Category Archives: Films

RetView #50 – Jaws (1975)

Title: Jaws

Year of Release: 1975

Director: Steven Spielberg

Length: 124 mins

Starring: Roy Scheider, Richard Dreyfuss, Robert Shaw, Murray Hamilton, Lorraine Gary

I wanted to do something a bit special for this landmark 50th RetView, and you could probably count on your fingers the number of movies, of any genre, that have had more of a cultural impact than Jaws. In fact, these days it is widely considered one of the best films ever made. It was based on the novel of the same name Peter Benchley was commissioned to write by Doubleday in the early seventies, though rumour has it that he was ejected from the film set for making a nuisance of himself. To date, the movie has spawned three sequels despite declining popularity and commercial performance, the franchise reaching its nadir in 1987 with Jaws: The Revenge which, conversely, is generally acknowledged as one of the WORST movies of all time. The Jaws franchise is a prime example of how to go from hero to zero in four easy steps. It’s probably fair to say that by 1987, the killer shark premise was beginning to wear a little thin. They probably did well to take it as far as they did. But while the series ended badly, upon its release in the summer of 1975 the original movie was nothing short of a revelation, terrifying beach-goers everywhere, raking in an astonishing $470 million at the Box Office from a $9 million budget, and going on to win no fewer than three Academy Awards, making it one of Universal’s biggest ever triumphs. All things considered, it’s well worth a closer look.

If, by some miracle, you’re unfamiliar with the plot, it’s pretty easy to swallow (sorry). When a giant man-eating Great White shark starts terrorizing a nondescript New England town called Amity, threatening not only swimmers but local businesses much to the chagrin of the local mayor (Hamilton), police chief Martin Brody (Scheider) is called into action. After getting slapped in the face and shouted at several times by affected locals, he eventually enrols a grizzled professional shark hunter called Quint (brilliantly portrayed by Shaw) and a witty marine biologist (a pre-Close Encounters of the Third Kind Dreyfuss) and together the trio head off into the open sea on Quint’s too-small boat called the Orca (named after the only natural enemy of the Great White) to hunt down the pesky fish. Incidentally, if you didn’t get the reference, “We’re gonna need a bigger boat,” is a classic line from the movie delivered by Brody upon seeing the size of the shark they were dealing with and has been ‘meme famous’ ever since. Screenwriter Carl Gottlieb later revealed that the line wasn’t scripted, but ad-libbed by Scheider.

The musical score, which went on to become a classic piece of music synonymous with impending doom, was composed by John Williams. Widely regarded as one of the greatest film composers of all time, Williams also wrote the music for Star Wars, Close Encounters of the Third Kind, the Indiana Jones films and, er, Home Alone. During his distinguished career he has won 25 Grammy Awards, five Academy Awards (including one for the Jaws theme) and four Golden Globes. Discussing the piece that kick-started his career, he described the Jaws theme as, “Grinding away at you, just as a shark would do. Instinctual, relentless, unstoppable.”

But it wasn’t all plain sailing. Jaws was the first major motion picture to be shot on the ocean, resulting in a troubled, prolonged shoot that far exceeded its budget. Among the issues the crew had to contend with were unpredictable weather, vessels drifting into shot, the effects of salt water corrosion on equipment, everyone getting seasick and problems with the life-sized mechanical sharks. There were so many problems the story goes that disgruntled crew members dubbed the film, “Flaws.”

So what made Jaws so popular? And why does it remain so?

In a nutshell, not only does it feature a great director, a solid plot, a memorable script, a brilliant cast, impressive special effects and an awesome soundtrack, but it appeals to our primal fears. People don’t belong in large bodies of water. We know this. The stuff living in there don’t like us and that particular environment is not conducive to having a good time. On re-watching the movie with a critical eye, it is noticeable how little screen time Spielberg actually gives the shark. This is testament to his unparalleled film-making skills and ability to ramp up the tension using only dialogue and, in one memorable scene, a drunken sing-a-long. Gottlieb would later reference the original 1951 version of The Thing, amongst other classics, where, “the suspense was built up because the creature was always off-camera.” This enabled the crew to concentrate on showing the ‘effects’ of the monster (or in this case, the shark) rather than the monster itself. Given the post-Watergate political landscape the movie was released into, it’s inevitable that critics drew certain conclusions. Perhaps overthinking things a bit, film critic Andrew Britton has suggested that narrative alterations from the book (Hooper’s survival, the shark’s explosive death) help make it “a communal exorcism, a ceremony for the restoration of ideological confidence,” and suggested that the experience of the film is “inconceivable” without the audience’s jubilation when the shark is annihilated, signifying the obliteration of evil itself. In his view, Brody serves to demonstrate that “Individual action by the one just man is still a viable source for social change.”

In perhaps the most serious bout of overthinking ever, Fredric Jameson went even further, highlighting the polysemy of the shark and the multiple ways in which it could be taken, from representing alien menaces such as communism or the Third World to more intimate concerns like the unreality of contemporary American life and the vain efforts to sanitize the concept of death. He asserts that its symbolic function is to be found in this very “polysemousness which is profoundly ideological, insofar as it allows essentially social and historical anxieties to be folded back into apparently ‘natural’ ones … to be recontained in what looks like a conflict with other forms of biological existence.”

‘Kay then.

