Watch the skies! Keep your family close. A new terror is invading our world. They are…KRITES…no wait, sorry, CRITTERS…yeah, definitely that! If you’re a nerd, such as myself, then you are probably aware of such a movie called “Critters,” and the three other sequels that followed. Critters is not the first horror-comedy to grace this Creature Features series, but at the same time, it is something quite unique. When you think “monster movies” you kinda assume something like gigantic lizards that breath fire, or mutant genetically altered insects, or maybe even meteor shit that turns out to be some sort of alien slug that turns people into a mess of zombified conglomerated flesh. But when we get catch phrases like, “They bite,” and “When you got Critters, you need all the help you can get,” we sort of don’t know what to think. Is this movie serious? Or is it pure spoof comedy? Is it even horror? On one spectrum, you’ve got Roger Ebert giving this flick a thumbs up back in 1986 while on the other hand sporting a meager 43% audience approval rating on Rotten Tomatoes. Some critics have called Critters “Gremlins on acid,” (MovieHole) while others have said that “Critters [is] a franchise [that] has nothing on the Nightmare on Elm Street films, but it’s proven popular enough with Gen X-ers who forward ‘You know you’re a child of the ’80s if…’ emails to all their office mates” (Slate Magazine.) So what is it about Critters that appeals to some while turns away others?
Let’s take this one step at a time.
To get us started, here is a wonderful synopsis by our friends over at IMDb:
“A race of small, furry aliens make lunch out of the locals in a farming town.”
BRAVO!!!! Okay, well, my work here is done, folks. Furry aliens make lunch…oh, you can’t get any better than that people, that is pure gold. Well, as pure usual, they aren’t wrong. Here’s what I got while watching the movie for the…jeez…I don’t know, maybe twentieth time maybe? Somewhere around there. As our heroes over at IMDb pointed out, yes, furry aliens do make lunch, but as the New Line Cinema bold red screen appears, one Nightmare on Elm Street fans should recognize with a sense of glee, the screen opens on a giant space rock that so happens to also be a prison. We don’t really get to see much here, just a bunch of dialogue going on off screen. Supposedly, a violent criminal species known as Krites are being transported to the facility. Right away we’re told they “eat everything.” Just as my Magic 8-Ball predicted, the Krites escape the facility by stealing a space vessel and take off toward planet Earth. Here we get little (get it?) glimpses of the Krites, their claws and hear their language which has been thankfully translated for us via closed captioning.
The warden on this highly secured prison, who looks like the Caterpiller from Alice in Wonderland, hires “the bounty hunters” to track down these fiendish hungry villains and dispatch them. And it’s around here when the screen opens on a quaint small farm in a quiet small town. Nothing much to hate about this place. We’ve got our A typical American breed family. Pa and Ma and big sister and little mischevious bro Brown. A stark difference to the science fiction space opera going on in the beginning. Here we’ve got one of the most overused and iconic of horror and sci-fi backdrops, the American farming town. But given the opening, there’s already a feeling of helter skelter. What are we watching? Horror or sci-fi? Is this ET or “Gremlins on acid?” I have no idea, but I do know one thing, we’ve got Dee Wallace, ET’s Henry Thomas’s mother in nearly the same dubious role as the harried Ma Brown of young Brad Brown (played by Scott Grimes who I believed was actually a younger Judd Nelson), our plucky kid hero who goes to battle against these Krites; Critter invaders.
Several scenes play out as we patiently wait for what we really came here to see. Aliens eating people and GORE. Spoiler: the latter you’re not going to get much of, sorry. My biggest concern watching this film was regarding young Brad. Now, yes, we all adore the stereotypical young boy who loves fireworks and plays with M-80s, whistlin’ bungholes, spleen splitters, whisker biscuits, honkey lighters, hoosker doos, hoosker don’ts, cherry bombs, nipsy daisers, scooter stick, and whistlin’ kitty chasers. But good God man, this kid is packing more than your typical firecracker. This thing is a bomb. His father reprimands him, also looking a bit weary about his son’s interest in explosives. Later, we see Brad sent to his room where he has a workbench of destruction and assembles what looks a lot like a stick of dynamite. Seriously, where are this kid’s parents?
