Fright Fest 2018: The Monster Squad (1987)
Directed By: Fred Decker (Night of the Creeps, Robocop 3)
Starring: Duncan Regehr (V, 1988’s The Last Samuri, Zorro Television Show), Tom Noonan (The House of the Devil, Late Phases, The Alphabet Killer), Jon Gries (Skinwalker Rancher, Napoleon Dynamite, Fright Night Part 2), Tom Woodruff Jr. (Pumpkinhead, Tremors, Mortal Kombat), Michael Reid Mackay (Highway to Hell, Sleepwalkers, X-Men 2), and Stephen Macht (Graveyard Shift, Trancers film series, The Legend of Galgameth)
Written By: Shane Black (Lethal Weapon, The Last Boy Scout, Last Action Hero) and Fred Dekker (House, Night of the Creep, Robocop 3)
Release Year: 1987 Continue Reading
Fright Fest 2018: Near Dark (1987)
Directed By: Kathryn Bigelow (Point Break, Strange Days, Zero Dark Thirty
Starring: Adrian Pasdar (Heroes, Marvel’s Agents of S.H.I.E.L.D., Solarbabies), Jenny Wright (Pink Floyd’s The Wall, Young Guns 2, Lawnmower Man), Lance Henriksen (Aliens, Pumpkinhead, Hard Target), Bill Paxton (Aliens, Frailty, Predator 2), Jennette Goldstein (Aliens, Terminator 2, Leathal Weapon 2), and Tim Thomerson (Dollman, Trancers Film Series)
Written By: Kathryn Bigelow (Blue Steel, The Loveless) and Eric Red (The Hitcher, Bad Moon, Body Parts)
Release Year: 1987
Growing up, my dad and I didn’t agree on many films. It might surprise one to know, but a preacher and his horror loving son aren’t going to have a lot in common when it comes to cinematic tastes, or much of anything really. Also, if you spell “Horror” a little different, that sentence takes on a whole new meaning, someone hit the rimshot sound effect for me. Despite the gulf between us, we did manage to connect on a handful of movies, The Last Starfighter¸ Enemy Mine, Predator, and the one you happen to be reading about right now, Near Dark. Maybe it was because the vampires didn’t act like the typical, supernatural vampires, maybe it’s because the western style distracted him from the fact he was watching a horror movie, or maybe he just liked it and I should stop analyzing why to better appreciate that we had one more movie to add to our very short list. Continue Reading
Fright Fest: The Video Dead (1987)
The Video Dead
Director/writer: Robert Scott
1 Hr 30 mins.
Release Date: November 1987
An unlabeled crate from an unknown source is delivered to a house in the woods. The homeowner unwisely accepts the delivery, only to discover it contains a TV set that starts spewing giggling zombies all over the place. When a new family moves into the now-abandoned house, the son discovers the haunted television and is soon told what he needs to do to send the zombies back where they belong. Knowing and doing, however, are two very different things, and the zombies are not likely to go quietly.
Is Robocop (2014) a political movie?
Is Robocop (2014) a political movie? This is my question that I want you to consider as we discuss certain reoccurring themes throughout the film. For starters, yes I know I’m way behind the curve here for a movie review. What can I say? I missed Robocop in theaters and was only able to finally sit down and watch it over this past weekend. And to my surprise, this was not the 1987 version of Robocop. Sometimes remakes go to far to re-imagine or recreate the nostalgic feel of the original, and while this Robocop has certain 80’s-esk qualities, it is in itself, its own movie. The 1987 Robocop was…well..to put it bluntly a 1970’s grindhouse picture filmed in the 1980’s. Grindhouse (or savage cinema) is all about random acts of violence, but not any ole violence; grindhouse overexposes the audience to violence in order to send a cultural/political message about the time in which the movie was made. In the 1970’s, it was about Vietnam and Watergate and all that mess and disillusionment. The 1987 Robocop was giving a magnificent nod toward the over-consumption, over-consumerism, over-cooperated culture America had entwined herself during the 1980’s with over the top, albeit grotesque, hyper-violence. As film historian William Latham has noted, “seeing a corporation as the ultimate savior and the villain at the same time, where a man becomes a product, gave [Robocop] a special meaning in the 1980’s.” If we boil it down, the message of a grindhouse picture during the 70’s is the same as it is during the 1980’s, which is to say: Does the end justify the means? My question before you today is if Robocop (2014) is still a political movie? We’ve left behind the 20th century, some fourteen years now. Does the same message of justifiable means linger on in the 21st century? Do our ends justify our means? Instead of going through the entire film (which would take a while to digest), we’ll discuss two of the most powerful themes dominate in this new Robo-endeavor.
