Horror Film Review: Hell Night (dir by Tom DeSimone)

Posted on October 23, 2015 by Lisa Marie Bowman

It’s pledge initiation night at Generic University! Four students are hoping to join the Alpha Sigma Rho fraternity and its sister sorority. Denise (Suki Goodwin) is English and never goes anywhere without a supply of quaaludes and a flask of Jack Daniels. Seth (Vincent Van Patten) is the blonde jock, who wants to spend the entire night hooking up with Denise, despite the fact that Denise keeps calling him, “Wes.” Jeff (Peter Barton) is the sensitive rich kid who fears that the only reason he’s getting into the fraternity is because of his family’s money. And Marti (Linda Blair) is the girl from a poor family who works on cars during her spare time. In order to pass the initiation, they have to spend the night in deserted Garth Manor.

However, they won’t be alone in Garth Manor. The president of the fraternity, Peter (Kevin Brophy), is planning on spending the entire night playing pranks on them. Helping him will be his girlfriend, May West (Jenny Nuemann) and his nerdy best friend, Scott (Jimmy Sturtevant). Unfortunately, what Peter did not realize was that the four pledges are all smart enough to know that he’s going to be trying to scare them. As a result, they just ignore his best efforts to make things creepy.

Of course, what none of them know is that the legend of Garth Mansion is actually true. As Peter explains at the beginning of the film, it has long been rumored that Mr. Garth murdered his entire family, except for his horribly deformed son Andrew. They say that Andrew still lives in the mansion, waiting for a chance to attack and kill all trespassers…

And that’s pretty much exactly what happens!

But you know what? For a relatively straight forward slasher film from 1981, Hell Night is not a bad film at all. In fact, with its relative lack of gore, nudity, and painfully stupid victims, it can probably be argued that Hell Night is a slasher film for people who don’t like slashers. Hell Night emphasizes atmosphere over easy shocks and actually devotes some time to characterization. Even if the majority of the characters are familiar horror film types, you still care about them. Even poor Denise, who has the thankless role of being the sexually independent girl who you know is doomed from the minute she first appears on screen, gets a few good lines.

(Plus, the film opens with a costume party so, of course, all of the outfits are to die for!)

One of the things that really made Hell Night effective is that the characters are not idiots. They don’t just stand around waiting to be picked off. At first, they just assume that any and all strangeness is a result of Peter trying to scare them. When it becomes obvious that Andrew Garth is alive, one of them manages to escape the manor and goes straight to the cops. And how do the cops react? They tell him that they’re tired of dealing with drunk frat boys and order him to go home, adding to the hopelessness of the situation.

(But, honestly, if some random guy told you that a deformed monster was trying to kill him, would you believe him?)

Hell Night is full of scary atmosphere, clever lines, and good acting. As far as early 80s slasher movies go, it’s one of better examples of the genre.

Horror on the Lens: Feeders (dir by Jon McBride, John Polonia, and Mark Polonia)

Posted on October 23, 2015 by Lisa Marie Bowman

For this morning’s horror on the lens, we have a low-budget alien invasion film from 1996. The name of the film is Feeders and, much like Exorcist II: The Heretic, this is one of those films that simply has to be seen to be believed.

Patrick and I watched this with the Late Night Movie Gang back in July. And we had a lot of fun with this film. Feeders definitely rewards a snarky attitude. Now, if you’re looking for a film with amazing special effects, great acting, and a good script, Feeders may not be for you. But if you’re looking to enjoy watching a true WTF!? epic, so bad-its-watchable Feeders is for you!

Halloween Film Review: Halloweentown High (2004, dir. Mark A.Z. Dippé)

Posted on October 22, 2015 by Valerie Troutman

This is definitely my favorite of the Halloweentown movies I have watched so far. Yes, it comes across as a failed TV Show pilot, but I still enjoyed it more than the first two. I can’t believe it took me this long to really appreciate him, but the character of Marnie’s brother named Dylan Piper (Joey Zimmerman) is great.

