In March,
The Exxon Valdez struck Prince William Sound's Bligh Reef in Alaska and
unleashed hundreds of thousands of gallons of oil into the ocean, which
devastated local marine and wildlife and is to this day considered one of the
greatest environmental disasters of all time (though BP certainly managed to top
it in a depressingly big way in 2010). Exxon was initially fined 5 billion in
punitive damages, which they managed to whittle down to about 500 million by
appealing the initial ruling countless times. The best thing that came out of
the sorry incident was perhaps the passing of the Oil Pollution Act of 1990 by
Congress the following year. In July, the Tienanmen Square Massacre (or the July
4 Massacre), where a large gathering of non-violent protesters in Beijing were
violently broken up by armed guards and tanks, played out to a stunned worldwide
audience. There were countless arrests, injuries and deaths, but to this day no
one knows the exact amount of actual casualties. The Chinese government
downplayed the figure (claiming between 2 and 3 hundred) while the New York
Times estimated as many as 800, student organizations and the Red Cross
estimated a figure between 2 and 3 thousand and some sources even claim upwards
of 7 thousand were killed. To top off the year's major stories on a more
positive note: the Berlin Wall finally came down in November. Others making
headlines were the metal band Judas Priest (who were taken to court for supposedly using
subliminal messages to cause a teenager to commit suicide [the band was
exonerated in 1993]), Rob Lowe (porn scandal), Salman Rushdie (marked for death
by Iranian leader Ayatollah Khomeini after releasing "The Satanic Verses"),
Arsenio Hall (first black nightly talk show host), Lyle and Eric Menendez (who
murdered their wealthy parents) and Pete Rose (banned from baseball [and a
deserved spot in the Hall of Fame] for
gambling). The stealth bomber was completed, the very first text message was
sent, major advancements were made in Switzerland in regards to the internet,
the Teenage Mutant Ninja Turtles became an instant hit and The Simpsons
debuted in December. Yes, 1989 was a busy year all around. It was also a busy year
for horror cinema.
Looking back, it's amazing at just how commercialized and mainstreamed the
horror genre was throughout much of the 80s; particularly in the latter half of
the decade. Horror was everywhere: in theaters, on TV, in video stores, in video
games, in best-selling books... and all of that was accompanied by mass
merchandising (much of which was actually marketed to children!) and numerous
popular genre-specific magazines. You couldn't avoid horror if you tried. I have
fond memories of my elementary school peers going on and on about the latest
Jason and Freddy movies and have even fonder memories of being dropped off at a theater by my mom or aunt; neither of whom seemed to have an issue
with my cousin and I watching stuff like A Nightmare on Elm Street 4: The
Dream Master or Return of the Living Dead Part 2 then hopping back in
the car afterward to excitedly recount for them all the different ways we saw
people being butchered. We were just 8 years old at the time. As for the
adults, well, they just seemed to just find it amusing. I still can't figure
out whether I had a strange upbringing or if everyone's parents were like
this back in the 80s. Either way, the 80s horror trend really seemed hit its
peak around 1988. Like all trends, things rapidly started to head downhill just
a year later. By this point, mainstream horror had just stopped taking itself seriously. It
stopped being scary. Hell, most films didn't even try to be scary. There was bound
to be some backlash and that's exactly what happened in 1989 when nearly all of
the major genre releases of the year either failed to live up to expectations or
just plain bombed. If anything, Pet Sematary (the most successful horror
film of the year) should have taught the major studios a
valuable lesson: audiences were starving for serious horror films. They didn't want to laugh. They didn't necessarily care about gore or body counts. They simply wanted to be scared. Unfortunately, scary was in short supply on the big screen in '89.
R.I.P Ghostbusters Cereal. 1985-1990
Not surprisingly, Columbia Pictures' heavily-promoted, fx-heavy Ghostbusters
II was the top-grossing genre offering of the year. The original film's director (Ivan
Reitman), screenwriters (Dan Aykroyd and Harold Ramis) and stars (Bill Murray,
Sigourney Weaver, Aykroyd, Ramis, Ernie Hudson and Rick Moranis) all returned
for the film, which ended up making 112.5 million in North America (good enough
for a # 7 placement), an additional 100+ million in foreign markets and over 60
million in VHS rentals on a budget of 37 million. While financially successful
in its own right, the figures were still disappointing in comparison to the
original, which made nearly 300 million in theaters worldwide plus an additional
132+ million (!) in rentals on a lower budget. So what happened? Pretty simple:
Batman happened. Tim Burton's superhero blockbuster would open the
following weekend and go on to become 1989's # 1 hit, earning 251.2 million
dollars domestically. Also taking away another big chunk out of the pie was Honey, I
Shrunk the Kids, which opened the same weekend as Batman and ended up
eventually passing G2 with a 130.7 million intake (# 5 for the
year). Money aside, the critical reception of G2 was lukewarm at best. It
even ended up on Siskel & Ebert's annual "Worst of 1989" TV special. That,
combined with market over-saturation (tons of merchandising, numerous video
games, cereal [see above], an animated series called "Slimer! And the
Real Ghostbusters" running on TV at the time, etc.) and the decreasing profits
meant the franchise was retired
before it had a chance to wear out its welcome. As a side note, though the film
is listed as an action / adventure / comedy / fantasy / sci-fi film on IMDb, I
think it's time people start calling it what it really is: a horror-comedy.
