From Beyond.

Review #2612: From Beyond.

Cast: 

Jeffrey Combs (Dr. Crawford Tillinghast), Barbara Crampton (Dr. Katherine McMichaels), Ted Sorel (Dr. Edward Pretorius), Ken Foree (Bubba Brownlee), Carolyn Purdy-Gordon (Dr. Bloch), Bunny Summers (Neighbor Lady), and Bruce McGuire (Jordan Fields) Directed by Stuart Gordon (#2127 - Re-Animator)

Review: 

"The thing that was great about the Organic Theatre was that we did all kinds of plays. I'd like the same thing to be true about my movies. One of the great things about genre movies is that as long as you follow the rules of the genre you can do anything you want and say anything you want. There's a tremendous amount of freedom. I got into a conversation with a friend that the horror films are really the subconscious of the movies."

Sure, there was going to be another H. P. Lovecraft-based movie sometime after how fun Re-Animator (1985) ended up being. Stuart Gordon wanted to make a handful of Lovecraft movies, complete with having select people coming back with the cast and crew here. The script was written by Brian Yuzna (who had produced Re-Animator), Dennis Paoli, and Stuart Gordon, with Paoli writing the screenplay. With the choice to film cheaper, Gordon went with an Italian crew that saw shooting on a Rome soundstage. There were multiple crews heading the effects (John Naulin, Tony Doublin, John Buechler, Mark Shostrom), but even with that in mind, getting an R rating from the MPAA was annoying because of the total effect of the graphic moments rather than specific stuff before he cut select frames to secure it (these trims were eventually recovered and put into a director's cut release in the 2000s). It wasn't a major hit at the time, but so it goes. Gordon would work again with Combs on films such as The Pit and the Pendulum [1991] and also Crampton with the direct-to-video Castle Freak [1995] but didn't get to do a Lovecraft movie again until the 2001 Spanish movie Dagon. 

The original short story (as originally published in 1934) by Lovecraft was a first-person story dealing with one man's experiences with a scientist named Crawford Tillinghast that had a certain type of device that dealt with creatures and the deaths of servants before it gets resolved pretty quickly. Here, Combs plays Tillinghast as the assistant to who else but a man named Pretorius. It's got everything you would hope for in a medium-sized enjoyable movie that isn't quite as well-executed as Re-Animator, but it is a fun one. You've got a giant animatronic puppet, talk about "pineal glands", a truly dynamite trio to go through house-bound mayhem with a bit of brain-eating to go around. It's a delightfully looney type of slow bubbling fun that practically feels like candy for those with the time to let it sift through for 86 minutes. It's a game of trying to deal with the horrors of maybe just letting the machine that goes around delivering horror and pleasure in the alternate dimension go on that goes for the weird and hits for some dark amusement. Combs gets a chance to attempt calm in the face of danger and disturbing monsters that happen to lurk around in a different dimension that is easy to get on his side of apprehension. It probably helps that he is paired with Crampton and her own journey of discovery within the growing world of malformed desire and ideas of what they believe they want in the mind (this is a long-winded way of saying, yes, one can say technobabble and dabble with wearing an S&M outfit for a scene). Of course, the underlying glue up to a certain point is Foree, who really is quite charming in delivering measured humor in being gripped in the growing absurdity. Sorel appears from time to time and delivers a few deliciously sleazy moments fitting for the moment with kinks and slime to go around. The body-count is a considerable few given the amount of cast, but it's still pretty rewarding for those folks too. You've got some slimy flies to go along with the realization of the third eye and brain-eating to criss-cross with the terrors of being gripped in a machine that doesn't even need your consent to turn itself on. Getting through addiction of the senses or brain-eating is one thing, surviving the aftermath of that is another. The danger is that horrible stuff is just all around us and there probably is nothing you can really do about it when it comes to turning into sludge at the end of the road besides not being burnt dead sludge. In that sense, it's depraved in a way that is my kind of horror fun.

Overall, I give it 8 out of 10 stars.

Song of the day!

Re-Animator.

Review #2127: Re-Animator.

Cast: 

Jeffrey Combs (Herbert West), Bruce Abbott (Daniel Cain), Barbara Crampton (Megan Halsey), David Gale (Dr. Carl Hill), Robert Sampson (Dean Alan Halsey), Al Berry (Dr. Hans Gruber), Carolyn Purdy-Gordon (Dr. Harrod), and Ian Patrick Williams (the Swiss Professor) Directed by Stuart Gordon.