He has a little bit of a subplot in this, but basically his character exists for the sole purpose of being a smartass in these movies. I like that.

The film opens up with Marnie (Kimberly J. Brown) acting liked she cured cancer or something by opening up the portal between the human world and Halloweentown. Up till now that was only open on Halloween. Now two way travel is possible all the time so that this film doesn’t have to re-hatch the plot of the first two films, but can continue really being about accepting people who are different from yourself. Since it seems all these movies or TV Shows with witches must have a council that the character is dragged before…

They really only exist so that there is some sort of thing on the line if Marnie’s dream of having some kids from Halloweentown attend a human high school fails. In this case, she loses her magic. And of course the deadline is midnight on Halloween. So there’s your setup.

Then since Debbie Reynolds will be damned before she’ll be upstaged by Sabrina, The Teenage Witch, which actually had Coolio in it, she references one of his most famous music videos. She pulls an endless stream of kids out of a VW Bug. For those of you too young to remember. Here’s Coolio’s cover of Fantastic Voyage.

Reynolds also comes with a living purse.

Yeah, screw you lady from Smart Cookies and your purse big enough to hold a severed head. Reynolds purse doubles as an attack dog. Reynolds not only arranged for the kids from Halloweentown, I mean Canada as there cover story says, to attend the school, but she is going to teach there too. Thankfully, they do next to nothing with that because the one scene where she really does that is embarrassingly bad.

There is a special locker through which the kids from Halloweentown can travel that acts as a lounge where they don’t have to wear their human costumes. This is when a short little part caught my ear. I even had to rewind it to make sure I heard it correctly. It’s not emphasized or anything, but it’s a nice little subtle touch. One of the girls talks about an experience she had with two “cheer leaders”. She says it the same way someone who isn’t from the human world would. Something like this isn’t too unusual in a movie with a plot like this, but it’s done with so little emphasis that you could miss it. It’s like when I notice a Hallmark movie that properly fakes a computer screen. Realistically, most of them don’t show the screen long enough for it to really need to be done with authenticity, but it shows they cared enough to get it right. That’s how this felt.

In this one Marnie has a romantic interest again. Or I should say there’s a guy who likes her, but the poor dude keeps getting screwed over by the plot when all he wants is to ask her out. She likes him and everything. She gets her metaphorical erection the moment he shows up, but the plot just keeps getting in the way.

As you can guess, the rest is mostly about acceptance. However, you need a villain. They come in the form of what are called knights. Just imagine one of those last episodes of Star Trek: Enterprise where Peter Weller tries to stop the creation of the Federation just before it’s formation. They want to keep the human world and Halloweentown separate and close the portal forever. This part takes a bit of a backseat to the whole getting along thing and only really pops up so that we can have a confrontation at the end.

This guy is the main baddy and I love this scene where he manifests himself at a Halloween fair the kids are having. Even before it happens, you know instantly that Debbie Reynolds is not going to have any of this man’s shit (excuse my language). And you’re right because she immediately smacks him down with her magic. I loved that.

Ultimately, it comes down to referencing Charmed by having the three Cromwell witches imprison the bad guy inside of a mirror. Then Marnie finally has nothing to get in her way of getting a little, so she takes the guy who has been trying to ask her out for a ride on her broomstick.

I honestly expected this to be worse than the previous two, but I really did enjoy this more. I still have to see the fourth one, but yeah, if you are going to watch these, then feel free to jump right to this one.

The TSL’s Daily Horror Grindhouse: The Nun (dir by Luis De La Madrid)

Posted on October 22, 2015 by Lisa Marie Bowman

When talking about the 2005 Spanish horror film The Nun, it’s best to admit one thing from the start. This film has got an absolutely terrible ending.

