Horror Film Review: Strange Invaders (dir by Michael Laughlin)


In 1983, two years after the release of Strange Behavior, director Michael Laughlin and Bill Condon teamed up for another “strange” film.  Like their previous collaboration, this film was a combination of horror, science fiction, and satire.

The title of their latest collaboration?

Strange Invaders.

Strange Invaders opens in the 1950s, in a small, all-American town in Illinois.  Innocent children play in the street.  Clean-cut men stop off at the local diner and talk to the waitress (Fiona Lewis, the scientist from Strange Behavior).  Two teenagers (played by the stars of Strange Behavior, Dan Shor and Dey Young) sit in a car and listen to forbidden rock’n’roll music.  A lengthy title crawl informs us that, in the 1950s, Americans were happy and they were only worried about three things: communists, Elvis, and UFOs.  On schedule, a gigantic UFO suddenly appears over the town.

Twenty-five years later, mild-mannered Prof. Charles Bigelow (Paul Le Mat) teaches at a university and wonders just what exactly is going on with his ex-wife, Margaret (Diana Scarwid).  In order to attend her mother’s funeral, Margaret returned to the small Illinois town where she grew up.  When she doesn’t return, Charles decides to go to the town himself.  However, once he arrives, he discovers that the town appears to still be stuck in the 50s.  The townspeople are all polite but strangely unemotional and secretive.  Charles immediately suspects that something strange is happening.  When the towns people suddenly start shooting laser beams from their eyes, Charles realizes that they must be aliens!

Fleeing from the town, Charles checks all the newspapers for any reports of an alien invasion.  The only story he finds is in a cheap tabloid, The National Informer.  The author of the story, Betty Walker (Nancy Allen), claims that she just made the story up but Charles is convinced that she may have accidentally told the truth.  At first, Betty dismisses Charles as being crazy.  But then she’s visited by an Avon lady who looks just like the waitress from the small town and who can shoot laser beams.

Teaming up, Charles and Betty investigate the aliens and try to figure out just what exactly they’re doing on Earth.  It’s an investigation that leads them to not only a shadowy government operative (Louise Fletcher) but also a man (Michael Lerner) who claims that, years ago, he helplessly watched as his family was destroyed by aliens.

Like Strange Behavior, Strange Invaders is a … well, a strange film.  I have to admit that I prefer Behavior to Invaders.  The satire in Strange Invaders is a bit too heavy-handed and Paul Le Mat is not as strong a lead as Michael Murphy was in the first film.  I was a lot more impressed with Nancy Allen’s performance, if just because I related to both her skepticism and her sudden excitement to discover that her fake news might actually be real news.  I also liked Micheal Lerner, so much so that I almost wish that he and Le Mat had switched roles.  Finally, I have to say that Diana Scarwid’s performance was so bizarre that I’m not sure if she was brilliant or if she was terrible.  For her character, that worked well.

Strange Invaders gets better as it goes along.  At the start of the film, there are some parts that drag but the finale is genuinely exciting and clever.  If the film starts as a parody of 1950s alien invasion films, it ends as a satire of Spielbergian positivity.  It’s an uneven film but, ultimately, worth the time to watch.

 

Horror on the Lens: Without Warning (dir by Greydon Clark)


For today’s horror on the Shattered Lens, we have 1980’s Without Warning.  

In this horror/sci-fi hybrid, humans are hunted by an alien hunter who uses a variety of weapons and … what was that?  No, we’re not watching Predator.  We’re watching Without Warning.  For the record, Without Warning and Predator may have almost exactly the same plot but Without Warning came out long before Predator.

(Interestingly enough, Kevin Peter Hall played the intergalactic hunter in both films.)

Anyway, Without Warning is probably the best film that Greydon Clark ever directed.  Some would say that’s not saying much but seriously, Without Warning is a surprisingly effective film.  It also has a large cast of guest stars, the majority of whom are killed off within minutes of their first appearance.  That alien takes no prisoners!  (I especially feel sorry for the cub scouts.)

Of course, the main characters are four teenagers.  One of them is played by David Caruso, which I have to admit amuses me to no end.

Enjoy!