Review: 

"We all knew that this was the scene. Because, before we started making the movie, we said among ourselves: look, there are all these horror movies that have been made in the last few years—we have to find a way to set Re-Animator apart. And if we wanted to get people’s attention, we had to show them something that they hadn’t seen before. This was that scene."

Oh sure, there are so many films that could be thought of as "cult classic" that it almost seems useful to have skepticism over it just as much as for films that the general folks think are just classics (like, say, The Rocky Horror Picture Show). The film is based on the short story "Herbert West-Reanimator" by H.P. Lovecraft, which was originally serialized in Home Brew magazine from February to July 1922 (there were six parts, one of which involved a boxer with the arm of a child in their mouth). Lovecraft was reported to have disliked the experience of writing Reanimator, since not only did it require him to write a cliffhanger at the end of every part, it also was one he did solely for the money ($5 for each part!) for what was basically a parody of Mary Shelley's Frankenstein; in general, Lovecraft would not be the well-known name as an author for decades after his death, but the aforementioned West story is thought to be one of his worst. Relating to this, Stuart Gordon had a discussion over how many Dracula films there was compared to the seemingly small count of Frankenstein films. Gordon was a Chicago native and a graduate from the University of Wisconsin-Madison that majored in theater. He started doing productions in the late 1960s that went all the way to the 1980s in directing and producing plays, such as a naked stage version of Peter Pan (which saw him face charges of obscenity) and Warp!, a 1973 sci-fi play. Spurred to read the Lovecraft story, Gordon got the idea to do an adaptation, which would have Dennis Paoli and William J. Norris serve as co-writers. They first thought to do it for the stage and then to do it for television before a suggestion led them to try and do a feature film, which led them to producer Brian Yuzna. It was only during production that the script gained comedic elements, with the result being one that Gordon stated had influence from films such as The Revenge of Frankenstein (1958). Gordon would direct another Lovecraft story with From Beyond (1986). Two sequels to Re-Animator followed: Bride of Re-Animator (released in 1990 that retained Combs, Abbott, and Gale) and Beyond Re-Animator (released in 2003 that retained Combs), with Yuzna serving as director for both films. A Re-Animator: The Musical would come about in 2011, with Gordon having served as a producer; Gordon died in 2020 at the age of 72.

There exists a number of versions: The R-rated version lasted 93 minutes, while the unrated version lasts 86 minutes. The R-rated version is an edit done because originally, the filmmakers opted to not submit the film to the MPAA for a rating because they thought it would get an X. At any rate, this R-rated version just cuts a good chunk of the gore and replaces it with scenes cut for pacing (such as hypnotism from Hill). Okay, I wasn't actually worried this was going to be just "good" rather than a cult classic, but, well, going into it with as less knowledge is part of the fun. It is a delightfully gooey little film, one that proves worthy in its elements of gore with conviction and dark humor that is well-paced to go with being an interesting riff on Frankenstein in the Hammer method of the best way, complete with action of re-animated corpses coming around and around. This was the first big film role for Combs, who had done a number of stage plays and hadn't known of Lovecraft when he was approached for the role (he also didn't expect it to break through the way it did). His manic energy is hypnotically captivating from the very first time we see him in the opening, where he is frantically attempting to deal with a screaming man thrust with life. Of course, his interactions with Gale when it comes to just who knows what about science (complete with snapping pencils) or with Abbott & Crampton with living conditions is the real attraction. He just has a way of communicating this amorality that comes in obsession and arrogance in the most delectably entertaining of ways (those familiar with Star Trek: Deep Space Nine already know how good he is already, naturally). Abbott and Crampton make suitable straights getting sucked into such strange times without being played as just the folks to ignore or counter Combs in some sort of "do-gooder"-ness. With that in mind, Gale is ideal in odious qualities for the best of results, which is likely exemplified by a sequence involving a leering head interacting with a naked body. Trust me, it's a pretty good disturbing sequence in a film that has a steady chunk of body gore effects already present in buckets of blood - yes, it really is one fit for the non-squeamish. The closing delivers a good little stake in the grave in the best way possible for both a show in effects along with a note on just how far one could go in desperation. Bottom line, this is the kind of films fit for viewer of mad scientist films or body gore flicks in the best way possible. It is easy to see how the film became a cult favorite in all of the best ways possible. 

Overall, I give it 9 out of 10 stars.

Next: George A. Romero becomes part of a double-header to start the backstretch of closing out October in the right way.