It seems to be the unwritten rule of modern horror that every movie has to have a “shocking” twist that’s revealed during the film’s final 10 minutes. Occasionally, the twist is so well-done and memorable that it will actually redeem an otherwise forgettable film. Far too often, the twist turns out to be so predictable that most filmgoers will have guessed what it is within the first few minutes of the film. And then you’ve got a film like the Nun, where the twist will be so bad and so illogical that it’ll actually cause you to hate the entire film regardless of how effective it may have been before the twist was revealed.

I’ve debated with myself whether or not to just say “Spoilers be damned!” and reveal film’s twist in this review. Seriously, it literally comes from out of nowhere and it’s so ludicrous that I almost feel like I have a responsibility to warn you about what the film has up its sleeve. However, after a lot of thought, I’ve decided not to give the specifics of the twist. Instead, I’m just going to tell you that it’s there and it’s really, really stupid. It’ll probably make you hate the entire film. If you ever find yourself watching The Nun, maybe you should stop watching around the 90 minute mark, just so you don’t have to deal with “twist.”

Because, seriously, until that twist shows up, The Nun is actually a pretty well-done ghost story.

The movie tells the story of Sister Ursula, an insane nun who terrorizes six of her students until eventually, they end up fighting back and accidentally drowning her. They hide her body in a nearby pond and go on with their lives. However, 18 years later, the pond is drained and the former classmates start to die one by one.

Whenever it rains or a bathtub overflows or water drips from a leaky faucet, a murderous apparition of the Sister Ursula is formed from the drops of water. It may be because I was raised Catholic and I’ve actually experienced Catholic school firsthand but I thought that the apparition of Sister Ursula was one of the most effective cinematic ghosts that I’ve seen in a long time. Forming from clouds of mist and with a permanently enraged expression on her twisted face, Sister Ursula is a nightmare personified and, as long as she’s lurking about in the shadows, it doesn’t matter that the film itself doesn’t make much sense. Sister Ursula is scary and the scenes where she takes revenge on her former students are truly frightening.

But the film couldn’t be happy just being the type of simple (but effective) ghost story that would keep you awake at a slumber party. Instead, the film has to introduce that terrible “twist” during the final ten minutes and, as a result, the entire film collapses.

Sometimes, it’s better just to keep things simple.

Horror Film Review: Exorcist II: The Heretic (dir by John Boorman)

Posted on October 22, 2015 by Lisa Marie Bowman

The Exorcist is one of the greatest horror films of all time and a personal favorite of mine. But what about Exorcist II: The Heretic? Well, it would be a bit of an understatement to say that The Heretic has not quite received the amount of critical acclaim as the first film. Since it was first released in 1977, The Heretic has been widely considered to be one of the worst sequels of all time. It’s a film that is often cited as evidence as to why not all successful films need a follow-up.

Myself, I have sat through The Heretic twice. And yes, it is a pretty bad film but I have to admit that I enjoyed it each time that I saw it. It’s not a scary film at all. It’s not a successful horror film. But, as an unintentional comedy, it’s hilarious.

The Heretic opens four years after the end of The Exorcist. Father Merrin (Max von Sydow) is dead, having had a heart attack during the first film while performing an exorcism on Regan MacNeil (Linda Blair). In the years since, some in the Vatican have cast doubt on whether or not Merrin actually performed exorcisms. It turns out that, contrary to everything that we saw in the first film, Father Merrin was actually something of a rebel. His teachings are controversial. For instance, he was convinced that everyone has latent psychic powers and that the demon Pazuzu possesses those who have the potential to be the strongest psychics. Why? Because those people have the ability to lead humanity into a shared global consciousness and…

Well, it gets a little bit complicated. That’s one of the big differences between The Exorcist and Heretic. The Exorcist kept things relatively simple. The Heretic drags in a lot of metaphysical argle bargle.

The deceased Father Merrin has been brought up on charges of heresy. The Cardinal (Paul Henreid, many, many years after Casablanca), assigns Father Lamont (Richard Burton) to investigate the circumstances surrounding Father Merrin’s final exorcism.

