Horror Film Review: Alligator (dir by Lewis Teague)

Posted on October 4, 2025 by Lisa Marie Bowman

1980’s Alligator begins in 1968. While on vacation in Florida, a teenage girl named Marisa Kendall purchases a baby alligator named Ramon. When she returns home to Chicago, her jerk of a father flushes Ramon down the toilet.

12 years pass. Marisa (Robin Riker) becomes a herpetologist. As for Ramon, he actually survives being flushed down the toilet and thrives in the sewer. He eats the carcasses of animals that had been a part of an experiment involving a growth serum. The serum had the desired effect of making the animals bigger but it also increased their metabolism to the extent that they became aggressive and had to eat constantly. Evil industrialist Slade (Dean Jagger) is convinced that, by tossing the carcasses in the sewer, he’s ensured that no one will ever find out about the experiments. Instead, he’s turned Ramon into a giant alligator who is always hungry. Soon, the super-intelligent alligator is ambushing and eating sewer workers.

Burned-out Detective Dave Madison (Robert Forster) teams up with Marisa to solve the mystery of why so many body parts are turning up in the sewers. It’s not easy. No one wants to admit that there might be a giant alligator living under the city. Everyone wants to believe that’s just an urban legend. But, after a tabloid reporter (Bart Braverman) manages to snap a few photographs of Ramon before being devoured, the police are forced to deal with the fact that they’ve got an alligator on their hands. As Slade continues to try to cover up his involvement, big game hunter Colonel Brock (Henry Silva) comes to town and announces that he will be capturing the alligator.

Directed by Lewis Teague and written by John Sayles, Alligator is a dark comedy disguised as a horror film. While numerous people get eaten and the film ends on a properly ominous note, Alligator is obviously not meant to be taken seriously. The cast is full of good actors who send up their own images. That’s especially true in the case of Henry Silva, who appears to be having a blast as the hyper macho Colonel Brock. Robert Forster, meanwhile, delivers his lines with a self-aware weariness that seems a bit more appropriate for a noir hero than a film about a detective investigating a giant alligator. One reason why the film works is because Forster, Silva, and the rest of the cast understood exactly what type of film they were appearing in and they delivered their overheated lines with just enough wit to let the viewer know that the film was in on the joke. The big and somewhat stiff-looking alligator may not look entirely real and it may move somewhat awkwardly but ultimately, it’s the most likable character in the movie. It just wants to relax in the sewers but, every few minutes, someone else is bugging him.

When first released, Alligator struggled at the box office but it has since gone on to become a cult favorite. Quentin Tarantino is a self-described fan and he had said he was inspired to cast Robert Forster as Max Cherry in Jackie Brown after seeing him as Dave Madison in this film. That’s not bad for a movie about a giant alligator!

The History of the World, Part I (1981, directed by Mel Brooks)

Posted on June 28, 2025 by Jedadiah Leland

Overlong, wildly uneven, gimmicky too a fault, and often laugh out loud funny with a mix of jokes that range from the crude to the sublimely clever to the surprisingly sentimental, The History of the World, Part I is the ultimate Mel Brooks films.

Narrated by Orson Welles and featuring five historical stories and a collection of coming attractions, The History of the World Part I follows man from his caveman origins to the French Revolution and the thread that ties it all together is that humanity always screws up but still finds a way to survive. Moses (Mel Brooks) might drop and break one of the three tablets listing the 15 Commandments but he’s still able to present the other ten. Stand-up philosopher Comicus (Mel Brooks) might make the mistake of poking fun at the weight of Emperor Nero (Dom DeLuise) but he still makes his escape with Josephus (Gregory Hines), Swiftus (Ron Carey), and Miriam the Vestal Virgin (Mary-Margaret Humes) and ends up serving as the waiter at the Last Supper. (“Jesus!”) The Spanish Inquisition may have been a catastrophe but it also gave Torquemada (Mel Brooks) a chance to show off his performance skills. The French Revolution may have been a bloodbath but the future still held promise. Ask for a miracle and he’ll show up as a white horse named Miracle, no matter what era of history you’re living in.

