Prison (1987)

... aka: Kill Night

Directed by:
Renny Harlin

Because it wasn't part of a governor's reelection platform and thus of no real priority to him, plans to build a new, 50 million dollar prison facility are put on the back burner. Instead, the state government decides to re-open the former Wyoming State Penitentiary in Rawlins; a derelict prison that's been closed down since 1968. Hardened, cold-blooded “dinosaur” prison warden Ethan Sharpe (Lane Smith), a man haunted by memories of overseeing executions in his previous job, is hired to both serve as a warden and whip the place (now called Creedmore Prison) into shape. Put in charge of assisting Sharpe on the project is Katherine Walker (Chelsea Field), a humane state prison board representative who's mostly concerned about the welfare of the prisoners and the unsafe conditions there. Regardless, three-hundred prisoners are shipped to Creedmore and they're all expected to do the back-breaking labor required to whip their future home into shape. As soon as they arrive, trouble-maker Rabbit (Tom Everett) decides to take an opportunity of chaos to steal a bus and attempts to escape, which only ends up landing him and an innocent guy who just happened to be on the bus at the same time in the prison's flooded “hole” and mail and visiting privileges suspended for six months for all the others. Yeah, Warden Sharpe means business.

We spend a little time getting to know some of the inmates, like bearded, bald cell block bully Rhino (Stephen E. Little), his young, scared cellmate Brian (Mickey Yablans, son of the producer), who ends up virtually becoming Rhino's slave, Rambo-worshipping Italian-American “guido” Joseph Lazaro aka Lasagna (Ivan Kane), big, buff Tiny (Tommy Lister Jr.), deeply-religious Sandor (André De Shields) and Burton Cresus (Lincoln Kilpatrick), an elderly lifer who's been bounced around different state prisons for decades and at this late stage in the game is reduced to numbing himself by drinking cups of Lysol. The main focus however is on Burke (Viggo Mortensen), a laid back, soft-spoken car thief and master lock-picker who's so good at what he does he's developed a sort-of celebrity in the criminal world. As the men get to work, Burke and Sandor are taken down into the basement with pick axes and asked to break through a wall sealing up a former execution chamber. Once they break through, an evil supernatural force is unleashed, which creates blaringly bright lights, flashes of electricity and even windows to burst. Soon after, people begin dying in mysterious, gruesome ways.

After one inmate gets roasted alive inside his cell, which is blamed on a gas main explosion, Katherine prepares an accident report but it's intercepted by Sharpe and his chief guard / right hand man Carl (Arlen Dean Snyder) and never even leaves Sharpe's desk. Another inmate who tries to escape is killed by animated wires and steel poles and, later, crashes through the ceiling of the dining hall. Blaming the prisoners for the two mysterious deaths, Sharpe decides to haul them all out of their cells and punish them by burning their mattresses and making them stand around outside in their underwear all night. By the time the third victim surfaces there's certainly no denying that none of the prisoners are responsible, especially after the barbed-wire wrapped body flies up through a ceiling directly into Sharpe's office while he's there and the prisoners are all outside. But even that doesn't have Sharpe whistling another tune as he's so stubborn and in denial about something he can't face the truth. Instead, he calls for a lock down and handcuffs everyone to their beds.

Not content with being just another ordinary haunted house / asylum / prison / spooky abandoned place movie, this eventually turns into a ghostly revenge film with an unexpected twist revealed toward the end that implicates several characters in wrongdoing years earlier. The vengeful spirit also decides to venture beyond the prison walls to visit Katherine and give her clues as to who he is and what he wants to accomplish. An element of reincarnation is also at play, but it's not really followed-through with.

Despite some minor issues with the plot, this is still a finely-crafted and entertaining film with very good special effects work and nicely-defined characters, credible dialogue and an underlying message about the many pitfalls of this country's prison system; all courtesy of writer C. Courtney Joyner. Its best two attributes, however, are the overall atmosphere and the visuals. This benefits greatly from on-location shooting in a real closed-down prison. It's also surprisingly stylish thanks to imaginative and atmospheric lighting designs and  Mac Ahlberg's surprisingly lush photography. Setting the action within the dark, grimy, claustrophobic confines of the prison and then introducing the supernatural menace using floods of bright blue and white light often leads to striking results. I don't think I've ever seen a movie with this much prominent blue on display. Blue is virtually everywhere: on the clothes, on the walls, reflected in the water, in the air, in pretty much in all of the shots... There's so much blue I almost expected some other famous blue beings to pop out of the woodwork.

