Guilty Pleasure No. 80: Point Break (dir by Kathryn Bigelow)

Posted on April 15, 2025 by Lisa Marie Bowman

Some films are so ludicrous and self-aware of their absurdity that you can’t help but love them and that’s certainly the case with 1991’s Point Break.

Consider what Point Break offers us:

First, you’ve got Keanu Reeves playing a former college football star who, after blowing out his knee, ended up joining the FBI. Keanu, who looks like he’s barely out of high school in this film, plays a character with the wonderful name of Johnny Utah. Keanu gives a relaxed performance. You can tell that he’s having fun in this movie and Johnny Utah’s enthusiasm is infectious. Personally, I prefer Johnny Utah to John Wick.

Secondly, you’ve got Patrick Swayze as Bodhi, the ruthless bank robber who is also a surfer. Much like Reeves, Swayze could occasionally be a stiff actor but in this film, you can tell he’s having fun and again, it’s hard not have fun watching him as he spouts his surfer philosophy, jumps out of planes, and dreams of dying while mastering a 50-foot wave. Swayze is so charismatic as Bodhi that you totally buy that Johnny Utah would like him despite all the times that Bodhi tries to kill him.

You’ve got Bodhi’s bank-robbing gang, who call themselves the Ex-Presidents. Bodhi wears a Ronald Reagan mask. Other members of the gang wear LBJ, Nixon, and Carter masks. “I am not a crook!” Nixon says. The wonderful thing about the Ex-Presidents is that they seem to truly enjoy robbing banks. Of course, they also enjoy surfing.

Gary Busey plays a character who is not Gary Busy. Instead, he’s Johnny’s partner. Everyone in the FBI laughs at him when he says the bank robbers are surfers but guess who knows what he’s talking about! Seriously, though, it’s always interesting to see Gary Busey in the years when he was still a somewhat serious actor.

John C. McGinley does the uptight boss thing. Lori Petty is the waitress who teaches Johnny Utah how to surf. The surf footage is beautifully shot. A soaked Johnny give the camera a thumbs-up. Director Kathryn Bigelow keeps the action moving quickly and, just as she did with Near Dark, uses the film’s genre trappings to explore the bond that holds together a group of outsiders.

It’s an over-the-top and cheerfully absurd film and it’s impossible not to love it. I haven’t felt the need to watch the remake. Why would I? The original has everything I need.

Previous Guilty Pleasures

The Unnominated #12: Tombstone (dir by George Pan Cosmatos)

Posted on April 2, 2025 by Lisa Marie Bowman

Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.

I have come around on Tombstone.

The first time I watched this 1993 film, I was a bit confused as to why so many of my friends (especially my male friends) worshipped the film. To me, it was a bit too messy for its own good, an overlong film that told a familiar story and which featured so many characters that it was difficult for me to keep track of them all. Perhaps because everyone I knew loved the film so much, I felt the need to play contrarian and pick out every flaw I could find.

And I still think those flaws are there. The film had a troubled production, with original director Kevin Jarre falling behind in shooting and getting replaced by George Pan Cosmatos, a director who didn’t have any real interest in the material and whose all-business approach rubbed many members of the cast the wrong way. Kurt Russell took over production of the film, directing the actors and reportedly paring down the sprawling script to emphasize the relationship between Russell’s Wyatt Earp and Val Kilmer’s Doc Holliday. On the one hand, this led to a lot of characters who really didn’t seem to have much to do in the finished film. Jason Priestley’s bookish deputy comes to mind. On the other hand, Russell was right.

The film’s heart really is found in the friendship between Wyatt and Doc. It doesn’t matter that, in real life, Wyatt Earp was hardly as upstanding as portrayed by Kurt Russell. It also doesn’t matter that the real-life Doc Holliday was perhaps not as poetic as portrayed by Val Kilmer. Today, if you ask someone to picture Wyatt Earp, they’re probably going to picture Kurt Russell with a mustache, a cowboy hat, and a rifle. And if you ask them to picture Doc Holliday, they’re going to picture Val Kilmer, sweating due to tuberculosis but still managing to enjoy life. Did Doc Holliday every say, “I’ll be your huckleberry,” before gunning someone down? He might as well have. That’s how he’s remembered in the popular imagination. And it’s due to the performances of Russell and Kilmer that I’ve come around to eventually liking this big and flawed western. With each subsequent viewing, I’ve come to appreciate how Russell and Kilmer managed to create fully realized characters while still remaining true to the Western genre. If Wyatt Earp initially fought for the law, Doc Holliday fought for friendship. Kilmer is not only believable as a confident gunslinger who has no fear of walking into a dangerous situation. He’s also believable as someone who puts his personal loyalty above all else. He’s the type of friend that everyone would want to have.

