Do you like comics? Do you dig horror? Then you should be into at least a few of these comic-based horror movies — some of which became franchises! Did I miss anything major? Let me know in the comments!
Get into the Halloween spirit with this sampler of Neil Gaiman goodies that I think will give you a nice launchpad into his fantastic work! The best part? It’ll only take a few hours!
I also tackled five more films in It’s All Connected 2021 to keep that moving along. I finished my Jill Schoelen mini-marathon, indulged a bit on my favorite slasher franchise, watched another John Carpenter film and then got to one wacky killer animal flick!
Last year I did this thing where every horror movie I watched during the scare season (which starts in September for me) would have a connection to the previous film. I fully intended to write about all 60-some films and my path from Return Of The Living Dead 3 to the new Halloween, but life gets in the way of our best intentions. At the moment, I’m feeling a renewed interest in blogging, so here we go with this year’s entries. Let’s see if anything can even come close to the horror show of a year we’re living through (it won’t).
Good golly, has it really been NINE months since I posted about a John Carpenter movie? Well, after checking out 1980’s The Fog last fall, I actually watched the next two films in relatively quick succession (for me at least). But, I never got around to writing about those films: Escape From New York and The Thing. I wanted to get back on this train, so I watched Escape again and here we go.
The first thing that struck me about this film is the scope. All of Carpenter’s movies revolve around strange things happening in the real world (masked killers, ghost pirates, stalkers and voodoo gangs) which create these smaller, twisted realities. But, with Escape, he’s creating a whole world. The Big Apple has been abandoned, the island has been walled off and turned into a prison. On top of all that set dressing we also have characters who all feel like they’re as lived in and sometimes legendary as possible.
And a lot of that comes from Kurt Russell’s portrayal of Snake Plissken. The man doesn’t say much, looks cool and is known by EVERYBODY (even if he’s shorten than expected). He’s also got a deep history hinted at but never fully delved into. This is a nice trick that’s played in comics when it comes to characters like Punisher, Wolverine and John Constantine where we’re impressed (and possibly scared) by them because just about everyone else is. Russell fills the role with his own presence and created an iconic character who continues to inspire comic books and toys to this day.
Adding to that, you’ve also got the denizens of New York, one of the strangest groups of people this side of Thunderdome. Creeps, weirdoes, evil geniuses, murderers and Cabbie? Seriously, why is Ernest Borgnine in this place?! He seems so nice (except for when he ditches everyone). Questions like that might not come the first time you watch the film, but pop up the more times you check it out which broadens the world.
On the surface, it might seem like Escape is an outlier in Carpenter’s filmography because there aren’t any supernatural forces at work, but if you look a little deeper you’ve got the clear influence of westerns (lone gunman with a reputation entering a place and getting the job done), the concept of being trapped by something nefarious and Carpenter’s growing cast of actors who appeared in several of his movies like Russell, then-wife Adrienne Barbeau and Halloween‘s Donal Pleasence as the president (who gives a great latter day Loomis performance here).
As much as I like this movie, I have a weird relationship with it. As it turns out, I think I actually watched the sequel Escape From LA first back in high school, so there are huge portions of that movie that live in my brain because that was back when I could absorb the most information. Because of that, I kept wondering when the map seller would show up or when the basketball scene would happen. The other problem is that I seem to fall asleep during this movie more than any other. I don’t know what it is, maybe the music or the subdued performances from many of the cast members. More likely, it’s the fact that I can barely stay up past 11:30 these days. Whatever the case, I’ve started this film more times than I’ve finished it and yet I still love the opening 20 minutes which sets everything up so well. I’d love to see this one on the big screen to really feel the full force of this huge, sprawling and yet subtle at times world that Carpenter crafted.
You might be expecting me to move on to The Thing next, but that won’t be the case. Much like with Halloween, I love that horror classic a lot and, as I mentioned above, watched it not too long ago. I find its best to not overdo it when it comes to favorite horror movies because they can lose some of their power if you’re TOO familiar with them. I think it’s also safe to say that I don’t have much in the way of unique thoughts on the masterpiece of stranded, paranoid beauty he created there (plus I wrote about it a bit back in 2011). That means I’ll be moving on to Christine in the near future!
