Read the following quote: “They’re already here! Help! You’re next! They’re coming! They’re coming!” Disturbed? Bothered? Maybe a little scared? Well, you should be. This quote is meant to knock you off kilter. In this 1978 remake of the classic 1956 “Invasion of the Body Snatchers” there are no pulled punches. With a surprised PG rating, the fear is turned up high, not with over-the-top gore or practical effects (though there are some really haunting scenes) or naughty language, but with an idea, a very real idea of not knowing the people around you. Who are they? We don’t know. You don’t know. But they’re odd. They talk without speaking. They look cold and calculated. The city is as it always has been, but slowly and surly those unknown faces are being replaced with even stranger ones. Stoic. Everywhere. And always watching.
Before we delve into this review, here’s a quick fire synopsis to jog your memory:
“This ‘remake’ of the classic horror film is set in San Francisco. Matthew Bennell (Donald Sutherland) assumes that when a friend (Brooke Adams) complains of her husband’s strange mood, it’s a marital issue. However, he begins to worry as more people report similar observations. His concern is confirmed when writer Jack Bellicec (Jeff Goldblum) and his wife (Veronica Cartwright) discover a mutated corpse. Besieged by an invisible enemy, Bennell must work quickly before the city is consumed” -Wiki
Let me back up.
Remember the quote at the beginning of our discussion? That quote comes from a very odd character, one you may recognize, if you’ve got a good eye. At the end of the 1956 film, producers felt on edge to leave the movie with the writer’s original script as Doctor Bennell walks down the freeway, shouting, “They’re here already! You’re next!” Instead, they added the scene which implied the FBI rescuing America, rushing in and destroying the invaders. The quote at the beginning is from the 1978 version, with notions of 1956, where we find the leading cast members driving in the city and theorizing. Matthew Bennell is attempting to calm his love interest, Elizabeth, who is convinced something is terribly wrong with her live-in boyfriend, Geoffrey. “He’s just…different,” she says. All of a sudden, a man dashes out and lands on the hood of Matthew’s car. He’s grey haired with wide bloodshot eyes and looks eerily like Dr. Miles Bennell from that small town in California. Panicked, he begs for help. Realizing, no help will be given, he warns Matthew and Elizabeth…”They’re here,” he shouts. “They’re coming!” And he dashes off, only to be run down in the middle of the street. This little scene is the most genius one in the film. Not saying there aren’t other more jarring scenes, because there are, but this one is superb because it ties together the past to the present.
The scene also implies that the events of 1956 did not end with the salvation from the hands of the FBI, but the invasion has continued to grow, slowly, and now, those “pods” have set sights on the budding metropolis of San Francisco, and as we see during the dockside events in the 1978 Invasion movie, as the “pods” are being loaded into the ships docked at port, the world seems to be their game. While in 1956, the invasion event was isolated to the small town… that’s simply not the case anymore.
There are so few remakes nowadays that are as brilliant as this one, if we can even call Invasion of the Body Snatchers a remake, just as it is difficult to call John Carpenter’s The Thing a remake as well, though he has testified, calling his work as such. One would think, given the way remakes and reboots are the norm today, someone within the echelons of Hollywood would remember the key elements from classic remakes of original films. To make a remake great, or even attempt to create something even more grandiose than the original, as we’ve seen in Invasion of the Body Snatchers, there must be a balance between disassembling what made the original great, understanding those themes and nuances, and then reassembling the components into something new. And of course we would hope the remake was thoroughly thought-out and warranted as well. If the balance is done right, the remake shouldn’t feel like a remake at all, but another “title” movie. Personally, I don’t even like using the term “remake” for films like these. If the balance is done right, I’d rather call them “continuations.” But I know I am in the minority with such notions.