That said, I do have to mention that there are a lot of talented people in the cast, many of whom are no longer with us but who will live forever as a result their appearance here. When Powers Boothe delivered the line, “Well …. bye,” he had no way of knowing that he would eventually become a meme. Boothe is no longer with us, I’m sad to say. But he’ll live forever as long as people need a pithy way to respond to someone announcing that they’re leaving social media forever. Charlton Heston appears briefly as a rancher and he links this 90s western with the westerns of the past. Robert Mitchum provides the narration and it just feels right. The large ensemble cast can be difficult to keep track of and even a little distracting but there’s no way I can’t appreciate a film that manages to bring together not just Russell, Kilmer, Boothe, Heston, and Mitchum but also Sam Elliott, Bill Paxton, Michael Biehn, Michael Rooker, Billy Bob Thornton, Frank Stallone, Terry O’Quinn, and even Billy Zane! The female roles are a bit underwritten. Dana Delaney is miscast but Joanna Pacula feels exactly right as Doc Holliday’s lover.

But ultimately, this film really does belong to Val Kilmer. When I heard the sad news that he had passed away last night, I thought of two films. I thought of Top Gun and then I thought of Tombstone. Iceman probably wouldn’t have had much use for Doc Holliday. And Doc Holliday would have resented Iceman’s attitude. But Val Kilmer — that brilliant actor who was so underappreciated until he fell ill — brought both of them to brilliant life. In the documentary Val, Kilmer attends a showing of Tombstone and you can say he much he loves the sound of audience cheering whenever Doc Holliday showed up onscreen.

Tombstone was a flawed film and 1993 was a strong year. But it’s a shame that Val Kilmer was never once nominated for an Oscar. Tombstone may not have been a Best Picture contender but, in a year when Tommy Lee Jones won the Oscar for Best Supporting Actor for his role in the similarly flawed The Fugitive, it seems a shame that Kilmer’s Doc Holliday was overlooked.

Tombstone (1993, dir by George Pan Cosmatos (and Kurt Russell), DP: William Fraker)

Previous entries in The Unnominated:

The TSL Horror Grindhouse: The New Kids (dir by Sean Cunningham)

Posted on October 7, 2024 by Lisa Marie Bowman

Oh my God, this movie is awesome!

Within the first five minutes, the film features not only a training montage but also a scene where a family cheering good news immediately gets a phone call delivering bad news. (“SHUT UP!” our hero yells at his friends and family.) By the time the film hits the five minute mark, it has managed to denounce communism, terrorism, laziness, and drunk driving! And that’s even before James Spader shows up as a cocaine-sniffing teenage crime lord!

First released in 1986 and directed by the same guy who did the first Friday the 13th, The New Kids tells the story of Loren (Shannon Presby) and his sister, Abby (Lori Loughlin). Their father (Tom Atkins) was a badass army colonel who fought communists, received commendations from the President (and that President was Ronald Reagan so you know those commendations were for doing something cool and not just for posting memes on twitter), and who taught his children self-defense. Every morning, he exercised with them and drilled into their heads the importance of being disciplined and willing to stand up for themselves. Sadly, their father and mother were both killed in a car accident after meeting with President Reagan at the White House.

Though they’ve been taught how to survive in the world by an expert, Loren and Abby are both teenagers and the law says that they need adult supervision. They move down to Florida and stay with their Uncle Charlie (Eddie Jones), Charlie owns a run-down amusement park that he’s decided to call Santa Land. He figures that tourists who are driving to “Walt Disney World and Epcot” will want to stop off at Santa Land. Personally, I think the tourists will probably want to keep driving to where they actually want to go but who knows? Uncle Charlie does have a petting zoo and there is something oddly charming about the idea of Santa hanging out in the bayous of Florida. I mean, there’s a reason why Santa Claus And The Ice Cream Bunny is beloved by viewers all over the world.