So far I’ve watched Dark Star, Assault On Precinct 13 and Someone’s Watching Me, in a fairly short period of time as part of this whole Chronological Carpenter thing. That experience, plus a fairly strong knowledge and memory of Halloween have given me a good idea of what Carpenter was doing in the late 70s and earliest of 80s. It seems like he was interested in telling the kinds of stories that no one else was really interested in or capable of at that time. I can’t speak to how many TV movies focused on crazy peeping toms in the 70s, but he basically kickstarted the slasher genre with Halloween and did the kind of cops and robbers movie others weren’t even thinking of with Assault. I think it’s safe to say that his next movie, The Fog, was in a league of its own as well what with its strange visitors attacking a town via weather anomaly.
The film finds a coastal California town besieged by a supernatural fog killing people while shifting focuses between a variety of groups and characters. You’ve got mother and DJ Stevie Wayne who spends most of her time in the light station-located radio station she owns. Then there’s local Nick (Tom Atkins) and his newfound friend Elizabeth (Jamie Lee Curtis) who meet via hitchiking pick-up and get swept along with all this craziness. Meanwhile, Father Malone (Hal Holbrook) discovers the dirty truth of his town and Mayor Kathy Williams (Janet Leigh) does much of the same along with her assistant Sandy (Nancy Loomis).
I went into The Fog with pretty low expectations. I’d seen it once before, but it just didn’t do much much for me. One of the few things I remembered about the film was one of the less interesting elements for me personally and that was “ghost pirates.” Even as a long time genre, comic and horror fan, there’s just something about those words that makes me snicker a bit. As it turned out, it took me about four or five attempts to actually watch the whole thing in the proper order. This was far more about my inability to stay up past 11:30PM than anything else.
Anyway, after finally getting through the movie, I came away with a much better opinion of it, partially because I had an interesting realization while watching. Instead of being a haunted house story, which is a kind of horror tale I don’t always enjoy, The Fog is actually a haunted TOWN story. Viewing it through this prism made the seemingly silly idea of ghost pirates more palatable because it all seemed upscaled for the larger setting of this haunting story. It also helped me develop something of a theory about all this. Maybe the pirates aren’t as important because they’re not the real threat. The fog is. They might be more like an anti-body inside the mist which is why they don’t ever get fully shown. That’s not really backed up by information I learned by watching behind the scenes stuff, but it’s an interesting read of the material as presented.
You’ve got to give the cast of this film a lot of credit. Barbeau is fantastic as she casually flips between regular person and sultry DJ. It’s a nice set-up for her character before she turns into scared mother and fueled fighter. Then you’ve got the always-great Atkins playing regular guy Nick like nobody’s business. Seeing Curtis as an adult dealing with insanity was actually a fun transition from my memories of her more girlish character in Halloween. Sometimes young actors don’t get cast in their actual age and it felt like she did here and really got to play in that field. I haven’t even gotten into Leigh or Holbrook who both bring their years of experience and greatness to their roles. Everyone really went for their characters and gave it their all which helps when dealing with a movie like this that isn’t as easy to categorize as some others.
It’s funny how just a few years have added to my perspective when it comes to watching a movie like this. Even a few years ago, I probably wouldn’t have understood Stevie’s absolute dedication to her job because jobs were just things I had to make money. But, in this film, she needs a job to take care of her kid. Plus, it’s not just a job, she OWNS the radio station, so the whole thing is riding on her shoulders. That’s a lot of pressure! I also plugged more into Stevie’s fear of being a witness to her son’s supernatural attack without being able to do anything about it. She’s just pleading over the radio waves for someone, anyone to help him without knowing if it’s working or not. That’s pure parent-fear right there mixed with unhealthy doses of helplessness.
If you’re looking for more traditional scares, the film has a few solid ones. The early one in the priest’s office got me. Actually, now that I think about it, Holbrook is pretty darn scary and intense throughout the film. There’s a bit where he pops out of the shadows at Leigh which is just amazing. There are some ghost scares that were effective, but it says something about a movie when I’m noting humans being scary and not the actual bad guys of the project which sets this pretty far away from something like the epically amazing Halloween.
