Horror Review: Cujo (dir. by Lewis Teague)


“It’s not a monster. It’s just a doggy.” — Donna Trenton

In the early 1980s, Stephen King’s novels sparked a cinematic gold rush, producing adaptations that ranged widely in style and quality. Among these, John Carpenter’s Christine and David Cronenberg’s The Dead Zone hold special status for their stylish direction and psychological depth. Lewis Teague’s Cujo, released the same year, occupies a different but notable niche. While it lacks the thematic complexity and artistic flair of those films, it outshines much of the era’s horror output, especially during a time when the genre was dominated by slasher films and gory set pieces designed as cheap thrills.

The early 1980s horror market was flooded with low-budget slashers characterized by relentless body counts, masked killers, and formulaic plots. These films leaned heavily on explicit violence and teenage premarital sex, combining graphic killings with salacious content to hook viewers seeking quick, visceral thrills. This formula dominated the home video boom, prioritizing shock value over narrative or character development. Against this backdrop, Cujo took a more deliberate and grounded approach, offering a taut thriller focused on psychological and physical survival rather than gratuitous gore.

Cujo begins with a seemingly mundane family drama. Donna Trenton (Dee Wallace) is struggling with her crumbling marriage, and her son Tad (Danny Pintauro) battles childhood fears. Their ordinary world quickly tilts into horror when Cujo, a lovable St. Bernard owned by local mechanic Joe Camber, contracts rabies and becomes a vicious predator. The film eschews supernatural elements for biological realism, making the terror brutally tangible.

Teague’s direction is restrained but effective. He builds tension through atmosphere and character rather than cheap scares. Dee Wallace delivers a deeply emotional performance, portraying Donna’s terror, resilience, and fierce maternal instinct with authenticity. Pintauro’s natural vulnerability bolsters the emotional weight, grounding the film in relatable human experience.

Cinematographer Jan de Bont’s claustrophobic framing, point-of-view shots from both dog and victims, and the oppressive imagery of the sweltering, stranded car amplify the suffocating dread. The restrained editing and thoughtfully designed soundscape further heighten suspense without resorting to excess.

While the film’s early pacing leans heavily on domestic drama, some subplots—Donna’s affair and marital discord—feel underdeveloped, losing potential narrative resonance. A few moments push the bounds of plausibility, especially Cujo’s extreme aggression, and familiar horror tropes surface near the climax. Additionally, the film’s ending diverges from King’s grimmer novel, opting for a resolution that some find cathartic, others less satisfying but still emotionally charged.

Compared to Carpenter’s Christine and Cronenberg’s The Dead Zone—which embraced symbolic, psychological, and stylistic complexities—Cujo focuses on survival horror rooted in reality. This grounded approach was relatively unusual for the time and gave it a distinctive identity amid the slew of copycat slashers. Where many early 80s titles peddled blood, teenage promiscuity, and spectacle for quick payoffs, Cujo offered slow-burning dread, emotional depth, and an unrelenting focus on human vulnerability.

This ambition helped Cujo stand apart, making it a stronger, more thoughtful film than most of its low-budget contemporaries. It may not match the artistic heights or thematic sophistication of its King-adapted peers, but it carved out a unique place by delivering a visceral, character-driven thriller that leveraged fear’s everyday, primal roots rather than supernatural fantasy or teenage rebellion.

Ultimately, Cujo excels as an intense, claustrophobic horror film powered by standout performances and atmospheric tension. Its power derives from a terrifyingly plausible premise and an empathetic portrayal of survival against merciless odds. It is a gripping reminder that horror need not be lavish or supernatural to be effective—sometimes, the most terrifying monsters are those lurking close to home.

For fans of 1980s King adaptations and horror outside the slasher mainstream, Cujo remains a compelling watch. Its imperfections, including slower pacing and some narrative shortcuts, are overshadowed by its psychological realism and emotional impact. Cujo is a rare early 80s horror film where the primal terror of a loved pet turned threat, family fractured by fear, and nature’s cruel indifference combine to create a haunting, enduring cinematic experience.

Horror On The Lens: The Invasion of Carol Enders (dir by Dan Curtis)


In 1973’s The Invasion of Carol Enders (Meredith Baxter) is attacked while walking in the park with her boyfriend (Christopher Connelly) and strikes her head.  At the same time, Diana Bernard (Sally Kemp) crashes her car while driving home in the rain.  Both women end up at the hospital at the same time.  Both die but Carol is brought back to life.  Except now, there’s someone else in Carol’s head….