The performances are generally good and the actors are mostly believable in their roles, with perhaps a few exceptions. Typically a pretty dependable character actor, Smith goes almost comically over-the-top toward the end and it's also pretty obvious this was future star Viggo's first lead role. Though Mortensen is extremely good-looking and has some of that natural James Dean-style charisma, he seems somewhat miscast here and sort of just mumbles his way through his part. At one point, his cellmate tells him he has “the face of a lifer” and all I could do was laugh and think, "Screw jacking cars! If I had that face I'd be knocking on every modeling / casting agency door in Hollywood.” Supposedly, many of the featured extras cast here as prisoners actually were prisoners and armed guards had to be present on the set at all times. Not only that, but Little was a prisoner himself doing time for manslaughter when he was drafted to play his prominent supporting part here.

Harlin, born in Finland as Lauri Harjola, had a rocky start to his career upon emigrating to the U.S. and apparently was living in his car when he landed this job through producer friend Irwin Yablans. Though Prison wasn't a box office hit or anything (it was made for Charles Band's production company Empire Pictures right before it went under), it received fairly positive notices and helped Harlin secure a career-altering gig directing the extremely successful fourth entry in the Nightmare on Elm Street series the following year. After “The Dream Master” became the highest-grossing entry in the original New Line series and #19 box office draw of its year, Harlin was assigned numerous big budget action movies to direct. These were either successful, as was the case with Die Hard 2 (1990) and Cliffhanger (1993), or monumental flops, like Cutthroat Island (1995), which grossed just 10 million dollars on a 100 million budget and became the Guinness world record holder for “The Biggest Box Office Flop of All Time.” Like most of the director's later films, Harlin's focus on big action set-pieces and special effects was evident even at this early stage of his career.

Others who worked on the film include Kane Hodder (who was the stuntman and appears in a few small roles) and John Carl Buechler (makeup effects supervisor). In 1988, Prison was given a limited, 42 theater showing here in the U.S. and grossed around 350,000 dollars on a 4 million production budget. (The 4 million figure is provided by Box Office Mojo, though I have also seen it listed as being as small as 1.3 million). It was also shown in theaters in Japan and a few other countries in Europe but, just like many other films from the time, would do most of its business on home video (New World was the initial VHS distributor). In 2011, a soundtrack album from Richard Band and Christopher L. Stone was released on the Intrada label. In 2013, Shout! Factory subsidiary Scream Factory put out a Blu-ray and DVD, which comes with a commentary track from Harlin.

★★★

Laughing Dead, The (1989)

... aka: Ritual Macabro
... aka: Sacrifices
... aka: S.P. Somtow's The Laughing Dead

Directed by:
"S.P. Somtow" (Somtow Sucharitkul)

Father Ezekiel O'Sullivan (Tim Sullivan) of the Sacred Heart Catholic Church is put in charge of leading a Tucson, Arizona community college's “annual archaeology tour.” Their destination is the village of Todos Santos in the province of Oaxaca, Mexico, where they'll be checking out some ancient Mayan ruins and witnessing the All Soul's Day “festival of the Laughing Dead.” Seems an odd trip for a Catholic priest to be involved with, but O'Sullivan wants the students to see a “dark part of the human psyche” and he's also recently been haunted by disturbing dreams that are making him struggle with his faith. A decade earlier he fell in love with a nun named Marie-Therese, who he had sex with in a confessional booth. Finding herself pregnant, Marie-Therese then fled the church and has been raising their son on her own ever since; something that's been eating away at the troubled priest for years. Also coming along on the long bus trip are Clarisse Lemming (Krista Keim) and her husband Wilbur (Larry "Kagen" / Coven), a pair of uptight crystal and karma obsessed New Age weirdos, the loud, vulgar and obnoxious Mr. Dozois (Raymond Ridenour), the prissy Mr. Frost (Gregory Frost), troubled teenage stowaway Laurie Shigenaga (Premika Eaton, the director's sister) and some others who are given no personalities.

O'Sullivan will soon have to face both his past demons and some brand new ones when Marie-Therese, now going by the name of Tessie Smith (Wendy Webb), joins the tour, feeling it's the perfect opportunity to introduce the guilt-stricken priest to their son Ivan (Patrick Roskowick). Ivan's such a foul-mouthed punk even his own mom refers to him as “Ivan the Terrible” and “the little monster,” but she thinks all he needs is a father in his life. Ivan, on the other hand, can't believe his mother's “got the hots for a God damn bible beater” and blames the priest for all their problems (“It's all your fucking fault preacher dude! You remind her of all the bad old days when she was a fucking nun!”) Two days into the trip, the bus hits something that turns out to be the corpse of a little girl who's been wrapped in cloth and tied up. Two Mayan priests then materialize in the middle of the road, chant something and disappear in a cloud of smoke, along with the little girl's body. Undeterred by this bizarre incident, the bus continues on to their destination.

