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Creature Features in Review: Nightbreed (1990)

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I’ve always had a soft spot for Nightbreed.

I think I responded mostly to what it was trying to accomplish, to make monsters into sympathetic characters and humans the villains, rather than what it lacked. Even as a kid, I knew there was something fundamentally flawed about it but I held firm to my love for Boone and the monsters of Midian and—maybe more so—to the coldblooded serial killer Dr. Decker. I’d often found myself fumbling to defend the movie I knew it could have been, not the film they’d given us.

Later interviews revealed Barker’s bickering with studio heads who had liked Hellraiser (or at least the money it made them) but felt audiences wouldn’t “get” a movie with monsters as the heroes. They thought it would be too confusing.

The finished film suffered greatly for their tampering. To Barker’s fans, the studio had entirely missed the point. Barker himself said of the theatrical cut, “The movie that was released in 1990 was not the movie I wanted to make philosophically or artistically.”

Still, Barker’s monsters shone through despite the deeply flawed theatrical cut. Barker has not only created some of the most iconic creatures in cinema history (Hellraiser‘s Cenobites, for example, or Candyman), but also the most complex. Barker’s script based on his own novel doesn’t paint these monsters as either wholly evil or tragic victims of an oppressive society. There are shades of gray here. You understand the “monsters” and even sympathize with them.

The first citizens Boone meets in Midian (“where the monsters live,” according to several characters) are Peloquin and Kinski. Peloquin merely sees the human interloper as “meat for the beast,” but his friend reminds him of Midian’s laws.

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In essence, Midian is a fully functioning society of “monsters” with all the flaws, culture, history and beliefs of any civilization—the only real difference is they must live out of sight for fear of human judgment and terrorism. Because of how they look. Because of how they live. And it’s not an irrational fear, as events prove in the latter half of the film.

Visionary director Alejandro Jodorowsky called Nightbreed “the first truly gay horror fantasy epic.” There are people who want the monsters of Midian hunted down and exterminated. Think about that. This movie was made and released during the tail end of America’s AIDS epidemic when many people erroneously believed it could be passed along simply by touching someone, and some still considered it a “gay disease.” Magic Johnson had yet to reveal his diagnosis, which some saw as a turning point in the AIDS scare, putting a human face (a very famous human face) on the tragedy.

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I can’t say whether or not Barker had this subtext in mind while making the film or if Jodorowsky was reaching, but it does add an interesting layer that makes Nightbreed transcend its flaws and the trappings of the “Creature Feature” subgenre. Another intended philosophy, that humans are the true monsters. Another that our fascination with monsters leads some to wish to be monsters and live among them. Barker spoke about this in a 2014 interview: “Why would you not want to change into an animal? Why would you not want to fly? Why would you not want to live forever? These are the things that monsters do.”

This adds layers to the Creature Feature aspect of the movie not found in many others. In addition to the “normal” monsters, we have Boone (do I need to say “spoilers”?) who is psychic-driven by his psychiatrist, played wonderfully icily by David Cronenberg, into believing he’s a serial killer. When he hides out in Midian he is bitten and transforms into the monster he thinks he is.

We have a man Boone meets in the hospital who so eager to become a monster that his cuts off pieces of his own face to join them in Midian. He seems to be accepted into their group without question, and later we see several more humanlike “monsters” below the cemetery where Midian lies.

We have the most heinous monster of them all Cronenberg’s psychiatrist, who kills families under the guise of his “buttonface” mask.

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We see glimpses of Midian’s citizens through the eyes of Boone’s partner Lori as she travels the underground city in search of Boone. Small lizard-like creatures feast on carrion. A sabre-toothed woman drums out a beat on a wall for some unknown reason. Monsters wash the penile humanoid head of a lumpy creature whose body resembles the Kool-Aid Man. A bulbous, greasy Jacob Marley lookalike limps around on a cane scaring people for fun. Another monster feeds his own blood to a jar of live eels. (The music that plays under this scene is phenomenal by the way, quintessential Danny Elfman. Watch the scene here: https://www.youtube.com/watch?v=-T11WcS64_M.)