This is a bit of an odd made-for-TV movie, even by the standards of the 70s.  It’s only 69 minutes long and it was shot on video tape, giving the whole thing the look of an old daytime drama.  It’s easy to watch this movie and imagine that it’s just a supernaturally-tinged episode of General Hospital or Days Of Our Lives.  Both the acting and the plot add to the daytime drama feel of the production.  This is a movie that fully embraces the melodrama.

I think the most interesting thing about this film is that everyone is very quick to accept that Diana has somehow willed her spirit into Carol’s body.  There’s very little hesitation about accepting Diana/Carol at her word and no one even thinks to suggest that maybe Carol is having some sort of mental episode as a result of the attack.  Adam hears that his girlfriend has been possessed and he immediately gets to work helping out the woman who has possessed her.  I mean, good for Adam.  I like a man who is willing to do whatever has to be done.  Still, everyone acts as if possession happens every day.

This is kind of a silly movie, which is probably why I enjoyed it.  It’s short, it’s simple, and it embraces the melodrama.  What’s not to enjoy?

Music Video of the Day: (Don’t Fear) the Repear by The Alice Band (2002, directed by Rob Dickens)


The Alice Band was not together for long a period of time but they did manage to stick around long enough to record this cover of Don’t Fear The Reaper.

This video was directed by Rob Dickens, the British music industry executive who put the group together.  Did this cover need more cowbell?  It’s in the ear of the beholder.

Enjoy!

October Positivity: Beckman (dir by Gabriel Sabloff)


2020’s Beckman is one of the most violent faith-based films I’ve ever seen.

Usually, when a religious film is full of death and violence, it’s apocalypse-themed.  The rapture has happened.  The Anti-Christ is in power.  All bets are off.  Beckman, however, is not an apocalypse-themed film.  Instead, it’s a John Wick rip-off, one in which the Wick-character also happens to be a preacher.

David A.R. White plays Beckman, a former contract killer who stumbled into a church and meets Rev. Philip (Jeff Fahey).  Philip converts Beckman, baptizing him and showing him that even a viscous killer can be redeemed.  (A Vietnam vet, Philip killed eleven people during the war and it still haunts his nightmares.  Incidentally, Jeff Fahey deserves roles in better movies.)  When Philip grows sick and dies, Beckman takes over as the church’s pastor.  When Philip’s runaway niece, Tabitha (Brighton Sharbino), shows up at the church, Beckman adopts her as his daughter.

One year later, all Hell breaks loose.  Gunmen working for rich cult leader Reese (William Baldwin, looking like someone cosplaying Alec for Halloween) storm the church and they kidnap Tabitha.  Beckman snaps.  He goes back to his old ways, leaving a trail of bodies throughout Los Angeles as he searches for Tabitha.  The film becomes a cross of Taken and John Wick with a religious angle tossed in as well.  Beckman kills but he constantly hears a voice in the back of his head telling him that he needs to reject his anger.

Beckman does indeed kill a lot of people and I have to admit that it bothered me a bit, just how casual the film got about killing.  It made the film’s ending, with Beckman suddenly realizing that he doesn’t need to kill everyone, feel rather hollow.  Reese is an Jeff Epstein-like madman who kidnaps teenage girls and makes them a part of his cult.  He associates with human traffickers.  And yet, when Beckman has a chance to kill him, Beckman suddenly realizes that he doesn’t want to lower himself to Reese’s level.  Okay, what about all the people Beckman killed beforehand?  I mean, if you’ve already killed 12 people, you might as well take out the worst of them all.

(It reminded me a bit of how Cecil B. DeMille would always be sure to include plenty of sin in the first half of his films so that audiences could enjoy themselves before the second half became all about chastity and redemption.  The film portrays a countless number of deaths but still wants its message to be Thou Shalt Not Kill.  It feels a bit hypocritical.)

Beckman takes a lot of its cues from John Wick and there are a few effective fight scenes.  The film is also divided into chapters and there’s a lot of time jumps, showing that the filmmakers have, at the very least, seen at least one Tarantino film.  But the film itself lacks the self-aware humor and the shameless style that made the John Wick films memorable.  David A.R. White is not a bad actor but he’s better at light comedy than at killing people.  The film ends with what appears to be the promise of a sequel but I’m not sure how many more people Beckman can kill while still claiming to be a preacher.

Late Night Retro Television Review: Pacific Blue 3.3 “Rave On”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network!  It’s currently streaming everywhere, though I’m watching it on Tubi.

This week, the bike cops go undercover and essentially end up looking like a bunch of cops working undercover.

Episode 3.3 “Rave On”

(Dir by Michael Levine, originally aired on August 17, 1997)

The bike cops go undercover!