Trivia Corner:

According to Spielberg, the prop arm used in the scene where Chrissie’s remains are found looked too fake. So instead, they buried a female crew member in the sand with only her arm exposed. Simple, yet effective.


RetView #49 – The Curse of Frankenstein (1957)

Title: The Curse of Frankenstein

Year of Release: 1957

Director: Terence Fisher

Length: 83 mins

Starring: Peter Cushing, Christopher Lee, Hazel Court, Robert Urqhuart, Valerie Gaunt

Like Hound of the Baskervilles (1959), The Curse of Frankenstein was another Hammer Films production and, along with Dracula (1958) and The Mummy (1959), is now seen as a cornerstone of the British institution’s considerable repertoire. The premise is obviously based on Mary Shelley’s classic 1818 tale Frankenstein, or, The Modern Prometheus. It was the first of the Frankenstein series, the very first Hammer movie to be made in colour, and has retrospectively been dubbed the first “Really gory horror film” by Professor Patricia MacCormac. It has also been credited with revitalizing a stagnating genre. All things considered, it makes perfect RetView fodder.

The story is told in flashback form when, in 19th Century Switzerland, Baron Victor Frankenstein (Cushing) is on trial for murder and confesses his story to a visiting priest. The film then cuts to a newly-orphend 15-year old Victor who hires a private tutor, Dr. Paul Krempe (Urqhuart), to teach him science. Together, the pair start a sequence of experiments geared toward bringing dead animals back to life. The experiments are successful, but when his cousin Elizabeth (Court) moves in and Frankenstein suggests making a ‘perfect’ human being from scavenged body parts, Krempe opts out. However, he is brought back into the fold when the monster (Lee, who was awarded the role primarily due to his 6’5” frame and his modest £8-a day fee), now equipped with a damaged (ie defective) brain, escapes into the nearby woods and kills a blind man. What a blind man is doing in the woods by himself is anyone’s guess, but anyway…

Realizing it is out of control, Krempke shoots the monster and the men bury it in the woods. However, as soon as Krempke departs, Frankenstein digs it up again and reanimates it. The rotten bastard. Back at the house, his maid Justine, with whom he has been having an affair, reveals she is pregnant and threatens to expose his grisly experiments unless he marries her. This doesn’t sit too well with the rampaging Victor, and he quickly has the monster dispatch her which is what lands him in jail. The visiting priest doesn’t believe his story. Krempke and Elizabeth, who are now happily shacked up together, refuse to corroborate it, presumably in an attempt to stop the same thing happening again, and ***SPOILER ALERT*** Victor is led away to the guillotine.

The film was an immediate smash hit for Hammer, it’s comparatively low budget contributing heavily to its financial success as there were comparatively fewer costs to offset. Screenwriter Jimmy Sangster, who adapted Mary Shelley’s book for the screen, was so anxious to keep costs down he didn’t write in scenes of villagers storming the castle as seen in other Frankenstein films, “Because we couldn’t afford it.” The ploy worked. The movie was produced on a budget of just £65,000, and some sources estimate the film recouped at least 70 times that figure. For many years, it held the distinction of being the most profitable movie to be produced in England by a British studio and has always been much-loved by the public, which is reflected in various contemporary reviews and its Rotten Tomatoes rating which currently sits at a respectable 77% from 3,815 ratings. However, it was given a luke-warm reception upon it’s original release, a review in the New York Times dismissing it as a “Routine horror film,” and the Tribune of London calling it, “Depressing and degrading.”

Okay, then.

A quick word on the fate of Hammer Productions; the company effectively ceased production in the mid-1980’s. But that wasn’t the end of the story. In May 2007 the company name, along with its entire library of some 295 movies, was bought by a consortium headed by Dutch media tycoon John de Mol which vowed to, “Take it back into production and develop its global potential.” True to it’s manifesto, the company financed a return to the fold in the form of contemporary horror Beyond the Rave (2008). That isn’t a typo, by the way. It really is a horror movie about a rave. That was followed by a steady stream of offerings including Wake Wood (2011) and, more recently, The Lodge (2019), which proved a surprise hit. In September 2019, hammer signed a worldwide distribution deal with StudioCanal for its catalogue, so after some uncertain times, the future is looking bright.

Trivia Corner:

Although Hammer’s two great stars Peter Cushing and Christopher Lee had appeared in several pictures before, including Hamlet (1948) and Moulin Rouge (1952), their long-lasting friendship was cemented on the set of Curse of Frankenstein when Lee stormed into Cushing’s dressing room saying, “I’ve got no lines!” To which Cushing allegedly responded, “You’re lucky, have you read the script?”


Retview #48 – Siren (2016)

Title: Siren

Year of Release: 2016

Director: Gregg Bishop

Length: 82 mins

Starring: Chase Williamson, Justin Welborn, Michael Aaron Milligan, Mayes Mercure, Randy McDowell, Hannah Fierman

As a rule, the RetView series focuses on movies a decade or more old, though I do break that rule from time to time for exceptional offerings. Siren (not to be confused with 2019’s THE Siren), a feature-length interpretation of Amateur Night, David Bruckner’s segment from the first V/H/S film (2012), is definitely that. You know the bit I’m talking about, where the three hopeless misogynists take a couple of chicks back to a hotel room for sex and shenanigans, not realising one of them is a scary AF supernatural entity which then proceeds to chase them down and rip them limb from limb. Coincidentally, Siren’s director Gregg Bishop made a splash in 2014 when he wrote and directed the Dante the Great section in V/H/S: Viral. Here, he takes the basic concept from the first V/H/S film and extrapolates it. There was always a danger that there might not be enough material to do this successfully, but I’m happy to report that isn’t the case. Reminiscent of the Species series, despite some indifferent reviews, Siren is one of the best films I’ve seen in recent years. Happily, I wasn’t the only one to think so, with the LA Times dubbing it a, “Clever and confident expansion of a terrific short.”