Creature Double Feature 4: RODAN (Toho 1957) and MOTHRA (Toho 1961)


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Let’s begin “Halloween Havoc!” season a day early by taking a trip to the Land of the Rising Sun for a pair of kaiju eiga films from Japan’s Toho Studios. Both were directed by GODZILLA’s Godfather Ishiro Honda, have special effects from Eiji Tsuurya, and feature the late Haru Nakajima donning the rubber monster suits. But the similarities end there, for while RODAN is a genuinely scary piece of giant monster terror, MOTHRA is a delightfully bizarre change-of-pace fantasy that began Toho’s turn toward more kid-friendly fare.

RODAN was filmed in 1956, and released in America a year later by DCA (the folks who brought you PLAN 9 FROM OUTER SPACE! ) under the aegis of The King Brothers . There’s more A-Bomb testing in the South Pacific, as Americanized stock footage tells us before the movie proper begins. Miners digging deep into the Earth’s crust are trapped by flooding…

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10 Sci-Fi Films That Should Have Been Nominated For Best Picture


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Over the past few years, it’s gotten a little bit more common to see science fiction films nominated for best picture.  While a sci-fi film has yet to win best picture, it is no longer as much of a shock to see a science fiction film nominated.  At least not as much as it is to see a horror film nominated.

That said, it’s still an uphill fight.  Here are 10 science fiction films that I feel could and should have been nominated for best picture:

  1. Metropolis (1927)

Fritz Lang’s expressionistic silent epic remains one of the most influential films of all time.  Metropolis was eligible to be nominated during the first year of the Oscars, a year in which not one but two awards for best picture were handed out.  That Metropolis was nominated for neither Best Production nor Unique and Artistic Picture was a huge missed opportunity.

2. The War of the Worlds (1953)

This film may be over 60 years old but it’s still one of the best alien invasion films ever made.  And yes, I prefer the original to the Spielberg version.

3. The Time Machine (1960)

Morlocks, Eloi, and war … oh my!

4. Planet of the Apes (1968)

“A planet where apes evolved from man?”  No, not quite.  “YOU BLEW IT UP!  GODDAMN YOU TO HELL!”  Yes, that’s better.  Today, Planet of the Apes may seem more than a little bit campy but it’s still an unusually intelligent social satire.  Charlton Heston’s persona has never been better used.

5. 2001: A Space Odyssey (1968)

Can you believe that this classic from Stanley Kubrick was not nominated?  Kubrick got a directing nomination but, when it came to picking the best films of the year, the Academy nominated Oliver! and Rachel, Rachel.

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6. Blade Runner (1982)

Blade Runner is today recognized as a classic but it originally received mixed reviews and was ignored by the Academy.  At the very least, Rutger Hauer deserved a nomination.

7. Never Let Me Go (2010)

This underrated clone drama was sadly overlooked.  Andrew Garfield’s performance is heartbreaking.

Film Review Under the Skin

8. Under the Skin (2014)

This enigmatic film was probably too bizarre and unsettling for the Academy but Jonathan Glazer’s direction and Scarlett Johansson’s performance make Under the Skin a classic.

9. Guardians of the Galaxy (2014)

Whenever I rewatch Guardians of the Galaxy, I’m happy to discover that it still holds up as a wonderful piece of entertainment.  It remains my favorite film of 2014.

10. Ex Machina (2015)

Quite simply an amazing film, this is a Metropolis for the 21st Century.

 

METEOR is a Crashing Bore (AIP 1979)


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American-International Pictures had gotten pretty fancy-schmancy by the late 70’s. The studio was leaving their exploitation roots behind and branching out to bigger budgeted films like FORCE TEN FROM NAVARONE, LOVE AT FIRST BITE, and THE AMITYVILLE HORROR, with bigger name stars for marquee allure. Toward the end of 1979 they released METEOR, a $16 million dollar, star-studded, special-effects laden, sci-fi/ disaster film spectacle that bombed at the box-office and contributed to the company’s demise.

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Coming at the tail end of the disaster cycle, METEOR is formulaic as hell. Take a group of well-known stars (Sean Connery, Natalie Wood , Karl Malden , Brian Keith , Martin Landau, Henry Fonda ), give them a disastrous menace to combat (in this case a five-mile wide meteor hurtling toward Earth), add some conflict (US/USSR Cold War relations), and some scenes of destruction, and voila! instant disaster movie! Unfortunately, by 1979 audiences had already grown tired…

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Flight of Fancy: Vincent Price in MASTER OF THE WORLD (AIP 1961)


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MATSER OF THE WORLD is AIP’s answer to Disney’s 20,000 LEAGUES UNDER THE SEA . Both are based on the works of Jules Verne, and involve fanatical protagonists commanding futuristic ships (an airship in this case). The difference is in budget, as studio honchos Samuel Z. Arkoff and James Nicholson didn’t have the financial means to compete with the mighty Walt Disney. They did have Vincent Price though, and within their monetary constraints came up with an entertaining mini-epic enhanced by another solid Richard Matheson script.