Later we encounter their religious leader Dirk Lylesberg, played by Doug Bradley (Hellraiser‘s Pinhead). They even have their own god, Baphomet: a giant living statue far below the earth.

Other monsters have been imprisoned in the bowels of Midian, called the “Berserkers.” These slimy behemoths with football player padding are never explained. They could be criminals or protectors or both. Whichever they are they are let out to charge the intruders, easily overpowering them.

Title: NIGHTBREED ¥ Year: 1990 ¥ Dir: BARKER, CLIVE ¥ Ref: NIG096AO ¥ Credit: [ 20TH CENTURY FOX/MORGAN CREEK / THE KOBAL COLLECTION ]

In its creature creation, Nightbreed is difficult to top. The sheer amount of thought put into this world and its inhabitants are a creature designer’s wet dream. Lori’s descent into Midian in particular calls to mind the cantina scene in Star Wars: A New Hope, one of the most iconic establishing scenes in movie history.

Nightbreed definitely has its flaws (the Director’s Cut fixed most of them while adding others), but as a Creature Feature, I’d list it among my favorites.

Bonus Review of Nightbreed: Director’s Cut for interested parties.

If you’re thinking of diving into Nightbreed for the first time I would suggest checking out the Director’s Cut instead. Critics pointed to the uneven direction and lack of characterization to the 1990 release. Little did they know 40 minutes of Barker’s original film had been cut. Until very recently it was thought this footage was lost.

The story of how Nightbreed: The Director’s Cut came to be started in 2008 when Mark Miller, co-head of Barker’s production company Seraphim Films, began to hunt down the extra footage. It was clear from the get-go the heads at Morgan Creek weren’t eager to help. When they finally relented Miller was left with a box full of VHS tapes. All the film they’d shot, according to Morgan Creek bigwigs, had vanished.

But the Monsters of Midian have a cult following. After a lucky group of fans saw the extra footage at something called the “Mad Monster Party” in 2010, the “Occupy Midian” campaign was born. That was the last I’d heard of it from Clive Barker’s Lost Souls website, aside from the occasional brief this-is-what-you’re-missing review from someone who’d seen the cut with the VHS footage inserted.

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Then in 2012 Morgan Creek officials miraculously “found” the originally filmed footage after seeing the potential audience (ie. dollar signs). From there, Shout! Factory put together the Blu-ray and DVD version with new interviews and featurettes and released it in 2014.

Fans asked for it and we got it.

I bought the Blu-ray on the day of release and popped it in the PS3 as soon as it arrived. For the most part, the additions work. It’s definitely closer thematically to what Clive Barker—and all of us diehard Cabal fans—had envisioned. There’s no doubt the monsters are the good guys here and there’s a massive amount of sympathy generated for them throughout, despite the few “lawbreakers” like Peloquin who just wants to eat the “Naturals” (humans).

The main villain as in the original cut is Dr. Decker (aka Button Face). He’s a maniac on par with some of the best, though he gets precious little screen time. I’d love to see a prequel movie about him and his murders, his adoption of the mask—which is pretty goddamned creepy—and if he’d blamed any of his previous murders on other patients, attempting to “psychic drive” them into taking the blame as he does to Boone. It doesn’t feel as though his part was beefed up at all from the Theatrical cut but it doesn’t feel like they’ve cut anything from his storyline.

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Many of the additions focus on the relationship between Boone and Lori; some work and some don’t. The scene where Dr. Decker has drugged Boone and Boone is hallucinating in his apartment, watching himself from outside his body having sex with Lori (who for some reason wears white lingerie, likely to symbolize her purity or “Natural”-ness), works much better in the original cut. In that cut, he takes the pills and suddenly he’s tripping balls, walking down the highway. We’ve seen all we need to. What they’ve added here doesn’t work, does nothing for the story and harms the film’s pace, front-loading it.

