Horror Film Review: The Howling (dir by Joe Dante)


The 1981 film, The Howling, takes place at The Colony.

The Colony is a lovely place, a nice resort out in the middle of the countryside.  It’s a place that celebrity therapist George Waggener (Patrick Macnee) sends his clients so that they can recover from trauma.  It’s a bit of a grown-up version of the ranch to which Dr. Phil used to send juvenile delinquents.  Of course, the Colony is full of adults and they’re an eccentric bunch.  I mean, one of them — named Erle Kenton — is actually played by John Carradine!  That’s just how eccentric the place is.  Sheriff Sam Newfield (Slim Pickens) keeps an eye on the place but everyone knows that there’s nothing to worry about when it comes to The Colony.  Dr. Waggner does good work.

Karen White (Dee Wallace) is a Los Angeles news anchor who was held hostage by a serial killer named Eddie Quist (Robert Picardo).  While she was with Eddie, she was forced to not only watch videos of Eddie’s crimes but she also saw something happen with Eddie that terrified her to such an extent that she has blocked it from her mind.  Karen was rescued by the police but she is haunted by nightmares.  Dr. Waggner arranges for Karen and her husband, Bill Neill (Christopher Stone, who was married to Dee Wallace when they co-starred in this film), to spend some time at the Colony.

Bill loves the Colony, especially after he attracts the eye of Marsha (Elisabeth Brooks), the resort’s resident seductress.  Karen, however, is less enamored of the place.  The Colony feels off to her and she’s not happy about the howling in the distance or the fact that Bill has suddenly started to grow distant from her.  Could it be that The Colony is actually crawling with werewolves and that Bill has become one of them?  (It’s totally possible and, to The Howling‘s credit, it doesn’t waste any time letting us know that.)  Karen’s friend, Terry Fisher (Belinda Balanski), and her boyfriend, Chris Halloran (Dennis Dugan), do some research of their own into Eddie Quist, The Colony, and whether or not werewolves exists and they meet a helpful bookstore owner named Walter Paisley (Dick Miller).

To understand the approach that director Joe Dante and screenwriter John Sayles take to The Howling, one needs to only consider the names of some of the characters.  George Waggner.  Bill Neill. Terry (which can be short for Terence) Fisher.  Fred (or is that Freddie) Francis.  Erle Kenton.  Sam Newfield.  Jerry Warren.  All of these characters are named after horror film directors.  This is the type of werewolf film where Chris Halloran has a copy of The Three Little Pigs sitting on his desk.  Veteran actors like Kevin McCarthy, John Carradine, Slim Pickens, and Kenneth Tobey show up in small roles.  Roger Corman mainstay Dick Miller plays yet another character named Walter Paisley and he kicks Forrest J. Ackerman out of his bookstore.  Roger Corman himself plays a man making a phone call.  After a werewolf is shot on live TV, the program immediately cuts to a dog food commercial and we see a blank-faced child telling his unconcerned parents that someone just turned into a wolf.  The Howling was made by people who obviously love B-horror and that love is present in every frame of the film.

Like Dante’s Piranha, The Howling is a film with a sense of humor but it’s not a comedy.  The werewolves are still impressive, even forty-two years after the film was first released.  The character of Eddie Quist (“I’m going to give you a piece of my mind”) is a terrifying monster and the sight of his signature smiley face will fill you with dread, especially when it shows up in a place where it really shouldn’t be.  The film cynically ends on a note of noble sacrifice that will apparently not make much difference, with the suggestion being that human beings are either too distracted or too jaded to realize that there are monsters among them.  The Howling is a fast-paced and well-directed homage to B-horror and it’s still terrifically entertaining.

Music Video of the Day: Born In The USA by Bruce Springsteen (1984, dir by John Sayles)


I have to admit that I’m not really a huge fan of Bruce Springsteen or his working class posturing.  (At this point, the majority of the people who he sings about will never be able to actually afford to see him in concert.)  But I will acknowledge that the people who like Bruce Springsteen tend to really, really, really like him.  And there’s something to be said for that.

Anyway, I picked today’s music video of the day because I watched Air last night and I was really impressed by Jason Bateman’s monologue about how few people actually listen to Born in the USA‘s rather dark lyrics.  This video was directed by John Sayles, another person who has made a career out of claiming to be the voice of the working class.

Enjoy!

Horror Film Review: Piranha (1978, dir by Joe Dante)


At the height of the Vietnam War, the U.S. Government came up with a plan that could have changed the course of the war.