A week before he marries his childhood sweetheart, Jonah (Chase Williamson from Beyond the Gates) and his bros go on a last drink and ‘shroom-fuelled bender. They end up in a dodgy strip joint, where they meet a stranger who tells them about a secret underground club, where they will be able to indulge their wildest fantasies. There, they find a waif-like beauty called Lily (aka ‘the Lilith’) who they assume is an innocent girl who has been unwillingly trafficked into the sex trade, thereby proving that even misogynists on drugs have hearts. Sometimes. The well-meaning dopes free her, only to realize she is, in fact, a succubus. And not a very nice one at that. In fact, she’s pretty fucking terrifying. The tag line, “No man can resist her. All men should,” is scarily apt.

The first poor Jonah sees of her angry succubus status is when Lily sprouts a massive tail and brutally slaughters one the guards where she’s being held captive. He and his boys wisely make a swift exit, but then find themselves pursued by both Lily and the bad guys. Bummer, dude. However, the twist is that Lily doesn’t really want to kill Jonah. She just wants to kill his friends because she feels they are standing in her way. She is attracted to Jonah because he showed her kindness, and even tells him so. Right before she does some unspeakable things to him with that massive tail of hers. Of course, being a stand-up guy about to marry the love of his life, Jonah isn’t interested in a romantic hook-up with a succubus. However, he might not have a choice.

A nice touch is the retaining of Lily’s character (again played by Hanna Fierman) which makes this film both a continuation and a spin-off of the original short. Despite her propensity for disembowelling people and eating their insides, you can’t help but root for her. She’s the archetypal damaged heroine. Actually, it’s quite hard to judge who the good guys and bad guys are throughout this film, something else that makes it more interesting than the usual horror-by-numbers. That and the sad fact that there just aren’t enough movies about succubuses (or succubi?). None of the bachelor party are what you might call likeable characters, and the club owners come across as a particularly cruel bunch, but in reality are doing a public service by keeping Lily away from the general populace. This, I feel, is a deliberate ploy designed to toy with the viewer’s emotions. Another example comes half-way through when some cops, who as we all know are supposed to protect and serve, turn out to be interested in doing anything but protect and serve. So yeah, Lily is the real star of Siren, which is why I feel we should have been treated to more of her mythology and back story. I bet she has a few tales (sic) to tell. An origin film would be brilliant. Maybe next time, eh?

Trivia Corner:

For the parts where Lily sings, the plan was to have Hannah Fierman lip sync to a guide track. But she impressed the producers so much they opted to stick with her vocals.


Retview #47 – The Grudge (2004)

Title: The Grudge

Year of Release: 2004

Director: Takashi Shimizu

Length: 91 mins

Starring: Sarah Michelle Gellar, Jason Behr, Bill Pullman, KaDee Strickland, Takako Fuji

First up, let’s address the big fuck off elephant in the room and put to bed any lingering speculation; this is the 2004 Hollywood remake of the 2002 J-Horror classic Ju-On: The Grudge, not the original (though both were written and directed by Takashi Shimizu). I was torn as to which version to write about for this series, this one winning on account of having Sarah Michelle Gellar in it who, when this first came out, was riding the crest of a Buffy the Vampire Slayer-shaped wave. Yes, I’m that shallow. This project came at an interesting junction in her career as she was trying to capitalize on her Buffy fame but in serious danger of being typecast as a modern day scream queen after earlier roles in the teen classics I know What You Did Last Summer and Scream 2 (both 1997).

Hiring Shimizu for this project was a masterstroke, as the movie largely keeps it’s Japanese flavour. Being filmed in Tokyo and featuring several notable Japanese stars also helped. Yuya Ozeki, Takako Fuji and Takashi Matsuyama all appeared in the two Japanese films upon which this was based, reprising their roles as the doomed Saeki family. The movie is also notable for an appearance by Ted raimi, younger brother of Sam, one of the film’s producers and creator of the legendary Evil Dead series. This version of The Grudge distributed by Columbia Pictures was itself followed by two sequels in Grudge 2 (2006) and Grudge 3 (2009), the latter going straight-to-video, but has very little to do with The Grudge (2020) which is known in the trade as a sidequel, a totally different movie (with the same name) taking place concurrently with events in the original series. Is that clear? Good. Let’s move on.