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Price stars as Captain Robur, who’s fantastic flying airship Albatross rules the skies of 1868. When his amplified voice bellows some scripture from a mountain (does this make Vinnie the Voice of God?), balloon enthusiasts Mr. Prudent, daughter Dorothy, and her fiancé Phillip Evans, along with government agent John Strock, investigate, only to be shot down by Robur’s rockets and taken prisons aboard his flying fortress.

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Creature Double Feature 2: IT CAME FROM BENEATH THE SEA and 20 MILLION MILES TO EARTH (Columbia, 1955 & 1957)


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Let’s return to those thrilling days of yore before CGI and enter the wonder-filled world of Special Effects legend Ray Harryhausen! I’ve covered some of Harryhausen’s fantastic work before (ONE MILLION YEARS BC EARTH VS THE FLYING SAUCERS THE VALLEY OF GWANGI ), and most of you regular readers know of my affection for his stop-motion wizardry. So without further ado, let’s dive right into IT CAME FROM BENEATH THE SEA.

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An atomic submarine picks up a mysterious large object on its sonar. The sub’s hit hard, and radiation is detected in the surrounding area. The damaged sub is taken to Pearl Harbor for repairs, and a substance found on it is determined to be from a “living creature” by eminent scientist Dr. John Carter (Donald Curtis) and beautiful marine biologist Prof. Leslie Joyce (Faith Domergue ). Sub Commander Pete Matthews (Kenneth Tobey ) and Leslie immediately butt heads…

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“Where No Man Has Gone Before”: Fifty Years of STAR TREK


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Gene Roddenberry’s space odyssey first sailed onto the small screen on September 8, 1966. I can remember being allowed to stay up late (I was only 8 at the time!) to watch it with my dad, who was a big science-fiction buff. As a career Navy man, I think he related to the idea of a ship’s travels (he was also a fan of VOYAGE TO THE BOTTOM OF THE SEA). Being a young’un at the time, I was more into the weird creatures the Starship Enterprise crew encountered on their “five-year mission”.

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Unless you’ve been living in another galaxy the past half century, you know all the characters. There’s William Shatner as the headstrong Capt. James Tiberius Kirk, emoting as only Shatner can. Leonard Nimoy became something of a teen idol as the logical Vulcan Mr. Spock (something about those pointed ears, maybe?). DeForrest Kelly played the ornery Dr. “Bones” McCoy, forever…

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Steampunk Disney: 20,000 LEAGUES UNDER THE SEA (Walt Disney Productions 1954)


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When TCM aired this movie last week, I just had to watch. It was one of my favorites as a kid, and I was curious to see how well it held up with the passage of time. To my delight, 20,000 LEAGUES UNDER THE SEA is even more enjoyable in adulthood, a joyous sci-fi adventure film thanks to the fine cast and the genius of Walt Disney.

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Based on the Jules Verne novel, 20,000 LEAGUES UNDER THE SEA takes us back to 1868, where rumors of a sea monster attacking ships are running rampant. Eminent scientist Professor Aronnax and his protégé’ Counseil are invited to join a voyage to investigate the matter, along with the free-spirited harpoonist Ned Land. They encounter the beast and are shipwrecked, only to discover the monster is actually a fantastic, futuristic submarine, The Nautilus. The sub is commanded by Captain Nemo, who picks up Aronnax, Counseil, and…

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Sci-Fi Film Review: The Humanoid (dir by Aldo Lado)


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When all the editors of the site got together at the TSL offices and discussed who would review what during our sci-fi month, there were two films that I immediately claimed for myself.  One was Luigi Cozzi’s Starcrash, which is one of the best-known and most popular of all the Italian Star Wars rip-offs.  The other was The Humanoid, which is considerably less known.

What is The Humanoid?  It’s an Italian film from 1979 that was designed to capitalize on the popularity of both Star Wars and James Bond.  While the plot was largely ripped off from Star Wars (with a dash of The Golem tossed in for good measure), the film’s cast featured three performers best known for their roles in two then-recent James Bond films.  The Spy Who Loved Me’s Barbara Bach played the evil Lady Agatha.  Moonraker‘s Corinne Clery played heroic scientist Barbara Gibson.  Finally, the title character — the Humanoid — was played by none other than Richard Kiel, who previously played evil henchman Jaws in both of those films.