There are an array of ghosts and monsters and the film - like the original -
continually attempts to mix laughs with scares throughout. If that's not the
textbook definition of a horror-comedy, I don't know what is.
It's OK; Mr. Hanks: Your career will recover. As for you Mr. Ducommun...
The third highest-grossing genre film of the year was yet another horror-comedy;
Joe Dante's PG-rated The 'Burbs, which centered around three bored
suburban men who suspect a trio of weirdos who've just moved into their peaceful
neighborhood may actually be killers. Though the high-budget, heavily-promoted
film opened at #1 its first weekend and made 36.7 million in the U.S. alone, it
was still considered something of a misfire in critic's circles and
under-performed at the box office. Considering it was one of the widest releases
of the year and factoring in the director's pedigree (he'd previously made the
massively successful Gremlins [1984] and the enjoyable Fantastic
Voyage-inspired Innerspace [1987]), plus that it starred Tom Hanks
fresh from the popular comedy / drama Big (which he
earned an Oscar nomination for), 34th placement for the entire year wasn't
exactly stellar. Since its initial release, The Burbs has failed to pick up much
of a fan following and is mostly enjoyed these days by nostalgic adults who saw
it as kids. It
certainly wasn't one of Universal offshoot Imagine Entertainment's finest hours
and was completely eclipsed in popularity by their other major release of the
year, Ron Howard's comedy / drama Parenthood, which earned over 100 million domestically in fewer
theaters and received several Oscar nominations.
"Damn you, Louis! I said I didn't wanna be buried in a pet cemetery."
In terms of return on investment, Paramount's Pet Sematary was actually
more successful than either The Burbs or Ghostbusters. Made for
11.5 million dollars, the film surpassed its budget opening weekend and ended up
making around five times more than its production cost, which was good enough to rank it
at #23 for the entire year. It's also the highest-grossing horror film of 1989
whose genre is simply not up for debate; this is a bleak, humorless,
deadly-serious, straight-up, non-feel-good horror in the purest sense. Audiences didn't even care that the film
received mostly negative reviews at the time: they just wanted some vicious
stuff and that's precisely what director Mary Lambert and writer Stephan King served up with their
zombie-kid yarn. Were the bad notices earned? I'd say both yes and no. Lambert
and crew manage to impressively capture the grim tone of the disturbing novel
and many of the individual set-pieces deliver. However, the core dramatic components - including centering the action around
an amazingly foolish doofus (played by Dale Midkiff) and throwing in a bunch of
pointless scenes featuring a ghost that could have been scrapped (despite being
in the source novel) - were highly
uneven. Then again, there's always Zelda to fall back on and she probably gave
children (myself included) as many nightmares as Pennywise the clown the
following year. When
grosses are adjusted for inflation, Pet Sematary ranks as the 4th most lucrative King horror adaptation of all time
behind only The Shining (1980), Carrie (1976) and Misery (1990).
It also remains one of the most successful horror films ever directed by a
woman. Despite the film's faults, or which there are many (anyone else want to
strangle the daughter other than me?), there's also something to be said for the
fact that it has retained its popularity all these years later. The 1992 sequel
(Pet Sematary Two), also from Lambert, only made about 1/3rd of what the
original did in theaters and is best left forgotten.
Known to cause bouts of uncontrollable laughter in Harlan Ellison.
The big-budget sci-fi / action film The Abyss, which involves a diving
team encountering underwater aliens, had been announced back in 1987 as director
/ writer James Cameron and producer / Cameron's then-wife Gale Ann Hurd's follow-up to their massively
successful Oscar-winning box office champ Aliens (1986). In an
unprecedented move, before that film even went into production a slew of
copycats hoping to cash-in were quickly churned out. Most even managed to beat
their bigger-budgeted counterpart into theaters and successfully managed to
cripple the well-publicized Abyss' chances for success in the process.