Two highlights soon follow. Billy Zane and Bill Zane’s death. More on that to follow. Zane must have been just starting out acting when Critters came along. He looks quite young and only has a few lines. I did like that they made the big sister and girlfriend of Zane’s (played by Canada’s sweetheart Nadine Van der Velde) as the promiscuous one. She’d practically dragging young Zane up into the loft where she has prepared a sort of love nest, complete with 80s jams. Earlier, when Pa learns of his daughter’s new New York city boyfriend, he quickly asks his wife if they’ve had the talk on “how things are.” Jeez, I can only imagine what that talk as about consider sister Brown’s later behavior. But hey, who am I to judge the phenomenal romance of teenage love?
As far as horror movies go. I do not think this is such. This wasn’t horrifying. Even the going into the basement scary scene wasn’t really scary. It’s hard to be scared with Gremlin sized furballs cracking jokes in some strange intergalactic language. That’s not to say Critters wasn’t good. Critters is actually a fun movie to watch. The characters are not deep or complex, but their motivations are easy to understand and thus we do not have to invest a lot of brain power with them. Just as with the plot, though seemingly complex with the beforementioned space opera, it’s actually an oversimplification of several movies that came out in the space of 1986. Critters is without a doubt “Gremlins on acid,” it’s also got a touch of The Terminator with the machine-like bounty hunters and the garb they wear. And director Stephen Herek (director of Bill & Ted’s Excellent Adventure) is not shy poking fun at ET. There’s a great scene with one of the Krites talking with a stuffed ET doll, yelling “Who are you!” And then ripping the doll’s head off. Looking back at Herek’s resume, it’s easy to see that he is mostly a fan of light hearted-humored movies. He wants to have fun and that mood is clearly carried throughout the film.
One of my favorite scenes involves Dee Wallace versus one the Critters that attack the family while they are retreating back into their house from the porch. The family gets back inside, and out on the porch one Critter turns to the other and warns that they “have weapons.” His Critter buddy replies, “So what?” Dee Wallace sticks out the barrel of her shotgun through the door and blows the “so what” Critter into goo. his buddy turns to his dispatched friend and screams “Fuck!” in his own intergalactic language, shown to use again by that marvelous closed captioning. It’s little moments like this sprinkled throughout the movie that makes Critters fun and funny to watch.
Oh, I also forgot. This town, as the sheriff (played by the fantastic M. Emmet Walsh) was quick to say, is a circus, and just like any good or decent circus, it comes complete with its very own town drunk/alien conspiracy nut/minor-leaguye baseball washout by the name of Charlie (played by Don Keith Opper). Charlie is quick to predict the arrival of the aliens, either by the feelings in his fillings or by dumb luck, the latter more like, and fumbles his way throughout the entire movie, stepping up at the very end by lofting a molotov cocktail into the alien spacecraft, destroying it and the creatures inside, thus saving the day. What I liked more about the end was the utter “fuck you” given by the Krites as they attempt to flee, firing a laser on the American Dream, portrayed in this movie with the Brown’s farm house, blowing brick and wood and shingles to smithereens. It’s usually in moments like this when I begin to formulate any possible meanings or questions the movie and or director are trying to convey. Seeing the destruction of the “American Dream” begs the question of what’s most important to us, was the “Dream” a lie all along? Was keeping the family together the most important part and that even when you’ve done everything right you will not necessarily get to ride off into the sunset?
Well…as I was pondering these questions I had believed the movie was asking, the preverbal reset button was pushed and the house rebuilt itself via a device given to Brad as a “thank you” from the aliens. In seconds, the house is restored to its original glory. Watching this and then seeing the credits roll I was left somewhat dumb stuck. Did the director just punk me, as I image he punked countless over movie reviewers before me? Maybe.