At the high school, everyone notices Loren and Abby. Abby gets a dorky boyfriend named Mark (Eric Stoltz …. no, really!) and Loren starts dating the sheriff’s daughter, Karen (Paige Lynn Price). Unfortunately, the new kids have been noticed by Eddie Dutra (James Spader) and his gang of inbred rednecks. Dutra and his gang deal drugs and have a pit bull who they’re hoping to enter into dog fights. (“Went straight for the jugular,” one gang member says at one point.) Dutra decides that he likes Abby, which leads to Loren getting protective, which leads to Dutra and the boys waging their own war on Abby and Loren and everything eventually comes to a deeply satisfying Straw Dogs-style conclusion at Santa Land.

The New Kids is one of those films that succeeds by being thoroughly absurd and over-the-top. Dutra and his gang aren’t just evil. Instead, they’re downright Satanic in their determination to destroy the new kids. The gang is fearsome enough, especially Gordo (Theron Montgomery), who is the fat future forklift operator from Hell. But what really makes this gang memorable is the fact that their leader is James Spader, with bright blonde hair, a smooth Southern accent, and moves that are so assured that he sometimes seem to be dancing across the screen. Dutra’s evil and the cocaine that he snorts leads to him making some bad decisions but he’s got style. As for the New Kids, Shannon Presby is a bit bland as Loren but that blandness actually provides a nice contrast to Spader’s more flamboyant performance. Lori Loughlin is likable and kicks Gordo in the balls, which is pretty cool. (Gordo more than deserved it.)

Cheerfully sleazy and unapologetically ridiculous, The New Kids is 80s exploitation cinema at its best.

Playing Catch-Up: Crisscross, The Dust Factory, Gambit, In The Arms of a Killer, Overboard, Shy People

Posted on April 27, 2018 by Lisa Marie Bowman

So, this year I am making a sincere effort to review every film that I see. I know I say that every year but this time, I really mean it.

So, in an effort to catch up, here are four quick reviews of some of the movies that I watched over the past few weeks!

Crisscross
Released: 1992
Directed by Chris Menges
Starring David Arnott, Goldie Hawn, Arliss Howard, Keith Carradine, James Gammon, Steve Buscemi

An annoying kid named Chris Cross (David Arnott) tells us the story of his life.

In the year 1969, Chris and his mother, Tracy (Goldie Hawn), are living in Key West. While the rest of the country is excitedly watching the first moon landing, Chris and Tracy are just trying to figure out how to survive day-to-day. Tracy tries to keep her son from learning that she’s working as a stripper but, not surprisingly, he eventually finds out. Chris comes across some drugs that are being smuggled into Florida and, wanting to help his mother, he decides to steal them and sell them himself. Complicating matters is the fact that the members of the drug ring (one of whom is played by Steve Buscemi) don’t want the competition. As well, Tracy is now dating Joe (Arliss Howard), who just happens to be an undercover cop. And, finally, making things even more difficult is the fact that Chris just isn’t that smart.

There are actually a lot of good things to be said about Crisscross. The film was directed by the renowned cinematographer, Chris Menges, so it looks great. Both Arliss Howard and Goldie Hawn give sympathetic performances and Keith Carradine has a great cameo as Chris’s spaced out dad. (Traumatized by his experiences in Vietnam, Chris’s Dad left his family and joined a commune.) But, as a character, Chris is almost too stupid to be believed and his overwrought narration doesn’t do the story any good. Directed and written with perhaps a less heavy hand, Crisscross could have been a really good movie but, as it is, it’s merely an interesting misfire.