First out of the gate was Sean S. Cunningham's Deepstar Six, which opened
in theaters in January and did very underwhelming business (8.1 million / # 93
for year). Two months later, George P. Cosmatos' Leviathan (a De
Laurentiis production) opened and netted just 15.8 million (# 66 for year) on
what was reported to be a budget of around 30 million dollars. Roger Corman, of
course, had to have his say and answered back with Lords of the Deep, but
the Mary Ann Fisher-directed low-budget film was quickly ushered out onto video
after an unsuccessful premiere (in June) and terrible reviews. In July, the
South African production The Evil Below, yet another underwater horror
filmed in the Bahamas, hit video stores. Spanish director J.P. Simon
(Juan Piquer Simón) also had The Rift, another for the De Laurentiis
company, in the can in 1988, but the film wouldn't be released until 1990 (under
the new title Endless Descent) and nobody cared by that point. Because of all of
the raping and pillaging that was going on, by the time The Abyss was
finally released in August, the damage had already been done. It failed to
achieve its 69.5 million budget; grossing only 54.2 million (#25 for the year),
though it did at least manage to earn 4 Oscar nominations; winning one for its
visual effects. The film has since strengthened its box office numbers via
numerous re-releases.
Warning: Choking Hazard!!! Responsible parents will make sure their children don't swallow the tiny pieces when they play with their flame-broiled, psycho-killing, child-molesting bastard son of a thousand maniacs and his mutant aborted offspring.
Having, perhaps prematurely, been crowned the genre's first real horror star
since the heyday of Cushing, Price and Lee by critics and the genre press,
Robert Englund decided that 1989 was the year to expand his horizons. After all,
that's exactly what all three of the aforementioned stars had to eventually do.
Ditto for the genre-specific stars who came before them like Karloff.
Each shared one thing in common: they initially became internationally famous
for one role in the genre. Certainly typecasting followed each of those men
throughout their careers, but longevity meant proving they were more than just a
one-trick pony even within the genre. Englund's chance to break out of
the Freddy mold came with a starring role in The Phantom of the Opera; an
updating of the 1909 Gaston Leroux novel. It was a risky move. The "Phantom" had
already been famously embodied on screen by silent film legend Lon Chaney back
in 1925, Claude Rains in an Oscar-winning Universal production in 1943,
Herbert Lom in a 1962 Hammer film and several others. A lot hinged on this one. If successful, it
would cement Englund's reputation as a king of horror, as well as prove that his
name alone - when not associated with the Freddy persona - could be a box
office draw. In other words, it would prove people were going to the theater to
see him act, not just play a particular character. And Englund really needed it,
seeing as his fifth time out as Freddy in the murky A Nightmare on Elm Street
5: The Dream Child (which was released just a few months before Phantom)
was the least financially successful film in the franchise. Though it turned a
profit (grossing 22.2 million and ranking # 47 for the year), the film made less
than half the gross of the record-breaking previous entry in
the series.
Dwight H. Little, who'd just made the reasonably successful Halloween 4
(1988), was tapped to direct and Englund was paired up with an ideal
genre-friendly co-star in The Stepfather's pretty Jill Schoelen. It was
filmed on location in Budapest, Hungary on a healthy budget. The
production values were rather lavish. The Misha Segal score was good; good
enough to win a Brit for Best Film Soundtrack. Even the lesser-known primary supporting cast added to the professionalism. Unfortunately, despite a fair amount
of publicity and a sizable number of theaters, the reviews were bad and
the film bombed at the box office; failing to even gross 4 million dollars (#120
for the year). Part
of the problem was that it cheapened the Gothic romanticism people
loved about the story with gore and laughs and transformed the
tragic lead character into a gleefully sadistic Satanic psycho. The role
ended up doing nothing to help Englund's career. In fact, it hurt it. Despite a
change in character name and costume, the screenplay still required him to ham
it up and included numerous out-of-place, Freddy-style wisecracks not befitting
the character critics and audiences wanted to see. In addition, he
was still asked to hide behind an extensive coating of make-up. Instead of
donning a mask, Englund's Phantom stitched human flesh directly onto his face,
which gave him a rather Freddy-like appearance. Even the film's posters were
reduced to falling back on Krueger in order to sell it, with the taglines "Robert
Englund was 'Freddy.' Now he's the... Phantom of the Opera." and "An all
new nightmare!" to drive home the Elm Street connection. In other words,
Englund was more or less just playing the same character all over again. The
failure of the film led Englund to seek out other roles. He landed one the
following year in the Andrew Dice Clay vehicle The Adventures of Ford Fairlaine
(1990),
but the film flopped, got terrible reviews and won the Razzie Award for Worst
Film of the Year. Englund was back to playing Freddy just a year later with the 3D
release Freddy's Dead: The Final Nightmare (1991).