Somewhat unusually, the movie is told in a non-linear fashion and features several storylines that end up converging. The first thing we see is expat college professor Peter Kirk (Pullman) jump out of a window to his death, which instantly draws the viewer in and makes them ask WTF is going on. It soon transpires that a local housewife, Kayako (Fuji), had fallen hopelessly in love with him and been murdered by her jealous husband as a result, along with their young son, Toshio. From here on in, Gellar steals the show as Karen Davis, an American expat living in Tokyo with her boyfriend (Behr) charged with filling in for another worker, Yoko, who seems to have neglected her duties in looking after dementia-suffering patient Emma. At the house, Karen encounters the ghost of Toshio sealed up in a wardrobe and witnesses Kayako’s spirit descending from the ceiling to claim Emma. All very unsettling. When the police arrive they find the bodies of the Williams family who had unwittingly moved into the cursed house in the attic, along with Kayako’s jawbone, and the family of vengeful ghosts set out to tear it up some more. Watch out for the infamous shower scene which is probably second only to the original Psycho (1960) in the all-time list of infamous shower scenes. Now, if you found the above synopsis confusing at all, critic Roger Ebert simplifies things massively in his scathing 1-star review, “There is a haunted house, and everybody who enters it will have unspeakable things happen to them.” There you are, then.

Despite this, and a few other negative reviews, The Grudge was a huge initial success. On its opening weekend alone, it grossed $39 million, becoming the first horror film since House on Haunted Hill (1999) to top the Halloween box office and, until the 2009 Friday the 13th remake, had the highest grossing opening weekend in history for a horror remake. On May 17, 2005, the unrated director’s cut was released on DVD. Notably, this version included several scenes that were cut (including one where Takeo drags Kayako’s body through the house whilst carrying a box cutter, implying this was the instrument he used to kill her) from the original in order to achieve a lower rating from the MPAA. Incidentally, this version of the film was used on the theatrical run in Japan, which only goes to show just how hardcore Japanese audiences are. If you are a fan of J-Horror you might appreciate this or this.

Trivia Corner:

Jason Behr and KaDee Strickland met on set and began dating due to their mutual interest in Japanese culture (which is why they accepted their roles in the film) eventually marrying two years later despite not sharing any scenes together in the film.


RetView #46 – Threads (1984)

Title: Threads

Year of Release: 1984

Director: Mick Jackson

Length: 112 mins

Starring: Karen Meaghr, Reece Dinsdale

If you grew up in the 1980’s, you inevitably grew up in the looming shadow of the Cold War and all the associated bullshit. The prospect of nuclear Armageddon was never far from anyone’s thoughts, the tragedy being that none of us even knew it at the time. That highly-strung, stressed-out climate, the antithesis (or the antidote) to eighties excess and extravagance, was just normal to us. We didn’t know anything different. When Frankie Goes to Hollywood hit the charts with Two Tribes and the news was full of Thatcher and Reagan having crisis meetings, not many of us could put the pieces together and grasp the true implications. Only in retrospect are we able to put things into context, and see that we were born into a world of fear and oppression. This acclaimed BBC film does a pretty good job of depicting your worst nightmare in that it shows, “The full horror of nuclear war and its aftermath.” In many ways it served as a British version of The Day After, which had been released the year before and was nominated for no less than seven BAFTA awards, winning four of them.

Jimmy (Dinsdale, perhaps best known for his role in the Brit comedy classic Home to Roost, which debuted the following year) is a working class lad living with his parents and trying to scrape a living in Sheffield. Nothing glamorous about that. All he wants is to build a life for him and his pregnant girlfriend, Ruth (Meaghr). But rising tensions in the Middle East trigger the apocalypse, and soon World War Three between the US and the Soviet Union erupts. Britain is caught in the crossfire, with places like Sheffield in particular being targets because of their industrial heritage.

After an unremarkable opening sequence, despite its heavy use of stock footage the middle section of the film is gritty, fast-moving and harrowing, mirroring what (I imagine) it would be like if anything like this ever befell us in real life. On seeing a mushroom cloud in the distance, one of Jimmy’s colleagues looks up says, and in a tone filled with equal parts wonder and resignation, “They’ve done it.” Amidst the ensuing carnage, East and West trade blows in a seismic race to destroy each other and we are witness to widespread devastation, confusion, and blind panic, all summed up in a scene where we see a woman pissing herself in the street, which nicely demonstrates her newfound “who cares now?” attitude.

The scale of the carnage means that simply waiting for the emergency services to restore order is out of the question, chaos ensues, and it is up to those left in the wreckage to find ways to survive. For me, this is where the movie really comes into its own. Most of the population is dying slowly as a result of radiation poisoning, the power grid is down, and dwindling food stocks are controlled by a decimated central government typified by one official who says, “What’s the point of wasting food on people who are going to die anyway?”

The hangry masses are soon deposited in detention camps, Jimmy goes looking for Ruth and promptly disappears, while Ruth herself teams up with one of Jimmy’s old workmates and chows down on a dead sheep they find in the rubble. We never see Jimmy again. Instead, for the rest of the film we are left wondering what might have happened to him, this crude but effective plot device giving the viewer some insight into the uncertainty Ruth must be feeling. Months pass, Ruth has her baby, and the country struggles to achieve some sense of normality amid the misery and destruction. There is something to be said about the strength and resilience of the human spirit, yet there can be no escaping the futility to it all. The prize for survival is another day of hardship and despair.

Raw, powerful, and thought-provoking, Threads is a snapshot both of how things used to be and how things could have been, illustrating the latent fear that permeated society and, by extension, popular culture, in the heady eighties. This is grim in the extreme, but war is never glamorous or pretty and Threads does an excellent job of conveying that harsh reality. The Guardian’s Peter Bradshaw hailed it as a “masterpiece,” going on to say that, “It wasn’t until I saw Threads that I found something on screen that could make me break out in a cold, shivering sweat,” while Sam Troy of Empire gave the film a perfect score, stating that it, “Teaches an unforgettable lesson in true horror.”