The Dust Factory
Released: 2004
Directed by Eric Small
Starring Armin Mueller-Stahl, Hayden Panettiere, Ryan Kelly, Kim Myers, George de la Pena, Michael Angarano, Peter Horton

Ryan (Ryan Kelly) is a teen who stopped speaking after his father died. One day, Ryan falls off a bridge and promptly drowns. However, he’s not quite dead yet! Instead, he’s in The Dust Factory, which is apparently where you go when you’re on the verge of death. It’s a very nice place to hang out while deciding whether you want to leap into the world of the dead or return to the land of the living. Giving Ryan a tour of the Dust Factory is his grandfather (Armin Mueller-Stahl). Suggesting that maybe Ryan should just stay in the Dust Factory forever is a girl named Melanie (Hayden Panettiere). Showing up randomly and acting like a jerk is a character known as The Ringmaster (George De La Pena). Will Ryan choose death or will he return with a new zest for living life? And, even more importantly, will the fact that Ryan’s an unlikely hockey fan somehow play into the film’s climax?

The Dust Factory is the type of unabashedly sentimental and theologically confused film that just drives me crazy. This is one of those films that so indulges every possible cliché that I was shocked to discover that it wasn’t based on some obscure YA tome. I’m sure there’s some people who cry while watching this film but ultimately, it’s about as deep as Facebook meme.

Gambit
Released: 2012
Directed by Michael Hoffman
Starring Colin Firth, Cameron Diaz, Alan Rickman, Tom Courtenay, Stanley Tucci, Cloris Leachman, Togo Igawa

Harry Deane (Colin Firth) is beleaguered art collector who, for the sake of petty revenge (which, as we all know, is the best type of revenge), tries to trick the snobbish Lord Shabandar (Alan Rickman) into spending a lot of money on a fake Monet. To do this, he will have to team up with both an eccentric art forger (Tom Courtenay) and a Texas rodeo star named PJ Puznowksi (Cameron Diaz). The plan is to claim that PJ inherited the fake Monet from her grandfather who received the painting from Hermann Goering at the end of the World War II and…

Well, listen, let’s stop talking about the plot. This is one of those elaborate heist films where everyone has a silly name and an elaborate back story. It’s also one of those films where everything is overly complicated but not particularly clever. The script was written by the Coen Brothers and, if they had directed it, they would have at least brought some visual flair to the proceedings. Instead, the film was directed by Michael Hoffman and, for the most part, it falls flat. The film is watchable because of the cast but ultimately, it’s not surprising that Gambit never received a theatrical release in the States.

On a personal note, I saw Gambit while Jeff & I were in London last month. So, I’ll always have good memories of watching the movie. So I guess the best way to watch Gambit is when you’re on vacation.

In The Arms of a Killer
Released: 1992
Directed by Robert L. Collins
Starring Jaclyn Smith, John Spencer, Nina Foch, Gerald S. O’Loughlin, Sandahl Bergman, Linda Dona, Kristoffer Tabori, Michael Nouri

This is the story of two homicide detectives. Detective Vincent Cusack (John Spencer) is tough and cynical and world-weary. Detective Maria Quinn (Jaclyn Smith) is dedicated and still naive about how messy a murder investigation can be when it involves a bunch of Manhattan socialites. A reputed drug dealer is found dead during a party. Apparently, someone intentionally gave him an overdose of heroin. Detective Cusack thinks that the culprit was Dr. Brian Venible (Michael Nouri). Detective Quinn thinks that there has to be some other solution. Complicating things is that Quinn and Venible are … you guessed it … lovers! Is Quinn truly allowing herself to be held in the arms of a killer or is the murderer someone else?

This sound like it should have been a fun movie but instead, it’s all a bit dull. Nouri and Smith have next to no chemistry so you never really care whether the doctor is the killer or not. John Spencer was one of those actors who was pretty much born to play world-weary detectives but, other than his performance, this is pretty forgettable movie.

Overboard
Released: 1987
Directed by Garry Marshall
Starring Goldie Hawn, Kurt Russell, Edward Herrmann, Katherine Helmond, Roddy McDowall, Michael G. Hagerty, Brian Price, Jared Rushton, Hector Elizondo

When a spoiled heiress named Joanne Slayton (Goldie Hawn) falls off of her luxury yacht, no one seems to care. Even when her husband, Grant (Edward Herrmann), discovers that Joanne was rescued by a garbage boat and that she now has amnesia, he denies knowing who she is. Instead, he takes off with the boat and proceeds to have a good time. The servants (led by Roddy McDowall) who Joanne spent years terrorizing are happy to be away from her. In fact, the only person who does care about Joanne is Dean Proffitt (Kurt Russell). When Dean sees a news report about a woman suffering from amnesia, he heads over to the hospital and declares that Joanne is his wife, Annie.