I appreciated the film a bit more after watching behind-the-scenes documentary on the DVD called “Tales From The Mist” shot when the DVD was put together. They actually made the movie without the pirate ghosts and a lot of the more atmospheric haunting aspects at first. A lot of that stuff was added in after the fact. I also learned that Carpenter compared the project to old EC horror comics which is interesting considering this is a tale of past greed coming back to haunt people, a common theme in those books. There’s also a solid look at how they actually made the fog effects in the film which was one of the biggest questions I had while watching. It’s a super clever idea, too!
In regards to Carpenter’s career and the people he worked with The Fog features a lot of previous and future collaborators. You’ve got Curtis and Loomis from Halloween, Darwin Joston from Assault, Barbeau from Watching (who also married) and a variety of familiar character names like Dark Star co-writer Dan O’Bannon and editor/pal Tommy Lee Wallace. Carpenter also wrote the film with Halloween co-screenwriter and produce Debra Hill who he would also work with on Escape From LA. Oh, and Dean Cundey shot the film as he did Halloween, a slew of other Carpenter films and tons of classics from the 80s and 90s. On a musical note, Carpenter did the soundtrack for this film as well and while I don’t usually notice such things, it did remind me of the one for Halloween on several occasions.
Up to this point, this was Carpenter’s most supernatural film, what with the ghost pirates and everything, but it’s interesting how other elements from his previous films come through. There are all kinds of shadow killers in this movie; not just The Shape, but many shapes. The end of the film also features a group of uncanny killers laying siege to a fortified building, much like Assault. Oh, and of course, there’s an independent woman facing off against a male villain wielding a sharp object. Always more of that!
While I enjoyed this film much more this time around thanks to a new and different understanding of it, I will say that I’m curious about finally checking out the Scream Factory version. I’ve heard good things, but I haven’t been able to find a copy of that version on the cheap. If you’re a fan of either version, what are the differences? What makes one version better than another?
With The Fog behind me, I’m on to a pair of Carpenter’s films that I own, Escape From New York and The Thing followed by Christine, which I’ve seen once and Starman, which I’ve owned for years, but never watched!
Hey, wait a minute. The last film I wrote about for The Chronological Carpenter was Assault On Precinct 13 and now I’m doing Someone’s Watching Me. What about Carpenter’s finest effort Halloween? Well, I put the film on again last week and had a revelation: I know that movie so well that I have trouble tapping in if I don’t really want to watch it. Basically, I need to be in the mood and it just so happened that I wasn’t. I figured it was okay to skip over because I’ve written about the film not once, but twice, so we’re pretty well covered in that department.
I had also gotten the Someone’s Watching Me DVD from Netflix in the mail and didn’t want to sit on it for too long, so in it went. The film is an interesting one because John Carpenter wrote it as a feature script that was eventually turned into a TV movie that he wound up directing in about 10 days. The film follows a New York woman named Leigh Michaels (Lauren Hutton) moving into an LA high rise where she soon discovers she has a peeping tom stalker living in the building across the way from her.
Leigh can’t rely on the police to help her because, technically, this guy hasn’t broken the law, but she does rely on her friend and co-worker Sophie (Adrienne Barbeau) as well as her boyfriend Paul (David Birney) to figure out who it is.
The film certainly has some limitations. You can see that it was a TV movie, but I will say I was surprised when I found out it was filmed in so few days. It might look like a TV movie, but there’s lots of great lighting and camera tricks going on to the point where it seems like they had a lot more time. When it comes to the light, I was actually surprised with how much of the film takes place during the day. That probably took away some of the film’s potential suspense, but it makes sense when you find out how little time they had to make the film.
Overall, though, Someone’s Watching Me hit several of my personal fear buttons. Even though the basic plot feels a little archaic these days (or maybe just overly-trod) there’s still something primally scary about a predator constantly watching you from a distance, especially one as portrayed in this film who has so much power and control over not only what he can see and hear, but also the building in which she lives. She has very little agency until she really puts her mind to figuring out what’s going on, which is super empowering.
