A killer stalks a high school. And thats the plot.
This is a cookie cutter slasher film. The only interesting thing about this movie is it’s historical value as an atypical sub-genre piece. You get to see the sheer rubbish that was made to generate ticket sales and box office. Movies with no artistic merit or intelligence such as this were shot quickly in the wake of John Carpenter’s Halloween.
You could watch this to try and spot whats been stolen from other films. But don’t watch for it’s entertainment value as there is none.
Theres also a scene where a masked gang mows down fellow students that feels massively inappropriate and just plain tasteless.
In the words of Simon Cowell this is ‘distinctly average’.
If you have masochistic tendencies and feel a need to watch this then please watch the excellent Good Bad Flicks video on YouTube which goes into the chaotic and shambolic production of this folly.
A double date decide to investigate a travelling carnival that has just come into town. After strolling around the different attractions they decide to hide overnight in the actual funhouse (like a ghost ride) which is on the grounds of the carnival.
This film starts out so well with the carnival and the people who work there being shown as being utterly sinister and delightfully sleazy.
When the teens stow away in the funhouse they witness a murder following a paid for sexual tryst (seeing Sylvia Miles from Andy Warhol’s Heat give someone wearing a Frankenstein mask a handjob is worth the price of admission alone). When he prematurely ejaculates but isn’t given his money back (the quickest $100 she’s ever earned) he bumps her off.
But then, unfortunately, the film falls flat. Yes, the direction by Tobe Hooper is pretty good, the lighting and colour design make sure that the sets look amazing. But this can’t hide the fact that the script from here on in is badly lacking. There is also no characterisation and the teens might as well be robots. It’s a shame as earlier in the film the lead teen is shown at home with her parents who seem to not care about her whatsoever. Was this a sliver of social commentary from Hooper as to how he saw the American family at this time?
Also, when the Frankenstein mask disappears from the inbred freak (no doubt he would be labelled as ‘mentally and facially challenged’ today) who stalks the teens in most shots he just looks like a dude in a mask. Time had been spent on the look of the movie without a decent script being written or the killer being made to look convincing. All surface, no substance. This is such a shame.
This film was shown in the UK with the MPAA pillaged version of My Bloody Valentine. The poster stated it was ‘the most terrifying 3 hours of your life’. Swap ‘terrifying’ for ‘distinctly average’ and you’re nearer the mark.
The Funhouse ran into problems years later as part of the ‘Video Nasties’ furore in the UK. If anything shows how inept the police involved in this case were then this is it. Unless they were seizing horror films that had sub-par second halves, that is.
Sunday nights in the late 70’s/early 80’s here in the UK were great for TV. In my household we’d religiously watch That’s Life, a weird hotchpotch of hard hitting investigations into very dark subject matters with lighter fare which was designed to make the audience titter and guffaw (they loved vegetables that just happened to be shaped like genitalia). Going from a hard-hitting expose to a carrot shaped like a penis was sometimes very inappropriate but it worked somehow. This was all presided over by the ultra-camp Esther Rantzen (sometimes wearing a mumu).
After that was The Professionals, a very masculine (and thus, very camp) crime/action series tellingly made by the same company who made The New Avengers. These have now been reissued on Blu ray and are well worth seeking out. I fancied Lewis Collins like crazy.
Last, but certainly not least, there was Tales of the Unexpected. This gem of a series told a different story every week and each episode was introduced by Roald Dahl. You may have heard of Dahl as the writer of Charlie and The Chocolate Factory, Matilda and other classic children’s books. But he also wrote short stories for adults, many of which were very dark and had a twist in the tail. And that’s precisely what this series was based on. Most episodes were written by Dahl but not all. He introduced each episode from what appeared to be his favourite comfy chair in front of a roaring fire. His introductions were just as brilliant as the stories themselves. And these tales were executed (pardon the pun) very well indeed- in fact, a bit too well.