The humor is very Mel Brooks. During the Roman Empire sequence, Madeline Kahn plays Empress Nympho. Jackie Mason, Harvey Korman, Cloris Leachman, Spike Milligan, Jan Murray, Sammy Shores, Shecky Greene, Sid Caesar, Henny Youngman, and Hugh Hefner all make cameo appearances. Carl Reiner is the voice of God. John Hurt plays Jesus. The film ends with the promise of a sequel that will feature “Jews in Space.” Not every joke lands. The entire caveman sequence feels forced. But when the film works — like during The Inquisition production number — it’s hard not get caught up in its anything-goes style. The entire Roman Empire sequence is probably more historically accurate than the typical Hollywood Roman epic. That’s especially true of Dom DeLuise’s naughty performance as Emperor Nero.

Mel Brooks is 99 years old today and he says that he has at least one more film to give us, a sequel to Spaceballs. I’m looking forward to it! I’m also looking forward to rewatching and enjoying all of the films that he’s already given us. The History of the World, Part I may not have initially enjoyed the critical acclaim of his earlier films but, in all of its anarchistic glory, it’s still pure Mel Brooks.

Lisa Reviews An Oscar Winner: One Flew Over The Cuckoo’s Nest (dir by Milos Forman)

Posted on October 29, 2020 by Lisa Marie Bowman

Technically, the 1975 film One Flew Over The Cuckoo’s Nest is not a horror film.

Though it may take place in a creepy mental hospital, there are no ghosts or zombies. There’s no masked killer wandering the halls. The shadows do not leap off the walls and there are no ghostly voice in the night, unless you count the rarely heard voice of Will Sampson’s Chief Bromden.

Admittedly, the cast is full of horror and paranormal veterans. Michael Berryman, of the original Hills Have Eyes, plays a patient. Louise Fletcher, who won an Oscar for playing the role of Nurse Ratched, went on to play intimidating matriarchs in any number of low-budget horror movies. Vincent Schiavelli, a patient in this film, played the angry subway ghost in Ghost. Another patient, Sidney Lassick, played Carrie’s condescending English teacher in Carrie. Brad Dourif, who received an Oscar nomination for playing the meek Billy Bibbit, has become a horror mainstay. Will Sampson appeared in the Poltergeist sequel. Both Scatman Crothers and Jack Nicholson would go on to appear in The Shining.

Nicholson plays Randle Patrick McMurphy, a career criminal who, hoping to get out of prison early, pretends to be mentally ill. He ends up getting sent to an Oregon mental institution, where his rebellious ways upset the administrators while, at the same time, inspiring the patients to actually try to take some control over their lives. The film is, in many ways, a celebration of personal freedom and rebellion. The only catch here is that, in One Flew Over The Cuckoo’s Nest, being a little bit too rebellious can lead to not only electroshock treatment but also a lobotomy. Those in charge have a way of making you permanently compliant.

And really, to me, that’s what makes One Flew Over The Cuckoo’s Nest a horror film. It’s about the horror of conformity and bureaucracy. The film may start out as something of a comedy and Nicholson brings a devil-may-care attitude to the role of McMurphy but then, eventually, you reach the scene where McMurphy is tied down and given electrical shocks to make him compliant. You reach the scene where Ratched coldly informs Billy Bibbit that she will be telling his mother that Billy lost his virginity to a prostitute and Billy reacts by slicing open his wrists. Finally, you reach the scene where McMurphy returns to the ward having had a bit of his brain removed. In those scenes, One Flew Over The Cuckoo’s Nest becomes a horror movie. The monster is not a ghost or a demon or a serial killer. Instead, it’s a system that is determined to squash out any bit of rebellion or free thought.

What makes Nurse Ratched such a great villain is the fact that, as opposed to being some sort of a maniacal force of evil, she’s really just someone doing her job and refusing to question her methods. She’s the ultimate symbol of bland authoritarianism. Her job is to keep the patients from getting out of control and, if that means lobotomizing them and driving one of them to suicide …. well, that’s what she’s going to do. For all the time that Ratched spends talking about therapy, her concern is not “curing” the patients or even helping them reach a point where they can leave the hospital and go one with their lives. Ratched’s concern is keeping everyone in their place. As played by Fletcher, Ratched epitomizes the banality of evil. (That’s one reason why it was so silly for Ryan Murphy to devote his most recent Netflix series to giving her an over-the-top origin story. Ratched is a great villain because she doesn’t have any complex motivations. She’s just doing whatever she has to do to keep control of the people are on her ward. Part of keeping control is not to allow anyone to question her methods. Everyone has had to deal with a Nurse Ratched at some point in the life. With the elections coming up, we’re about to be introduced to whole new collection of Nurse Ratcheds.)