Convinced that she is Annie, Joanne returns with Dean to his messy house and his four, unruly sons. At first, Dean says that his plan is merely to have Joanne work off some money that she owes him. (Before getting amnesia, Joanne refused to pay Dean for some work he did on her boat.) But soon, Joanne bonds with Dean’s children and she and Dean start to fall in love. However, as both Grant and Dean are about to learn, neither parties nor deception can go on forever…

This is one of those films that’s pretty much saved by movie star charisma. The plot itself is extremely problematic and just about everything that Kurt Russell does in this movie would land him in prison in real life. However, Russell and Goldie Hawn are such a likable couple that the film come close to overcoming its rather creepy premise. Both Russell and Hawn radiate so much charm in this movie that they can make even the stalest of jokes tolerable and it’s always enjoyable to watch Roddy McDowall get snarky. File this one under “Kurt Russell Can Get Away With Almost Anything.”

A remake of Overboard, with the genders swapped, is set to be released in early May.

Shy People
Released: 1987
Directed by Andrei Konchalovsky
Starring Jill Clayburgh, Barbara Hershey, Martha Plimpton, Merritt Butrick, John Philbin, Don Swayze, Pruitt Taylor Vince, Mare Winningham

Diana Sullivan (Jill Clayburgh) is a writer for Cosmopolitan and she’s got a problem! It turns out that her teenager daughter, Grace (Martha Plimpton), is skipping school and snorting cocaine! OH MY GOD! (And, to think, I thought I was a rebel just because I used to skip Algebra so I could go down to Target and shoplift eyeliner!) Diana knows that she has to do something but what!?

Diana’s solution is to get Grace out of New York. It turns out that Diana has got some distant relatives living in Louisiana bayou. After Cosmo commissions her to write a story about them, Diana grabs Grace and the head down south!

(Because if there’s anything that the readers of Cosmo are going to be interested in, it’s white trash bayou dwellers…)

The only problem is that Ruth (Barbara Hershey) doesn’t want to be interviewed and she’s not particularly happy when Diana and Grace show up. Ruth and her four sons live in the bayous. Three of the sons do whatever Ruth tells them to do. The fourth son is often disobedient so he’s been locked up in a barn. Diana, of course, cannot understand why her relatives aren’t impressed whenever she mentions that she writes for Cosmo. Meanwhile, Grace introduces her cousins to cocaine, which causes them to go crazy. “She’s got some strange white powder!” one of them declares.

So, this is a weird film. On the one hand, you have an immensely talented actress like Jill Clayburgh giving one of the worst performances in cinematic history. (In Clayburgh’s defense, Diana is such a poorly written character that I doubt any actress could have made her in any way believable.) On the other hand, you have Barbara Hershey giving one of the best. As played by Hershey, Ruth is a character who viewers will both fear and admire. Ruth has both the inner strength to survive in the bayou and the type of unsentimental personality that lets you know that you don’t want to cross her. I think we’re supposed to feel that both Diana and Ruth have much to learn from each other but Diana is such an annoying character that you spend most of the movie wishing she would just go away and leave Ruth alone. In the thankless role of Grace, Martha Plimpton brings more depth to the role than was probably present in the script and Don Swayze has a few memorable moments as one of Ruth’s sons. Shy People is full of flaws and never really works as a drama but I’d still recommend watching it for Hershey and Plimpton.

Horror on the Lens: Children of the Corn (dir by Fritz Kiersch)

Posted on October 9, 2016 by Lisa Marie Bowman

Today’s horror on the lens is the 1984 film that TSL editor-in-chief Arleigh Sandoc has called the worst Stephen King adaptation of all time. For the record, I tend to agree with that judgment but, for some reason, a lot of people seem to like Children of the Corn.

And I will admit — the kids are creepy. Especially that little Isaac guy with the shrill voice. Whenever Isaac starts screaming, “MALACHI!!!!,” — well, it’s like nails on a chalkboard, to be honest.