Upon arriving in the small village of Todos Santos, everyone begins exploring around and meeting the locals. Laurie reveals that she ran away because her father is dying and she can't handle it, but begins opening up when she meets mullet-y research assistant Cal Effner (Ryan Effner) and falls in love (“Thank God, somebody who doesn't look like he's from a Fellini movie!”). Father O'Sullivan tries to get to know his son but is derailed in his plans when he meets Dr. Um-tzek (played by the director), who behaves strangely and shares his name with the Mayan “God of Death.” Um-tzek asks for the priest's help in exorcising his “daughter,” but the girl instead rips her heart right out of her chest, rips O'Sullivan's heart out of his and then swaps them. Now possessed, Father O'Sullivan is the “Death God” and roams around in a daze saying things like “I am the blood star... rising!” It all has something to do with the planet of Mars, a series of “preliminary” killings, an ancient codex, a Mayan ritual, a portal to another dimension, rebirth, a blood sacrifice of one's son who knew not his father and blah blah blah.

There's no two ways about it, The Laughing Dead is a hot mess... but's at least a lively, entertaining and seldom boring hot mess! In the bad corner we have some of the most awful, awkward, amateurish actors you'll ever see playing extremely unlikable characters spewing some of the most laughably inane dialogue you'll ever hear (“A human soul has been cast adrift, sailing down the karmic maelstrom of death and rebirth!”). The plot is ridiculously and unnecessarily contrived to the point where you won't know what's going on from one minute to the next. There are continuity errors galore, too many annoying characters who refuse to die, horribly jarring switches from seriousness to comedy and the ending... Whew, just wait until the ending! I'll try not to spoil anything major just to say it involves a basketball game with zombies (!) and two of the characters transforming into giant rubbery monsters to do battle. One is a dinosaur-looking Quetzalcoatl and the other looks like an oversized Ghoulie with a magical amulet embedded in its head. I had to pick my jaw up off the floor watching some of this.

On the plus side, clearly a decent chunk of change was put down to make this film. Though the look is often on the cheap / grainy side, the filming locations are good and the art direction, sets and costumes are all - I kid you not - about on the level of Hollywood production you'd see from this same time. Perhaps the best thing of all is that this is loaded with wonderful 80s gore from John Carl Buechler and his Magic Media Industries Inc. crew. We get to see a head crushed by a bus tire, a decapitated head flying out a window and landing in a basketball net, hearts ripped out and shoved into mouths, guts pulled from stomachs, an animated blood-spurting torso, a C-section nightmare where a grown child pops out of a woman's belly, rotting zombies and a fist punching through a head and ripping out brains. The most memorable gore moment, however, features a guy getting his arm ripped off and shoved down his own throat, where you can see the wiggling fingers underneath the skin of his neck. The various effects are frequently great and even the ones that aren't so great are still fun.

Director Sucharitkul is an interesting cat. Born in Thailand, but educated in England before moving to the U.S., Sucharikul was an accomplished composer and conductor, artistic director for the Bangkok Opera Society and also a science fiction and horror writer who was the long-standing president of the Horror Writers Association. Many of the “actors” seen here (Edward Bryant, Tim Powers and others) are actually genre writers themselves. Sucharitkul not only directed, wrote and co-starred (as “S.P. Somtow”), but he also did the (very good) music score using his birth name. In his role as the evil priest, he's actually far more colorful and amusing than the rest of the cast and has a hilarious scene acting like a flamboyant, eye-rolling queen (“I really don't enjoy killing... that much!”) while killing and cutting the hearts out of a succession of blue-faced children while going on and on about wanting to retire so he can become an investment banker (!?) He later manages to top even that weirdness by appearing in a hallucination scene dressed in full drag as a nurse!

A lengthy, behind-the-scenes article written by the director himself was published in a 1989 issue of Gorezone Magazine to help promote the film, though this ended up never actually getting an official release here in America. It was however released in Japan, Thailand, the UK (on both DVD and VHS on the Midnite Movies label), France, Spain, Germany, Brazil, the Netherlands and numerous other countries, sometimes re-dubbed. A 2012 bootleg DVD-R of subpar quality from Desert Island Films surfaced in 2012 but appears to have been discontinued. Forrest J. Ackerman and Len Wein (best known for creating the X-Men character “Wolverine”) can be briefly seen as a corpse falling out of a wall onto the floor.

★★