Regardless, Critters is certainly a classic film, one that kids of the 80’s without a doubt share in email and threads on social media as one of those flicks that defined an era. The mood was lighthearted, and despite certain scenes with F-bombs being dropped, I’d say Critters is family friendly. Could they have upped the gore and blood and violence and made this sucker even more of a satire than what it turned out to be? I think I would have loved it even more! But the lack of blood and guts doesn’t deter me from enjoying some 1980s nostalgia.
My rating: 4/5
Thomas S. Flowers is the published author of several stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmo, and his latest release, THE HOBBSBURG HORROR. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging (coming soon) 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 Bachelor’s in History. He blogs here at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.
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Again I find myself mesmerized by the complexity of the creature features subgenre. And as a first, thus far in our little series, we find ourselves in the midst of a horror-comedy within the creature feature mythology. The gory ridiculous atmosphere of Slither (2006) is no doubt the responsibility of its creator, directed no less than by Guardian of the Galaxy symphonist James Gunn. Now, as most already probably know but I’ll mention it here again, Gunn has an interesting repertoire of cinematic exploits. He was the director who took on the remake to Dawn of the Dead (1978), keeping certain elements whilst still maintaining itself as a stand alone movie ALL THE WHILE pleasing not just audiences, but fans of George A. Romero’s beloved classic. But Gunn is not without question…he did have a hand in those live-action Scooby-Doo movies and the not so cult-classic Tales from the Crapper. This weekend, apparently The Belko Experiment, in which Gunn wrote the screenplay, will finally be released to theaters, having started playing trailers off and on as far back as November of 2016, has already come under fire from critics. So where does that leave Slither? Well…I think I’ll leave that explanation on the shoulders of our esteemed guest contributor, Jonny Numb.
By: Jonny Numb
Universal’s decision to let James Gunn direct Slither was an act of faith that spoke to the studio’s appreciation of how his Dawn of the Dead screenplay – coupled with Zack Snyder’s direction – led that film to box-office success.
The result – a 1950s-styled creature feature that combined practical FX with CGI – was a pastiche with a disparate cast (including cult favorites Nathan Fillion and Michael Rooker, and rising star Elizabeth Banks) that had a mercilessly short theatrical run.
I get it because I wasn’t a fan of Slither when I first saw it on DVD. I can’t remember why it didn’t click for me – maybe because it leaned on “backwoods redneck” character types too much (and that specific type of humor); maybe because my taste in sci-fi is maddeningly specific; and maybe – just maybe – it was because I had yet to be exposed to the wonders of Captain Mal on Firefly.
In any event, I revisited the film last year (for the first time in a decade) and was surprised that my feelings toward it had improved. While problematic in places (mostly in the wobbly, tone-setting early going), Slither grows into a bizarre and sneakily subversive take on the sci-fi it’s paying loving homage to:
The Blob (either version). The Thing (Carpenter version). Invasion of the Body Snatchers (mostly the ‘50s version).
There are also subtle-to-obvious references to the works of David Cronenberg and Roman Polanski, as well as Gunn’s former tenure as a screenwriter for Troma (including a Lloyd Kaufman cameo); and keep an eye on the Main Street storefronts during the opening credits for more sly Easter Eggs.
Grant Grant (Rooker) is a macho sleazeball in cheesy glasses who’s married to trophy wife (and elementary-school teacher) Starla (Banks). Spurned by his wife’s refusal to fulfill her duty as willing sex object one night, Grant meets up with local bar girl Brenda (Brenda James). In a bit of cosmic irony, they find themselves in the woods, and Grant has feelings of remorse before he can consummate any carnal desires. More ironic still, this leads Grant to the discovery of a translucent egg-sac with a symbolically vaginal opening, one from which something shoots out, infecting him with an extraterrestrial parasite. After the transformed, meat-craving Grant impregnates Brenda, she becomes the “mother” to the alien invasion.
Once the parasites explode (literally), Slither really kicks into gear. Gleefully grotesque practical effects – and some CGI that hasn’t aged as well – ensue.