This sequence also features Lori singing to a sold-out crowd in a country bar. The song is “Johnny Get Angry,” whose lyrics suggest she wants a “real man,” but also that Boone could very well be a little abusive. The song itself works fine and has a very ‘90s feel, reminding me of those scenes in Twin Peaks with Julee Cruise—but it’s overlong. They play the entire song. During it, Boone, still tripping, wanders in and becomes confused and frightened. He stumbles off and that’s when we rejoin the theatrical cut where he’s about to be hit by a truck. I think it works well to establish Lori as a character, but it could have been pared down.

MAJOR SPOILERS AHEAD:

The biggest changes are in the big final battle which is more of a bloodbath than anything since the Nightbreed barely get any shots in. This is The ATF Storms the Koresh Compound times a thousand. The police here act like paramilitary, lock-and-loading a plethora of automatic weapons (a Twitter friend remarked on the inordinate amount of guns in Canada since it’s meant to take place in Alberta). The scene in which the cops beat Ohnaka to death, a little man with his little dog, seems just about as traumatizing as in the original film.

Shot in slow motion this Rodney King-style beating during which the victim, dragged out into the sun and beaten, turns to dust, sets the stage for the slaughter to follow.

As Midian explodes it actually seems like a BIG thing, unlike in the theatrical cut where it felt and sounded like a Hollywood soundstage. We hear babies screaming, mothers crying. The earth cracks underfoot with huge, Surround Sound rumbles. By the time Boone finally unleashes the Berserkers we’re rooting for them to take out the human invaders—and they do, in classic monster-rampage style. Another good addition adds clarity to the scene where Boone inherits the spirit of Baphomet, the Nightbreed’s version of God, and becomes the living god “Cabal.”

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In the end, when Lori asks Boone to bite him so she can become Nightbreed and stay with Boone, the decision makes much more sense as their relationship is solidly established. Boone refuses, still the good guy even now he’s a full-on monster, and in her desperation Lori stabs herself, forcing him to bite her so she’ll live forever. Hidden in a barn, the surviving Nightbreed speak of Boone/Cabal returning “on the next wind.”  “Johnny Get Angry” plays us out into the credits.

If you’re a fan of the original cut you owe it to yourself to watch Nightbreed: The Director’s Cut. If you’re a horror fan who’s never seen it it’s worth a look. This is the movie that inspired Wes Craven’s The People Under the Stairs, and in my opinion, it’s a far better film. For creature fans, the Director’s Cut has many more monsters to satisfy your deviant pleasure. All in all, the new cut is a more cohesive story with a lot more focus on Boone and Lori’s relationship and much more sympathy for the Nightbreed themselves.

If it had been released this way originally, it might have spawned its planned sequel instead of just a cult following, a comic series, and a terrible video game.

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Duncan Ralston was born in Toronto and spent his teens in small-town Canada. As a “grown up,” Duncan lives with his partner and their dog in Toronto, where he writes dark fiction about the things that disturb him. In addition to his twisted short stories found in GRISTLE & BONE, the anthologies EASTER EGGS & BUNNY BOILERS, WHAT GOES AROUND, DEATH BY CHOCOLATE, FLASH FEAR, and the charity anthologies BURGER VAN, BAH! HUMBUG!, VS: US vs UK HORROR, and THE BLACK ROOM MANUSCRIPTS Vol. 1, he is the author of the novels SALVAGE, EVERY PART OF THE ANIMAL, and WOOM, an extreme horror Black Cover book from Matt Shaw Publications.

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How far would you go for revenge? When a six-year-old girl is abused and left for dead by a pedophile known only as the “Rabbit Man” due to the claw marks left on her body, police follow every lead but reach only dead ends.Hungry for justice, her grieving father abandons wife and child on a harrowing journey deep undercover into Miami’s sex offender colony under the Julia Tuttle Causeway. His purpose is simple: to find the “Rabbit Man” among them, and put him in the ground. Months later, with no one to trust and the pedophiles he lives among growing suspicious of his actions, he learns nothing is simple where the monsters live.

Get YOUR copy of WHERE THE MONSTERS LIVE on Amazon for $1.39!!!