The presence of Richard Burton is what elevates Heretic from merely being bad to being so bad that it’s good. As written, Father Lamont is supposed to be something of a naive idealist, someone who never met Father Merrin but who has been intrigued by his writings. Reportedly, several youthful actors turned down the role and eventually, production decided to make Lamont an older man and they ended up casting Richard Burton. Speaking in a shaky rasp and staring at the camera with bloodshot eyes, Burton appears to be at the height of his famous self-loathing in this film. Burton is so miscast as an idealistic priest that the film becomes fascinating to watch. Occasionally, the film tries to make us suspect that Lamont himself may be possessed but with Burton snarling his way through the role, how could anyone tell the difference?

Lamont tracks Regan down in New York. Regan doesn’t remember a thing about the exorcism and appears to be an overly happy teenage actress. (A good deal of the movie is devoted to her rehearsing a big dance number.) She is under the care of psychiatrist Gene Tuskin (Louise Fletcher). Tuskin has a device called the Synchronizer. When two people are hooked up to it, they can literally see into each other’s minds. They can share the same memories. They can … wait a minute. What the Hell? The Synchronizer essentially appears to be little more than a blinking light but it can actually allow you to enter into someone else’s mind? Doesn’t that seem like that should be a big deal?

Well, it’s not. Everyone pretty much just shrugs and accepts it…

Through the use of the Synchronizer, Reagan, Lamont, and Tuskin get to watch a lot of scenes from the first Exoricst. It also allows Father Lamont to have visions of Africa and another exorcism, this one involving a young boy named Kokumo.

This leads to one of my favorite parts of the film; Richard Burton wandering around a dusty African market and randomly telling people, “I am looking for Kokumo.” It turns out that Kukomo has grown up to be a doctor and he’s now played by James Earl Jones, who appears to be amused by his dialogue. Also showing up in the film’s Africa scenes is Ned Beatty. Beatty plays a pilot who flies Lamont to Kokumo’s village. “Have you come here before?” Beatty asks. “Once … on the wings of a demon,” Lamont replies.

Well, okay then…

The first Exorcist worked largely because William Friedkin directed it as if he was making a documentary. John Boorman takes the exact opposite approach here, trying to turn a cheap sequel into a metaphysical meditation on good, evil, and nature. It’s amazingly pretentious and it would actually be rather annoying if not for the fact that Burton doesn’t make the slightest bit of effort to come across as being in any way emotionally or intellectually invested in his over-the-top dialogue. When you combine Burton’s overwhelming cynicism with Linda Blair’s nearly insane perkiness, Louise Fletcher’s genial confusion, and James Earl Jones’s cheerful humor, the end result is something that simply has to be seen to be believed.

So, yes, The Heretic is as bad as you’ve heard. But that doesn’t mean you shouldn’t watch it.

Hallmark Review: Stranded In Paradise (2014, dir. Bert Kish)

Posted on October 22, 2015 by Valerie Troutman

Based on the title you can basically guess where this film starts. It begins at a big company called Connor.com where after a little foreshadowing, Tess Nelson (Vanessa Marcil) is going to end up with James Denton’s character Carter McConnell who clearly lost his thumb in paradise and obviously needs someone to help him track it down. Actually she has been fired because the new boss wants to do some restructuring and she’s going to get the boot. This was shortly before she was going to go to Puerto Rico to a human resources convention since that was her job at Connor.com. Well screw getting fired, she’s going to go anyways. There might be a job there!

As soon as she gets on the plane is where this movie starts to do things the way I like it. Sure, the plot ultimately nudges these two in a certain direction so that they will end up together, but it never really feels forced, shoved down our throats, or just flat of place. The two of them have a mix up on their plane seating. They both happen to have the bad luck of losing their luggage. They stay at the same hotel. Plot convenient coincidences sure, but nothing feels forced, for lack of a better word. We just spend some time with these characters, and they spend some time together.