To make a hard right turn: does anyone really talk about Kylie (Tania Saulnier), and how she’s probably the smartest, most resourceful character in the movie?
Only on my most recent viewing did it occur to me that we see her not once (in the high-school classroom), but twice (in the crowd at the town’s “Deer Cheer” event) before being properly introduced around the family dinner table (where she makes reference to the “Japanese” design of her painted fingernails (tentacles much?). Her character is at the center of a great setpiece midway through, during which she’s taking a bath with her earbuds in, and winds up fending off a parasite with a curling iron. Even more so than the scene’s well-taken stylistic nods to A Nightmare on Elm Street and Shivers, notice how Gunn allows Kylie to react as rationally as the situation will allow, without turning it into an excuse for T&A or a gory money shot. When the tub parasite nearly shoots down her throat, Kylie briefly taps into the aliens’ shared consciousness – and the glimpses of havoc on an unnamed planet far, far away certainly foreshadows Gunn’s eventual segue into the world of high-budget comic-book blockbusters.
Rather ingeniously, the DVD cover for Slither – that of Kylie in the tub, being descended upon by thousands of squirming parasites – represents the film more accurately than most video-art concepts (which tend toward hyperbole). It’s unsubtle without really giving anything away, and Gunn subverts expectations for the scene itself by guiding it to a surprising conclusion. The sequence of events that follows the tub encounter is brilliantly rendered, and reminded me of Barbara’s full-moon escape from the farmhouse in Night of the Living Dead (yes, the 1990 remake).
There are other things, as well:
The comic relief of Mayor Jack MacReady (played by Brian De Palma regular Gregg Henry), who – in look and demeanor – bears an eerie resemblance to a certain boorish ex-reality-TV star. He’s paranoid, perpetually angry, casually misogynistic, and at one point asks if the town’s being “invaded by the Russkies.” Gunn’s smart handling ensures that we’re always laughing at this clown, and Henry is definitely in on the joke.
Meanwhile, Starla transitions from Grant’s doormat to a model of marriage to, eventually, a woman who wakes up to the fact that her husband’s internal ugliness has manifested on the outside in a way that’s rather poetic. Their final confrontation is a fine demonstration of Beauty no longer tolerating the Beast’s shit.
So maybe, finally, the film resembles Bride of the Monster (but in title only. Thank God).
One nagging question, though: even with the padlock on the basement door, how did the stench of all those dead pets not make its way through the vents in the Grant household?
Jonny Numb’s Rating: 3.5 out of 5 stars
Jon Weidler, aka Jonny Numb, is no stranger here on Machine Mean. He has contributed for us Abbott and Costello Meet The Mummy (1955) AND Clean, Shaven for our Fright Fest month back in October. Mr. Weidler works for the Commonwealth of Pennsylvania by day but is a podcast superhero by night. He co-hosts THE LAST KNOCK horror podcast under the moniker “Jonny Numb,” and is a regular contributor to the Crash Palace Productions and Loud Green Bird websites. His archived movie reviews can be found at numbviews.livejournal.com, and his social media handle is @JonnyNumb (Twitter & Letterboxd). You can read his review of A&C Meet Mummyhere.
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!! CONTAINS SPOILERS !! CONTAINS SPOILERS !! CONTAINS SPOILERS !!
The Blob (1988) is my second-favorite 1980s remake of a classic monster horror film, The Thing by John Carpenter being the first—and if the ALIEN Trilogy (yeah, I said ‘Trilogy’) didn’t exist, JC’s The Thing would be my all-time favorite film. Now, I’m usually the first to say that JC’s The Thing is not strictly a ‘remake’, because of its alternate take on Who Goes There? by John W. Campbell, Jr.—but in his great Creature Features in Review piece on JC’s The Thing, William D. Prystauk beat me to it. John Carpenter’s take was a more accurate, more paranoid version of that novella than Howard Hawks’—and Christian Nyby’s and Edward Lasker’s and others’—The Thing from Another World, while also bringing in elements of amorphous, madness-inducing creature moments that—when paired with the snow-blasted, isolated Antarctic setting—came to draw well-earned and fair comparisons to aspects of H.P. Lovecraft’s At the Mountains of Madness and creatures from his other works.