This programme was the last thing I saw every Sunday night before going to bed. I remember not sleeping most Sunday nights because of this and Mondays at school being very tiring affairs.
A number of the episodes of Tales of the Unexpected have stayed with me as they terrified me as a child. I bought a boxset containing all of the episodes recently and can report that they still terrify me.
The opening credit sequence was enough to have me cowering behind the sofa. Creepy organ and saxophone music that sounded like the ultimate in sleaze and menace. Over this were images of silhouetted dancing naked women, guns, lion-like gargoyle faces, tarot cards and skulls. Nothing traumatising there for a 5 year old boy. The woman dancing in front of the flames was later referenced in the video for Cities In Dust by Siouxsie and the Banshees (as if Siouxsie couldn’t be cooler- she then shows she’s a fan of this TV programme).
I’ll recommend the two episodes that freaked me out the most. Firstly, theres The Flypaper written by Elizabeth Taylor (no, not that one). A schoolgirl who doesn’t feel like she fits in is preoccupied with other stuff going in her life when she quickly comprehends that the accidental stranger on her bus in fact being a bit too over-friendly and overfamiliar with her. She decides to get off the bus to try to get away from him. And that’s all I’m telling! When this was transmitted here in the UK it seemed like kids were going missing every other week. This grim tale reflected what was going on in society at that time all too well.
The second is Galloping Foxley. A man on a train recognises the bully who regularly beat and humiliated him at boarding school. The young Foxley is played by the always brilliant Jonathan Scott-Taylor from Damian: Omen 2. I went to private school myself after passing an exam which was designed to allow poorer families to send their ‘academically gifted’ children there without having to pay the hefty fees. Whilst I experienced no bullying or brutality from my fellow peers, I did very quickly pick up on how oppressive the actual system was, the teachers especially. I started within this system in 1986- the same year that corporal punishment was outlawed in all schools in the UK. My timing was impeccable! I could see that the angriest teachers hated this decision and would rather have been inflicting some kind of painful punishment out on us for some real, imagined or fabricated misdemeanour. Friends have told me about when they went to school in the days of such physical punishment and were themselves beaten. One friend tells me of his time at a strict Catholic school where they were beaten with a studded leather strap. If they didn’t say ‘thank you’ after their beatings they would be beaten some more.
To me the best horror comes from the unembellished factual accounts from people’s lives. Truth is stranger than fiction. And sometimes a lot more warped and fucked up.
Please peruse these two episodes but proceed with caution. They aren’t for the fainthearted. For more episodes click here.
I had the honour and privilege to be able to see Predator (1987) in 4K and on the big screen the other day. It felt like visiting an old friend.
Predator belongs in Arnie’s Imperial Phase which for my money runs from the Conan films up until Red Heat. At this time he was making action movies that defined the genre, pushed its boundaries but fully exploited their future status on the medium of video- in other words they were violent and gory as hell.
Predator works on so many different levels.
The film is the perfect example of a comic book come to life on celluloid. The film possesses the kind of exaggeration and imagination that normally couldn’t satisfactorily be translated to film. Predator shows that these forays into the surreal and its larger than life action sequences can be successfully conveyed. All of the characters could equally be seen in comic book panels as much as they could be on film. The film is so gung-ho that it feels like a war comic crossed with a shoot em up video game at times.
The Predator’s thermal vision that the audience is privy to is also a comic book device.
Another sequence that is reminiscent of a comic book is when Dillon’s arm is cut off but continues to fire a gun.
Also, just as action and horror movies were massively successful on video in its infancy and its growth as a medium, Predator combines elements of both genres and turns them up to 11. The sequence involving Dillon’s arm is a great example of a sequence that appeals to both action and horror fans.
In fact the film is extremely subversive as it starts as a jungle commando action vehicle but then suddenly changes direction. This could have failed to work and come across as forced and completely contrived if handled in the wrong way. But instead it works brilliantly.