He used to have a job that kept him in one place, but now he does the lecture circuit as kind of a life coach/motivational speaker. She is finding that word has gotten out about her job loss so she is a bit of a pariah. Because the hotel they were both staying at isn’t the brightest when it comes to the construction work being done on it, an electrical fire starts in the middle of the night. Then something happens you’d never imagine. No, not that they both go to a friend’s home who spouts platitudes while a hurricane approaches. No, no, no. She finds a working pay phone in 2014.

They then both go to Carter’s friend’s home. She used to be a Hollywood starlet, but when that dried up, she moved to Puerto Rico. She would be quite likable if they had dialed her back a little. She is so at peace, so I couldn’t care less about the hurricane, that you’d think she actually wants to die. It really is that bad. I can understand having been through many of them and understand that going into a complete panic is unnecessary, but it’s really like she’s totally oblivious to it. I’m sure you know where this leads.

That’s right! After the hurricane seems to reverse direction like it’s a car in a different gear, a faked computer screen that uses a local URL shows up. During the hurricane the new boss at Connor.com was trying to get ahold of her. He figured out that with her gone things were kind of thrown into turmoil. Not only was she good at what she was supposed to be doing, but there were things that she was doing that didn’t show up in any paperwork.

Of course they end up together. She is not only offered her position back at Connor.com, but a promotion to Vice President of Corporate Affairs since she really was doing more than her previous position. This is where I have a little problem with the story. I can understand that Carter would decide that he swung from the extreme of being only in one place all time to traveling all the time, but I’m not sure why she couldn’t find a way to strike a balance between the two. Instead, she goes back to Puerto Rico to catch him at the airport. However, I can kind of still get it because she did hold her previous position for 15 years. That’s a lot of time, and even if it doesn’t make complete sense, I can still buy her making that choice anyways.

This one is worth seeing.

Horror on the Lens: Robot Monster (dir by Phil Tucker)

Posted on October 22, 2015 by Lisa Marie Bowman

I realize I shared this last year as well, but hey, it’s Robot Monster! It’s a movie about what happens when Earth is invaded by a gorilla wearing a diving helmet. (For some reason, it also causes the dinosaurs to come back to life.) It’s one of the most compulsively watchable bad movies ever made so how could I be expected to resist the opportunity to share it again?

Seriously, it’s Robot Monster!

The TSL’s Daily Horror Grindhouse: Deathdream (dir by Bob Clark)

Posted on October 21, 2015 by Lisa Marie Bowman

The 1974 film Deathdream opens with American soldier Andy Brooks (played by Richard Backus) on patrol in Vietnam. When he’s suddenly shot by an unseen sniper, he hears his mother’s voice calling out to him, telling him that he promised to come home. With the voice filling his head, Andy closes his eyes.

Sometime later, back in America, Andy’s family has been informed that Andy was killed in action. His father (John Marley, who you might recognize as the man who played Jack Woltz in The Godfather) and his younger sister (Anya Ormsby) have managed to accept the fact that Andy is dead but his mother (Lynn Carlin) remains in denial. Oddly enough, his mother is apparently proven to be correct in her doubts when Andy suddenly shows up at the front door.

The family (and, eventually, the entire community) welcomes Andy home but it quickly becomes apparent that Andy has returned as a far different person than when he left. Now pasty and emotionless, Andy spends most of his day sitting around listlessly. It’s only at night that Andy seems to have any energy and he spends those hours wandering around town and hanging out in the local cemetery.

It quickly becomes apparent to his father that Andy is no longer quite human. However, his devoted mother continues to insist that nothing is wrong with Andy and, once it becomes apparent just what exactly Andy is doing in order to survive, she becomes just as fanatical about protecting him as his father is about destroying him.