Okay, I’m not going the same route as my last Mean Machine guest review and framing my entire review of one film on elements of other works… but please bear with me a bit longer.
So, if John W. Campbell’s Who Goes There? was the basis of John Carpenter’s The Thing for its setting, plot, paranoia, and dread—with a healthy dose of Lovecraftian vague, disturbing forms as well as cosmic fear and wonderment—I’m of the opinion that The Blob remake from 1988 and its 1958 predecessor take their starting premise at least loosely from Lovecraft’s “The Colour Out of Space.”
I know, I know… The inspiration is directly attributed to a genuinely weird, fishy sounding police report from Philadelphia in 1950 that was detailed in a local newspaper, so I have no way of knowing if Irvine H. Millgate had read Lovecraft as well—but that’s my trip and I’m running with it, you guys!
But while “The Colour Out of Space” is a subtle and measured build of a tale about a meteorite crashing to Earth at a farm and something in it tainting the soil and water for a good distance around as its semi-physical presence wears down the people and eventually takes them… The Blob is like a far less elegant and more (squishy) blunt instrument of terror. Lovecraft’s story is one of ‘other’-ness and truly alien elements infecting and rotting the mundane setting due to the mostly-unseen menace’s weird attributes. The Blob is about a big nasty growing glop puddle ‘eating’ everything. Both crashing down from space with no explanation—except in The Blob remake, but I’ll get back to that—but with different approaches and implied motivations or at least confused actions.
Then the remake ratchets up the clever uses of the amorphousness and menace of the creature and goes in hard on the creature effects. Both JC’s The Thing and The Blob (1988) elevate practical creature effects during what was already their heyday as a way to take their source material and really focus the horror and visceral thrills and stakes.
Leaving comparisons behind, though, I’d say what really stood out for me on this review re-watch—I’d seen it several times over the years, but never paid too much attention to the actual story or presentation, instead just taking in the creature effects—was how much the film relied on and seemed to celebrate the concepts of heavy foreshadowing and pay-off, as well as one shameless deus ex machina moment. Hold that thought…
A meteorite crashes just outside a mountain ski town in the offseason (or the film would have ended there, from its own logic), a strange substance glowing in the center of the cracked ball of hot metal. A hobo who saw the landing gets too close—the pink Blob substance gloms onto his hand. From there on out, it’s a succession of setups for the continuously growing, gloppy creature to rack up gruesome kills as the main characters try to survive and figure out how to stop it.
Reviewer self-sabotage or not, I’ll just say it outright—on the strength of the creature and makeup effects, and the kills alone, I love this movie. Always have. Some of the most incredibly graphic and messed up practical monster effects ever put on screen.
From the first death, we know this is going to be a dicey night for the characters. A high school football player and cheerleader—characters playfully introduced as a riff on the original film—accidentally run into the hobo with their car as he stumbles across the road clutching his own warped pink arm. They rush him to the hospital where he’s whisked away to a room in the ER. The football player goes to check on him… and the hobo’s body bulges strangely under a sheet. As the boy and a doctor approach, the body shifts, showing the hobo’s newly clouded-over white eyes. The doctor pulls the sheet off—the hobo’s body is mostly gone, having been dissolved and burned as if by powerful acid.
The second death follows this closely, and as the football player makes a phone call, the Blob drops onto him from the ceiling. When the cheerleader comes to find him, she takes a heavy SAN loss as she finds her beau almost entirely inside the quickly growing Blob’s mass—burning away at his flesh and pulling his skin and muscle from his face with its raw strength. This is one of the best practical creature/kill effects ever.