Trivia Corner

As part of their preparation, writer Barry Hines and director Mick Jackson travelled extensively throughout the UK and US consulting leading doctors, scientists and psychologists gathering intel to help them recreate the most realistic depiction of nuclear war possible. At one point Hines visited a Home Office training centre for ‘official survivors’ which, he said, showed just, “how disorganised [post-war reconstruction] would be.”


Retview #45 – The Beast Must Die! (1974)

RetView #45

Title: The Beast Must Die

Year of Release: 1974

Director: Paul Annett

Length: 89 mins

Starring: Anton Diffring, Calvin Lockhart, Marlene Clark, Charles Gray, Peter Cushing

As regular readers of the world-renowned Retview series will know, I’m a sucker for a good werewolf movie. Or even a bad one. You could say werewolves are my favourite mythical supernatural beastie, as evidenced by previous instalments covering An American Werewolf in London, The Howling, Dog Soldiers, and Hound of the Baskervilles. Okay, spoiler alert, that last one turned out to be more of a massive painted dog than a werewolf, but the viewer doesn’t know that until right at the very end when Sherlock Holmes helpfully breaks it all down. Ironically, Peter Cushing, the actor who played Holmes in that classic pops up again here in a role so fitting that it could have been (and perhaps was) written especially for him. Even before the opening credits kick in, the brief is laid bare with a bold voiceover proclaiming, “This film is a detective story in which you are the detective. The question is not, ‘Who is the murderer?’ but, ‘Who is the werewolf?’

Dum, dum, DUM!

And we’re off. Millionaire Tom Newcliffe (Lockhart) has invited an eclectic bunch of acquaintances including an artist, a famous pianist, an archaeologist and a diplomat to his mansion in rural England, every inch of which has been placed under surveillance by a high-tech security system featuring CCTV, motion-detectors and all manner of other (then) advanced technological wizardry. In time, Newcliffe and his wife (Clark) reveal to the group that one of their collected number is a werewolf, and the reason for the soiree is to find out who it is and then kill it, hence the title.

And so the fun begins.

All manner of lycanthropic lore is then called upon in a concerted attempt to uncover the beast in question, from using the wolfsbane flower to silver bullets. Needless to say a few suspects get eaten along the way, along with someone’s dog, when the werewolf goes on the rampage and starts steadily reducing the list of suspects. In fact, it probably can’t believe it’s luck. As intimated earlier, it is then up to the viewer to solve the mystery and unmask the beast.

Like Dr Terror’s House of Horrors almost a decade before, the Beast Must Die was made by Amicus Studios, a production company based at Shepperton Studios which flourished between 1962 and 1977, and came near the end of their reign. This was an era when horror movies were just beginning to come into their own, and many studios tried to be innovative and push the boundaries in a variety of ways. This particular effort was marketed as a horror mystery, and challenged the viewer to uncover the identity of the werewolf by picking up clues along the way and distinguishing them from the multitude of red herrings typical of 1970s cinema.

Conversely, near the climax there is a 30-second semi-interactive ‘werewolf break’ where viewers are encouraged to put their momney where their mouths are and name their suspect, which you can see would provoke some discourse between viewers. Though it also heavily features elements drawn from elsewhere, The Beast Must Die is based on the short story ‘There shall be No Darkness’ by American sci-fi writer James Blish, which was published in the pulp magazine thrilling Wonder Stories.

Despite a campy, seventies feel exasperated by a soundtrack that wouldn’t be out of place in Shaft and some gloriously hammed-up acting, since it’s release, The Beast Must Die has enjoyed several re-issues, most notably in 2006, and garnered some generally favourable contemporary reviews mostly along the lines of, “Absolute Cushing classic,” and “Cracking little horror film that deserves a wider audience,” all of which which make it the very epitomization of a cult classic. An alternate version of the film omitting the ‘werewolf break,’ of which Annett was reportedly never a fan (he blamed the whole thing on producer Milton Subotsky), was later released under the title Black Werewolf (which rather gives a lot away) and you can watch the full movie, including the controversial ‘werewolf break,’ RIGHT HERE.

GO HERE for more RetView entries.

Trivia Corner:

Due to the miniscule production budget, the ‘werewolf’ was played by a German Shepherd kitted out in shaggy dark fur to give it a larger, more ‘otherworldly’ look.


Retview #44 – Predator (1987)

Title: Predator

Year of Release: 1987

Director: John McTiernan

Length: 107 mins

Starring: Arnold Schwarzenegger, Carl Weathers, Jesse Ventura, Bill Duke, Richard Chaves

The story goes that after Rocky IV came out, a joke circulated around Hollywood that since Sly Stallone had levelled all earthly opponents, he would have to fight an alien if a fifth film were to be made. In the event, he fought Tommy Morrison instead, but screenwriters Jim and John Thomas took some inspiration from the joke and wrote a screenplay around it. When the latest instalment in the franchise, unimaginatively called THE Predator, dropped in 2018, it did so to a chorus of disapproval and a slew of negative reviews. Much like the first instalment, which was labelled “Grisly and dull” by the New York Times. Ouch. Not to be outdone, the LA Times wrote that it was, “Arguably one of the emptiest, most derivative scripts ever made as a major studio movie.” Double ouch. Also like the first instalment THE Predator was still a… wait for it… monster hit. The main criticism of the franchise as a whole are the thin plots, papered over with explosions and witty one-liners. Therefore, you might be wondering why Predator merits inclusion in this series. Well, because it’s fucking brilliant. That’s why.

