Run Time: 91 minutes
Director/Writer: Frank Henelotter
Main Cast: Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, and Robert Vogel
A young boy and his basket creature travel to New York City in hopes to start their life anew, but not without seeking a bit of revenge first. Will the unexpected pair make it out alive? To find out, watch Frank Henelotter’s Basket Case.
I really enjoyed the opening scene and it was an excellent way to foreshadow what this film has in store: just enough suspense, just enough creature, just enough silliness, and just enough gore! The special effects were certainly not lacking during this scene at all; as a matter of fact, the entire film had pretty decent special effects — that is, aside from the most important part: the monster itself — but with a film like this, I can forgive it. (I probably shouldn’t, but when you see it for yourself you’ll understand why.)
Another subject that I find important to mention to those who are interested in watching this film is the music. It is to DIE for! It reminds me a lot of the music that you often hear while watching an Italian horror film, or, to be more specific, a giallo mixed in with a few short spurts of music that could only be described as something you would expect to hear on Seinfeld. Quite a strange but beautiful combination, but it somehow works!
Every character that you encounter during this wild and crazy adventure is so over-the-top and hilarious in their own way, with one of my favourites being the secretary for the doctor near the beginning of the film. The writing in Basket Case is campy and fun, but you really have to be in the mood to watch a film like this; it’s not campy in an Evil Dead sort of way, it’s campy in a way that’s almost too much. Perhaps I’m looking at this film with too much of a critical eye, but for me to analyze this film this much in depth it almost makes it a bit less enjoyable.
For the most part, the acting isn’t terrible and is about on par with what I would expect for a film like this. It doesn’t take away from the film, nor does it distract me, and if anything it adds to what makes this film so enjoyable for a horror fan. In most films, this kind of over the top acting would be frowned upon, but it honestly works for this movie. As for the cinematography — it is what it is. I feel like the scenes were well-filmed and that they weren’t just filmed once and thrown into the film. (Yes, I’m looking at you, Microwave Massacre.) The director obviously came into this film with the intent for it to be over-the-top, and he succeeded in that manner, but, to be honest with you, there are scenes that just went too far. I will let you know: you do unnecessarily see a man’s willy in this film, and, like any other mature, adult lady, it totally gave me the giggles. All in all, I rate this film five-and-a-half deformed monster sex scenes out of ten, and I recommend you to rent this movie!
Hi! I’m Chantel, also known as Channy Dreadful (the headmistress of dreadfulreviews.com), and I am one creepy ghoul hailing from a small city in Saskatchewan, Canada. I am a semi-regular podcast voice, making guest appearances on several podcasts — with the first being Dead as Hell Horror Podcast, and as well on the likes of The Resurrection of Zombie 7, Land of the Creeps, Streaming Horror Society, Horror Movie Podcast and Whedonverse Podcast. Horror-movie-wise, I prefer movies that dabble in the paranormal as well as demonic possession films. These ones get under my skin the most and if done correctly they can also linger in the back of my mind for several days. I also enjoy slashers — the classics, mostly — with killers such as Michael Myers, Freddy Krueger, Jason Voorhees and my personal favourite Ghostface. I spend most of my free time (aside from watching horror films) reading and collecting comic books, which has been one of my favourite pastimes since I was just a little batling. I have also been a professional paranormal investigator with several groups for the past seven or so years locally, with roots stemming from my childhood. Horror and the paranormal have always been a passion of mine, and have part of my life since I can remember. If you’re interested in getting to know me further you can follow me on Twitter @channydreadful! Keep it creepy! xxx
Be sure to stop by DREADFUL REVIEWS to catch all the latest in horror movie news and reviews from none other than Channy Dreadful!!!
In the glamour of watching a Steven Spielberg film, it is easy to understand how caught up we can get in the chaotic wonder of blinking strobes and superb John Williams magnum opus score. But, while we found ourselves in that childlike stupor, did we see what was really going on? The visuals dazzled us, no doubt there, but was the subversive message really received? Did we hear? Did we jump? Did we cower? Since watching, have we kept a precarious eye on the nights sky, glaring into the dark depths of the cosmos and wondering who or what is out there? And not only who or what, but what capabilities do they have? What technology or power can they subvert us with? Mind control? Abduction? Electromagnetism? Black outs? Radiation burns? Sickness? Madness? All these are terrifying symptoms, no? If you’ve paid attention you’ll find the terrifying powers listed here are all in that Spielberg film we’ve loved and adored since 1977. And this is why I think Close Encounters of the Third Kind is the most terrifying surreptitious movie ever made. While we were dazzled and awed, strange elongated aliens were abducting children in a blaze of orange fog. While we giggled and cooed over the keyboard synthesizers and light show, a husband and father of three aggressively and tragically lost his mind, eventually being taken away by these so-called visitors. If we can sit back down and watch this movie again, carefully, point for point…well, I’m sure you’ll agree: Close Encounters of the Third Kind IS a cosmic horror movie. Why? Well, this goes back to that ole Lovecraftian fear, not really knowing “what’s out there” or “where they come from,” and having zero control over “what they do.”