Robocop starts off with Samuel L. Jackson, not a bad way to start a film, playing the part of Pat Novak, a television talk show host (something similar to what you can find on Fox’s Bill O’Reilly Factor) giving a discussion over the use of a unmanned police robots in the United States. His stance is very clear, stating: “Omnicorp law enforcement robots are being used in every country of the world, except our own….why are we [Americans] so robophobic?” To prove his point, Jackson’s character, Novak, cuts from his monologue to a film crew broadcasting from a Iran-esk country where Omnicorp “peacekeepers” are demonstrating a live-action sweep of a recently pacified neighborhood. Novak’s positive position is juxtaposed with close ups of the neighborhood population whose faces are a combination of fear, resentment, confusion, violation, and anger. As the film crew continues their broadcast, we discover that not everyone has accepted pacification. There is a small group of suicide bombers that are planning to strike back. Their attempt fails, obviously, but just when we’re thinking the end justifies the means, the young son of one of the suicide bombers runs out into the street to join his father carrying a kitchen knife. One of the larger bipedal tank-like drones warns the boy “to drop his weapon.” Out of fear, no doubt, the boy refuses and as the camera pans away, we hear gun fire in the background. Pat Novak will tell you, very bluntly that the ends justify the means, because “those droids just saved my coworker,” but did they? His comment about the safety of the film crew is another juxtaposition, this time against the death of the young boy with the kitchen knife. This scene may have a different ambience for you; for me the message is about our current use of unmanned drones in foreign operations and the current debate on drone use over U.S. soil. The beginning scene here begs the question: does the use of drones to keep soldiers safe a justifiable end to the means of using drones in foreign and domestic operations were the loss of innocence could have been avoided?
We cut away from Pat Novak’s lingering lament for our robophobic culture and arrive in a near-future Detroit. Corruption abounds and sets the main catalysts in motion setting up the creation of Robocop. Raymond Sellars’ argument before a legislative committee, that drones do not feel anger or resentment or prejudice, but act according to the limits of the law. And on the other end of the pendulum is Senator Hubert Dreyfuss whose sole purpose throughout the film is to defend the legislation in place that prevents the use of unmanned drones in police duties because, according to Sen. Dreyfuss, machines cannot experience what it is like to kill. They have no feeling toward killing and as such cannot conduct themselves in a manner in which life has value. This back and forth is somewhat of a dual allegorical picture of our current political situation and the “means justifying the ends” question throughout the film.
While all this is contemporary and interesting, it does not compare to the second most powerful scene in Robocop (2014). Ignore Alex Murphy’s flat superhero-esk character for a moment and focus on his resurrection as Robocop. There is really a lot to chew on here, lots of ethical questions and metaphysical ones to be sure, such as the meaning of free will and the illusion of it and all that jazz, but what I want to look at is the imagery of amputees, especially wartime amputees, that becomes a bigger more meaningful part of the movie. When we get to the “lets put a man in a machine” part we’ve all seen in the trailers and Keaton’s spectacular acting, we open up in one of the research and development/rehabilitation areas within Omnicorp. We know its Omnicorp because of the technicians and doctors and the fancy sign on the door, right? But take all that away and limit this to single image and we get the feeling we’re in an army rehabilitation hospital. This could be a familiar scene at Walter Reed Medical Center or Brooke Army Medical who provide rehabilitation for OIF/OEF casualties who have sustained amputation or burns. The “man becoming a product” message William Latham commented on for the 1987 movie is still there, but for me it is not the most dominant message. This also is a major disconnect from the original film. In the 1987 version Alex dies from his wounds and is brought back to life via Omnicorp salvaging his brain and transplanting, along with his face, into a machine. No one knows about the operation until everyone knows about the operation. In the 2014 version, the transformation between man and machine is liken to extreme prosthetics. Alex Murphy did not die, he was saved with the operation. Now, the “saved” part comes under question when his wife (who must sign permission for Omnicorp to do this operation on Alex) asks “what kind of life will he have? You say you can save him, [but] what does that mean?” This, in my opinion, is a very power question, especially when it becomes juxtaposed with the image of the dissembled Murphy. In order for Murphy to face the reality of his situation, Dr. Dennett Norton, with the use of a mirror, begins to take away the robotic parts of Murphy, leaving only his organic self, which is basically only his face, brain, one hand (no arm, just the hand and nerves), and his heart and lungs that are contained in a sac like substance. And at the end, in a very horrific moment, Murphy cries out, “Jesus…there’s nothing left…there’s nothing left of me….”