Phantom co-star Schoelen also solidified her status as an 80s Scream
Queen with two other 1989 releases. The first was the very bizarre Curse II:
The Bite, which was originally called just 'The Bite' before a title change
and is unrelated to the original Curse (an adaptation of Lovecraft's "The
Colour Out of Space"). The tale of
radioactive snakes - which manage to turn one poor sap's entire arm into a giant snake with a
mind of its own! - had Japanese, Italian and American backing and
boasted impressive fx from Screaming Mad George but didn't make much of an
impact on home video. Schoelen's best-circulated film from
this year
turned out to be Cutting Class, a mediocre slasher pseudo-spoof that
failed to hit the right note as either a horror film or a comedy. Despite
not being very good, it
continues to be one of the most viewed titles of the year because of its star.
No, not Schoelen; a young up-and-comer named Brad Pitt, who was making his
feature film debut. An off-screen romance and eventual engagement also blossomed
between Pitt and Schoelen, which has since been dredged up in the tabloid press
numerous times.
In a 2011 interview, Pitt described the "lowest point" in his life for reporters
when: "She [Schoelen]
called me up in Los Angeles and was crying on the phone. She was lonely and
there was a huge drama. At this point I had $800 to my name and I spent $600 of
it getting a ticket from Los Angeles to Hungary to see her." He continued: "I
got there, went straight to the set [of Phantom of the Opera] where she
was filming and that night we went out to dinner. She told me that she had
fallen in love with the director of the film. I was so shocked I said,
'I'm outta here.' " Not long after Pitt's interview, Schoelen herself released
portions of private love letters Pitt had written her to the tabloids.
Start spreadin' the ooze. I'm slayin' today.
The major studios were still churning out their slasher sequels. Critics
continued to blast them but the movies were now beginning to fall out of favor
with audiences as well. Aside from Stephen Hopkins' aforementioned Elm Street
5, Rob Hedden's Friday the 13th, Part VIII: Jason Takes Manhattan
decided to move its hockey-masked fiend (Kane Hodder) from his Crystal Lake
stomping grounds to a cruise ship and then New York City. Actually somewhat more
enjoyable than most others in its series, the summer release
grossed 14.3 million and clocked in at #70. Dominique Othenin-Girard contributed
Halloween 5: The Revenge of Michael Myers, which featured Michael still
in pursuit of his young niece (Danielle Harris) while still being pursued by Dr.
Loomis (Donald Pleasance). Despite a pre-Halloween October release, the film
brought in just 11.7 million (#76 for year). Because these two films - and
Elm Street 5 for that matter - were rather cheaply produced, each turned a
quick profit for their studios but, in all three cases, the films were the
lowest-grossing entries yet for their respective franchises. Overkill was
starting to take its toll (Freddy and Jason were so mainstreamed by this point
that both even got their own NES video game!) so it was time for a break. There was also Jeff Burr's
Stepfather II: Make Room for Daddy, which
brought back Terry O'Quinn as the titular psycho, and barely matched its 1.5
million budget on a limited release (it was #154 for the year). Aside from the
theatrical
releases, there were a handful of others making most of their money on home
video. The campy slash-fest Sleepaway Camp III: Teenage Wasteland
featured she-male psycho Angela Baker (Pamela Springsteen) continuing to hack her way
through a "caring and sharing" summer camp retreat, while the weird Silent
Night Deadly Night III: Better Watch Out! (from once-acclaimed director
Monte Hellman) dredged the Santa Claus killer (Bill Moseley this time) back up for another round of
murky mayhem.
Mitch Pileggi and Brion James: No more Mr. Nice Guyzzzzz.