Admittedly the plot, what there is of one, is as weak as wet tissue paper. Dutch, a US Army Special Forces Major Dutch (Schwarzenegger) and his team, which includes Dillon (Weathers who, ironically, had just played Apollo Creed in Rocky IV), a former CIA agent who has a lot to hide, are charged with the task of rescuing an official being held hostage by some insurgents in some generic Central American setting. However, when they arrive they find a crashed helicopter and a bunch of skinned corpses, which kinda sets alarm bells rining. After a textbook firefight with some bad guys, the mission is revealed to be a set-up and Dillon’s deception is laid bare. But that’s just the start of their problems. Before they can make it to their extraction point, they realize that something in the jungle is stalking them. Yep, it’s the predator, a vicious, war-mongering alien entity with dreads that hunts people (and, apparently, other species of alien) for sport.

The first Predator movie not only laid the foundations for three sequels, but also a spin-off franchise (Alien v Predator) and a torrent of comics, novels, videogames, action figures and even theme park attractions creating a multi-billion dollar cottage industry. That’s something most movie franchises can only aspire to. Though they flatter to deceive at times and benefit from bigger budgets and better tech, the truth is none of the other entries in the Predator franchise ever reached the dizzy heights of the 1987 original. Arriving just as Schwarzenegger was riding high on show-stealing performances in the likes of Terminator, Commando and Raw Deal, Predator was very much a feather in his cap. He got to run around in the jungle with some mates covered in mud sporting unfeasibly large weapons and even larger biceps. What was not to like?

One thing I found interesting about Predator is the way it gives the alien interlopers some depth of character, whereas most movies of this type are content to just paint them as bad guys and be done with it. We even get a glimpse of their motivations. Granted, these motivations don’t amount to much, they hunt for ‘sport,’ but it’s a start. No doubt all the eighties bombast was a recipe for success, as Predator raked in almost $100 million at the Box Office against a modest $15 million budget. It also made a lasting impression, earning an 87% audience score on Rotten Tomatoes compared to a score of just 34% for the 2018 instalment, and as recently as 2015 it was named fourth in a Rolling Stone reader’s poll to ascertain the best action movies of all time. All of which is worthy acclaim.

GO HERE for more RetView entries.

Trivia Corner:

Action star Jean-Claude Van Damme was originally cast as the Predator, the idea being to match his martial arts skills with Schwarzenegger’s muscle, but he wasn’t happy being crammed into the suit all the time and constantly complained about it. The part eventually went to Kevin Peter Hall who stood over seven feet tall. He died of AIDS in 1991 at the age of just 35.


RetView #43 – Outpost (2008)

Title: Outpost

Year of Release: 2008

Director: Steve Barker

Length: 90 mins

outpost

Starring: Ray Stevenson, Julian Wadham, Richard Brake, Michael Smiley

I talked about my fondness for undead Nazi films in my post about the 1977 Peter Cushing vehicle Shock Waves. There’s something fundamentally terrifying about the juxtaposition of two evils, and the unholy malevolence that just won’t die. Outpost is a great example of this creepy sub-genre, and has all the elements you would look for in such a movie; symbolism, violence, action, gun fights, violence, survivalism, machismo, and violence. And did I mention the violence? Shortly after its release, debutant director Steve Barker described it simply as, “A boy’s film. It’s a good old fashioned siege horror.” That pretty much sums it up.

The film opens in a bar (always a great place to start a film) in some unnamed, war-torn location where corporate engineer and scientist Hunt (Wadham) is recruiting a career-mercenary going by the name DC (Stevenson) and a crack team of ex-soldiers. The proposed mission is to protect Hunt as he ventures into an Eastern Europe war zone in search of Nazi gold. Sounds simple enough. But along the way, they stumble across a forgotten World War II bunker (the outpost) and decide to investigate. When they do, they discover that the outpost was apparently used by the SS to carry out experiments fusing science with the occult. The result of these shadowy experiments was the creation of a battalion of bloodthirsty, unkillable, vengeance-crazed Nazi zombies who begin hunting down the intrepid team of mercenaries and picking them off one-by-one. Heads are crushed, eye balls are plucked out, nails are hammered into flesh, and people are stabbed in the mouth with swords. That’s just for starters.

Of course, the discovery of the outpost is all-too convenient, and it soon becomes apparent that the entire purpose of Hunt’s mission was to recover the machinery developed by the SS at the behest of the company he worked for which ‘could be worth billions.’ Some of them discuss leaving. Which would have been a good idea. Except by then, of course, it’s too late and shit is going off.

Sample dialogue:

Q: Did you kill him?

A: Well, his brains are all over the wall. That’s good enough for me.

