises to this challenge and does an amazing job. His mix of equal parts refinement and derangement was perfect for this role. Genevieve Bujold was another actor of undeniable class who was perfectly cast as Claire.

The critics almost universally threw bouquets at Cronenberg’s feet with this film. It was intelligent, perfectly realised and gorgeous to boot with the subject matter being pure Cronenberg. Many critics and fans think this is his best film. They may be right.

1 Monkey Shines

MonkeyShines

When an athlete (Allan) is hit by a truck and left a quadriplegic, a scientist friend recruits a monkey that has been trained to help assist disabled people to fully carry out their lives. Ella the monkey starts to bond well with Allan but soon this bond becomes a lot darker as he thinks that there might be some kind of telepathic bond with his new companion which then transforms into Ella enacting revenge on anyone who Allen displays anger towards. This escalates quickly.

This was Romero’s first film since the amazing Day of the Dead three years before and was further proof, if it were needed, that Romero continued to make intelligent horror films and that, just like Cronenberg, his directing career continued to flourish and evolve into unexpected avenues.

A film about a psychotic, telepathic monkey reeking havoc in a disabled man’s life was new territory for Romero and (yet again) he knocks it out of the park with deft direction, all round amazing performances and a tension that becomes palpable with every passing scene.

The film still has the ability to shock. I could say more but I’m not going to ruin this film for anyone. This is a noteworthy entry in Romero’s stellar body of work and one of his best films.