The main reason that I wanted to see it was because the film was directed by Aldo Lado.  Aldo Lado may not be as well-known as Mario Bava, Dario Argento, Lucio Fulci, and Ruggero Deodato but he still directed some very memorable films.  Short Night of Glass Dolls, Who Saw Her Die?, and The Night Train Murders are all classics of their genre, combining shocking violence with Marxist political subtext.  What, I wondered, would an Aldo Lado-directed Star Wars rip-off be like?  Fortunately, The Humanoid has been uploaded to YouTube and I was able to find out.

The answer, to that question, is that the Aldo Lado-directed Star Wars rip-off isn’t very good.  But it’s so strange that it’s never less than watchable.

Allow me to attempt to explain the film’s plot.  If things get confusing … well, it can’t be helped.  That’s just the way this film works.  The Humanoid opens in outer space, with a lengthy opening title crawl that informs us that evil Lord Graal has escaped from prison and is planning on attacking the planet Metropolis (yes, the planet is named Metropolis) and overthrowing his brother, the benevolent ruler known as Great Brother.  As the title crawl disappears into space, the camera pans over to a giant spaceship and basically, it’s the exact same shot that opened Star Wars.  You have to admire a film that, in less than a minute, can rip-off Star Wars, Superman, and George Orwell.

Anyway, it turns out that Lord Graal is a tall and imposing figure who dresses in black armor, a black cape, and a black helmet.  (Sound familiar?)  He’s played by Ivan Rassimov, who played a lot of villains in a lot of Italian exploitation films.  Sadly, he never takes off that helmet so we never get to see the truly impressive head of hair that was almost always a highlight of every Rassimov performance.

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Graal’s main ally is Lady Agatha (Barbara Bach), who is actually several centuries old but she remains young by daily injections of a serum that is made up on virgin blood.  (The Bathory Method, in other words.)  Lady Agatha is really evil but she does have really great hair and she gets to wear this V-neck dress that is simply to die for and provides an interesting contrast to the amazingly boring white jumpsuits that all of the good people seem to be wearing.

The youth serum was developed by a mad scientist named Dr. Kraspin (played by five-time Oscar nominee Arthur Kennedy).  And Dr. Kraspin is good for more than just youth serums!  He’s also developed a method of mind control, a way to turn humans into … humanoids!

(“Come quickly!” Dr. Kraspin cries, at one point, “I am creating my first humanoid!”)

Dr. Kraspin tests his method out on interstellar police officer, Golob (Richard Kiel).  Good Golob has a beard and mustache and spends most of his time talking to his pet robot, Robodog.  (“This is my robot dog!” Golob enthusiastically says at one point.)  However, when Golob gets hit by Kraspin’s Humanoid Ray, the beard and the mustache vanish and Golob just growls.  Much as in The Golem, Kraspin places a device on Golob’s forehead which allows him to control Golob’s actions.

Good Golob

Good Golob

Bad Golob

Bad Golob

Meanwhile, Kraspin also has a grudge against Dr. Barbara Gibson (Corrine Clery) and sends Golob to destroy her.  However, Barbara is hiding out with enigmatic child genius Tom Tom (Marco Yeh) and the Han Soloish Nick (Leonard Mann).  And, fortunately for all of them, Tom Tom has the power to make crossbow-wielding angels descend from the heavens…

One of the things that makes The Humanoid an interesting viewing experience is that it’s essentially a kid’s film that was made for an exploitation audience.  Hence, scenes featuring cute Robodog and precocious Tom Tom are mixed in with scenes of brutal violence and a naked virgin being drained of her blood so that Agatha can remain young.  It makes for a notably odd viewing experience.

But that’s appropriate because The Humanoid is one weird movie.  Much as he did with Night Train Murders (which was “inspired” by Wes Craven’s Last House On the Left), Aldo Lado doesn’t allow The Humanoid‘s rip-off status to prevent him from tossing almost everything you could imagine into The Humanoid.  Full of melodrama, bad special effects, over-the-top performances, and way too much plot for a 90 minute movie, The Humanoid is one of those movies that simply has to be seen to believed.  It’s utterly ludicrous and, as a result, oddly likable.  It may not be good but it’s never less than watchable.

Golob and RoboDog

Golob and RoboDog