I won’t describe them all, but some other great ones are: a horny teenage friend and fellow football player of the cover kill kid who gets wrecked while trying to take advantage of a girl he got drunk at a make-out spot, a short order cook is pulled gruesomely into a kitchen drain, a movie theater projectionist is consumed on the projection booth ceiling, a sheriff’s deputy is snapped in half and pulled out through a barricade the remaining townspeople are trying to construct… Some quality carnage in this one.
I think my favorite kill involves a phone booth and a waitress who’s on the phone when the Blob starts pouring itself down over the whole booth. Other than being a nightmarish claustrophobic setup, before it crushes the booth into her from all around, she sees another recent victim floating in the thick, pink nastiness of the Blob’s formless body—and this last one leads me back to my intro remarks.
This review re-watch as I said really brought the story and its structure to the fore for me in a way it never has before. I’m not saying it’s an amazing story, but the way it’s all set up and executed felt way more deliberate than I’d ever given it credit for.
So, if you the reader will allow this reviewer the looser usage of a concept, I have to say this film is dominated by one interpretation of ‘Chekhov’s Rifle/Gun’ being repeatedly put into practice. That is in the form of constant foreshadowing—and this script is almost surgically precise and economical in its setups and payoffs. I bring this up because, in this most recent viewing, I couldn’t not see it. Knowing what would happen later from past viewings, I watched as every major scene was foreshadowed, sometimes down to the most unimportant seeming moments. My favorite example is what I’ll call Chekhov’s Zipper.
The cheerleader has a little brother—whose main purpose is to sneak into a late night horror movie showing (remember the projectionist?)—and almost get killed. When he’s introduced way back before the cheerleader and cover kill boy even leave so they can hit the hobo with the car, he’s supposed to be going out to his best friend’s house. As he’s getting ready to leave, he has trouble pulling his zipper up. What I have to imagine is at least 30-40 minutes of screen time—I checked; it’s 44 mins, 18 secs—later, the cheerleader, her little brother, and his best friend are escaping the movie theater and the exit doors slam closed on the back of the little brother’s jacket—and wouldn’t you know it? They can’t get the little brother’s jacket off to free him from almost certain death because… his zipper’s stuck. They get him out of his jacket and off for more survival shenanigans in the dark sewer system, but that was a planned, patient setup and follow-through, heavy-handed or not.
And that’s the second longest setup and payoff distance.
Tough kid (with bad hair) Brian (Kevin Dillon) is introduced in the early parts of the film smoking, drinking a beer, and lustfully gazing upon a ridiculously set up destroyed bridge with one side conveniently higher than the other… He discards his shameful chemical vices—especially for one so young, merciful heavens…—and he tries to jump the bridge gap on his motorcycle. He fails, of course, and his bike is damaged in the process of him eating shit.
That occurs 1 hour, 1 min, and 16 secs before he makes that same jump on his repaired motorcycle—while being chased by military helicopters and a pickup truck filled with biohazard suit wearing soldiers, no less.
Side Note: that unbelievable setup and jump will lead to something even sillier—after making the jump, Kevin Dillon hides by a huge storm drain opening as military vehicles search for him all around… and wouldn’t you know it? That tunnel is just large enough for a guy, a motorcycle, and the guy’s horrible, huge hair to fit in and comfortably ride down. And that’s just really serendipitous since the cheerleader and her brother are in dire need of rescuing down the same tunnel just a bit later… Yeah, there’s our shameless deus ex machina usage.
Another great setup and payoff takes us back to my favorite kill/death, the woman in the phone booth. This one was a layered setup and also made the already disturbing creature scene messed up emotionally. From early in the film, it’s established the town sheriff has a thing for the woman who runs the diner. They have a possible date setup for 11pm—before all that horrible monster stuff starts, ruining their evening—after she gets off work. When things get worse in town, the sheriff says he’s heading to the diner. That’s the second to last time we’ll see him. So, after the diner kitchen sink kill, all the people in it escape in different ways. The woman who works there runs out to the phone booth. As she’s on the phone, the Blob comes down to the booth and she starts losing it. On the phone, she hears the dispatcher say that the sheriff came down to the diner… and the victim floating up through the Blob over the phone booth—is wearing a badge. Boom. Cold-blooded business.