Anyway, in case you’d forgotten, this is the movie where all the little kids hang out in a cornfield and kill adults. It attempts to say something about religion but I’m not sure what it’s trying to say. It’s all kind of silly but, as I said, some people seem to like it.

(Personally, I prefer that old episode of South Park where they keep declaring shenanigans on the carnival, all the cows jump off a cliff, and the visiting yankee tourists end up getting devoured by rats in jail.)

In order to help you decide for yourself whether or not this is a decent film, here is Stephen King’s Children of the Corn! Enjoy it while you can because you just know that YouTube is going to eventually yank it down for copyright reasons.

Back to School Part II #18: Not My Kid (dir by Michael Tuchner)

Posted on September 3, 2016 by Lisa Marie Bowman

Not My Kid, a made-for-television from 1985, opens with 15 year-old Susan Bower (Viveka Davis) in a car with her friends. They’re drunk. They’re stoned. They’re laughing. And soon, they’re screaming as the driver loses control and the car ends up getting overturned! (I’ve had that happen before. It wasn’t fun but I survived with only a few cuts and bruises.) Susan isn’t seriously hurt but, at the hospital, it’s discovered that she has alcohol and drugs in her bloodstream.

“NOT MY KID!” her father, surgeon Frank Bower (George Segal), declares.

“NOT MY KID!” her mother, Helen Bower (Stockard Channing, totally wasted in a thinly written role), agrees.

“Totally your kid!” her younger sister, Kelly (Christa Denton), says before then revealing where Susan hides her drugs. This leads to Kelly getting beaten up by Susan and her drug addict boyfriend, Ricky (Tate Fuckin’ Donavon, decades before playing a hostage in Argo.).

Anyway, neither Frank nor Helen want to admit that Susan has a drug problem so instead, they go to see a smug family counselor who tells them that they are both being too hard on their daughter and that they need to just let Susan be Susan. That sounds like a good (and easy) plan but then Susan runs away and disappears for two days. After she’s finally found, stoned and hiding out in the family’s boat, her parents finally decide to send her to rehab.

The rehab is run by Dr. Royce. Dr. Royce is played by Andrew Robinson and it took me a while to recognize him as being the same actor who played the Scorpio Killer in Dirty Harry. Perhaps that explains why Dr. Royce came across as being such a creepy character. As I watched this movie, I kept waiting for the big reveal where Dr. Royce would turn out to be a murderer or something. That never happened, of course. In the world of Not My Kid, the harsh and confrontational Dr. Royce is the only thing keeping the entire teenage population for shooting up heroin.

The majority of the film takes place at the rehab and it gets annoying pretty quickly. This is one of those places where everything is done as a group activity. Whenever someone says something, everyone in the group replies with, “We love you, so-and-so.” When Susan doesn’t act properly ashamed of herself, the group gangs up on her. “You’re a phony!” someone says. “You’re full of crap!” another person adds. “We love you, Susan,” the group chants.

AGCK! Seriously, the rehab scenes totally freaked me out because it came across less like therapy and more like brainwashing. I spent the entire movie waiting for Susan to escape and when she did, I was happy for her. She may have been a self-destructive drug addict but at least wasn’t a mindless zombie like everyone else in the movie! But then she ended up getting caught by her father and taken back to the rehab.

Meanwhile, her parents are going through therapy as well. Again, it’s all group therapy. When Frank tries to talk about how Susan’s behavior makes him feel, someone says, “You’re a phony!’ Another person adds, “You’re full of crap!” And the group chants, “We love you, Frank.” Okay, to be honest, I’m taking some dramatic license with the dialogue here but hopefully, you get the general idea.

I mean, seriously — I understand that I was supposed to be like, “Yay rehab!” while watching the movie but the rehab came across more like some sort of creepy cult. It reminded me of both a Canadian film called, Ticket To Heaven and a Texas film called Split Image. As I watched Not My Kid, I kept waiting for James Woods to show up as a cult deprogrammer.

Anyway, don’t worry. Everything turns out well in the end. This was a made-for-TV movie, after all. Not My Kid is way too heavy-handed for its own good and it lacks a certain self-awareness. On a more positive note, George Segal does a good job in the role of Frank.