I like One Flew Over The Cuckoo’s Nest, even though it’s an undeniably dated film. That said, it’s not as dated as the novel on which it’s based, nor is it as appallingly misogynistic. Jack Nicholson’s rough but charismatic performance holds up wonderfully well. (I don’t know if an actor has ever matched a character as perfectly as Nicholson does with McMurphy.) Louise Fletcher brings a steely resolve to the role of Nurse Ratched. Fans of spotting character actors in early roles will probably get a kick out of spotting both Danny DeVito and Christopher Lloyd as patients. The movie skillfully combines drama with comedy and the ending manages to be both melancholy and hopeful.

When it comes to the 1975 Oscar race …. well, I don’t know if I would argue that One Flew Over The Cuckoo’s Nest deserved to win Best Picture over Nashville, Dog Day Afternoon, or Barry Lyndon or Jaws. Dog Day Afternoon and Nashville feel as if they were ahead of their time, with their examination of the media and politics. Jaws set the template for almost every blockbuster that would follow and it’s certainly one of the most influential horror films ever made. Barry Lyndon is a stunning technical achievement. Compared to those films, One Flew Over The Cuckoo’s Nest seems rather simplistic. Watching it today, you’re very much aware of how much of the film’s power is due to Jack Nicholson’s magnetic screen presence. Nicholson definitely deserved his Oscar but it’s debatable whether or not the same can be said of One Flew Over The Cuckoo’s Nest as a whole.

So no, I wouldn’t necessary say that One Flew Over The Cuckoo’s Nest was the best of the films nominated that year. Still, it’s an entertaining film and a helluva ride. It’s a great film to watch whenever you’re sick of faceless bureaucrats trying to tell you what to do. And, in its own odd way, it’s a great film for Halloween season.

Fast-Walking (1982, directed by James B. Harris)

Posted on March 29, 2020 by Jedadiah Leland

Frank Miniver (James Woods) is the prison guard that everyone calls Fast-Walking. He’s involved in almost every vice that a man living in a small town in Oregon can be involved in. He takes bribes. He usually shows up for work stoned and what he doesn’t smoke, he sells to the prisoners and the other guards. He’s got a second job, running a trailer park brothel behind his cousin’s general store.

Frank’s cousin, Wasco (Tim McIntire), has been incarcerated and he expects Frank to help him take over the prison. At first, Frank has no problem working with Wasco and letting his cousin have free reign of the cell block. Wasco has soon established himself as the most powerful man behind bars. When a black power activist named Galliot (Robert Hooks) arrives at the prison, Wasco wants to arrange for him to be assassinated. Meanwhile, Galliot has offered Frank even more money to help him escape from the prison.

While Frank tries to keep both sides happy and make off with some money for himself, he’s also sleeping with Wasco’s accomplice on the outside, Moke (Kay Lenz). Originally, Wasco ordered Moke to seduce Frank in order to keep Frank in line but, as Moke and Frank’s relationship continues, Wasco starts to get jealous and starts plotting to put Frank back in his place.

Fast-Walking is a gritty film that features a good deal of dark humor. Unfortunately, the film’s many different parts never really come together and the film never strikes the right balance between comedy and drama. James Woods is perfectly cast as Frank and the underrated Kay Lenz does wonders with an underwritten role but Tim McIntire is a less than ideal Wasco. McIntire was a good actor but, physically, he’s all wrong for a character who is supposed to be so intimidating that he can walk into a prison and automatically take it over. Wasco is written and played as being such a cartoonish character that it’s difficult to take him or his plots seriously. The movie works best when it’s just focuses of James Woods’s nervy performance and Frank’s attempts to keep the other prison guards (including M. Emmett Walsh) from discovering his own racket.

Vampire Party: An American Vampire Story (1997, directed by Luis Esteban)

Posted on October 27, 2018 by Jedadiah Leland

When his parents leave to spend the summer in Europe, Frankie (Trevor Lissauer) has the entire mansion to himself. Frankie wants to spend the time getting closer to his girlfriend, Dee Dee (Daisy Torme), but his best friend Bogie (Danny Hitt) says that it’s time to “party hearty!” (That’s right. Someone in a film made after 1991 says that it’s time to party hearty.) Bogie thinks that the best way to party would be to invite Moondoggie (Johnny Venocur) and his gang (which includes Carmen Elecrta) to hang out at the house. But then it turns out that Moondoggie is a vampire and once he’s invited in, he refuses to leave! Even worse, Dee Dee dumps Frankie for Moondoggie! Luckily, there is one man on the beach who can help Frankie out of his predicament. They call him the Big Kahuna, he wears a Hawaiian shirt and he’s played by Adam West.