Originality, of course, is the name of the game, and Invasion of the Body Snatchers has it in spades. The relationships are what sold me. Donald Sutherland as the hardnosed Health Inspector, who is as sharp as a razor with snobby overpriced restaurant owners, always with a keen eye for rat turds, but is soft as rose petals and somewhat blinded with his love interest, and unavailable by the way, Elisabeth Driscoll, played by the fantastic Brooke Adams. Watching them on screen is mesmerizing. How he loves her, yet understands he cannot have her, but still wants to protect her. And how can we forget the dynamic between pop-psychologist Dr. David Kibner, played by late-great Leonard Nimoy and Jack Bellcec, a not-so-popular (or even published writer for that matter) philosopher who scoffs at how easily Kibner pumps outs books; also one of Jeff Goldblum’s earlier roles by the way. I found it very interesting how the first of the friends to put the mystery together, though perhaps she went a bit far in her “Worlds in Collision” and “Flowers in Space” paranoia, was Nancy Bellcec (played by Alien star Veronica Cartwright), Jake’s wife, who at the end (SPOILERS!) is the sole survivor of the small party of friends. And it gives me even more pause in how she survived. Every time she is swallowed up by the crowd and separated from Matthew and Elizabeth, we assume she was “taken.” However, there she is, she turns up unscathed because she has learned to “act” like one of the “pods.” Though how much of that is really an act, I wonder. When Matthew and Elizabeth are discovered, unable to hid their humanity and doing a poor job “blending in,” Nancy quietly disappears into the mob as they turn on her friends only to turn up again at the end. What does her character tell us? What questions does she raise? Perhaps, that to survive a world in which individuality has faded into a common core one must assimilate similar behavior of the so-called “hive mind…” It certainly begs the question of what the original writers were thinking (be it fear of Communism or fear of Conservatism), and of course what was Kaufman thinking as well.
To all of these questions, I imagine, we must answer for ourselves.
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.
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Lets take a ride on the wagon wheel to Minnie’s Haberdashery. And before we pick up any strangers along the way, let me forewarn you, though I plan on keeping this review as spoiler free as possible, don’t get mad if I let a few things slip from here to there. Okay? Okay. You’ve been warned. THE HATEFUL EIGHT is as you may have guessed, if you’re a fan of this particular type of movie, and this type being very much a Quentin Tarantino movie, is his eighth film, with Django Unchained and Inglourious Basterds before that. With this new adventure behind the pen of Mr. Tarantino, we’re brought into the western/frontier world of a very recent post-Civil War America. After watching his last film, Django, I suspected Mr. Tarantino would be making a return to frontier/western film-esk America. If you’ve seen that film, then you may agree, with the story and the characters, he seemed to have a lot of fun with his screenplay and directorial duties. This new film runs nearly 3 hours, and the pace is one of the more interesting or “telling” aspects, pointing to an otherworldly reference, mentioned in other reviews by more talented reviewers than myself. Our eyes first witness a white landscape with a very large snow capped mountain. From there, we then get to spend, about an hour or so, inside the wagon with one John Ruth (Kurt Russel), Maj. Marquis Warren (Samuel L. Jackson), Sheriff Chris Mannix (with a running jag how no one believes he’s really the sheriff of this town everyone’s trying to get to), and imprisoned outlaw, Daisy Domergue (Jennifer Jason Leigh) before finally arriving at the Haberdashery. The conversations are what you may have come to expect from a Tarantino film, filled with plenty of adult language, the use of the N-word, and exposition. If you can stomach all this, well…as the saying goes, you’re in for one hell of a ride.