The other big fear on display in this film is having a big, life threatening problem that the authorities can’t or won’t help with. This is a huge part of the horror genre in general and probably one of the reasons I like it, because I can embrace that fear to an extent without it actually mattering in the real world. Leigh gets to the point where the cops are involved, but not actually doing anything, so she has to take the law into her own hands and figure out exactly what’s going on. I also kind of hate the sound of old phones ringing, especially at night. So there was a lot going on to give me the creeps
All of that leads to the final scene with her in her place with the watcher which is just a damn great few minutes of creepy filmmaking. In a way, it’s very reminiscent of Laurie’s final battle with Michael Myers in Halloween where the potential victim is trapped in a fairly small space with her attacker and just barely makes it out alive. Watching gives Leigh a lot more agency, though, by having her save her own self. Also, it sure looked to me like the killer was wearing blue coveralls. Remind you of anyone?
While this movie isn’t nearly as perfect as Halloween, it does have a lot of greatness, much of which comes from Hutton who carries the film. She goes from tough New Yorker to justifiably terrified victim to enraged investigator and lots of places in-between. I also really enjoyed Barabeau who played the lighthearted best friend instead of the more serious siren or bombshell that I’m used to. Both her and Hutton feel like fun people to hang out with because they’re actually funny and clever when joking around with each other which is not always the case in horror. It was also fun seeing Len Lesser, better known as Uncle Leo from Seinfeld!
All in all I really enjoyed Someone’s Watching Me. I won’t say that it’s this amazing find from Carpenter’s TV movie past like Spielberg’s ridiculously amazing Duel. However, I did really enjoy the film as well as the six or seven minute featurette of Carpenter talking about how he did this film the same year as Halloween AND Elvis. A few weeks after this film was done, he started work on Halloween, so fans of the latter owe a lot to this one for giving Carpenter more experience in the horror realm, which helped him figure out how to bring Michael Myers to life.
Moving forward with The Chronological Carpenter, I SHOULD watch Elvis, but that movie’s 170 minutes and there’s no way I’ll be able to get through that in more than a dozen sittings, so I’m going to pass for now. That will most likely be the last part of Carpenter’s filmography that I skip over. Up next I’ve got The Fog, a film I haven’t liked in the past, but hopefully I’ll be able to get my hands on the recent Scream Factory release which I hear is much better. Maybe I’ll watch both versions and see how they’re different. We shall see how that shapes up.
I don’t know what it is about The Fog that makes me not like it. It’s got a lot of things going for it that I love: vintage John Carpenter directing, some creepy villains and a cast that includes Jamie Lee Curtis, Tom Atkins, Janet Leigh, Adrienne Barbeau and Hal Holbrook.
And yet, even with so much potential, the movie just falls flat for me. And I think it’s because of the movie’s ending. But I’ll get to that in a minute and yes, there will be spoilers. This little town on the ocean is coming up on a big celebration of the founding fathers, while a glowy fog is coming up on the town. It first takes out a boat with some of Atikins’ friends on it. Since Atkins picked Curtis up as a hitchiker, she’s also along for the ride, but doesn’t serve much purpose. Then you’ve got Barbeau who is a DJ for a radio station that’s set in an old lighthouse. She’s supposed to represent the claustrophobic and alienating nature of the threat as well as the helpless feeling of being able to broadcast out on the radio but not hear anything back (the phone lines are down). There’s also Priest Holbrook who discovers how the sins of the town created the menage that they’re facing now and Leigh and her assistant (played by my favorite secondary character from Halloween) who are preparing for the festival.
All of that seems interesting enough, but for some reason there’s just nothing that grabs me and pulls me in. I can understand why the characters would be scared and what fears the filmmakers were playing off of, but I’m not internalizing that whatsoever. It’s all on the outside. And I think a lot of that comes down to the movie’s ending which SPOILER reveals that the things in the fog are zombie/ghost pirates. Huh? Okay. I can’t explain it, but I just don’t buy that. A supernatural killer psychically attached to his sister and trying to kill her? I’m in. A shape shifting alien in the ice? Let’s go on this ride together. Ghost pirates? Eh, no thanks. Also, the glowing effects they use throughout the movie just look goofy and don’t hold up at all.
So, maybe if you can get behind the ending or the premise or what have you, you might dig this flick. Me? I don’t think I’ll be giving it another shot in the near future unless someone lays out an interesting take on it that I can view it through. Anyone? How does the remake stack up? Since I wasn’t a fan of this one, I could see someone coming along and making improvements, but I don’t remember hearing much of anything about that one.
‘m left with three thoughts after watching today’s Halloween Scene entry: it’s strange that “real estate horror” is a fairly huge sub-genre, the editing in this movie is generally pretty terrible and this flick has a lot of relevant subject matter for the times we’re living in.