The projectionist in the theater sequence has a whistling yo-yo that later drops from the ceiling, causing the theater manager to look up and see him being consumed on the booth ceiling.
The whole resolution is set up in the establishing intro shots of the town, with signs for snow equipment and such all over. The Blob’s weakness is cold, as in the original, so those familiar with the first film probably chuckled at sight of those signs in the theater when it came out. Brian uses an artificial snow machine to save the day, so that might actually be the rightful longest setup, thinking about it now.
But going back a few steps, it might have seemed strange to those unfamiliar with this film—who for some reason are reading this quite spoiler-y review—that I hadn’t mentioned the military before the motorcycle jump. Wacky, right?
Sooooooo, like I’d mentioned early on, the menacing forces/creatures in “The Colour Out of Space” and The Blob (1958) both have unexplained origins. Not The Blob (1988), oh no!
This being a sci-fi/horror film from the 1980s, it’s revealed late in the second act that this Blob creature isn’t just some run of the mill space monster—it was the result of a germ warfare project from the Cold War that was launched into space because it was so dangerous. Good one, Cold War guys…
One last thought I’ll express about this film is that it differs from many other creature films in one major way—in ALIEN films, every stage of the creature is strange and frightening in its own right as what it is. In JC’s The Thing, the creature is most viscerally frightening as it goes between mimicked forms, becoming amorphous and disturbing as it changes. In The Blob, the pink glop is the creature. It grows and gets tentacles here and there in the remake, but the most gruesome and memorable shots in this film are victims inside the translucent muck of the creature’s form. Their bodies being burned and digested/absorbed—and the torture of that expressed on their disintegrating faces—are the truly haunting moments I always think of. Silly as the film can be, some of those images are genuinely classic and stick with me.
WHAT I LIKED:
- Creature effects and kills are glorious.
- Foreshadowing mini-meta-game is fun and rewarding.
- Setting up the beginning in a similar way to the original film, then completely going a different way with it.
- One of the best ‘But Wait…’ style horror ending scenes/shots ever.
WHAT I DIDN’T LIKE:
- This movie and its predecessor probably having no relation to “The Colour Out of Space,” even though I want them to… I mean c’mon—the whole setup is like TCOoS, only a shoggoth-like thing comes out instead of the vanishing/infesting color. If Millgate didn’t read Lovecraft’s work, he should’ve. He would’ve loved it.
- Foreshadowing is fun and rewarding to find and watch play out, but it’s obvious and overdone enough it could turn people off because of its making light of the artifice.
- While I’m a big fan of 1980s cynicism about military science experiments gone awry as a plot frame, I think it had already been overdone, even by the time this film came out. Doesn’t ruin it and adds a layer and some “hew-manns are teh real monsturrs…” moments, but that’s some well-worn territory, even then.
- The motorcycle jump scene I mentioned before is fucking ridiculous, especially as an even more obvious deus ex machina setup.
- Kevin Dillon’s hair.
This is a very enjoyable piece of 80s creature horror with an almost dizzying series of setups and payoffs, usually of the disturbing and visceral kill type.
I’ll give The Blob (1988)……………..7.5/10.
PATRICK LOVELAND writes screenplays, novels, and short stories. By day, he works at a state college in Southern California, where he lives with his wife and young daughter. His stories have appeared in anthologies published by April Moon Books, Bold Venture Press, Sirens Call Publications, Indie Authors Press, PHANTAXIS, and the award-winning Crime Factory zine. Patrick’s first novel, A TEAR IN THE VEIL, will be published in early-to-mid 2017 by April Moon Books. Twitter: https://twitter.com/pmloveland Facebook: https://www.facebook.com/pmloveland/ Amazon: http://www.amazon.com/-/e/B00S78LF9M Blog: https://patrickloveland.com/