But don’t come expecting high octane action. You’re not going to get that. Instead, you’ll get a colorful mix of exposition told without the need of repetitive flashbacks. In a somewhat risky move, especially with today’s attention-deficit-disorder generation, Mr. Tarantino allows the characters to interact as naturally as conversation. Conversation, imagine that! And while some of the interaction seemed awkward and forced, we have to be somewhat honest here, isn’t most conversation forced and awkward? Or am I such a recluse that natural conversation seems wholly unnatural? Hmm… MOVING ON! After spending a lengthy, what I found to be quite comfortable, amount of time in the wagon, shooting the breeze and sharing stories of past bounties, nicknames, Lincoln letters, and Civil War exploits, we finally arrive at the crux and final stage of our play…oops, I mean movie. That’s right. We get the wagon. And we get the Haberdashery. No exotic local, no trip around the world, not even a walk downtown. Nope. And why? Django at least trotted across the rural south. And Basterds carved swastikas throughout Germany and France. Well, THE HATEFUL EIGHT is not a wide-birth story, its a story about suspension as well as vengeance. Its a classic “who-done-it” with the added benefit of being a western paranoia story. And one of the best ways to invoke the dread of paranoia is to isolate the cast…and the audience. And there’s another reason too…
My “otherworldly” reference before was a nod at what a few other reviewers have claimed regarding this eighth film by Mr. Quentin Tarantino. And I’ll flat out say it here, people are claiming that THE HATEFUL EIGHT is a homage to John Carpenter’s 1982 masterpiece, THE THING. When I heard this floating around the web, it pretty much sealed the deal. I was going to watch this movie. And I’m so glad I did because they were absolutely right. Besides the obvious markers, the opening sequence with the white landscape and snow capped mountain, isolated “cabin” with a male dominate cast, the only woman technically being Daisy Domergue, and I’m not sure if she is really counts as a lady, there are other THE THING identifiers. The biggest and best is the musical score. As advertised in certain cycles, Ennio Morricone gave his all in the fantastic musical score for THE HATEFUL EIGHT, even including unused music from, you may have guessed, THE THING. And its very very noticeable and awesomely chilling, invoking the very essence of paranoia, and filling the audience with the same dread and distrust the characters are struggling with.
Here is a mere sample of the overture:
From here, there’s not much I can reveal without giving away too much. There is a certain level of dark humor to the movie. I found myself laughing several times…though admittedly, looking around in the movie theater, I was the only one. And there was some gore, which I thought played wonderfully with the whole THE THING nod. All the characters were fantastic, all but for one…and he wasn’t entirely terrible either, just didn’t really need to be in there. Michael Madsen makes an appearance through the second half of the movie. He plays the role of John Gage, a rough but silent “cowboy” archetype. And yes, much like in all the roles Madsen plays in Tarantino pictures, he’s a man of few words. And perhaps that’s fitting for a “western” type movie, but I just didn’t see that great of a performance from him…its hard to describe without ruining it. He acts as he always does, its not bad or all that great, I guess…maybe he wasn’t really used as much as he could have been. He seemed pretty much in the background for most of the movie while all the others were for the most part front in center. I had the vibe Madsen was just there because he’s buds with the director…and its sad, because as we know from previous Tarantino films (Reservoir Dogs), he can play a really sinister “man of few words” guy.
Well…in summary, THE HATEFUL EIGHT is a fantastic show, well worth the price of admission. For fans of THE THING, this movie needs to be on your “must watch” list. The musical score alone with make you giddy. And if that don’t, then a certain scene involving Kurt Russel, when he says, “One of them fellas is not what he says he is…,” will.
My Review: 5/5
When asked what my favorite scary movie is, the geek in me knows there are just too many gory and spooky films to choose from. There are bunches and bunches of awesome horror out there, but,for better or worse, John Carpenters The Thing is one of my all time favorite horror movies. There are few horror movies that I can watch over and over without ever getting bored. Some horror movies are seasonal, such as: Friday the 13th is typically reserved for Friday the 13th’s or anytime during the summer, Halloween is reserved for Halloween, Gremlins is during Christmas, and so on. There is something about The Thing that keeps me coming back. From the opening scene with the space craft crashing into the earths atmosphere, to the seemingly innocent snow dog running from a deranged Norge gunman, and the discovery of the still smoldering Norwegian base camp, the setup reels you in and doesn’t let go. As we watch these scenes progress, we’re given little nibbles of foreshadowing (death, isolation, and an otherworldly discovery in the Arctic tundra) and the ever present somber tone, beautifully captured in the movies main musical score (some of Carpenters best musical scores), all this sets the pace and mood till the final conclusion.
