Tag Archives: Aliens

Throwback Thursday: “Willard” (1971) and “Ben” (1972)!

“Willard” (1971) and its sequel, “Ben” (1972), were another pair of 1970’s movies that got plenty of airtime on 1980’s television.  I read both books when I was a kid too.

First I picked up Stephen Gilbert’s Ratman’s Notebooks at a yard sale, because that’s how you found cool horror books during summer vacations when you were too young to drive.  (Sometimes adults had few compunctions about what they sold to minors too.  I bought a vampire book in gradeschool that was full of nude photos, for some reason, and that led to what I’m sure was an interesting conversation between my parents and the neighbor-proprietor down the street.)

Anyway, I absolutely loved Ratman’s Notebooks (despite its lamentable absence of nude photos) and I finished it in a day or two.  The novelization of the “Ben” film by Gilbert A. Ralston was somewhat less impressive, but I still enjoyed it.

If you’re a comics fan, like I am, then it might occur you that “Willard” and his army of trained rats seem to inspire a villain in Batman’s rogue’s gallery — Ratcatcher.  Ratcatcher has been a minor league villain since he debuted in DC Comics in 1988, but he’s a pretty neat bad guy when placed in the hands of the right writer.

I feel certain that anyone will recognize Ernest Borgnine in the first trailer below– his  face and voice are impossible to confuse with those of another man.  If the disaffected, spooky, eponymous Willard looks familiar to you, that’s none other than a young Bruce Davison.  He’s a good actor who’s been in a lot of films, but I think a plurality of my friends will know him as Senator Kelly from the first two “X-Men” movies (2000, 2003).

You’ll note the presence of flamethrowers in the trailer for “Ben.”  Flamethrowers were a staple of 70’s and 80’s horror films; it was just part of  the zeitgeist.  They were handy for heroes fighting any nigh-unstoppable nonhuman baddie — think of “The Swarm” (1978), “The Thing” (1982), “C.H.U.D.” (1984), “Aliens” (1986), and “The Blob” (1988), for example.  Hell, 1980’s “The Exterminator” featured a vigilante using a flamethrower to kill criminals.   It was a weird time.

 

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KILL IT WITH FIRE.

I swear this spider was as long as my thumb.   I could have put my shoe or maybe a quarter next to it for scale, but I don’t want to stick any part of my body near this thing, and I don’t want to subsidize its hellish agenda.  (I did kinda zoom out so that you can compare it to the size of the curb.)

What does it eat?!  Birds?!  Why does it appear to have racing stripes?!

To quote the immortal Ellen Ripley, I say we take off and nuke the site from orbit.  It’s the only way to be sure.

Update: someone is trying to persuade me that this is a “garden spider,” and that they are quite harmless.  I’m not sure I buy that.

 

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A few quick words on “Pumpkinhead” (1988)

Until last night, I’d never actually seen 1988’s “Pumpkinhead” — even though I occasionally joked online about its inspired, iconic titular monster.  I was predictably pleased by the movie’s creature effects, but even more disappointed than I thought I’d be by the film’s overall quality.  I’d rate the film a 7 out of 10, based on my own enjoyment of it — but I’m a horror fan who loves monsters and who’s typically forgiving of 80’s cheese.  If you haven’t seen “Pumpkinhead,” I suspect you’ll finds its flaws a little more egregious than I did.

The film’s strengths are its fantastic monster, designed by legendary visual effects master Stan Winston, and its interesting story concept.  It’s easy to see why the sneering, towering golem here inspired a cult fanbase — complete with sequels, videogames and comic books.  (Yes, horror movie pedants, I realize that Pumpkinhead is technically a demon-infused and magically mutilated corpse, and not a golem.  Whatever.)

This is Winston’s first turn as a director, too … and it seems to me that his genius apparently didn’t quite extend to this larger role.  “Pumpkinhead” feels cobbled together, even by 80’s-movie standards, with poor writing, acting and editing throughout.  The presence of Lance Henriksen improves matters somewhat, as does an adolescent Brian Bremer in the role of “Bunt.”.  (Bremer looks to be about 13 or 14 years old, but he easily outshines his adult co-stars.  His surprisingly relaxed performance might be the equal of Henriksen’s.  The latter is usually as good as we expect, but even he actually flubs a line here and there.  He’s a long way from his brilliant turn as the “Bishop” android in the classic “Aliens” two years prior.)

All things considered, I’m not sure I would actually recommend “Pumpkinhead.”

 

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I introduced a pal last night to John Carpenter’s “The Thing” (1982).