Not surprisingly, Deathdream is more than just a zombie film. When Andy suddenly shows up on his family’s doorstep, he’s more than just a decaying monster. He’s also a metaphor for the unease that viewers in the 70s would have felt about the state of American society. (Of course, in many ways, contemporary viewers share that same unease.) Andy goes off to war and it literally robs him of his humanity. I would also argue that, in its way, Deathdream serves as a satire of the type of complacent society that sends young people off to fight for their lives and then expects them to come back exactly the same as they were before they left. No matter how strange Andy’s behavior becomes, the people around him are willing to either ignore it or make excuses for it. Andy’s mother emerges as a stand-in for everyone who willfully refuses to acknowledge the human consequences of war.

Deathdream is one of those wonderful horror films that deserves to be better known than it is. Deathdream was an early credit for the legendary effects artist Tom Savini and, while the film itself is not especially gory, Savini’s work can definitely be seen in the scenes where Backus’s body slowly decays. Screenwriter Alan Ormsby and director Bob Clark (who later went on to direct the far different A Christmas Story) perfectly creates and maintains a deceptively low-key atmosphere of perpetual unease while the cast elevates the entire film. Backus makes for an all-too plausible ghoul and Marley is great as a man struggling to understand what his son has become. The film is totally stolen, however, by Lynn Carlin who is both poignant and frightening as Andy’s devoted mother.

If you haven’t discovered Deathdream yet, this Halloween is the perfect season to do so.

Horror Film Review: The Mummy’s Shroud (dir by John Gilling)

Posted on October 21, 2015 by Lisa Marie Bowman

In this underrated horror film from the legendary Hammer Studios, a British archaeological expedition travels to Egypt and makes the mistake of entering a mummy’s tomb. As often happens, it turns out that the tomb is cursed and everyone who sets foot inside of it is destined to be tracked down and murdered by a mummy!

That’s pretty bad news for some of members of the expedition. Among those who are now on the Mummy’s list, there’s Sir Basil Waldron (Andre Morrell) who, in the film’s most effective moment, finds himself talking to a toothless fortune teller who cackles as she tells him, “You are going to die!” (Needless to say, a 7 foot tall Mummy is soon standing behind him). And then there’s Claire (Maggie Kimberly), the linguist who translated the curse. And there’s the expedition’s hilariously pompous financial backer, Stanley Preston (John Phillips), along with Stanley’s son, Paul (David Buck). And finally, there’s poor Mr. Longbarrow (Michael Ripper), Stanley’s press agent. If you’ve seen any other Hammer films from the late 60s, you’ll recognize the majority of the cast and you will probably be able to guess everyone’s fate from the minute they first appear on screen.

That, of course, is part of the fun!

First released in 1967 and often dismissed as being one of the lesser horror films to come out of Hammer Studios, The Mummy’s Shroud is actually a pretty effective film. I watched it late last night, with lights out and the sound of rain pounding on the windows outside and I have to admit that, even if nothing about the film surprised me, it still had enough eerie moments that I found myself watching for sudden shadows and the sound of heavily wrapped feet.

And why not? Mummy’s are scary! Even if you don’t know all of the grotesque details that go into the mummification process, Mummy’s just look frightening. It’s the bandages, to be honest. The bandages keep you from knowing exactly who is doing the stalking but, at the same time, you know that if those bandages were unwrapped, you wouldn’t want to see what’s hiding underneath them. By their very existence, Mummies are proof of the finality of death.

And The Mummy in The Mummy’s Shroud is frightening! He towers over all of the “human” actors in the film and when he attacks, he does it with a sudden and savage cruelty. Perhaps the death that disturbed me the most was the death of poor Mr. Longbarrow, who is literally lifted up off of his feet and tossed out of a window. He crashes to the street below and, briefly, the screen is awash with Hammer’s trademark red blood. It’s a disturbing scene, both because Longbarrow is one of the few likable characters in the film and also because the Mummy could have just as easily and much more efficiently strangled him. Instead, the Mummy had to be mean about it.

Seriously, there’s nothing more frightening than a sadistic mummy.