Released during the summer of 1982, Carpenters take on John W Campbell’s novella, “Who goes there?” faced steep competition from other sci-fi releases, including: E.T. and Blade Runner. The Thing held the #8 spot during the summer blockbuster season and garnered some rather harsh criticism for being overtly graphic and agonizingly slow. The Thing presented a message that just was publicly receptive at the time. As George Romero has commented on the film, it was an era when we had little trust for those around us and ourselves; however, The Thing has since grown in popularity (mostly with horror geeks) and through the decades has established an impressive cult following. What Carpenter once called his “biggest regret” has now been named amongest the best in science fiction and one of the scariest movies in horror. This proves again how inconsequential box office rating are compared to how good a horror movie really is. In my eyes, The Thing could have eaten that nerd E.T. and assimilated Rick Deckard; however, apparently The Thing was a creature before its time.
Instead of going through the movie, giving away key plot develops that you could be discovering for yourself, i’ll go through the parts of the movie that impressed me the most. The Thing, as I see it, is one of the best science fiction horror films ever to grace cinema. The only other contender is Dead Space, a game which is fundamentally similar to The Thing, but hasn’t yet been made into a live action movie…not yet at least…and since we’re on the subject, who could pull off a Dead Space film other than John the master of horror Carpenter? (I know its just an internet rumor, but wouldn’t it be amazing for him to direct Dead Space?) Anyhow, this is all beside the point. Lets get back to the subject at hand. As we discussed in the opening of this review, The Thing comes at us with the perfect setup, the small little bits of information, drawing you in, forcing you to beg the question: What the heck is going on here?!? The best part is how isolated the characters are in the story are. Nothing tops old man winter to make one feel all alone!
And isolation is a classic backdrop for any horror story. Separate you’re characters from the world and odd choices will ensue when conflict rises. The Arctic adds the feeling of vulnerability; in contrast, a swampy humid location would typically coop stories about madness. However, The Thing isn’t so much a story about madness; its more about paranoia. Cut off from outside help characters become forced to take matters in their own hands, making isolation (or closed environments) the best way to heighten the feel of terror.
As far as characters go, John Carpenter could not have picked a better actor to play anti-hero MacReady than Kurt Russel. Other than Escape from New York, Big Trouble in little China, and Star Gate, The Thing is one of my favorite movies with Kurt Russel at the helm. His portrayal as the ruffy, drunk camp pilot, with a keen leadership ability during a crises, was spot on and completely believable. The same could be said regarding the rest of the actors, including both Wilford Brimley and Keith David. Each and every character was perfectly portrayed without the cheesy need of explaining who does what. Unfortunately, many horror movies fail with simplicity. You do not need to explain every single detail; let the story explain who the characters are through their actions. Just a little something to consider whenever you write your next screenplay: less is more.
Reading through some of the old reviews, the one thing that had turned most critics off in the 80’s was the very thing that made this movie a legend, the use of traditional special effects. Oh, and don’t worry, i’m not going to go on a rant here regarding CGI and traditional, but let me just say, comparing the original 1982 with the recent prequel, Carpenter’s will always be better because of his employment of hand crafted monsters, instead of computer simulations. For me, traditional effects are able to gross me out more than CGI; and its all because of the real factor, knowing somewhere out there in some back lot studio garage, these painstakingly crafted Things are still there, waiting to be rediscovered and sold in some Hollywood auction. Call me a horror snob all you want, but can you honestly disagree that when the Norris-Thing’s head started spouting spider legs, the sound and image didn’t make you cringe? This memorable scene was an unforgettable moment in horror. Norris has a heart attack, or seems to, and poor doc Copper steps in to save his life, only to lose his…and his arms! The Norris-Thing’s transformation was the second best monster moment in the movie, topped only by the Blair-Thing at the end of the movie.