And she was predictably impressed.  Here are a few observations that came up for me, about the categorically rewatchable sci-fi/horror movie that keeps on giving.  (Yeah, I know I sound overly preoccupied with this movie, and that’s weird, but I’m just really into movies.  And John Carpenter’s “The Thing” is the same kind of classic for monster movie fans as “It’s a Wonderful Life” or “A Christmas Story” is for people who like Christmas movies.)  [THIS BLOG POST CONTAINS MAJOR SPOILERS.]

1) It was fun watching “The Thing” with someone who was seeing it for the first time.  Not only did I have to stifle a chuckle at her cry of “That poor dog!” during the opening credits, but I also watched while she guessed (incorrectly, as most of us did) at which characters had been assimilated by the shape-shifting monster as the story progressed.  (I noticed something ironic last night that I couldn’t mention.  When MacReady delivers his short “I know I’m human. And if you were all these things, then you’d just attack me” speech, all of the men he’s addressing are also still human … Unless I’m mistaken, Norris and Palmer are elsewhere.

Which brings me to what at first occurred to me as a … remotely possible plot hole in this otherwise perfect masterpiece.  If The Thing truly wants to escape Antarctica and prey upon the rest of the world, it doesn’t need to assimilate (or “Thingify,” as I like to think) everyone in the camp.  It only needs to overtake a single human.  (This would be the silhouetted figure that the dog first approaches; my money’s on Norris.)  Think about it … nobody stationed at Outpost 31 remains at the research station indefinitely.  They’d cycle out at the end of a shift of … six months?  Eight months?  Longer?  (And what about vacations and holidays?)  Sooner or later, they’d fly home.  And, having perfectly replicated a human’s anatomy, The Thing need only sustain itself until that departure by eating the same food the other humans were eating.  Then, as soon as it arrived at any other, warmer location on earth, it could attack life in its abundance.

But this morning I realized that my analysis here is faulty.  First, the humans were already getting wise to The Thing and its means of procreation — thanks to a pre-diabeetus Wilford Brimley wisely intoning, “That ain’t dog.”  Maybe The Thing was smart enough to realize the humans could effectively quarantine it.  Second, I am assuming in my criticism that “The Thing” is acting as a single entity.  Yet it shouldn’t act that way at all; this is the entire point of MacReady’s “blood test.”  While one incarnation of The Thing is safely munching on canned goods disguised as a human, a separate incarnation was sitting in storage, exposed — presumably only until the humans finally realized it needed to be destroyed somehow.  That iteration of The Thing needed to attack and duplicate Redding if it wanted to save itself.

2)  The Thing actually shouldn’t need to reach civilization in order to begin attacking all life on earth; it only needs to reach the Antarctic coast. If it enters the water and begins assimilating sea life (and why shouldn’t it be able to?), then it’s game over.  I said last night that “a fish can travel wherever it wants,” which my friend found pretty funny, but it’s true.  A Thingified fish (or its fish-Thing progeny) could arrive at any continental coastline.

3)  If The Thing replicates a human perfectly on a cellular level, then … might it be reluctant to kill anyone else, because it would basically be a human?  (Obviously, the film’s plot-driving antagonist has no such reluctance, but … still, think about it.)  If it perfectly replicates a human brain, right down to its cellular structures and chemistry, then wouldn’t it have a conscience and experience empathy?  My friend pointed out the reductionist nature of my question, though — it assumes that conscience and empathy can have only physical origins.

4)  The movie’s characters (and most viewers) assume that The Thing is “a lifeform” or an organism.  Is it, or is it simply “live” tissue?  Somebody on the Internet Movie Database message board pointed out long ago that it’s “just cells,” and that’s … literally true; the film even shows this via crude 80’s-era computer graphic.  Is it an “organism” if it is simply tissue that replicates?  Or is it no more a “lifeform” than a cancer, or tissue grown in a lab?

5) I honestly opine that the film is perfect, or very nearly so.  It is the paragon of sci-fi/horror movies.  And I’d put it on par with other films that I hold virtually perfect, like “To Have and Have Not” (1944), “Alien” (1979), “Blade Runner” (1982), “Aliens” (1986), “The Accidental Tourist” (1988), “Alien 3” (1992) and “Vanilla Sky” (2001).

6)  My friend reaaaally likes Kurt Russell’s hair in this film.

Okay, enough.  I’m sorry about this.  Hey, at least I’m not obsessing over comics tonight.

 

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Cover to “Aliens: Earth War” #4, John Bolton, 1990

Dark Horse Comics.