The horror and more specifically the slasher conventions within Predator show that the film wasn’t just appealing to the fans of action movies. The Predator’s handiwork is shown as the jungle crew discover the skinned bodies of others hanging upside down. The crew soon find themselves to be the quarry rather than the hunters in the same way that a group of teenagers would be in a stalk n slash movie. They are easy meat.
The film also contains the same kind of kills found in a slasher movie with skulls, intestines and exploding heads all featuring.
Another slasher staple that features in Predator is the unmasking of the killer which of course prompts Dutch to exclaim ‘You are one ugly motherfucker!’ The unmasking sequence is especially a staple of the Friday 13th films in which Jason Voorhees is regularly unmasked to reveal his true face.
Predator also goes the extra mile when it comes to its action genre ingredients. There are guns and muscles aplenty. But where Predator tries to excel when it deals with these components, in doing so it instantly becomes very very homoerotic.
There must have been something distinctly gay in the air in some Hollywood quarters in 1986/7 as two other unintentionally/intentionally homoerotic films were also made around the same time- Top Gun and A Nightmare on Elm Street 2: Freddy’s Revenge.
In fact, Predator is so proudly masculine, homoerotic and therefore camp that to take any of these variants further would topple the film headlong into the genre of gay pornography.
It doesn’t take a lot for the ultra masculine to turn ultra homoerotic and camp. Let me illustrate- think of a clockface as representing all of the different variants of masculinity- 1 represents the camp, effete and effeminate (two examples are Quentin Crisp and Julian Clary) and 12 represents the ultra masculine, musclebound and testosterone soaked (Arnie, your average MMA fighter, the larger WWE wrestlers). There isn’t that much of a distance from 1 to 12 on the clockface is there? Also, just because a man might be camp or effeminate doesn’t mean that he isn’t without balls of steel. Do you think it was easy for Julian Clary and Quentin Crisp to be openly gay and effeminate when they first came to light in the public gaze? No- it took guts and moral fortitude. They are far from being submissive sissies. There are paradoxes at the more extreme positions on the clock.
Whilst number 12 on the clockface is seen as the most masculine its also, paradoxically very camp and homoerotic also. The male who wishes to assert his masculinity more potently will build up his physique and muscles. To display this ‘uber masculinity’ he will expose his body more thus paradoxically instantly appeal to the some members of the same sex. He wants to accentuate his masculinity and has at the same time become more camp, desirable and homoerotic because of this.
This heady brew of the masculine and homoerotic is first seen in the film when Dutch comes across his old friend Dillon again. A handshake turns into an epic display of biceps and a very manly (and very camp) arm-wrestle. You could be forgiven that this is in fact some kind of 1980’s gay porno movie.
The camera seems to relish and luxuriate upon the male cast in the film. There are many shots of gleaming muscles, sometimes clutching huge guns. Predator is a glistening, sweaty jerk-off fest for the gay gaze.
The bead of sweat rolling down the ample chest of the character of Billy is one such example of this. The same character later on in the film decides to ‘take it like a man’ by slitting open his well built chest to prompt the predator out of hiding so that they can go one on one. Its a startling display of machismo that is instantly appealing to the action fan and those who are sexually aroused by such testosterone fuelled exhibitionism. ‘Taking it like a man’ means something very different in gay circles. The pitcher becomes receiver. He decides to ‘receive’ the alien.
Within the film there is also the spectacle of the slow striptease of Dutch. Throughout the course of the film Arnold appears in varying degrees of undress and displays more flesh and more muscle. There is also an unbelievable shot when the crew arrive in the jungle. Dutch crawls through undergrowth with the camera just above his body as he does this, resplendent with an amazing shot of his arse. Ever wanted to know what it would be like to be on top of the film’s lead character? The camera realises this for the spectator.