The extreme amputation and prosthetic becomes a major issue throughout the remainder of the film. Even the vengeance quest is extremely short compared to the longevity of how Murphy deals with, or badly deals with, his new life as a man with prosthetics. Instead of a vengeance as justifiable means to an end, Murphy is put through the ringer of a post-Iraq/Afghanistan world. In many ways, Robocop (2014) becomes one of the first movies to actually question and illuminate PTSD, amputation, post-war family dynamic, legislation, political talk-show mongrels, and corruption. The piecing together of man and machine is a classic horror motif that draws all the way back to Frankenstein (1931) a movie that dealt with similar issues for a different post-war generation. As film historian David Skal has commented on the form of Frankenstein, the symbolization of the monster that represents “displaced, suppressed, and reshaped humans to conform with the machine world. Whale’s film depicted a monster squarely in the grip of this confusion, a pathetic figure caught, as it were, on the barbed wire between humanism and mechanism.” The “pathetic” tug we feel in the new Robocop is Alex’s self image or how he sees himself. After being shown what remains of his organic form, he demands never to be shown himself again, especially not to his wife. This self-loathing in a post-war image is another throwback to an earlier horror monster from another time, consider The Phantom of the Opera (1911), when Gaston Leroux writes, “Look! You want to see! See! Feast your eyes, glut your soul on my cursed ugliness!”
Assume the credits roll here. What did you think of the movie? Was it political? And most importantly, did the ends justify the means? Answers are never clear-cut. However, movies like Robocop help us deal with the mental processes we continue to struggle with, even though we may never arrive at same agreed upon destination. Its worth pondering and coming to our own conclusions.
With a face only a mother could love, Thomas S. Flowers hides away to create character-driven stories of dark fiction. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/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 for seven years, with three tours serving 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 on a wide range of strange yet oddly related topics. You can hide from Thomas by joining his author newsletter at http://goo.gl/2CozdE.
The Human Element: Looking at the old new Alex Murphy a.k.a Robocop (1987-2014)
Buzzing around the web the past couple hours, if you haven’t guessed it from the ridiculous long title for this post, has been the release of the trailer for the upcoming Robocop remake. It surprises me how tuned-in folks (nerds) are in how this movie is developing. For some odd reason, I thought Robocop was for a different generation hell bent on watching hyperbolic violence and gratifying revenge plots. Was this not the Robocop of the 1980’s? Are people still interested in this kind of narrative? Or, more to the point, are we actually going to be getting the same old awkward “dead or alive, you’re coming with me” walking Robo-Murphy with this new rendition? Yes and no.
Coming into the office this morning, before I could even take a sip of coffee, news of Robocop’s first trailer since Comic-Con flooded my social media caucus (circus). Again, I was a little taken back with all the excitement with such an outdated movie trope, but perhaps I really shouldn’t be. Rumors regarding Robocop have been rather steady since news of production released sometime last year and have grown as photos and tweets have been teased across the web. Folks are actually keeping a rather interested eye on how this movie is turning out. With this in mind, and after watching the newly released trailer and then watching the old school 1987 theatrical trailer, I thought I’d do a little first impressions analysis between the two films. Based from only the trailers for each film, you and I will need to examine the appearance, communication, and relevance for the two films and how they compare.