The plot revolves around a mysterious killer who’s going after people either looking at or showing houses for sale. The killer also calls into a local radio shrink without identifying himself as such to explain why he thinks the people deserved to die (they had big houses, they deserved it!). Of course, this skirts actual logic considering the people in the house didn’t own it, but I guess that’s part of being nuts. Anyway, as these things go, the shrink is dating Adrienne Barbeau who happens to be a realtor. We’re thrown a SPOILER red herring in the form of the fat, obnoxious rival realtor, but he’s never really much of a threat or possibility.
On the subject of editing, I think I could have done a better job cutting this movie together and I’ve never done anything of the sort. There’s a scene early on where the killer is in the house with a female realtor and a potential male customer. It looks like they’re towards one end of a hallway, then we cut to the huge killer at the other end, but they didn’t look scared in the previous shot, cut back to them and they’re freaking out. They’re supposed to run in to the bathroom and my brain told me they made it in, but the killer somehow chopped off the guy’s fingers with his makeshift axe (razor blades stuck into the handle of a plunger) which raises it’s own set of problems. In another scene, the killer is stalking a woman in the pool. It’s big but not gigantic by any means. We see the killer stand right on the edge of the pool and then the girl turning, but she doesn’t see anything. Huh? How’d she miss him?
And it’s not just the kind of bad cutting you see in slasher movies where people should have obviously seen the killer. There’s also odd time cuts. At one point the shrink is making breakfast, Barbeau goes to take a show, cut to the food he’s cooking, then it immediately cuts back to her walking in in a towel. It didn’t feel like a cut for time, but more like an actress walking off set, changing and coming right back. Odd stuff.
But, like I said above, I think there’s actually some poignant stuff in this 23 year old movie to what’s going on today. I don’t know my recent history very well, but was there a financial downturn around this time? It seems like there’s a lot of big houses out on the market and they’re not exactly being sold like hot cakes. At the same time, the killer’s rants sound a lot like some of the crazier, right wing people out there. He blames rich people for everything and has decided to take matters into his own hands (he’s also pissed because he was squatting in the house at the beginning of the movie). I don’t want to trivialize anyone’s political views especially because I don’t follow politics, but I think you could make a few changes to the script and have yourself a pretty solid little horror movie remake. For that reason, I’d suggest checking it out. The surface of the movie is pretty tried and true, but I think it’s interesting how these themes keep coming back around every few years.
Swamp Thing is a pretty weird character and not just because he’s spent a few decades in the Vertigo universe being written by guys like Len Wein, Alan Moore, Rick Veitch, Grant Morrison, Mark Millar, Brian K. Vaughan, Andy Diggle and Will Pfeifer among many others. In his first appearance–the above House Of Secrets #92 from 1971–Swamp Thing is actually a different dude and not the more familiar Alec Holland. His name was Alex Olson and this was his only appearance. Swamp Thing was later resurrected by his creators Len Wein and Bernie Wrightson for an ongoing series starring Holland’s version of Swamp Thing. You can check out these early appearances in DC’s DC Comics Classics Library Roots Of The Swamp Thing hardcover. I’ve only read the intro by Wein and the first couple issues, but it’s pretty fun horror stuff. The series went along for a while and then the inimitable Alan Moore came along and added his unique view to the character, thusly introducing himself to the general American comics audience. Moore came along and started on the title with 1984’s Swamp Thing #20, eventually joined by artist Stephen Bissette. At that time the book wasn’t included under the Vertigo banner because Vertigo wouldn’t come into existence until 1993, yet, the Vertigo logo appears on many of the reprints, like the somewhat recent Saga Of The Swamp Thing volumes which seem set out to reprint all of Alan Moore’s issues (Swamp Thing #20-58, 60-61, 63-64, Annual 2). I’ve read some of this stuff, though not yet in the aforementioned Saga hardcover format, though I do have it on my to-read pile, possibly after I acquire a few more of the volumes. Like I said, the comic would go on to become a big part of Vertigo in the 90s and carry on through part of the 2000s, but that’s not what makes him such a weird character. That would be his exposure to regular people thanks to two movies, a live action television series, an animated series, two video games and a line of action figures. To put that into some kind of perspective, that puts Swamp Thing into the same place as characters like Superman, Batman, Spider-Man and Wolverine. Yeah, just think about that for a moment. That’s right, Swamp Thing starred in not one, but two movies. The first one was written and directed by master of horror Wes Craven of all people and starred the bodacious Adrienne Barbeau and convention staple Dick Durock as Swampy, who unfortunately passed away last year. The flick came out in 1982, which puts it before Moore’s run on the book, though I’m sure it was a big influence on his writing. I know that I’ve seen the movie fairly recently, but I couldn’t tell you anything I remember about it and I didn’t blog about it, so that means I obviously need to watch it again. 1989 saw the follow-up to the Craven flick starring Heather Locklear and directed by Jim Wynorksi who directed Chopping Mall (which I swear I blogged about, but can’t find anywhere), Ghoulies IV and The Lusty Busty Babe-a-que starring Tough Love’s Rocky. I have zero recollection of this movie, but you’ve got to give it some credit for getting made (maybe).
