What’s the worst that can happen? That is what I had said last night before renting the yet to be released remake of George A. Romero’s DAY OF THE DEAD (1985). Deep down, I knew…I knew it wasn’t going to be good, and yet there I was, pushing select and paying $6 despite my better judgement. I try to be fair. I know I am very particular about zombie movies. Deep prejudices, you might say. Being a Romero-purist makes it really hard to get into anything other than Romero. I understand that the late great grandfather of the zombie genre wasn’t perfect, we need only look at Survival of the Dead to realize that, but still…there has to be something. Story. Acting. Gore. The trifecta, no, the algorithm to making a solid zombie movie. So, did Day of the Dead: Bloodline make the cut? Continue Reading
Day of the Dead is the third installment of the ‘Dead’ series from the late, great George A. Romero, and the final movie in what many consider the ‘original Dead trilogy’. It is, in every way, a masterpiece.
As the second sequel to Night of the Living Dead and part of a series, it is the perfect final third act. As a standalone horror movie, it is fantastic. As a zombie movie, it is divine. The special effects alone set this movie apart from most others, rivaled only by those in John Carpenter’s The Thing and Ridley Scott’s Alien (and okay, maybe also Tremors, directed by Ron Underwood). Continue Reading
Return of the Living Dead
by D. S. Ullery
Released August 16,1985.
Screenplay by Dan O’Bannon
Story by John Russo, Rudy Ricci and Russell Streine.
Directed by Dan O’Bannon
Starring Clu Gulager; Thom Matthews; James Karen; Don Calfa
There’s a moment about midway through Return of the Living Dead wherein several humans (who are trapped inside of a funeral parlor as waves of zombies run rampant outside) tie the writhing half-corpse of a long dead woman to an embalming table. Continue Reading
Tonight’s showing has to be one of the strangest selections within the sub-genre Creature Features. And it because it technically is very much a creature feature, its makes the very in your face metaphor all the more brilliant. Of course, I’m talking about The Stuff. Filmed with a 50’s sci fi B-movie in mind and with voice-overs worse than a Kung movie, we’re guided through a fairly simply story structure with a much complex core. Its a creature flick that begs the question, if we are consumers of the creature are we not in fact monsters ourselves? The Stuff, for all purposes, has lasted the test of time and remains one of the best 1980’s anti-consumerist flick. If you haven’t seen the movie, check out a trailer on YouTube and give it a chance. I’m not promising you’ll like it, The Stuff will require some patience, but if you’re a fan of horrible 80’s horror, or horrible horror in general, you might just enjoy yourself.
Are you eating it…or is it eating you? During the summer of 1985, director Larry Cohen introduced America to the discovery of a mysterious, yet delicious, white gooey treat. Found by a group of miners bubbling up from the earth, the Stuff quickly sweeps across the nation. Soon after, conglomerates pick up the Stuff and break record sales. Former FBI agent Mo Rutherford remarks, with some disbelief, that folks are willing to stand in line at two in the morning, just to buy some Stuff. Another protagonist, a young boy named Jason, refuses to eat the Stuff as he watches his family become addicted, turning into mindless drones– craving nothing to eat but the Stuff. In one of the oddest scenes (yes, there are a few) Jason is forced to watch his family slowly slip away from rationality and into…something else entirely. When an attempt to fool his folks into thinking he’s eaten some of the Stuff fails, Jason scarcely escapes, his father yelling out in the middle of the street, chasing after him, “It’s good for us, Jason…it kills the bad things inside us.”
What…you’ve never heard of this movie, The Stuff? I’m not shocked; unless you’re a connoisseur (see what I did there?) of obscure horror, The Stuff is by far one of the most obscure-ee horror movies I’ve ever seen. This very low-budget does take on, as other classic horror flicks such as Dawn of the Dead (78), American consumerism and consumption during the 1980’s. Some of the other films during this era, and some of my personal favorites of glorified 80’s consumerism, include Evil Dead 2, Friday the 13th part 8, and Videodrome.
Film critic Brian Dillard had this to say regarding The Stuff:
“…another 1980’s horror flick… mixed wit and gore with anti-consumerist ideology. On the surface, The Stuff is just an exploitation flick — a jumble of The Blob [and] Invasion of the Body Snatchers… full of amateurish special effects and hammy performances.”
If that’s what’s on the surface of the movie, cheesy effects and a hammy attempt at saying something, is there anything beneath? I’d point out all the random commercials that pop up during the movie which I think are brilliant parodies to everyday life. It almost calls out the audience (we) and asks if we can tell the difference. Are we that conformed to commercials that even fake ones seem real to us? This aspect really reminds of the appeal in Invasion of the Body Snatches, more especially the 1978 version as it focused more on the characters and their doppelgangers. Its about paranoia, almost, and The Stuff really brings that paranoia into focus. Can we trust anyone to be objective regarding a product that they are bought into? Can we trust a representative or legislator to be unbiased toward a private sector entity when (s)he get’s campaign donations from private corporations? Not to get political, but…have we become like Jason, being told to “eat it” because its good for us?
As the movie comes to an end, following the efforts of a few good men and women, and a boy, the public becomes aware of the vile intentions of the conglomerates pushing the fluffy white alien goo. People “wake up” and see how The Stuff is actually a living thing. Yet, as the credits roll, we (the audience) are left with the feeling that the profligate has been set back up as the company executives comment that “the Stuff seeps out from many places in the ground.” We are given a true nihilistic ending as anyone can get, that there will always be more Stuff.