Arnold’s striptease cumulates with his character covered in mud (!) with a lit torch in one hand and giving a manly bellow to the heavens to alert the alien that he is ready for battle. Man vs alien- and no ugly extra-terrestrial is going to kick Arnie’s alpha-male butt. Whilst this scene is intended not only to signify the potency of the masculinity on display its also the ultimate in homoeroticism and camp iconography- a distillation of the whole film in one sequence.
Theres also the bromance/relationship between Mac and Blain. After Blain is killed there is a palpable longing on the part of Mac which suggests that he misses him for being more than just a fellow soldier. This pining between two male characters is reminiscent of Peter being distraught by the passing of Roger in George A Romero’s Dawn of the Dead. Or the ending of Brokeback Mountain. Yes, nothing gay here.
In fact Blain recalls the ‘macho man’ archetype in the same way that The Village People’s leather-clad biker does- moustache, sexually potent (Blaine describes himself as a ‘sexual tyrannosaurus’), whilst looking down on others who aren’t as masculine. Blaine refers to those people as ‘slack jawed faggots’ the way a leather fan might look down on the camper constituents of his community. Also, notice the use of the word ‘faggots’- Blaine doth protest too much. Or hes just trying to deflect from the obvious conclusions.
With the character of Blaine there also the issue of guns, the size of those guns and the ‘gun as phallus/symbol of manhood’ baggage that is imbued with such imagery. Just as Blaine has stated that he is a ‘sexual tyrannosaurus’ he qualifies this with the gun he carries- a huge gun that can fire countless bullets at once and has a barrel that rotates as its doing this. Blaine calls the gun ‘Old Painless’ and at one point says that its time to bring it out of its bag. This recalls the way a man might say its time to ‘unleash the beast’. Never has a gun represented a penis so obviously.
Also within the film there seems to be a celebration of gun size as an extension of manhood for each character. There are many shots of gleaming muscles and equally huge guns held proudly by each character. Theres also the incredible scene in which the muscled components of the crew fire their guns into the jungle when they happen to see the alien. The scene goes on for way too long, prompting the audience to question why this is. A joyous piece of action genre abandon? A display of unabashed masculinity? Or the film’s equivalent of a circle jerk? This scene is as close as the film can come to each character having his cock out to show who really is King Dong.
In fact the film early on introduces a female character into the proceedings to seemingly try to stop the film being a solely male musclefest. Shes also introduced to make the film homosocial- a female distraction from the otherwise all male action and to show that, ”y’know, we’re not actually faggots or nuthin’ ”.
Anna Gonsalves however isn’t the kind of weak and spineless female character who requires a man to save her from any encroaching danger. She is resourceful and an equal. She spends her formative scenes trying to escape from the crew but then is seen as someone more than willing to pitch in to save herself and the lives of the others in the crew from the predator. She is self-sufficent and with this all male crew, thats pretty much for the best. Saving women would take away from their self-love and exhibitionism.
Ultimately what was Predator’s demographic and who it was made for- the laydeez? Of course not. It was made for male action and horror fans. This vehicle of muscles and macho posturing with the odd splatter scene was made for men. It makes the film even gayer/homoerotic.
Even the behind the scenes stills from Predator were homoerotic. Hers a picture of Arnie holding a huge snake.
But whilst most of society was a homophobic cesspit when Predator was released the world seems to have changed since. Homophobia is thankfully being seen as unjust, outdated and as never being valid in the first place. Arnie is now a successful Republican politician. Whilst everyone was celebrating the amendment that allowed Gay Marriage in America people on Facebook were changing their profile pictures so that they had a rainbow flag filter. Arnie did the same. Most welcomed this. However some old school action fans did not. Arnie’s comeback was epic.
Things really were changing. Just as Arnie was finally embracing gay marriage and equality, was it possible that he knew that Predator was in fact a homoerotic musclefest all along? It would be great if someone from the Predator crew came forward to say that that this was actually the intention. Just imagine the uproar!