Hoping to create a brand new slasher franchise were Wes Craven and Universal
Pictures, who whipped up Shocker, the fx-heavy tale of serial killer
named Horace Pinker (Mitch Pileggi) who is fried in an electric chair but
continues to live on through electric currents and can now possess various victims
to help do his dirty work. The
film was made on a healthy budget, featured state-of-the-art special effects,
was heavily promoted and featured a hit Megadeath cover of Alice Cooper's "No
More Mr. Nice Guy" on the soundtrack (whose tie-in music video ran endlessly on
MTV that year), but its combination of an uncharismatic cast, unlikable lead characters,
lame humor and a silly plot sunk any real chance for it to be successful. The
film made
16.6 million (#62 for the year), but the
reviews were deservedly dreadful and it wasn't a promising enough starting point
to spin an entire series off of. Interestingly, James Isaac's
The Horror Show (which was nonsensically released overseas as
the sequel House III) boasted an almost-identical plot of serial killer Max Jenke (Brion James) dying in the electric chair and returning as a
one-liner-spouting supernatural entity to get revenge on those responsible for
putting him away (in this case a detective played by genre regular Lance
Henriksen). Roger Ebert may have been on to something when he said: " 'Horror
Show' is taking a chance by assigning Max a recognizable face and voice. The
genius of the "Nightmare," "Friday" and "Halloween" movies is that their slasher
stars cannot be recognized." Ignoring the fact that Freddy actually does have a recognizable face
and voice, the point we can take away from the statement is that
it's difficult to spin a slasher franchise off a rather regular-looking Joe. These things need their gimmicks. Either way, neither film caught
on. Ditto for dozens of other low-budget
slasher flicks released this year that were taking up valuable video story shelf
space.
Like father, like son.
So the new things weren't catching on? No problem. Enough other things already
had and could produce offspring. Chris Walas, who'd won a makeup Oscar for
David Cronenberg's hit The Fly back in 1986, was drafted to helm the
obligatory sequel The Fly II. The film received mostly bad reviews
and raked in just 20 million bucks in theaters (half of what the original made).
Needless to say, it wasn't enough to prompt any more Fly films. The made-for-TV movie Amityville 4: The Evil Escapes was the first
film in its series to move the action away from the famed haunted house and
offered up the idea of "transference;" where the evil traveled elsewhere inside a
cursed object procured from the Amityville home. The idea stuck around for the
numerous other sequels that followed. The Amityville Curse (a Canadian
production) was also released in 1989. Its connection to the other titles in
the series was tenuous at best and it remains one of the least popular entries in that long
line of films. The Howling series continued to thud along with the
in-name-only Howling V: The Rebirth; a British
production filmed in Hungary. The lame comic zombie sequel C.H.U.D. II: Bud
the Chud featured a lively turn from Gerrit Graham but little else of
interest. Brian Yuzna's Bride of Re-Animator checked back in on mad
scientist Herbert West (Jeffrey Combs) but, despite some neat effects, it ultimately came off as a pale shadow of the original cult classic. New Jersey's favorite superhero Toxie went to Japan in search of his father and then battled corporate
bad guys in the splatstick comedies The Toxic Avenger, Part II and The
Toxic Avenger, Part III: The Last Temptation of Toxie, which were filmed
back-to-back and, combined, earned a nice million+ profit in a
tiny amount of theaters. Jim Wynorski's lousy The Return of Swamp Thing
brought back the leafy good guy (Dick Durock) for another round of
juvenile nonsense that ended up winning star Heather Locklear a Worst Actress
Razzie Award. The silly Canadian production Gnaw: Food of the Gods II
climaxed in a scene featuring a pack of oversized rodents feasting on
synchronized swimmers.
Beyond the Door III, an Italian production filmed in Serbia as Amok Train, had absolutely
nothing to do with the first two films - which actually had nothing to do with
each another now that I think about it. Claudio Fragasso's ridiculous living
dead action crap-fest After Death (starring gay porn star Jeff Stryker)
was later re-titled Zombie 4 to pad out yet another unrelated
series, while Michele Soavi's stylish but frequently senseless La chiesa / "The
Church" (which was co-written and co-produced by Dario Argento) was planned -
and released in some quarters - as Demons 3, though the director tried
his best to deliver a classier end product.
As it turns out, there actually are things scarier than clowns after midnight.
One of the most noteworthy titles of the year ended
up being Clownhouse, an above average low-budgeter which displayed a nice
accent on serious suspense over trendy gore-comedy. Sadly, its later
infamy had nothing to do with the movie itself and everything to do with what
went down behind the scenes. Shot in 1987 on a 200,000 budget (and partially
financed by Francis Ford Coppola), the film would go on to gain a minor cult
following on video and also made history for being the first genre effort to be
nominated for the Grand Jury Prize at Sundance. What few at the time knew was
that the film's director - a then 29-year-old Victor Salva - was a pedophile
who had molested the movie's 12-year-old star, Nathan Forrest Winters. After
Winters confessed what had happened to his mother, the police were notified and
raided Salva's home, where they turned up pornographic home movies starring
the director and several underage boys (one of whom was Winters). In April 1988, Salva
pleaded guilty to five charges, including one for oral copulation with a person
under 14 and three for procuring a child for pornography, and was sentenced to
three years in prison. After serving 15 months, he was released and wasn't
heard from again for a number of years. It wouldn't be until 1995 that the world
at large would learn of any of this when Salva was hired by Disney's Hollywood
Pictures to make Powder. Winters came forward to publicly protest the
film, the director and Disney and the story exploded in the press. Research into
the director's past also uncovered that he had previously written children's
books and was employed at the Crawford Village Child Card Center (!) before his film
career took off. Despite all that, the 10-million budgeted Powder ended up grossing
three times its budget. Salva laid low again until the controversy blew over,
then reemerged with Jeepers Creepers (2001), which also became a surprise
sleeper hit. Salva even got to make a sequel two years later, which featured
lots of long, loving shots of shirtless high school boys; something that creeped
many audience members out more than the winged creature itself.
