Retro Cinema: ‘Silver Bullet’

Retro Cinema: ‘Silver Bullet’

How can you go wrong when you mix Stephen King, Gary Busey, and one of the Coreys? Trick question… You can’t go wrong. Plus if you add in a few werewolves, and some campy gore, you’ve got a big bundle of 80s horror known as “Silver Bullet.”

Corey Haim plays Marty, a boy stuck in a wheelchair that’s been dubbed the Silver Bullet. The story is narrated by his older sister, Jane (Megan Follows), reminiscing about the past. But in the present the story’s set in, she pretty much feels that he’s a pain in the butt. That starts to change and they find themselves coming together when people in their small town are turning up not only dead, but ripped to pieces. And the murders are metaphorically ripping the town apart as well.

When Marty’s best friend becomes the latest victim, the townsfolk seek some vigilante justice and want to hunt down whoever — or whatever — is killing people, despite pleas from the local sheriff. Of course, they go out hunting it at night. During a full moon.

Do I really need to tell you how that’s going to end? Yeah.

When Uncle Red (Busey) comes to visit Marty and Jane, that’s when things get really interesting. After Uncle Red builds Marty a supercharged motorized wheelchair and gives him some fireworks, Marty sneaks out in the middle the night to go set them off. Little does he know, this will bring him face to face with the beast that is terrorizing his town. During this late-night confrontation, Marty injures the werewolf, putting out an eye. It escapes, so Marty and Jane go on a hunt around town to find out who has a telltale injured eye. And suffice it to say, it is not the person they expected.

Unfortunately, the werewolf knows that they know, so they have to rely on Uncle Red to protect them when the beast comes to attack the only ones who know his identity.

The movie is based on Stephen King’s short story, “Cycle of the Werewolf.” Many King adaptations tend to turn into more campy fun than horror when they hit the screen, and this film follows that trend. That doesn’t mean it isn’t good… I mean, this is a classic 80s horror film that’s a lot of fun. And I’ve always been really partial to werewolves, but don’t expect any fancy transformation scenes in this one. In fact, I think the werewolf sort of looks like a teddy bear — I’m guessing that wasn’t exactly the effect they were going for.

Of course, there’s a bittersweet element to it now in light of Haim’s early demise, and the living train wreck that Busey has become. This is a pre-“Lost Boys” Haim, before Hollywood tore him apart. And Busey is in his prime here. The film is family-friendly if you’re looking for a film for kids that still appeals to adults.

Although you might have to explain Busey’s line that he’s more nervous “then a virgin on prom night.”

Retro Cinema is a new column that reviews a different retro horror film every Monday. Subscribe at the top of the page for updates on new film reviews, interviews and horror news.

 

Save

Save

Retro Cinema: ‘Hellraiser’

Retro Cinema: ‘Hellraiser’

It’s no coincidence that this week’s Retro Cinema choice is “Hellraiser.” Because in case you haven’t heard, the remake has been given a green light. Now, I know you hard-core horror fans like me are out there saying “Oh, God no, not another remake!” But fasten your seatbelts kids, because for once this is good news: Clive Barker is gonna direct and Doug Bradley is coming back as Pinhead.

Now that’s how you do a freakin’ remake.

When Barker first directed “Hellraiser,” he had a very limited budget and in fact, he confesses in the DVD commentary that he basically got the resurrection scene special effects done for much less than what it should’ve cost (only $25,000) because the studio liked what they saw of the film and threw a few more dollars their way. That scene wasn’t even in the original script due to not having a budget for it.

I think it’s fair to say that this time around, Barker won’t face those kinds of problems. Nor have to resort to the cheesy painted in special effects he did himself — those being my main criticism of the original as well as the pretty dreadful acting of Ashley Laurence (sorry, but it’s true.) Sure, there are a few things that went wrong, but a whole lotta things went right.

While I’m sure most people reading this have seen the film, I don’t want to give away too much just in case, but let’s just say after “Hellraiser,” people really didn’t look at hooks and chains quite the same way again. Nor their prim and proper British wives.

(more…)

Retro Cinema: Christmas Evil

CHRISTMAS-EVIL

I love cheesy horror as much as anybody, especially when you tie into something held sacred by so many, like Christmas. Usually, these films are done with the sort of sly wink from the filmmaker to acknowledge that it’s all meant to be silly fun. Unfortunately, I don’t really get that feeling with this Christmas horror film, “Christmas Evil.” And there is good silly and bad silly.

I’m afraid this falls into the latter.

I just want to grab the filmmaker and say, “Oh, honey. What were you thinking?” First of all, the whole “I Saw Mommy Kissing Santa Claus” reference is nowhere near enough to traumatize a child, turning them into a psychotic adult. Not getting that. Then the whole scene where the deranged little boy decides to break a snow globe and cut himself is really confusing. Is that supposed to be interpreted as trying to slash wrists? It seems like he just cut his hand, which makes no sense whatsoever.

When the movie fast forwards to the adult psycho, I’ve seen many critics talk about the good performance of a man descending into madness. Oh PUH-lease. It was just silly. Bad silly. Not even so-silly-it’s-funny. The things that supposedly make him finally snap are so trivial that you can’t possibly believe even a psycho would be set off by them. And if so, he should have gone off the deep end a long time ago. I mean, a guy fooling you into covering his shift? A couple of fancy New Yorkers teasing you a little bit about your Santa suit?

Christmas Evil 1

Embracing the nonsense yields a few favorite moments: a group of New Yorkers turning into a torch-carrying mob, literally, and a guy falling over an embankment in the snow and you can see the rug underneath the fake snow moving with him. That was definitely an Ed Wood moment, may he rest in peace. And then that last scene with the van doing a “Thelma and Louise” leap and then an “E.T” flying across the moonlit sky… Sweet baby Jesus. That is a hot mess.

This is definitely one you watch after a lot of alcohol, or whatever substance of choice, because that’s the only thing that will make this entertaining. Especially if you get the special double feature edition packaged with “Silent Night, Bloody Night” that is set up movie theater style with the opening concession stand pitches as well as vintage cartoons of Casper and Popeye.

Don’t say you weren’t warned. Go rent or buy “Black Christmas” instead. Or the super size bottle of your favorite adult beverage.