A childrens game goes horribly wrong and a child falls backwards from the first floor window of an abandoned building and dies. The remaining kids vow to never tell anyone about what happened. Its now 7 years on and the children in the gang are preparing for their prom night. They one by one start to receive menacing phone calls…
I first saw this and expected to see a C grade slasher movie- one of the many mediocre movies made in the wake of Halloween.
Boy, was I wrong! Theres loads to love about this movie. Firstly, Jamie Lee Curtis is in it. Shes such a great actress that if shes on the cast list you can expect a stunning performance. Not only is she another kick arse Final Girl but we also get to see her disco moves. She also has a great exchange with the school bitch. This features some fantastically camp lines (‘Its not who takes you to the prom. Its about who takes you home!’) Jamie wins and has the last word in this verbal volley naturally.
Another great feature of this film is that its actually very scary in the appropriate scenes. The killer ringing the teenagers one by one is a scene so threatening and jarring that its a sequence that is one of the scariest I’ve ever seen in any horror film. The simplicity of the scene (just a hand, a pencil, the school yearbook, the list of names and the phone) is extremely effective and downright chilling.
The film is also brilliantly chilling as it touches on the subject of paedophilia- a local sex offender is known to the police and they think he is the reason for the dead little girl. They hound him to such a degree that he crashes his car which bursts into flames. The police had no evidence that it was him but hey, hes so disfigured that he now can’t commit anymore crimes and is placed in an asylum.
And there are the actual kills and the scenes they are contained within which are directed with aplomb. These are very tense and unnerving. OK so this certainly isn’t John Carpenter’s Halloween but these scenes are still very good for a slasher movie.
With Halloween being a major influence on this film there are also the atypical scenes of the female characters talking about, y’know, girls things- boys, hair, going to the prom etc etc. In fact in the book Blood Money it has been suggested that there were two types of advertising for this film- one that dwelt on the themes thought to be more appealing to a young female demographic (the disco music, the relationships and drama within the film) and one that dwelt on what was thought to appeal to the guys- namely the tension, suspense and kills.
The film really does feel like a cross between Halloween, Carrie (the prom setting and the potential for carnage in this setting) and Saturday Night Fever- this film has disco stomps and a brilliant disco soundtrack that strangely provides a brilliant and sinister backdrop to the murders.
Another great feature is that of the character of Slick. Just like the bawdy British comedies of the 1970’s featured the most unlikely candidates for male eye-candy who somehow get the women, so does this film. Slick thinks hes a modern day babe magnet. I’ll leave it up to you to agree or disagree with his self perception.
This movie also has one of the most hilarious characters in horror history- look out for Mr Sykes played by Robert Silverman (he would also appear in Scanners and Jason X). Is he the killer or a far too obvious red herring?
Prom Night is far too good than a Halloween rip-off slasher movie deserves to be. If Halloween is A+ then Prom Night is B+
If you’re going to buy this film please look out for the Region 1 Blu ray from Synapse Films. The best transfer and bonus features I’ve ever seen for ANY Blu ray title. Stunning.
I remember this film being on the shelves of all of the local video stores I used to pore over the contents of in the 80s. Amazing cover artwork and a great premise (lifts have always freaked me out) and yet I never got round to renting this movie. Years later I watched it whilst living in Sydney, Australia.
A lift is trying to kill people. Its up to a lift repairman and his journalist friend to investigate and put an end to this dastardly contraption.
This is a Dutch film and contains more than meets the eye. Its very tongue in cheek and humourous in places. In fact its a delicate line for filmmakers to tread when making a horror film both funny and scary- and it succeeds brilliantly.
Theres also very perceptive observations of Dutch society at this time and the divide between the haves and have nots. Also, theres a subplot in which the wife of the leading male character has been spending so much time with his female journalist friend that she leaves him. This is no mere farfetched and kitsch possession B-movie.
For horror fans this film delivers the goods. The kills are innovative, nasty and in some cases, funny.
Worth checking out. And coming out on Blu ray via Blue Underground this month.