The Mummy’s Shroud may not be one of Hammer’s best films but still, it’s an efficient little horror film and one that, I think, many other horror critics have been a bit too quick to dismiss.

Halloween Film Review: R.L. Stine’s Mostly Ghostly: Who Let The Ghosts Out? (2008, dir. Rich Correll)

Posted on October 21, 2015 by Valerie Troutman

Wow, this one is much better than the sequel. Except for one issue that I will bring up when I get to it.

That’s Max Doyle (Sterling Beaumon) who is really into magic. And that’s Phears (Brian Stepanek) behind him who is considerably more of an actually scary character than he is in the sequel. In the sequel he is an absolute joke. Here he’s just like Nukie, but that’s getting ahead of myself to the problem with this movie. Max has moved into a house that once held a family that Phears murdered (although in the sequel we find out he only made them ghosts, but didn’t actually kill them). He pops out of the mailbox and goes into Max’s room. Max is practicing his magic when he says some words that catch Phears’ ears. We will find out that those words are part of a spell that can be used to send Phears away and not just some fancy magic sounding words as Max believes. Then we hear voices whispering from the vents. Phears refer to them as his children, and leaves the room.

After we get introduced to Max’s family, the two other important parts of the movie are shown to us. First, are the two kids above. They are ghosts of two kids that lived at the house, but were killed by Phears along with their family. We occasionally see the ghost of her mother, but she’s barely in the film. The second thing is where those voices are coming from. There’s an invisible hole in a wall in the basement. On the other side is where Phears comes from and where he has a bunch of spirits he is waiting to unleash on the world. Phears needs to find the ghost kids because there is a spell and a ring that could ruin his plans, which they may have knowledge of.

That’s the setup. The kid just wants to just do his magic show at school and his greatest dream is to have Ali Lohan’s character be his assistant. But the two ghost kids, the “tunnel” in his basement, and Phears are having none of that. Hell, Phears literally splits Max’s dog Buster in half, emerges from the dog’s body, then shows that he can strip the skin off of Max and make it hurt next time. The dog then does snap back together though. So, this establishes that Phears can travel inside animals. In fact, he refers to himself as “the animal traveler”. Now is where the real problem in the film comes out.

That’s not the little girl ghost. That’s Phears having taken on her form. He takes on her form, the little boy ghost, and Max in quick succession in front of his underlings before revealing his plan to travel amongst them. Then he turns into a humanized form of himself. By that I mean he turns into the actor without all his makeup on.

That’s the same actor who played Arwin from The Suite Life. Makes sense since the Mom is played by Kim Rhodes who was the Mom on The Suite Life. The problem is that they showed that he can take on the form of other people and not just a humanized form of himself. Once you know he can do that, then just like when you find out Nukie can turn into light and fly anywhere, you wonder why the hell he doesn’t use this incredibly useful ability. I mean, go and replace the Mom. She’s the character that Max trusts the most and the film even provides a scene where he could have done it. Or replace Ali Lohan’s character to stick close to Max. This movie even sets up a scene where knowing that he can shapeshift, we expect him to do something with that ability which makes sense, but he doesn’t.

You see that? That’s a scene near the end of the movie where Phears pops out of a mouse on a teacher while she is alone in a classroom. Makes sense to get her alone by disguising himself as a mouse. Then he freezes her. Makes sense so that she can’t tell anyone what she just saw. Then he takes on her form so he can easily move about the school without anyone noticing someone who doesn’t belong. Nope, he turns into the humanized form of himself. What? Why do all that setup and then not have him do that? It’s really the only material problem with this film.

The rest of the film is a mixture of comedy and scares as it builds to Max finally getting the full spell and ring to send Phears away…till the sequel.

The movie ends with a cockroach laughing sinisterly, then the movie Joe’s Apartment (1996) begins.

If you can get past Phears not using that incredibly useful ability for anything useful, then this is perfectly fine. It’s much better than the sequel.