You can watch Not My Kid below!

Quickie Review: Return of the Living Dead (dir. by Dan O’Bannon)

Posted on February 8, 2011 by Arleigh

Return of the Living Dead has to go down as one of the funniest and inventive take on the zombie subgenre that began after the release of George A. Romero’s Night of the Living Dead. Due to a dispute between Romero and John Russo (co-producer of the original NOTLD), the sequels to Night of the Living Dead that were produced and directed by Romero dropped the “Living Dead” part in their titles. Russo retained the rights to create sequels using those words while Romero just kept the word “Dead” in the follow-up films to Night. It took Russo awhile, but he finally got to use those naming rights with 1985’s Return of the Living Dead.

Even though there were some acrimony between Romero and Russo, the screenplay for Return of the Living Dead makes several complimentary nods to Night of the Living Dead. The film’s premise was what if Romero’s first film was actually based on a true event and that the government and the military covered it up before people got a wind of it. The film takes that simple premise and creates an action-packed horror-comedy that still stands the test of time.

Unlike Romero’s films, Return of the Living Dead actually gives an explanation as to what causes the dead to return to life with a singular purpose of attacking the living. The cause of all this undead mayhem was due to a bioweapon nerve toxin called 2-4-5 Trioxin which was originally designed by the military to defoliate marijuana crops. To say that the side-effects of the gas had some interesting effects was an understatement. The zombies created by Trioxin do attack the living but they’re also much more livelier and smarter (retaining agility, strength and mental capacity of their previous life) than the traditional Romero-zombies. They also do not feed on just humans. They also feed on other animals. The last major difference between the Romero-zombies and the Trioxin-zombies was that the latter only wanted to feed on live brains to end the pain of being dead. These differences made for a much faster-paced horror movie. As much as I consider the Romero zombie films as the best out there, I hold a special place in my horror-fan heart for these Trioxin dudes.

The story by John Russo would be turned into a screenplay and directed by Dan O’Bannon also made Return of the Living Dead behave more as a horror-comedy than just a straight-up horror. The dialogue between the characters were full of great one-liners that would’ve sounded cheesy if not for the great and game performances from the cast. Clu Gulager as Burt Wilson (owner of the medical supplies warehouse where the lost canister of Trioxin was being stored in) did a great job being incredulous at the events happening around him. His back and forth with his friend Ernie (played with Peter Lorre eyes by Don Calfa), the local mortuary’s gun-toting mortician, keep the film lively and hilarious in-between scenes of horror.

The scene stealers in the film must go to a bumbling pair of Burt’s employees who inadvertently release the toxic and reanimating gas from the warehouse’s inventory of Trioxin canister. James Karen as the worldly and cynical Frank was a riot from start to end. His over-the-top performance had me in stitches. He played Frank with such a manic, panicky style that it was difficult not to get caught up in his hysterics. To balance out Frank’s Hardy with his more subdued, but no less panicked Laurel, was Thom Mathews as Freddy. Mathews would later appear in other horror movies in the decade and even reprise a similar role in this film’s sequel. His performance as the straight man to Karen’s fool was also very good. His slow decline into becoming one of the zombies after the initial inhalation of the Trioxin gas in the film’s introduction was funny and sad. Of all the zombies in the film he gets the brunt of the slapstick sequences, especially once he starts hunting his girlfriend for her brains. His professing of his love for her and at the same time wanting her to give up her brain was hilarious, if not creepy as well.

Another thing that Return of the Living Dead had that made it different from Romero’s zombie movies were the scenes of gratuitious nudity throughout the film. A majority of the nude scenes were courtesy of scream queen Linnea Quigley as the punk rock Trash whose morbid obsession with all things death made her an early victim for the zombies and later on as one of their leaders. I know that kids my age at that time replayed over and over the scene of her strip-tease down to nothing atop a graveyard headstone. Even now many fans of the film consider that sequence as one of their favorite.

Return of the Living Dead still counts as one of the best zombie movies out there and preceded the UK’s Shaun of the Dead by two decades as a great horror-comedy. There was a sequel a few years later to capitalize on the popularity of the first film. It tried to capture the hilarity and horror of the first one but did not measure up in the end.