The clever thing about this movie is that fact that much like the SS experimenters it describes, it attempts to blend fact and fiction (or, in another sense, science and the occult). The Nazis were renowned proponents of the supernatural and allegedly did indeed conduct experiments to produce regenerating ‘super soldiers’ as well as lots of other gruesome stuff. Try a Google search using the term ‘Nazi human experiments’ and you’ll see what I mean. The film even references the Philadelphia Experiment, an alleged disastrous attempt by the US military to ‘cloak’ the SS Eldridge. However, logic seems to be the enemy here. At one point, we see the nasty unkillable Germans demonstrating the unnerving ability to spontaneously appear and disappear wherever they want. But later, they are held back by a door. Still, who needs logic, eh?

Despite the occasional plot hole, Outpost is widely acknowledged as a classic budget Brit horror in the vein of Dog Soldiers and 28 Days Later. It’s a deliciously taught and atmospheric offering which ticks most horror fan boxes and gathered a sizeable cult following. The acting is decent, the writing (by Rae Brunton) tight, and though the dialogue is a little cheesy at times, the kills come thick and fast and all involved from the actors to the lighting engineers make the most of their limited budget. Most of the action takes place inside the bunker, giving an oppressive, claustrophobic feel to proceedings. The cinematography and is top notch, combining with the funky lighting and other special effects to make your skin crawl as if you were really in that grimy concrete-lined underground hole, waiting for death to find you. At times, it’s almost like you are playing a live action RPG rather than watching a movie.

Outpost spawned two sequels, Outpost II: Black Sun (2012), which was released direct-to-DVD, a medium where the first film did especially well, prompting a modest UK cinema run, and a prequel entitled Outpost: Rise of the Spetsnaz (2013). The first film was largely well-received, with www.manlymovie.net saying, “Outpost is a minimalistic Brit horror film in all aspects, with a narrow scope and little in the way of flashy special effects. It’s also really, really damn good, and just as satisfyingly violent and gory as any contemporary horror picture.” However, both sequels were widely panned. Personally, I found both of them more than watchable. But then again, I’m easily pleased.

Trivia Corner

Scottish couple Arabella Croft and Kieran Parker re-mortgaged their Glasgow home in order to raise £200,000 to finance production, which they did via their company Black Camel Pictures.


RetView #42 – The Blob (1958)

Title: The Blob

Year of Release: 1958

Director: Irvin Yeaworth

Length: 86 minutes

Starring: Steve McQueen, Aneta Corsaut, Olin Howland, Stephen Chase

the blob

This gets off to a thoroughly bizarre start with some bouncy, sax-led dance hall number called, imaginatively enough, Beware of the Blob by a group called the Five Blobs. All five blobs in this case were actually the same person, actor and singer Bernie Knee, who had his vocals overdubbed five times. The song was written by Mack Davis and a young Burt Bacharach, who would go on to win six Grammy Awards and three Academy Awards for his music, and became a surprise Top 40 hit in America. The nature of the theme tune was an indicator that the Blob never did take itself too seriously, and it can still be found on numerous horror and Halloween-themed compilation albums.

The premise is eerily reminiscent of War of the Worlds (the 1953 original, not the later Tom Cruise vehicle) and several other period classics. A courting couple, Steve Andrews (a 28-year old Steve McQueen in his first leading role) and Jane Martin (Corsaut) are out one evening when they see a shooting star and decide to go looking for it. Instead of finding it, they stumble across an old man (Howland) who has some weird jelly-like substance attached to his hand. Good citizens as they are, the young couple take him to the local doctor (Chase). As you can probably imagine, things escalate quite quickly after that. The Blob makes short work of the poor old man, increasing in size exponentially as it does so, then moves on to the nurse, and finally the doctor himself. Steve and Jane turn up just in time to see his grisly demise. In a panic, they go to the police, who dismiss them as pranksters.

Police Officer: They’re just kids.

Police Sergeant: Just kids? That’s the craziest argument I ever heard. Every criminal in the world was a kid once!

Both logical, and totally brilliant.

For me, this piece of dialogue, marks an interesting shift in cultural attitudes. This was the 1958, just three years after Rebel Without a Cause came out, when the battle between teenagers and various authority figures was still raging. In this not-untypical case, the film paints the teenagers as misunderstood victims who are basically good kids who just want to help, but are not given the opportunity to do so. Instead, they are unfairly judged and demonized, an attitude which tapped into the zeitgeist of the day.

Realizing that it is down to them to save the town, Steve and Jane recruit some of their friends and go about warning everyone about the (now) massive, shapeless blobby-thing going around consuming people. When the Blob appears and ransacks a movie theatre, they are vindicated and eventually work out that the best weapon against this slimy enemy is the cold. To cut a long story short, the air force then shows up and airlifts the Blob to the frozen wastes of the arctic. As the end credits begin to roll, it is acknowledged that the creature isn’t dead but has at least been stopped, to which Steve replies, in what is obviously an early comment on global warming, “Yeah, as long as the arctic stays cold.”

In keeping with its overriding theme of teen angst (for which, you can argue, the blob itself is a handy metaphor) the movie was aimed directly at the then-lucrative drive-in market, and released as a double feature with I Married a Monster from Outer Space. It was originally the B-movie, but soon proved so popular that the slots on the bill were reversed. Since then, it has gone on to achieve cult status. A sequel, Beware the Blob (aka Son of Blob, which indicates that the original blob was somehow able to procreate) was eventually released in 1972. Directed by Larry Hagman from Dallas, it used the tagline ‘The movie JR shot.” The original was remade in 1988, and yet another remake (at one time mooted to be directed by Rob Zombie) is in the works. Most impressively of all, since the year 2000, the town of Phoenixville, Pennsylvania, where most of the movie was filmed, has hosted an annual Blobfest in homage.