If you’re screening The Stuff for the first time, it will time some getting used to the low quality in which the film was shot, unless you are already a member of the 80s splatter zombie corp and uber-obscure VHS demon flick rentals from Italy club. If that’s the case, then the low budget shouldn’t throw you off. The story is there if you’re willing to follow it. Low budget doesn’t necessarily mean low quality. Just look at Sam Raimi’s Evil Dead as an example of how low budget films can become The Stuff of legend (oh man, I kill myself).
My Rating: 4 out of 5
Thomas S. Flowers creates character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.
Revenge is a dish best served with BBQ!
Kicking off Fright Fest 2016, we’ve got a fresh review for you to chew on. Creeping from the grave we’re going to talk a bit about Dan O’Bannon’s Return of the Living Dead. Now, it is important for us to distinguish who the director of the film is, versus who it had been and the writers involved with the project as well. Believe it or not, Return of Living Dead has a sort of complicated history. What started out as a sequel to Night of the Living Dead by legendary George A. Romero co-creator John Russo, when Russo and Romero parted ways after 1968 , according to the documentary provided in the newly released Shout! Factory Return of The Living Dead [Blu-Ray], Russo was able to retain the rights to use “Living Dead,” while Romero was free to work on his sequels to the original film.
However, when slotted director Tobe Hooper backed out to work on Lifeforce, producers brought on Dan “The Man” O’Bannon to not only polish the script but also to assume the directorial seat. O’Bannon agreed to the job under the condition he could radically alter the original Russo script. I’m not sure what Russo’s script was exactly, but given that he had written the story coming off of Night of the Living Dead, it was probably more serious in tone and akin to the work of George A. Romero. When O’Bannon took the reins, he did not want to produce something that resembled anything Romero had done or was working on. Understandable considering Romero’s zombie trilogy (Night, Dawn, Day) was all released before Return hit theaters in August 1985. He wanted something his own and completely unique. While Russo remained credited, I do not think much of his original story remained in the final product. Hense all the “Dan O’Bannon’s Return of the Living Dead” bit. This film was very much his own, written and directed and a living legacy to the late great director.
Before we continue with this review. How about a synopsis?
When foreman Frank (James Karen) shows new employee Freddy (Thom Mathews) a secret military experiment in a supply warehouse, the two klutzes accidentally release a gas that reanimates corpses into flesh-eating zombies. Frank and Freddy seek the help of their boss (Clu Gulager) and a mysterious mortician (Don Calfa) to dispose of the remains of a still twitching cadaver. When the smoke from the crematoria rolls over the nearby cemetery, the undead wake and mayhem ensues and a group of punk rocker friends hanging out in the graveyard for their buddy Freddy must fight to survive the growing shambling horde of undead fiends.
Admittedly, growing up, I was very much a Romero-purist. My first horror love was Night of the Living Dead which my older sister introduced me to during one of our customary Friday night movie binges. I think I recall hearing about Return of the Living Dead, but never really gave it much interest in watching. I did watch Return of the Living Dead III back in the 90s when I was working at Blockbuster and rented the sucker on VHS. I was not impressed with that one in the least and assumed at that point that all Returns were just as dumb. I’m not one to shy away admitting when I’m wrong. And I was certainly wrong about the original Return of the Living Dead (1985). For the life of me, I cannot remember when I first watchedReturn of the Living Dead…but it had to have been within the last few years. Regardless, I was wrong. You heard it here first, folks. I WAS WRONG.
Despite the horror-comedy hijinks versus the very serious undertones of Romero’s work, Return of the Living Dead was a wonderfully fangtastic flick. While Romero may have the social commentary in the bag with his films, we cannot discredit the cultural significance of Return. The movie is bleak and ironic on a massive scale. The most obvious moment, of course, is the end (SPOILERS). Those characters fight and struggle and deal with so much bullshit and so much death to finally contact the Army for help and then get nuked only to see the same contaminated smoke rolling over new graves is laughably nihilistic.
In the end, we’re left to ask, “What was the point?” Much as what any decent horror does, it doesn’t answer questions to how we should go about doing things or solving difficult problems. Good horror movies force us to face our deepest darkest questions about ourselves. And that it what Return of the Living Dead precisely did, though not in the serious way most people are used to, but in an over-the-top parody of itself. My favorite scene, though, in the entire movie was when Frank, realizes that he’s about to go, full zombie, decides to sneak past his friends and climb inside the crematoria, immolating himself. Rumor us, James Karen didn’t want to join the other zombies outside in the cold ass prop-rain and asked if he could “go out” this way instead. Whatever really happened as to the reason, the addition of that scene adds to the wonderful bleakness of the movie.
Since the film’s original August 16, 1985, release, Return of the Living Dead has spread into a huuuuuge cult following. Most of the zombie-culture today gives thanks to this film over Romero’s work. Whenever you hear someone moan, “Braiiiinnnsss,” it’s thanks to this horror-comedy flick. There’s even a Simpson’s TreeHouse of Horror episode dedicated to Return of the Living Dead, the parody being when the zombies are hunting for brains, they pass over Homer Simpson. And domestically, the evidence is clear on which film audiences preferred. Releasing just a month or so ahead, Romero’s Day of the Dead grossed around $5.8 million, while Return of the Living Dead grossed around $14 million. And don’t get me started on the soundtrack. As far as movie soundtracks go, Return has one of the more memorable and fun lists of bands to jive to while trick-or-treaters are ringing your bell. If you haven’t seen this movie yet, you need to. If not for the cultural significance, then for the fun, over-the-top zombie gags and punker hilariousness.
My Rating: 5/5
Thomas S. Flowers has a passion to create character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.
Revenge is a dish best served with BBQ!