The Thing from Another World

For years, there has been speculation that Christian Nyby's The Thing from Another World wasn't directed by Nyby but rather by producer Howard Hawks. Yes, Hawks' fingerprints are all over the dialogue (he was an uncredited writer) but bear in mind that Nyby had edited several of Hawks' movies; it's more than likely it merely rubbed off on Nyby.

Obviously, The Thing from Another World is starkly different from John Carpenter's remake thirty-one years later. Whereas the latter sees trust (and the cast) getting torn to shreds, the earlier film is your standard '50s monster picture. That said, it's a good watch all the same.

In comparison to other sci-fi titles of the era, The Thing from Another World doesn't serve as a Cold War/Red Scare allegory. Again, it's a straightforward monster movie, simple as that. It may be a B picture but even those have their merits.

Speaking of which, the practical effects of The Thing from Another World are, well, out of this world. From the titular thing (played by a pre-Gunsmoke James Arness) to the various pyrotechnics, it's a display that B movies don't skimp on where it matters.

The Thing from Another World shows that a simple premise can go a long way. And while it doesn't measure up to Carpenter's take, it still showcases a daringness regularly seen at that time. (And yes, Nyby directed this, not Hawks.)

My Rating: ****

The Stepfather

There's a great establishing shot early in Joseph Ruben's The Stepfather that helps set up what the viewer is getting into. After freshening up from murdering his family, Henry Morrison (Terry O'Quinn) descends the stairs -- and into the bloodshed he inflicted. Right from the get-go, we get the mood.

Fast-forward a year, and Henry -- now using the name Jerry Blake -- has remarried into a new family. But his stepdaughter Stephanie (Jill Schoelen) is wary of him. Are Stephanie's fears unwarranted or is there something lurking behind closed doors?

Some may not know this but The Stepfather was loosely based on the John List case. (List, however, would not be apprehended for another two years.) Admittedly, this plays more into the slasher movies of the time but the details of the List case make for a decent backstory in such a movie. Fact is stranger than fiction, after all...

It's also obvious that The Stepfather is a vehicle for O'Quinn and he alone but boy, what a vehicle for him. With a quirk of his lips or a raised eyebrow, he conveys more than a line of dialogue ever could. Only good actors can do that, especially in horror.

The Stepfather is admittedly standard '80s slasher fare but it's good standard '80s slasher fare. It differs in that usually the slasher in question isn't as cunning and calculating as Jerry Blake (and we should be grateful as such). But there are such people in real life -- so be aware (and beware).

My Rating: ****

Ginger Snaps

There's no denying that certain genres apply to certain metaphors better than others. Horror in general is the most common genre up for interpretation, focusing on real-life things the average person fears. Death, grief, the unknown -- all subjects no one wants answered.

Another topic serving as a metaphor in horror is puberty, which makes perfect sense. Changes, hormones, increased emotions -- all make for an ideal monster movie. And that's just what John Fawcett's Ginger Snaps is. (It helps that this was written by a woman.) Like Jennifer's Body nine years later, it proved monster movies weren't just for boys.

Sure, some might view the "menstruation as werewolf" metaphor as heavy-handed but writer Karen Walton makes it work. In the hands of someone else (read: someone who doesn't menstruate), it would come off as clumsy. Frankly, more women should write horror.

Released in a post-Columbine society, it had to have been daring to have Ginger Snaps make its presence. (Better that than, say, Heathers.) But at the same time, it was practically an ideal time to release it, what with Gen-X angst at an all-time high. Then again, it's a matter of opinion.

Ginger Snaps shows that horror benefits greatly from being told from a woman's perspective. With a genre often filled with misogyny, it's vital to have women tell these stories. (Mostly because they can handle certain subjects better than men.)

My Rating: ****

I Married a Witch

You know how some actors just need the right script to showcase their talents? Sometimes it involves playing against type, other times the role itself may parallel aspects of the actor's own life. But more often than not, it all boils down to taking a chance.

That's what's on full display in René Clair's I Married a Witch, courtesy of Veronica Lake. A year after the success of Sullivan's Travels, she shows a comedic panache that shows there was more to Lake than her glamor girl image (an image she was none too fond of). It makes one wish she had more opportunities.

Anyway, Clair only worked in Hollywood for a short while (he was more established in his native France) but even then, his touch is on full display in I Married a Witch. As an uncredited writer, he made Lake's character Jennifer more likable than her literary counterpart. As director, he plays the various practical effects beautifully.

Speaking of those practical effects, let's talk about those for a bit longer. In this day and age relying on green screens and computers, it's almost a breath of fresh air to see something more mundane being used. Makes one wish filmmakers would go back to basics.

I Married a Witch loses steam towards the end but Lake and Cecil Kellaway keep it afloat throughout. Clair may have only spent a handful of years in Hollywood but his impact was felt with the few projects he made there. And the same can be said of Lake.

My Rating: ****