This is really, really dumb but at least it’s got Adam West saying lines like, “Stop that sucking!” and “Holy wipe out!” The movie is supposed to be a throwback to the old Frankie and Annette beach party movies from the 60s, just with vampires. (Moondoggie’s real named is Count Erich Von Zipper.) What the movie didn’t take into account is that there was already a perfectly good Beach Party movie with vampires and it was called The Lost Boys. Don’t be fooled by that PG-13 rating or the way that Carmen Electra is posing on the poster. An American Vampire Story is a tame and bloodless vampire story. The cast is game but most of the jokes fail to land like they should and ultimately, only Adam West keeps the anemic tale alive.

Film Review: China 9, Liberty 37 (1978, directed by Monte Hellman)

Posted on November 7, 2015 by Jedadiah Leland

c9l37 Directed by the legendary Monte Hellman, China 9, Liberty 37 is a revisionist take on the western genre. Fabio Testi plays Clayton Drumm, a legendary gunslinger who is about to be hung for murder. At the last minute, men from the railroad company show up and arrange for Clayton be released. They want him to kill a rancher who is refusing to sell his land. Clayton agrees but, before he leaves for his mission, he gives a brief interview to a writer from “out East.” Cleverly, the writer is played by director Sam Peckinpah, to whose films China 9, Liberty 37 clearly owes a huge debt.

After telling the writer that his eastern readers have no idea what the west is truly like, Clayton rides out to the ranch. Along the way, he gets directions from a nude lady (Jenny Agutter) who is swimming in a nearby stream. When Clayton reaches the ranch, he meets his target. Matthew Sebanek (Warren Oates) is himself a former gunslinger who used to kill people for the railroads. From the minute they meet, Matthew knows who Clayton is and why he is there. Both Clayton and Matthew have grown weary of killing and, instead of having the expected gunfight, they instead become fast friends. Matthew allows Clayton to stay at the ranch and introduces him to his wife, Catherine, who it turns out was the same woman who Clayton talked to earlier.

China9Liberty37-02 Catherine loves Matthew but resents his rough ways and feels that he treats her like property. One night, she and Clayton go for a nude swim and then make love. When Matthew finds out, he strikes his wife and, in self-defense, she stabs him in the back. Believing Matthew to be dead, she and Clayton go on the run.

Matthew is not dead and, once he’s recovered from being stabbed, he and his brothers set off to track down the two lovers. While Matthew chases after Clayton, he is being pursued by Zeb (Romano Puppo), another gunslinger who has been hired by the railroad to kill both Matthew and Clayton.

As a western, China 9, Liberty 37 is more interested in its characters than in the usual gunfights. There are no traditional heroes or villains and Monte Hellman emphasizes characterization over action. Even while he is relentlessly pursuing Clayton and Catherine, Matthew admits that he does not blame Catherine for leaving him. As for Clayton and Catherine, they are both consumed by guilt over their affair. This is one of the few westerns where the main character often refuses to fire his gun.

As Clayton, Fabio Testi is stiff and inexpressive, but Jenny Agutter and Warren Oates are terrific. Though their films were never as critically or financial successful, Warren Oates and Monte Hellman had as strong of a director/actor partnership as Martin Scorsese and Robert De Niro. China 9, Liberty 37 was the fourth and final movie that Monte Hellman and Warren Oates made together. It was also Oates’s last western before his untimely death in 1982.

china 9 oates Director Monte Hellman is as well-known for the films he did not get to make as for the ones he actually did make. (Originally, Quentin Tarantino wanted Hellman to director Reservoir Dogs. When Tarantino changed his mind and decided to direct it himself, Hellman was relegated to serving as executive producer. A lot of recent film history would be very different if Tarantino and Hellman had stuck to the original plan.) Like a lot of the films that Hellman actually did get to make, China 9, Liberty 37 was only given a sparse theatrical release and was often shown in a heavily edited version. It has only been recently that the full version of China 9, Liberty 37 has started to show up on TCM. It is an interesting revisionist take on the western genre and must see for fans of Monte Hellman, Jenny Agutter, and Warren Oates.