GO HERE for more RetView entries.

Trivia Corner

Steve (for the first and only time listed in the credits as ‘Steven.’) McQueen received a flat $3,000 fee for his role, turning down an offer for a smaller up-front fee in return for a 10% percent share of profits. He thought the film would never make money, and needed money quickly to pay for food and rent. However, The Blob ended up being a huge a hit, costing only $110,000 and grossing $4 million.


RetView #41 – Megan is Missing (2011)

Title: Megan is Missing

Year of Release: 2011

Director: Michael Goi

Length: 89 mins

Starring: Amber Perkins, Rachel Quinn, Dean Waite

The story behind Megan is Missing is almost as remarkable as the film itself. Despite being initially released in 2011 it was shot in the found footage format made famous by the Blair Witch Project (1999) five years earlier on a miniscule budget of around $30k. Writer/Director Michael Goi claimed the reason for the gap between production and release was down to the objectionable subject matter. He simply couldn’t find anyone to distribute it until Anchor Bay stepped up. Due to the budgetary constraints involved, and to give the movie a ‘raw’ feeling, it was made over the course of a week by a crew of just five using only minimal equipment. It was claimed that this drive for authenticity was also the reasoning behind using largely juvenile, unknown actors, though it’s difficult to see many Hollywood A-listers (or even Z-listers) signing on to a project by a newbie director when those kinds of figures are being bandied around. It was originally marketed as an educational film about the dangers of the internet with Goi stating his desire for it to serve as a ‘wake up call’ to parents. However, it later found considerable traction in the teen horror market.

The story follows popular Californian high-school student Megan Stewart (Rachel Quinn) who meets up with ‘Josh,’ a boy she had been interacting with online, and subsequently vanishes without trace prompting her less-popular best friend Amy Herman (Amber Perkins) to set out to find her. The first half of the film provides an unflinching snapshot into the complicated, overlapping lives of teens in the technological age where bullying and peer pressure is rife, interspersed with regular bouts of slut-shaming, social exclusion and a plethora of other disturbing yet apparently all-too common practices. It’s difficult to watch and not recognize something of yourself in there somewhere, and credit has to be given where it’s due for shining a light on some of the more damaging aspects of teenage life. If you have kids that age, this is what they deal with on a daily basis but never tell you about, and it’s fucking terrifying. All this occurs before the watershed point about two-thirds through where everything is ramped up several hundred notches. Goi later issued a trigger warning for prospective viewers stating: “Do not watch the movie in the middle of the night. Do not watch the movie alone. And if you see the words ‘photo number one’ pop up on your screen, you have about four seconds to shut off the movie before you start seeing things that maybe you don’t want to see.”

As the movie is played out entirely on a screen (or a screen within a screen) through a clumsy combination of supposedly recovered video tapes, photographs, and news reports, it technically belongs to the Computer Screen (aka Desktop Film) genre, which has risen to prominence on the back of increased use of social media. In November 2020, the film became a pop culture sensation after it went viral on social media platform TikTok, where it found its largest audience since release. Users began posting their reactions as the film progresses, with many calling it “traumatizing.” To date, the hashtag for the film has over 84 million views, much of the attention seemingly stemming from persistent rumours that the footage is real. It’s not. But nevertheless, the movie has been dogged by controversey since its release, spawned no end of debate, and firmly divided opinion. An article on Thought Catalogue says, “Everyone has those scenes from the end of the movie etched into their mind forever. This is one of the scariest movies from the past 10 years and no one talks about it,” while HorrorNews.net said that the first portion of the film “really works,” although they felt that the final twenty-two minutes “went a little overboard.” Film critic Jamie Dexter perhaps puts it best saying, “It took days for me to shake the horrible feeling this movie left in me, but that just means it was effective in what it set out to do.”

That final third is definitely hard to watch. I think the most difficult thing to reconcile is the fact that **spoiler alert** he gets away with it. After being put through over 80 minutes of debilitating psychological trauma, the viewer is entitled to expect some retribution, some kind of payback because no evil deed goes unpunished, right? Right? Yeah, we all know that isn’t always the case in real life. But this is a film, dammit. Somebody had control over it. And that somebody could easily have made ‘Josh’ fall over a tree root and bang his head on a rock or something at the end. But no. This is the kind of nightmare scenario we read about in newspapers, presented to us in vivid, unflinching, excruciating detail. Indeed, Goi based the film on real life cases of child abduction. Most of the criticism, apart from that concerning the content, was directed at the unprofessional, ‘thrown together’ feel, completely missing the fact that this was the intention from the start. Goi was going for the kind of gritty realism you just don’t get with massive budgets and slick Hollywood production. He succeeded.

If you haven’t seen it yet, you can watch it here. Viewer discretion is advised.

Trivia Corner

The movie was banned by New Zealand’s Office of Film and Literature Classification on the grounds of containing sexual violence and sexual conduct involving young people to such an extent and degree that if it was released it would be ‘injurious to the public good’. The officials went on to say that the movie relished the spectacle of one girl’s ordeal, including a three-minute rape scene, and that it sexualized the lives of teenaged girls to a “highly exploitative degree.” Whilst I deplore censorship in any form, to be fair they weren’t far off the mark there.


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