What if the government developed gigantic, super-fast, occasionally jumpy piranha?  And what if they set those killer fish loose in the rivers of Vietnam?  Would those fish swim through North Vietnam and take out the VC?  Sadly, the war ended before the government got a chance to test out Operation Razorteeth.  With the war over, the government was stuck with a bunch of killer fish.  Scientist Robert Hoak (Kevin McCarthy) ignored all orders to destroy his mutant fish because they were his life’s work.  (Awwwwwwwww!)  He kept an eye on them and did everything he could to prevent them from getting into the nearby river.

Unfortunately, Dr. Hoak’s best wasn’t good enough.  Because the piranha have gotten loose and now they’re making their way down to the river!  They start out eating skinny dipping teenagers, fisherman, and Keenan Wynn.  (They’re good enough not to eat Wynn’s adorable dog, which I appreciated.)  Further down the river, there’s a summer camp and a water park!  It’s definitely not safe to get back in the water but sadly, that’s what several people insist on doing throughout this film.  Even when the water is full of blood, people will jump in.  (It’s easy to be judgmental but it is a pretty river.  I don’t swim but I honestly wouldn’t mind living near a river that looked that nice.  Instead, I have to make due with a creek.)

Floating down the river on a raft and trying to warn everyone is the unlikely team of Maggie (Heather Menzies) and Paul (Bradford Dillman).  Maggie is a detective who has come to town to track down the two teenage skinny dippers who were eaten at the start of the film.  Paul is a drunk.  Well, technically, Paul is a wilderness guide and he does spend the entire movie wearing the type of plaid shirt that would only be worn by someone who goes camping every weekend but really, Paul’s main personality trait seems to be that he enjoys his booze.  Paul’s daughter is away at the summer camp.  Yes, that’s the same summer camp that’s about to be visited by a school of piranha.  AGCK!

Produced by Roger Corman and obviously designed to capitalize on the monster success of Jaws, Piranha was an early directorial credit for Joe Dante.  Dante would later go on to direct films like The Howling and GremlinsPiranha was also an early screenwriting credit for the novelist John Sayles, who would use his paycheck to launch his own directing career.  As a director, Sayles specializes in politically-themed ensemble pieces, which is something you might not guess while watching Piranha.  (Piranha does have an anti-military subplot but then again, it’s a film from the 70s so of course it does.)  Like the best of Corman’s film, Piranha works because it sticks to the basics and it delivers exactly what it promises.  Piranha promises killer fish biting away at anyone dumb enough to get in the water and that’s what it gives us.  As an added bonus, we also get some occasionally witty dialogue and Joe Dante’s energetic, self-aware direction.

As is typical with the films of both Corman and Dante, the cast is full of familiar faces.  Along with Kevin McCarthy as the mad scientist and Keenan Wynn as the eccentric fisherman, Dick Miller shows up as the waterpark owner.  Richard Deacon, who made a career of playing bosses and neighbors on various sitcoms in the 50s and 60s, plays the father of a missing teenager.  Director Paul Bartel plays the head of the summer camp, who may be a jerk but who still heroically jumps in the water to save several campers.  (Bartel’s moment of heroism is one of Piranha’s best scenes and, significantly, it’s played without irony.  You’ll want to cheer for the guy.)  Finally, the great Barbara Steele plays the government scientist who shows up to clean up Operation Razorteeth.

Piranha is simple but entertaining.   Dante’s direction is energetic and, despite the film’s self-referential tone, the killer fish are just savage enough to be scary.  It’s a film that tell us not to get back in the water but which understands that the temptation might just be too strong.

A Movie A Day #165: Big Wednesday (1978, directed by John Milius)


If there is a male bonding hall of fame, Big Wednesday has to be front and center.

This episodic movie follows three legendary surfers over twelve years of change and turmoil.  Jack Barlowe (William Katt) is the straight arrow who keeps the peace.  Leroy “The Masochist” Smith (Gary Busey) is the wild man.  Matt Johnson (Jan-Michael Vincent) is the best surfer of them all but he resents both his fame and the expectation that he should be some sort of role model for the younger kids on the beach.  From 1962 until 1974, the three of them learn about love and responsibility while dealing with cultural turmoil (including, of course, the Vietnam War) and waiting for that one legendary wave.

After writing the screenplays for Dirty Harry and Apocalypse Now and directing The Wind and The Lion and Dillinger, John Milius finally got to make his dream project.  Big Wednesday was based on Milius’s own youth as a California surfer and he has said that all three of the main characters were based on different aspects of his own personality.  Expectations for Big Wednesday were so high that Milius’s friends, George Lucas and Steven Spielberg, exchanged percentages points for Star Wars and Close Encounters of  The Third Kind for a point of Big Wednesday.  The deal turned out to be worth millions to Milius but nothing to Lucas and Spielberg because Big Wednesday was a notorious box office flop.  Warner Bros. sold the film as a raunchy comedy, leaving audiences surprised to discover that Big Wednesday was actually, in Milius’s words, a “coming-of-age story with Arthurian overtones.”