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Fright Fest: Clown (2014)

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Over the last few weeks, the news has been inundated with reports of people dressed as clowns mysteriously appearing in communities across the globe. At first, their appearances were largely non-threatening, often loitering like a low rate Michael Myers but then elevated to wielding knives and armed robberies. This has been met with a mix of intrigue and derision, and the general public has been less than receptive to the idea of a creepy clown hanging around their property or stalking their family for nothing else but their own amusement. There is an inherent distrust of clowns for the most part, with Coulrophobia being the phobia of them, despite the fact that they are supposed to elicit humor and happiness.

Perhaps it’s fitting then that director Jon Watts project Clown began as something of a joke. Watts and Chris Ford, the screenwriter, made a now infamous fake trailer and even credited Eli Roth as a producer despite the fact he wasn’t associated with the project at all at that time. This ballsy move prompted many to believe that the film was a real thing, and convinced Roth himself to make the project a reality with Watts and Ford and it began shooting in 2012.

After languishing in the release date graveyard the film saw a staggered release across the globe that started in Italy 2014 and ended most recently with the USA in the summer of 2016.

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And it is with firm belief that I state Clown, in my opinion, is one of the best monster films in years that deliver an incredibly unique cinematic creature and slow burn body horror amidst the family drama.

The story tells the tale of Kent McCoy (Andy Powers), a generic everyman working as a real estate agent. While juggling the renovation of a new property and his child’s birthday party he uncovers a clown costume with the property’s basement. With the clown, he’d booked for his kid’s party needing replacing he thinks quick and dons the costume and pretends to be an entertainer. However, he soon realizes something is amiss when he is unable to remove the suit, and it is in fact possessed by an ancient demonic entity “The Cloyne” that acts like a parasite feeding off of its host, becoming one with them and making them yearn to eat the flesh of children.

At first, the set-up is darkly humorous with Kent’s fruitless attempts to remove the costume played with a wry smile but soon the comedy evaporates as each attempt leaves him more desperate, distraught and disfigured. His skin grows paler, his rubber nose turns into a redraw scab and his hands and feet distort with boney cracks and claws.

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In his desperate search for a cure, he encounters Herbert Karlsson (Peter Stormare), somebody who knows the secrets of “The Cloyne” after his own brother fell afoul of its curse. Karlsson breaks the news to McCoy that the curse is permanent and the only release for him is death.

Clown strikes the delicate balance between pitch-black humor and horror with masterful strokes, and despite the inherent absurdity of the concept it plays it straight-faced with one hundred percent commitment. It is this sincerity that elevates the film to something special for me. As a lifelong fan of cinematic monsters, Clown is a breath of fresh air in today’s extreme horror world. Its set-up is simple, its delivery elegant and its payoff brilliantly tragic. Most importantly at its heart a monster that is memorable and unique, something its concept could have easily fumbled but it introduces a legitimate and otherworldly threat with aplomb.

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I dare say this film is nostalgic at a time when horror films increasingly turn to shock tactics and gross out concepts to one-up each other. Fans who like simmering dread, iconic creatures and a story that’s not afraid to have the audience sympathize with the titular creature, as we watch a once good man slowly enveloped by a horrific curse and dares you to come along for the ride.

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Daniel Marc Chant – Is no stranger to Machine Mean, having reviewed for us both The Mummy (1932) and The Creature Walks Among Us(1956) during our Universal Monsters in Review series.  Mr. Chant is also the published author of several terrifying tales, including Maldicion, Burning House,, Mr. Robespierre, Aimee Bancroft and The Singularity Storm, and his latest release with Into Fear. Daniel is also one of the founders of The Sinister Horror Company, the publishing team that brought us such frights as, The Black Room Manuscripts Vol. 1 and 2 and God Bomb!. You can follow Daniel on his blog, here. And you can read his review on The Mummyhere.

And as always, if you enjoyed what you’ve read here on Machine Mean, please subscribe to our author mailing list by clicking on the “FREE BOOK” image below to not only receive updates on sales and new releases, but also a free anthology of dark fiction.

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