If that’s not funny enough, they go undercover as ravers.

I swear, you haven’t really laughed until you’ve laughed at the sight of the extremely stiff stars of Pacific Blue hanging out at a rave and giving each other secret signals whenever they spot anyone doing drugs.  Chris’s drink gets roofied and, as someone who has experienced that in real life, I appreciated that the show was trying to warn its viewers about leaving their drinks unattended.  Seriously, if my friends hadn’t been looking out for me that night, it scares me to think about what probably would have happened.  Still, good intentions can’t disguise just how unconvincing Darlene Vogel’s performance was.

Palermo spends this entire episode saying that the parents of teens who go to raves and take drugs should be prosecuted and jailed.  Then Palermo discovers that his sixteen year-old daughter (Johna Stewart-Boden) has been attending raves and, while she hasn’t intentionally taken any drugs, she’s stood by while her friends have.  Palermo does not arrest himself.  He does not throw himself in jail.  He does not look in the mirror and smirk and say, “Oh yeah, buddy, your parent-of-the-year.”  In other words, Lt. Palermo is a big, freaking hypocrite.

The bike cops break up the rave scene but the music will never die.

Horror On TV: The Paul Lynde Halloween Special (dir by Sid Smith)


Tonight, from 1976, we have The Paul Lynde Halloween Special.  

In this special, actor and comedian Paul Lynde celebrates Halloween with Betty White, KISS, Donny and Marie Osmond, Florence Henderson, Billy Barty, Margaret Hamilton (the original Wicked Witch of the West), and I’m going to guess a mountain of cocaine that was probably sitting backstage.

This special is definitely a product of a very certain era in America’s cultural history.

The Eric Roberts Horror Collection: Space Sharks (dir by Dustin Ferguson)


Odd film, Space Sharks.

This 2024 movie imagines what would happen if a bunch of …. well, space sharks …. were developed by a group of mad scientists in a space station and then were sent down to Earth where they were invisible except for when they bit someone’s head off.  This is one of those films where new characters are continually introduced, just to be killed a few minutes later.  There’s a subplot about a bunch of former drug addicts taking a hike through the wilderness which leads to some of them getting space sharked.

On the one hand, the movie is pretty bad.  Even though it’s only 70 minutes (and about 15 of those minutes is taken up with the opening and the end credits), it moves extremely slowly.  The plot never makes any sense.  The special effects aren’t very special.  The Space Sharks are a lot more impressive on the poster than in the actual movie.  In fact, the poster has absolutely nothing to do with the actual movie.  You get the idea.

On the other hand, as is so often the case with low-budget horror films, it’s hard not to be fascinated by the dedication that was put into making such a bad movie.  There’s an undeniable charm to these DIY productions.  At least, there is for me.  This film has “Wow, someone actually made this!” appeal to it.  Your mileage may vary.  What director Dustin Ferguson has done here — coming up with a great title and then making a mediocre film — is what we regularly praise Roger Corman, Sam Arkoff, Herschell Gordon Lewis, and William Castle for doing.

The movie also has a surprisingly effective synth score and Eric Roberts!  Eric is in the film for maybe two minutes and, in the role of a random scientist on the space station, he’s playing a minor character that any actor could have played.  But who cares?  It’s Eric Roberts!

Previous Eric Roberts Films That We Have Reviewed:

  1. Paul’s Case (1980)
  2. Star 80 (1983)
  3. Runaway Train (1985)
  4. To Heal A Nation (1988)
  5. Best of the Best (1989)
  6. Blood Red (1989)
  7. The Ambulance (1990)
  8. The Lost Capone (1990)
  9. Best of the Best II (1993)
  10. Love, Cheat, & Steal (1993)
  11. Voyage (1993)
  12. Love Is A Gun (1994)
  13. Sensation (1994)
  14. Dark Angel (1996)
  15. Doctor Who (1996)
  16. Most Wanted (1997)
  17. Mercy Streets (2000)
  18. Raptor (2001)
  19. Rough Air: Danger on Flight 534 (2001)
  20. Strange Frequency (2001)
  21. Wolves of Wall Street (2002)
  22. Border Blues (2004)
  23. Mr. Brightside (2004)
  24. Six: The Mark Unleased (2004)
  25. We Belong Together (2005)
  26. Hey You (2006)
  27. Depth Charge (2008)
  28. Amazing Racer (2009)
  29. The Chaos Experiment (2009)
  30. In The Blink of an Eye (2009)
  31. Bed & Breakfast (2010)
  32. Enemies Among Us (2010)
  33. The Expendables (2010) 
  34. Sharktopus (2010)
  35. Beyond The Trophy (2012)
  36. The Dead Want Women (2012)
  37. Deadline (2012)
  38. The Mark (2012)
  39. Miss Atomic Bomb (2012)
  40. Assault on Wall Street (2013)
  41. Bonnie And Clyde: Justified (2013)
  42. Lovelace (2013)
  43. The Mark: Redemption (2013)
  44. The Perfect Summer (2013)
  45. Self-Storage (2013)
  46. Sink Hole (2013)
  47. A Talking Cat!?! (2013)
  48. This Is Our Time (2013)
  49. Bigfoot vs DB Cooper (2014)
  50. Doc Holliday’s Revenge (2014)
  51. Inherent Vice (2014)
  52. Road to the Open (2014)
  53. Rumors of War (2014)
  54. 2 Bedroom 1 Bath (2014)
  55. Amityville Death House (2015)
  56. Deadly Sanctuary (2015)
  57. A Fatal Obsession (2015)
  58. Las Vegas Story (2015)
  59. Sorority Slaughterhouse (2015)
  60. Stalked By My Doctor (2015)
  61. Enemy Within (2016)
  62. Hunting Season (2016)
  63. Joker’s Poltergeist (2016)
  64. Prayer Never Fails (2016)
  65. Stalked By My Doctor: The Return (2016)
  66. The Wrong Roommate (2016)
  67. Dark Image (2017)
  68. The Demonic Dead (2017)
  69. Black Wake (2018)
  70. Frank and Ava (2018)
  71. Stalked By My Doctor: Patient’s Revenge (2018)
  72. Clinton Island (2019)
  73. Monster Island (2019)
  74. The Reliant (2019)
  75. The Savant (2019)
  76. Seven Deadly Sins (2019)
  77. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  78. The Wrong Mommy (2019)
  79. Exodus of a Prodigal Son (2020)
  80. Free Lunch Express (2020)
  81. Her Deadly Groom (2020)
  82. Top Gunner (2020)
  83. Deadly Nightshade (2021)
  84. The Elevator (2021)
  85. Just What The Doctor Ordered (2021)
  86. Killer Advice (2021)
  87. Megaboa (2021)
  88. Night Night (2021)
  89. The Poltergeist Diaries (2021)
  90. The Rebels of PT-218 (2021)
  91. Red Prophecies (2021)
  92. A Town Called Parable (2021)
  93. Bleach (2022)
  94. Dawn (2022)
  95. My Dinner With Eric (2022)
  96. 69 Parts (2022)
  97. The Rideshare Killer (2022)
  98. D.C. Down (2023)
  99. Aftermath (2024)
  100. Bad Substitute (2024)
  101. Devil’s Knight (2024)
  102. Insane Like Me? (2024)
  103. The Wrong Life Coach (2024)
  104. Broken Church (2025)
  105. When It Rains In L.A. (2025

Brad reviews NEXT DOOR (1994), a “neighbor from Hell” film starring James Woods and Randy Quaid!


This sitcom looking picture is not a good indicator of the dark places this movie will go!

NEXT DOOR (1994) is a dark suburban satire that introduces us to college professor Matt Coler (James Woods), his lovely wife Karen (Kate Capshaw), and their son Bucky, who have recently moved out to the suburbs. As the movie begins, Matt, Karen and even Bucky seem to be slightly obsessing over their next-door neighbors, Lenny and Marci Benedetti (Randy Quaid and Lucinda Jenney). For one, Lenny and Marci enjoy engaging in sexual intercourse on their backyard lawn furniture within view of each of the Coler family members. That’s quite awkward, but more irritatingly, Lenny insists on constantly watering his front yard near Matt’s property, which is having an extremely damaging effect on Matt and Karen’s beloved azaleas. Invited over to the Benedetti’s house for a cookout, Matt and Karen hope to get to know their neighbors a little better, as well as make a polite request of Lenny to not water the area near the boundary of their yards quite so much. We soon find out that Lenny, who works at the local meat packing plant, is loud, obnoxious, smarter than he looks, and seems to have a really big chip on his shoulder towards Matt, who he doesn’t see as being much of a man. He even tells Karen that her husband is a child, and that’s why he went into teaching rather than getting “a real job.” This upsets Karen so she tells Matt it’s time to leave, but before going, they ask Lenny not to water the part of his yard near their flowers so much. That night, Lenny moves the sprinkler even closer to Matt’s yard, which puts the final death knell in the azaleas. Very annoyed, but not wanting to go too far, Matt gets even by spraying Lenny’s outdoor patio furniture with a lot of water as a prank. Lenny doesn’t handle Matt’s prank very well, and this is where things begin getting out of hand, igniting a full-blown feud between the two men. Soon the annoyances of wet furniture and dead flowers give way to outright horror involving poisoned family pets, police investigations, attempted sexual assault, and even attempted murder!