I can understand why Big Wednesday may not be for everyone but it is one of my favorite movies.  It is one of the ultimate guy films.  Some of the dialogue and the narration may be overwrought but so are most guys, especially when they’re the same age as the surfers in Big Wednesday.  We all like to imagine that we are heroes in some sort of epic adventure.  The surfing footage is amazing but it is not necessary to be a surfer to relate to the film’s coming-of-age story or its celebration of the enduring bonds of friendship.  Katt, Vincent, and Busey all give great performances.  Considering their later careers, it is good that Big Wednesday is around to remind us of what Gary Busey and Jan-Michael Vincent were capable of at their best, before their promising careers were derailed by drugs and mental illness.  Be sure to also keep an eye out for infamous 70s character actor Joe Spinell as an army psychiatrist, a pre-Nightmare on Elm Street Robert Englund, playing a fellow surfer and providing the film’s narration, and Barbara Hale, playing the patient mother of her real-life son, William Katt.

One final note: At a time when the shameful stereotype of the psycho Vietnam vet was becoming popular and unfairly tarnishing the reputation of real-life vets, Big Wednesday was unique for featuring a character who not only joins the Army but who appears to return as a better person as a result.

4 Shots From 4 Films: The Natural, Field of Dreams, Eight Men Out, 42


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

Two months ago, Lisa reviewed The Pride of the Yankees.  Two days ago, Gary reviewed Take Me Out To The Ballgame.  Erin just explained to me why the Orioles are going to lose this season and the Rangers are going to win.  Opening Day is almost here.

These 4 shots from 4 films are dedicated to baseball lovers everywhere.

4 Shots From 4 Films

The Natural (1984, directed by Barry Levinson)

The Natural (1984, directed by Barry Levinson)

Field of Dreams (1989, directed by Phil Alden Robinson)

Field of Dreams (1989, directed by Phil Alden Robinson)

Eight Men Out (1989, directed by John Sayles)

Eight Men Out (1989, directed by John Sayles)

42 (2013, directed by Brian Hegeland)

42 (2013, directed by Brian Hegeland)

4 Shots From 4 Films: The Natural, Eight Men Out, Bull Durham, Field of Dreams


Today we celebrate the 4th of July, the United States’ Independence Day, and I mean the one from British rule and not from invading aliens.

This day has always been about the balance of one’s level of patriotism (or lackof), gathering with friends and family for barbecues and fireworks. I would also like to add that the 4th of July has also meant watching or listening to one’s favorite baseball team. Baseball, for me at least, will always remain America’s national past time.

So, here are four films that one should check out this day, or any day to understand why baseball remains such a major part for some people’s lives.

4 SHOTS FROM 4 FILMS

The Natural (dir. Barry Levinson)

The Natural (dir. Barry Levinson)

Eight Men Out (dir. by John Sayles)

Eight Men Out (dir. by John Sayles)

Bull Durham (dir. by Ron Shelton)

Bull Durham (dir. by Ron Shelton)

Field of Dreams (dir. by Phil Alden Robinson)

Field of Dreams (dir. by Phil Alden Robinson)

Horror Scenes I Love: The Howling


TheHowlingI always thought that Joe Dante’s 1981 horror film, The Howling, has been overlooked just a little bit due to it’s release being the same year as John Landis’ own horror film, An American Werewolf In London. Both were werewolf films and both were good in their own right.

Dante’s film has been called silly by some critics, but it was the more serious of the two with Landis’ own film mixing in more black humor in the narrative than Dante’s which took on a more traditional approach to the werewolf horror. Even the transformation scene from both films took on opposite sides in terms of mood and tone. Where Landis’ film treated the scene with both a mixture of horror and camp (due to the music playing in the background) in The Howling the scene went for full-on horror.

This has been one of my favorite horror scenes and it’s all due to the work of the very person who made John Carpenter’s The Thing such a memorable piece of horror filmmaking: Rob Bottin.

This man should be handed every award for every effects work he has ever done and will continue to do. It’s a shame that he hasn’t done anything of note since 2002’s Serving Sara, but until Hollywood decides that if they want great practical effects paired with advancing CG ones and hire Bottin once again we can always fall back on his past work such as the one’s he did for The Howling.