The Amityville Horror (1979)
A Review-ish by: Feind Gottes
Directed by Stuart Rosenberg
Adapted for the screen by Sandor Stern from the book by Jay Anson
Starring: James Brolin, Margot Kidder and Rod Steiger
The Gist: Come on, even non-horror fans know this one! The Lutz family buys a new home on Long Island (Amityville), NY where a young man killed his entire family about a year prior. Evil abounds and 28 days later the Lutz family run for the hills never to return to the home themselves ever.
My Review-ish: Now if you’re a horror fan and you do not know the basic story of The Amityville Horror I have to assume you’re very young, like under 5 or something, or you aren’t actually a horror fan in which case… WHAT THE HELL ARE YOU DOING HERE??? Due to that fact this review isn’t so much a review as it will be a personal story. Don’t worry I’ll keep it short but I should tell you this film is one of the most important horror films to me personally. Now I’ll move on to some facts then we’ll have a little fun, ‘kay? Continue Reading
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
Director: Umberto Lenzi
Also Known As: City of the Walking Dead
Are you bored of zombies yet? I am. I am thoroughly fed up of them. Sick to death. If a zombie horde wanted to kill us, they could just wander around and re-enact parts of 90% of the zombie films released in the last 10 years. We’d die of brain fatigue, being forced to watch the same troupes re-trod time and time and time again. I’m not saying all new zombie material is terrible, it’s just that the sub-genre is so flooded it’s harder to find. 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
The first time I saw the trailer for Dead Snow, I knew I wanted to watch the movie. It looked fun, exciting, and familiar. When I finally watched the movie, I wasn’t disappointed. By the end, I was giddy. Dead Snow had all the horror elements in it that I enjoy: carnage, blood and guts, and a super cool villain. As an added bonus, it also had humor. 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.