Despite what others critics have said, the effects do not overpower the story, nor are they over done. The story, etched in paranoia, is still very potent. Well into the second day, folks at the United States National Science Institute Station 4 rapidly become suspicious of each other. The Thing, as they discover, can assimilate any biological life it comes into contact with… “It could be anyone of us…” is a phrase said once or twice around camp. Eyes dart between old friends and anyone acting or doing anything out of the ordinary is called into question. Who is friend and who is foe? Who can I trust? As MacReady told Blair, “Trust is a hard thing to come by these days.”
Not knowing who can be trusted magnificently adds to the feeling of isolation. Who’s got your back if the only person you can trust is yourself? In this respect, Carpenter brought out a lot from Campbell’s original novella, “Who Goes There?” Beside the Norris and Blair-Thing’s, the Bennings-Thing, with its thunderous scream, echoing out into the winter storm, was one of the creepiest moments in The Thing, and an excellent moment of paranoia. The effects were minimal here, there wasn’t much of the monster to see. The scary part was that Bennings was the first –known– member of station 4 to become absorbed by the alien. And as Garry so eloquently pointed out, “Bennings was my friend….I’ve known him for ten years.”
Though this review is without a doubt positive, that doesn’t necessarily mean the movie isn’t without its imperfections. There were a few bumps in the story that threw me off. The biggest one was when MacReady and company discover, or assume, the Things plan to go back into hibernation as it waits for the spring rescue crew to arrive. To this, MacReady plans to “heat things up around here,” which I wasn’t sure if he meant to burn the Thing or to heat up the camp so that it couldn’t go into hibernation…see where i’m going? Their in the antarctic, the fire will eventually extinguish and the Thing will still be able to hibernate. However, if you’ve been following our heroes development through the movie, it wouldn’t be unreasonable to assume that MacReady isn’t really thinking straight, he’s sleep deprived and extremely paranoid. Endings can be the hardest part in a story to pull off without upsetting the audience. Everyone has an opinion. And though MacReady’s plan didn’t quite make sense to me, it was still an excellent and believable ending. They know their going to die, they just want to ensure the Thing dies with them.
The bottom line: The Thing is obviously a favorite. My review is glowing. The Thing is a favorite not only because of my love for the 1980’s or John Carpenter flicks, but because of its sheer intensity as a horror movie in general. Every aspect of this movie screams horror: a movie thriving on classic macabre motifs (isolation and paranoia) to deliver something uniquely chilling, which is: Who can we trust? If you are a true horror fan, of any caliber, you really need to watch this movie. Some folks may argue and say Halloween or Prince of Darkness was Carpenter’s best work; however, it is my humble opinion that The Thing was Carpenter’s best. The only hiccup in the story, for me at least — other folks may spend countless hours trying figure out and make sense of every single thing said, which is pointless — was MacReady’s plan at the end of the movie. However, sometimes these imperfections can actually make the story more believable and besides, isn’t the point of horror for its characters to make dumb decisions that do not always work out in the end and they have to do something different to save the day or fail doing so because of said dumb decision? Sure, The Thing wasn’t a box office success, but who cares? Since the 80’s, The Thing has become enshrined as one of the most important horror-sci-fi films with one of the longest lasting shelf life any film can hope to accomplish, which is to say, timeless. And regardless of what some critics are saying, The Thing was not a remake of the 1951 classic film The Thing from Another World. Carpenter’s take was actually more true to the original novella that spawned both movies. However, Carpenter being the classy guy that he is, payed tribute to Christian Nyby’s film with a few added easter eggs.
So, however you can, either buying it, renting it, borrowing it, or streaming it, watch this movie! You will NOT be disappointed.