NEXT DOOR, which is a made for Showtime original, starts out as an amusing and entertaining film involving innocent pranks between James Woods’ meek teacher and Randy Quaid’s boorish butcher. As the intensity of the feud picks up between the men, and the retaliations become more and more sinister, I had to pick my jaw up off the floor as it goes to places that aren’t funny at all. The story seems to be trying to make a statement about the class divide, the survival of the fittest, and the danger that lurks behind the picket fences and in the backyards of the innocent looking neighborhoods around us. It does that job well, as I certainly sensed the real danger that the more “civilized” man found himself in when he came up against a man who didn’t really concern himself with societal norms. I have to give a lot of credit to Randy Quaid’s performance as Lenny for making me feel that way. He is simply a force of nature, and his portrayal of the beer guzzling, opinionated, blue collar bully is excellent in its unhingement! Sadly, I’ve known quite a few people who acted way too much like Lenny for my comfort. James Woods is also excellent as the somewhat timid, intelligent college professor who keeps thinking he can talk his way out of this predicament. We know how intense James Woods can be in his best roles, but he’s quite different here as the man who tries to remain reasonable until the very end of the film when he’s finally forced to take a stand for his family’s safety. He doesn’t have the showy role here, but I can definitely identify with his character, as that would be me in this situation. Kate Capshaw and Lucinda Jenney are both appealing as the suffering wives, providing some good support and wit to the proceedings, but this show belongs to the men.

NEXT DOOR is a true horror film as far as I’m concerned, because if I found myself in this kind of situation with my own neighbor, I would consider it a nightmare. There have been a couple of times in my own life where I have found myself in situations with a neighbor that made me uncomfortable. One of those times involved our next-door neighbor driving across the boundary between their yard and ours and then taking our driveway out to the main road instead of using their own, less maintained driveway. This really bothered my wife as they had never asked if they could do it, and it had practically made a “path” that looked like a road at the boundary. Since it bothered my wife, we ended up having a polite conversation with our neighbors, they understood our concerns, and we worked out a plan that worked for all of us. A different time, however, one of our neighbors across the road left their pitbull out and it attacked our small dog in our own yard. It almost killed our dog, requiring her to have emergency surgery from our veterinarian to save her leg, and it also led to high vet bills. Our neighbors refused to discuss the situation with us, and being from West Virginia, my wife wanted us to take the situation to more extreme levels, including getting local law enforcement involved. In a situation like this, you have to truly consider how far you want to take a situation and then be prepared for the whatever events could follow. There’s a lot of unknown, and it’s pretty scary to be honest with you.

Ultimately, I would have to admit that I didn’t really enjoy NEXT DOOR very much, but I did find it fascinating. I appreciated the great performances of Woods and Quaid, but the movie made me very uncomfortable. If my discomfort was director Tony Bill’s (MY BODYGUARD, FIVE CORNERS, FLYBOYS) goal, it certainly worked. I just think that the farcical nature of the black humor at the beginning didn’t quite mesh with the dark and disturbing elements at the end. Or maybe it just took me places I wasn’t really prepared to go. Either way, it’s still an interesting relic of the 90’s made-for-premium-cable-TV movie. You never knew where those movies were headed! If you’re interested, as of this writing, it’s available for streaming on Tubi.

The Dodgers and the Blue Jays Are Going To The World Series


Last night was terrifying!  I was watching the Mariner/Blue Jays game and the Mariners were ahead.  They seemed like the had the game wrapped up.  I was so confident that the Mariners would be winning the ALCS and keeping Toronto out of the World Series that I stopped watching the game and instead, I joined Lisa, Jeff, Brad, and the rest of the Monday Mania crew in watching The Wrong Boy Next Door.

About 45 minutes into the movie, I glanced at my phone to check on the game.

The Blue Jays were ahead.

No, I wanted to shout, what are you doing, Seattle!?

The Blue Jays went on to win the ALCS and now, they’ll be facing the Dodgers in the World Series.  And while I may not like the Blue Jays, I have to congratulate them.  They came from behind in both the game and the series and they won.  That’s what a good baseball team does.

So. congratulations, Blue Jays.  And, when the series begins on the 24th, let’s go Dodgers!

Seattle, I’m never going to depend on you for anything ever again.

Also, if you guys could wrap up the World Series before Halloween rolls around, I’d appreciate it.  Thanks!