One of the biggest under-the-radar successes of the year was Charles Band's Puppet Master, a
Full Moon production which raked in lots of dough on home video and Pay Per View.
The film's array of distinctively deadly puppet killers (sometimes brought to
life by stop-motion animator David Allen) appealed greatly to audiences who'd
just turned Child's Play into a hit. Sudden
demand for more of the same led to numerous direct-to-video sequels over the
years. Band also financially backed Intruder, a gory slasher flick set in
a grocery store that reunited numerous Evil Dead series alumni. Directed
by Scott Spiegel (co-writer of Evil Dead 2) and featuring other ED2
alum like Sam Raimi, Ted Raimi, Dan Hicks and Bruce Campbell in acting roles,
the film ended up being neutered by the MPAA for an R-rating and was released on
video to little attention. It has since gone on to attract some fans after
being released uncut on DVD.
Another unexpected attention-getter tied in with the Evil Dead franchise was the super-low-budget zombie film
The
Dead Next Door from first-time director J.R. Bookwalter. Shot in Akron, Ohio for
around 100 thousand dollars, it was the most expensive film ever shot on Super
8; a low-quality film stock used almost exclusively for home movies at the time.
The film found an unlikely ally in Sam Raimi, who invested a chunk of
his E2 salary into the production, while Campbell contributed by to the
project by dubbing the voices of several characters. It took four years to finally complete
and got a decent amount of attention in the genre press at the time.
"I've already lost three-hundred years of my life; what's three more?"
Steve Miner's Warlock, starring Julian Sands as the sardonic and
thoroughly evil title
character, had been
completed in 1988 and debuted at Cannes in late Spring of 1989 but became lost
in limbo once financiers New World Pictures went under. The film was later
acquired by Trimark Pictures, who finally got it into theaters in 1991 where the
7-million-budgeted film became a surprise hit and was followed by several sequels.
There were a few other modest box office successes of note for the year,
including the Australian thriller Dead Calm, starring Sam Neill and a
then-unknown Nicole Kidman (in her star-making role) as a troubled couple who
encounter a psycho (Billy Zane) while out at sea. The suspenseful, well-made
film did a respectable 7.8
million (#96 for the year). William Lustig's Relentless, which starred
former Brat Packer Judd Nelson in a change-of-pace role as a serial killer and Robert Loggia as a
detective, also did reasonably well, earning almost 7 million dollars and a #101
placement for the year. Its success led to three later direct-to-video sequels:
Dead On: Relentless II (1992), Relentless 3 (1993) and
Relentless IV: Ashes to Ashes (1994). Not fairing nearly as well was
Communion.
Writer Whitley Strieber (who'd previously written the novels "Wolfen" and "The
Hunger;" both of which had been adapted into successful films) claimed he was (really!)
abducted by otherworldly "visitors" in 1985, wrote a
(supposedly) non-fiction best-seller about the incident two years later and the
book ended up becoming a #1 New York Times best-seller that sold in excess of 2
million copies. Sounds like the stuff a box office success is made of, right?
After all, The Amityville Horror rode its "true story" credentials to gold back in
1979. Australian Philippe More was hired to direct, Christopher Walken was drafted to play
the lead and Eric Clapton contributed to the score, but the resulting film failed to garner much attention; bringing in less than 2 million
dollars (#145 for the year). Strieber later publicly criticized the film.
If you only watch one horror film made in 1989....