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Cover to “Aliens: Colonial Marines” #3, Robert Mentor, 1993

Dark Horse Comics.

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Cover to “Aliens” Vol. 2, #2, Den Beauvais, 1989

Dark Horse Comics.

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Throwback Thursday: early 1990’s “Aliens” and “Predator” comics.

I was chatting here with a friend last week about the “Aliens,” “Predator” and “Aliens vs. Predator” comics produced by Dark Horse Comics in the 1990’s.  While Marvel, DC and Image Comics all specialized in their superhero universes, Dark Horse tended to corner the market on hot properties in science fiction and horror.  (The company actually did try to compete by launching its own superhero line, but its unsuccessful “Comics’ Greatest World” universe lasted a mere three years.)

Dark Horse acquired the rights to the biggest science fiction movie characters of the first half of the decade, including “Aliens,” “Predator,” “Terminator,” “Robocop,” and “The Thing.”  It also produced great books in other genres too, like Frank Miller’s legendary “Sin City” series, Matt Wagner’s brilliant “Grendel,” and “Indiana Jones” comics.   (I never actually saw “Indiana Jones” on the shelves; the two retailers in my smallish Virginia college town never carried it.)

Perhaps strangely, I don’t remember any regular ongoing series for “Aliens,” “Predator” or “Aliens vs. Predator.”  Instead, the company published limited series on an ongoing basis.

Dark Horse had been a young company back then — it had started only four years earlier, in 1986.  But I’ll be damned if the people running the company didn’t know their stuff.  Not only did they snatch up big-name properties, they did a great job in producing consistently high-quality “Alien” and “Predator” books.  (Maybe “Aliens: Genocide” wasn’t as good as the other series, but it was really more average than flat-out bad.)  I honestly don’t know how they managed to publish such uniformly excellent comics that drew from a variety of creative teams.  The “Big Two,” Marvel and DC, produced their share of mediocre comics — even for tentpole characters or major storylines.  (See the “Batman” chapters of DC’s “Knightfall,” for example, or Marvel’s “Maximum Carnage” storyline for Spider-Man.)

Was Dark Horse’s track record better because their target audience was adults?  Did they just have really good editorial oversight?  Or did they maybe share such oversight with 20th Century Fox, which had a vested interest in its characters being capably handled?  I’m only guessing here.

I’ve already blathered on at this blog about how I loved “Aliens: Hive,” so I won’t bend your ear yet again.  An example of another terrific limited series was “Predator: Race War,” which saw the title baddie hunting the inmates of a maximum security prison.  And yet another that I tried to collect was “Aliens vs. Predator: the Deadliest of the Species.”  The series had a slightly annoying title because of it was a lengthy tongue twister, but, God, was it fantastic.  I think I only managed to lay hands on four or five issues, but the art and writing were just incredibly good.

Take a gander at the covers below — all except the first are from “The Deadliest of the Species.”  I think they are some of the most gorgeous comic covers I’ve ever seen, due in no small part to their composition and their contrasting images.  And I’ve seen a lot of comic covers.  I think the very last cover you see here, for Issue 3, is my favorite.

I would have loved to collect all 12 issues … I still don’t know how the story ended.  (It was partly a mystery, too.)  But at age 19, I absolutely did not have the organizational skills to seek out any given limited series over the course of a full year.

In fact, this title may well have taken longer than that to be released … Dark Horse did have an Achilles’ heel as a company, and that was its unreliable production schedule.  Books were frequently delayed.  To make matters worse, these were a little harder to find in the back issues bins.  (I don’t know if retailers purchased them in fewer numbers or if fans were just buying them out more quickly.)

I suppose I could easily hunt down all 12 issues of “The Deadliest of the Species” with this newfangled Internet thingy.  But part of being an adult is not spending a lot of money on comic books.  Maybe I’ll give myself a congratulatory present if I ever manage to get a book of poetry published.  Yeah … I can totally rationalize it like that.

 

 

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Cover to “Aliens: Colonial Marines” No. 3, Robert Mentor, 1993

I have never felt so old until this very moment.

Fellow science fiction fans, all of us recognize the distinguished lady at left — Sigourney Weaver, better known as Ellen Ripley.  For most of us, our best loved outing with her was watching her rally against “Aliens” in 1986.

She’s aged over the years, just as we have.  But we can accept that, as we ourselves have grown older along with her.

But the lady at right?

THAT’S NEWT.

Yes, tiny Newt.  Actress Carrie Henn.

Excuse me while I go find my dentures.

[Update: Sorry about the typos in this post earlier!  Yeesh!]

 

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