Back in the nineties, I spent many a day trying to build up my own movie collection, and for poor folk, that’s tough. Imagine my surprise when after receiving my allowance I retreated to the local dollar store and saw some VHS movies for me to purchase with my own money. Granted, they weren’t blockbuster films, but they were public domain cartoons, and some pretty interesting gems that only bargain hunters discovered.
Tag Archives: Aliens
The Thing From Another World (1951)
Upon its initial release, John Carpenter’s “The Thing” was poorly received both at the box-office and by critics. It didn’t help that it had been released around the time of “E.T” and its domination of pop culture, and that it had been considered by most to be a remake of a classic, barely flawed monster movie from the fifties. John Carpenter proved you can remake a film and provide your own twist without ruining the integrity of the original. “The Thing” is considered by most to be the closest adaptation to the original short story “Who Goes There?” around, while “The Thing From Another World” is not so much an adaptation and opts to create a hulking beast in place of an amorphous entity that hides inside human beings. Perhaps they thought it’d be too cerebral or dark for its time.
Body Snatchers (1994)
It seems every other decade or so, there has to be a big screen adaptation of Jack Finney’s seminal science fiction novel about aliens that transform in to you when you’re sleeping. 1956 saw the Kevin McCarthy masterpiece that basically explored the fear of McCarthyism, 1978 had the pretty damn good Donald Sutherland creep fest journeying in to the fear of conformity in an age where the free love movement had died, and even in 2007 there was the reworked flop “The Invasion” which attempted to prey on our delirium about biological warfare and terrorism (and failed). 1994’s version is a horror film that’s meant to pretty much just be a horror film.
Night of the Creeps (1986)
Almost thirty years later, 1986’s “Night of the Creeps” is a horror science fiction film that is nowhere near being a masterpiece, but is still one of the best horror romps I’ve ever seen from the decade. Director Fred Dekker treated fans to a double dose of horror entertainment, offering “Monster Squad” and then “Night of the Creeps.” While both films aren’t universally renowned like “Bride of Frankenstein,” they are classics in their own right. If you happened to love both films, you kind of want to give Fred Dekker a big hug. For me, it was a one two punch of horror comedy gold.
Predator (1987)
Before “The Expendables” was ever put in to production, director John McTiernan had the foresight to include a roster of cinematic bad asses for a film that involved a bunch of mercenaries battling an unseen hunter in the jungles of Central America. From Carl Weathers, Bill Duke, Jesse Ventura, Sonny Landham and the one and only Arnold Schwarzenegger, “Predator” features a conglomerate of muscles and sweat that makes up one of the best casts of an action film ever. 1987 brought forth one of the most unique and innovative action thrillers ever conceived.
Blasting off with the "Hypernauts"
Like ninety percent of all my great pop culture memories, I stumbled upon “Hypernauts” one very early Saturday morning in 1996. When I say early, I mean five in the morning on ABC TV in the US, and I recall finding it to be a rather entertaining and exciting science fiction series, then. It also helped my excitement that one of the primary stars of this action adventure series was the lovely Heidi Lucas who, kids my age at the time would remember her as one of the stars of the Nickelodeon comedy “Salute your Shorts.” This series is a long departure for her from the “Meatballs” summer camp comedy, approaching a more dramatic and gritty science fiction show that could appeal to young audiences.
Bad Channels (1992)
This is one of the first Full Moon movies I’ve ever seen that was scored by Blue Oyster Cult, so even if the movie sucked, there’s a good chance the movie rocks by default. Blue Oyster Cult manages to provide a raucous and rocking soundtrack for what is generally a cheesy and absolutely goofy piece of early nineties schlock, but it has genuine camp value in its corner, as well as the always attractive Martha Quinn as a heroine.