While all of the above titles may have kept American audiences busy just trying to keep up,
many of the best, most interesting and most unconventional titles of the year -
as is often the case - were actually being produced abroad; most of which were not even released in
the U.S.
until years after they were made. Chilean-born Alejandro Jodorowsky gave us
Santa Sangre, a colorful, visually extravagant hallucinatory nightmare
released with the apt tagline "Forget everything you have ever seen." The
Mexican / Italian co-production was unfairly slapped with an NC-17 rating here
in America, which instantly limited its distribution (a censored R rated cut was
later fashioned for the initial home video release). Director
Jérôme Boivin's original, unsettling and darkly humorous Baxter dealt
with a brooding, murderous bull-terrier whose often disturbing thoughts are
vocalized for us; in French; not barks. Also from France came René Manzor's
seldom-seen 3615 code Père Noël (aka Dial Code Santa Claus or
Game Over), an alternately charming and scary tale involving a boy
electronics wiz fending off a psychotic home invader dressed in Santa garb.
Shin'ya Tsukamoto's black-and-white cyberpunk nightmare Tetsuo, the Iron Man
from Japan, centering about a "metal fetishist" (played by the director
himself), gained a deserved cult following on video. Emerging from Canada was
Tales from the Gimli Hospital, the feature debut for Guy Maddin. The
low-budgeter (shot on 16mm and in black-and-white) perplexed nearly every critic
who saw it but successfully ran as a midnight movie at one New York City theater
for upwards of a year. Swedish director Peter Borg delivered the eerie,
underrated ghost tale Sounds of Silence, which received an American VHS
release but has since been almost completely forgotten. The hard-to-categorize Celia
from Australian director Ann Turner, a dark drama about a 9-year-old girl
(Rebecca Smart) driven to fantasy and madness by her toxic environment, gained
critical attention but was poorly marketed in America with the subtitle "Child
of Terror;" which delivered it directly into the hands of a mostly unappreciative audience. Nearby in New Zealand, Peter Jackson (still high on his
Bad Taste success) delivered Meet the Feebles, a nasty, demented
and hilariously perverse freak show with musical numbers. Oh, and it also starred a
cast of puppets.
"Thanks for offering, but I can wash my own back."
Not that there weren't some standout titles produced here in America... Brian
Yuzna's Society, which dealt with suburban paranoia, teenage alienation,
class stature and some rather icky and unpleasant things being perpetrated in
private by the rich, outwardly respectable and inhuman, made its Cannes debut in
1989. The film did reasonalby well in Europe, but was given the cold shoulder here in
America and got shelved until its 1992 VHS release. Bob Balaban's Parents also decided to poke (very dark) fun at the
establishment by making the cheerfully upright title characters cannibal-killers
and setting the action in sanitized 50s suburbia. The film (shot in Toronto in
1987) was issued in less than 100 theaters and made less a million dollars (#176
for the year). Katt Shea's low-key but intelligently-written and surprisingly
involving low-budget vampire
film Dance of the Damned (made for producer Roger Corman) drew
interesting parallels between a couple of ostracized, night-dwelling outcasts: a
stripper and a vampire. Tibor Takács' I, Madman,
featuring a creepy supernatural killer amidst a noir-ish visual
presentation, ended up being much more imaginative (and better)
than his initial and inexplicably more popular hit The Gate (1986). Mike
Hodge's completely overlooked Black Rainbow, starring Rosanna Arquette as
a psychic, won awards at numerous international film festivals in 1989 but gained next to no
attention in America and was quietly released to VHS in 1991, garnering little
attention in the process.
Camcorder gut munching courtesy of Redneck Zombies.
Other titles of note are Edge of Sanity (an unrestrained Anthony Perkins
in a Jekyll & Hyde / Jack the Ripper mash-up), Legend of the Overfiend
(graphic Japanese anime with "tentacle sex" which earned an NC-17 rating),
Vampire vs. Vampire (a very fun Hong Kong action-horror-comedy directed by
Mr. Vampire star Ching-Ying Lam), Godzilla vs. Biollante (superior
kaiju / follow-up to Godzilla 1985), Cannibal Women in the Avocado
Jungle of Death (a surprisingly amusing and clever jungle romp through
cannibal country starring Playboy sensation Shannon Tweed and future talk
show host Bill Maher), Lady Terminator (a hilarious, action-packed
sex-switch of The Terminator from Indonesia), Dr. Caligari (porn
director Stephen Sayadian's super-bizarre follow-up to the German expressionist
classic), The Woman in Black (fondly-remembered Brit TV movie from
Herbert Wise that made a big impression on UK youth during its day),
Trapped (a solid made-for-cable suspenser from Fred Walton), Transylvania
Twist (an extremely fun anything-goes horror-comedy from Jim Wynorski),
Cold Light of Day (British director Fhiona Louise's exploration of real-life
serial killer Dennis Nilsen) and The Dead Pit (asylum / zombie weirdness
from Brett Leonard). Fans of terrible movies also got such mind-numbing
treasures as Elves (which boasts one of the most hilariously dumb plots
ever [mis]conceived), Las Vegas Bloodbath, The Urge to Kill,
Things (quite possibly the worst thing to cross the Canadian border since
Celine Dion), Redneck Zombies and The Weirdo (one of Andy
Milligan's final films), to sink their highly-questionable fangs into.