Sure it looks more like a Toxic Avenger sequel than a legit superhero movie, but you’ve got to remember that there were very few legit superhero movies at the time (basically Superman, Superman II and that year’s Batman). Maybe I’ll check it out on Hulu. Anyway, after the release of the sequel, cable network USA kicked off a live action series in 1990 called Swamp Thing (you can watch the first season on Hulu or check out the full series on DVD) that also starred Durock. The show lasted three seasons, totaling 72 episodes, which puts it one season and 15 episodes behind Lois & Clark: The New Adventures Of Superman.
But a live action series wasn’t the only Swamp Thing on television in the early 90s as the USA version was joined by an animated series in 1991 which ran on Fox for only five episodes and tied in with a toy line from Kenner which outlasted the cartoon considerably. You can buy the full series on an out-of-print DVD. Before getting into the toys, which I do remember fondly, here’s a look at the cartoon opener which involves an awkward reworking of “Wild Thing” to fit Swamp Thing’s name in.
I have a very distinct memory of seeing this cartoon at my then-friend’s house when I was about 8. He had had a big sleepover the night before for his birthday, we were all eating breakfast while the show was on and there might have even been Swamp Thing-related cups and plates, which is probably why I remembered it lasting longer than it’s measly five episodes. Like I said though, the toys made a much bigger impression on me. I swiped these images from the ever-amazing Virtual Toy Chest, which has even more on display on their Swamp Thing page. What I liked about the line was the crazy action features. I was even able to work my version of the guy in this picture on the far left into ToyFare’s greatest action features feature which was a ton of fun to write. If you pulled his arm or leg the threads holding the figure in the upright position would loosen and he’d collapse into a pile of swampness. The middle guy completely glows in the dark as do his axe and mace while the guy on the right changes color with water making him look all brown (if memory serves).There were also a series of villains with rubber monster heads that went over their actual heads. Here’s a video of a guy’s collection of them on display in a room still in the packaging.
Oh, I almost forgot, here’s some footage of the game. There was a version NES and Game Boy, but it looks pretty subpar to me.
But, of course, the Swamp Thing media monster could not last forever and by the mid-90s he was relegated back the long boxes and comic shops for the most part. There has been talk about a new movie by Joel Silver, possibly in 3D and even talk about bringing the character back into the regular DC Universe which he used to be a firm part of. We’ll see where our weird swampy friend goes from here, but he’s already had a more impressive life than 90% of the comic characters out there.
Seriously, if you’ve never seen Cannonball Run, you should.
Burt Reynolds, Jackie Chan, Sammy Davis Jr., Dean Martin, Terry Bradshaw, Dom DeLuise, Farrah Fawcett, Roger Moore, Adrienne Barbeau and JAMIE FARR (a fellow Toledoian) each get a laugh and also kick some ass in a fight with a biker gang lead by none other than Peter Fonda (yeah, Easy Rider himself). Oh yeah, there’s also an illegal cross-country car race that the above contestants participate in.
Look, if you trust me for any reason (whether you actually know me or have come to enjoy my goofy reviews on here), then just go rent this movie. You won’t regret it. And if you do? Well, I have nothing to say to you (unless you’re Em and I made you watch it in college and you hated it, we’re even for you making me watch Moulin Rouge).