Since its release in the 1977, Close Encounters of the Third Kind has grossed over $337 million worldwide. Ray Bradbury declared it the greatest science fiction film ever made. The film was nominated for several Oscars; having only taken home one in cinematography. Had Star Wars not released the same year, I’m certain Close Encounters would have won all the eggs. No surprise there, if you’ve seen the movie the you know there is no denying the films powerful dream-like quality . There’s nothing uber complicated with the plot or story structure. Its actually rather cut and dry, in which some may say is a tad slow for our rapid fire attention spans. I too recall watching this when I was a kid on VHS and thinking it had its fair share of boring scenes; however, as an adult now, I think the movie has a fantastic pace in which every moment is important in some way. I think a part of why we never watched Close Encounters of the Third Kind thinking how horrifying the movie really was is because of the simplicity of the story, we glaze over and…again, coo over the musical numbers and flashy bulbs. Look at the film, watch the movie, even those on screen, especially at the end, the characters are all moon pied, as if surrendered to some kind of trace or hypnosis. AGAIN…isn’t that in itself a terrifying factor?
And we have to ask, what exactly do these aliens really want? If they’ve been abducting people for generations, what do they want with the one man crazy enough to have made it to Devils Tower? If they’ve been taking people all willy-nilly since before WWII, or even longer, well…it goes to say they probably already have a clear understanding of human anatomy. And if they can insert images and thoughts into our minds, well… this begs the question, how much more of us do they really need to know? To me, it all seems like a subjective test. A greater intelligence than our own giving humanity the equivalent of an SAT exam. Consider this bit from an article published by Keith Phipps:
When Roy Neary (Richard Dreyfuss), a humble lineman for an Indiana electric company, investigates a power outage, he witnesses an unidentified flying object, a run-in that leaves him with what appears to be a severe sunburn. Nearby, 3-year-old Barry Guiler (Cary Guffey), follows some lights outside as his mother Jillian (Melinda Dillon) chases after him. Both Roy and Jillian, who soon meet, are fascinated by their experiences, but this feeling soon takes a turn. Having strayed from his duties as a result of his sighting, Roy first loses his job then seems to lose his mind as he becomes fixated on alien encounters while his family looks on in horror. Jillian’s life turns even more dramatic than Roy’s when the UFOs return and draw Barry to them as Jillian fights their efforts to avail, in a scene Spielberg stages like an otherworldly home invasion, with Barry’s unwitting delight only amplifying the horror. Something from beyond Earth has arrived, but its intentions remain vague, as does its respect for human life.
And at the end, we get the impression of open communication with the whole sign-language gag. But I wonder…how open that communication really is. Neary was still taken. He was obviously still insane, giving no thought or hesitation of leaving behind his wife, two sons, and daughter. My impression is that these intelligent aliens are still rather indifferent about humanity. And indifference can be dangerous. I question the “friendliness” of the final encounter, the film to me reeks of its post-Watergate-pessimistic era of misguided trust. Sure, they are taking Neary to some place that might be benevolent and beautiful, but how do we know and we’re never guaranteed his return. Will they bring him back as they did the countless others? (Did you see the billboard with all those names and pictures of people they believe had been abducted? Freaking insane number, right?) The final act is the answer to the entire mundane meets the spectacular and secretive undertone of the movie, we don’t know, we don’t know if Neary will return, we don’t know what they’ll do with him, and we have absolutely no power to stop them from taking him. And we have to ask ourselves, would we take a ride with these cosmic visitors?
Would we even have a choice if they came for us?
Update: According to several sources, including Blumhouse News, “in honor of the 40th anniversary of Steven Spielberg’s classic feature CLOSE ENCOUNTERS OF THE THIRD KIND, Sony Pictures has recently done a 4K restoration and is planning on re-releasing the film in theaters on September 1st.”
Thomas S. Flowers writes 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 horror and sci fi movies and books and hosts a gambit of guest contributors 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.