"Let's make Nazi incest babies... Oh yeah, and Merry Christmas to you, too."
Am I forgetting anything? Uh huh. Lots actually. There were well over 300
features from 1989 that fall under the horror umbrella, making it the busiest
year of the entire decade for cinematic horror. In other words, if I included every
single one of them in my write-up we'd be here till next month wondering why we
never got a chance to see Chopper Chicks in Zombietown, Lobster Man
from Mars, Stuff Stephanie in the Incinerator or The Bloody Video
Horror That Made Me Puke on My Aunt Gertrude. Someone needs to shut me up now before I keep going...
________________________________________________________________________________
STATS:
What made money, what gained the respect of critics and what has endured with fans.
Horror, Top 10 Box Office (U.S. Domestic
Gross)
(Rounded up or down to nearest hundred thousand.)
Title - Director - Domestic Gross - Overall Ranking for Year
1. Ghostbusters II (Ivan Reitman) [112.5 million] [# 7]
2. Pet Sematary (Mary Lambert) [57.5 million] [# 23]
3. The 'burbs (Joe Dante) [36.7 million] [# 34]
4. A Nightmare on Elm Street 5: The Dream Child (Stephen Hopkins) [22.2 million]
[# 47]
5. The Fly II (Chris Walas) [20.0 million] [# 54]
6. Shocker (Wes Craven) [16.6 million] [# 62]
7. Leviathan (George P. Cosmatos) [15.8 million] [# 66]
8. Friday the 13th, Part VIII: Jason Takes Manhattan (Rob Hedden) [14.3 million]
[# 70]
9. Halloween 5 (Dominique Othenin-Girard) [11.7 million] [# 76]
10. Deepstar Six (Sean S. Cunningham) [8.1 million] [# 93]
RottenTomatoes Scores
(Note: Not all films - particularly limited releases and foreign-language films - have enough reviews for a score and thus can't be factored in here.)
Title - Director - Positive Review Percentage as of March 2014 (subject to
change)
1.
Dead Calm (Phillip Noyce) - 90%
2.
Santa sangre (Alejandro Jodorowsky) - 85%
3.
Baxter (Jérôme Boivin) - 83%
4.
Tetsuo, the Iron Man (Shin'ya Tsukamoto) - 77%
5.
Tales from the Gimli Hospital (Guy Maddin) - 71%
6.
The Church (Michele Soavi) - 70%
7.
Meet the Feebles (Peter Jackson) - 70%
I'm unable to compile a full Top 10 because the rest are rated rotten (below 60%). Was it really THAT bad of a year?
IMDb User Ratings (Top 10)
(Films must have at least 150 votes for consideration.)
Title - Director - IMDb Rating as of March 2014 (subject to change)
1. Santa sangre (Alejandro Jodorowsky) - 7.7
2. Mister Designed (Oleg Teptsov) - 7.5
3. The Woman in Black (Herbert Wise) - 7.4
4. (tie) Baxter (Jérôme Boivin) - 7.0
4. (tie) Celia: Child of Terror (Ann Turner) - 7.0
4. (tie) Sweet Home (Kiyoshi Kurosawa) - 7.0
4. (tie) Tetsuo, the Iron Man (Shin'ya Tsukamoto) - 7.0
8. U.F.O. Abduction (aka The McPherson Tape) (Dean Alioto) - 6.9
9. (tie) Dead Calm (Phillip Noyce) - 6.8
9. (tie) Tales from the Gimli Hospital (Guy Maddin) - 6.8
10. (tie) Curse of the Undead Yoma (Takashi Anno) - 6.7 [Japanese anime]
10. (tie) Laurin: A Journey Into Death (Robert Sigl) - 6.7
10. (tie) Legend of the Overfiend, Part III: Final Inferno (Hideki Takayama) - 6.7
[J. anime]
10. (tie) Meet the Feebles (Peter Jackson) - 6.7
10. (tie) Vampire vs. Vampire (Ching-Ying Lam) - 6.7
________________________________________________________________________________
For a look at my own personal list of Top 10 films for 1989, plus links to reviews, click
RIGHT HERE.
Hope everyone's enjoying this series and sorry for the delay, by the way. As always, thanks for taking the time to read.