The synopsis follows for the first film. “Robocop, is an exceedingly violent blend of black comedy, science fiction, and crime thriller. Set in Detroit sometime in the near future, the film is about a policeman (Peter Weller) killed in the line of duty whom the department decides to resurrect as a half-human, half-robot supercop. The RoboCop is indestructible, and within a matter of weeks he has removed crime from the streets of Detroit. However, his human side is tortured by his past, and he wants revenge on the thugs who killed him” (Rotten Tomatoes). For those who’ve seen the original movie, keeping our impression of the film squarely within 1:27 min clip will be difficult. However, summer blockbusters like Robocop tend to give more of the story away in the first few seconds of the theatrical trailers than most movies anyhow. So even going off just the clip, we should have plenty of information to base a first impression on. Here is the 1987 trailer for Robocop.
What did you think? Pretty classy, huh? The best part of most 80’s action thrillers were their complete lack of deep thought. You weren’t clamoring to the theaters to watch some expressionist film, you were going to see shit blow up! Simple plots; lots of action, blood, gore, and other nibbles of mayhem. The 1987 film version also packs a whooping MPAA R-rating. You don’t see much of the gore in the clip, but trust me, Murphy’s torturous demise alone would garner an R-rated from the trusted MPAA, even if the remaining film was all fluff and bunnies. The mood of the movie isn’t entirely far removed from reality. A good cop in a bad city gets brutally murdered and comes back as half-man, half-machine. He’s all cyborg and primary directive in the beginning, but as flashes of old memories invade his thoughts, his humanity seeps through. And what pray-tell is this “human element” that festers within the mind of our Detroit loving Robocop? An extreme thirst for vengeance for the scumbags that blew him away when he was still fully human. The desire for vengeance is a very relevant story, but we shouldn’t dig much further then the premise. This is, after all, an 80’s action flick.
Robocop 2014 (reportedly):
The synopsis for the new film follows. “[The] year is 2029 and multinational conglomerate OmniCorp is at the centre of robot technology. Their drones are winning American wars around the globe and now they want to bring this technology to the home front. Alex Murphy is a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit. After he is critically injured in the line of duty, OmniCorp utilities their remarkable science of robotics to save Alex’s life. He returns to the streets of his beloved city with amazing new abilities, but with issues a regular man has never had to face before” (Bloody Disgusting). The remake has been blessed with a surprisingly long 2:20 min trailer provided below. But then again, keeping to the same summer-esk blockbuster tradition, producers want to give as much away as possible…because there really isn’t much to the story that we don’t already know anyhow…its an action film, not Rembrandt. Check it out for yourself below.
What are you’re first impressions with this new take? Better graphics, realistic and plausible future, and still the ever good cop verses the worst city imaginable, Detroit (sorry Detroit). But this time, instead of a brutal fire-squad murder, Murphy is taken out by a car bomb. Interesting. Despite some already generating negative nerd reactions buzzing on YouTube and other such sites, being able to see Murphy before his cybernetic transformation is shocking, as much as a PG-13 rating can give us anyhow. The impression his mangled form gave me was reminiscent of returning soldiers from Iraq and Afghanistan; where choices have been taken away by random and tragic acts of violence. There is a deeper question being asked here: “What will life be like for him…” asks, i’m assuming, his wife before his operation. The 87′ original showed us the face of humanity through the desire of revenge. This new 2014 version looks to be taking us somewhere else. As it seems to me, the place we’re being taken is something very human and real and surprisingly philosophical: the question of choice, free will and the human soul. The idea of free will and its illusion, again, based off this 2:20 min clip, seems to be driving the story. This will definitely beef up the value on this new Robocop film, making it something more than just another meaningless action thriller. Though, I doubt the supposed deeper story will take away from the CGI aided mayhem. If balanced effectively, we’ll get the best of both worlds. Something with pretty lights that we’ll end up thinking about on the drive home.
We’ll still have some time before the new Robocop hits theaters. As of now, the release date has been set for February 7th, 2014. Until then, action thriller genre loving fans will post regularly regarding how they feel about the new revamp. Some negativity has already been poised over the whole “just another remake” mantra. Some positive on the actually unexpected good quality of the film, that is, producers ar’nt entirely mucking it up. There are some cheesy CGI bits in the trailer, but for the most, the film looks as if it’ll be just as good as the original, be that, a little tamer.