Powerful Pages: They Thirst by Robert R. McCammon (1981)

Powerful Pages: They Thirst by Robert R. McCammon (1981)

They Thirst is far from a great book.  It may not even be that good.  It has an abundance of flaws, and in the early stages, it was so derivative that I wasn't sure that I would able to stick with it.  And while I'm not opposed to pulp or trash, I do have my limits.  Despite these complaints and the presence of maybe half a dozen stupendous coincidences too many, I didn't put this early venture from Robert R. McCammon aside.  Why?  Three reasons, mostly.  First, while the villains were largely cliches and the protagonists were cut from the same cloth, the latter group resonated with me for reasons I don't fully comprehend.  I followed them deeper and deeper into this sprawling opus with a certain degree of trepidation, but the more I read, the more pressing my need to know how they would fare became. Secondly, McCammon did an excellent job with the ghastly elements of this vampire yarn, deftly portraying the vicious bursts of carnage that kept propelling the characters into greater jeopardy and firmly establishing a sense of creeping dread.  Lastly, raw as it may have been in so many ways, one can't help but marvel at the scope of this fanged saga.  McCammon dared to tell a vampire story on as grand a scale as one could imagine.  Maybe he fumbled and stumbled a bit along the way, but in the end, he put the entire city of Los Angeles and even the world as we know it in immense peril.  In doing so, he delivered a tremendous conclusion that may have been just as serendipitous and overwrought as the first act, but somehow proved to be both engrossing and satisfying.  Seldom has the phrase "grand finale" been so appropriate.  Yes, They Thirst is far from a great book, but it is entertaining as hell, and I have to salute the author for putting so much at stake.

Final Grade: C+

Short Attention Span Review: The House by the Cemetery (1981)

Short Attention Span Review: House by the Cemetery (1981)

While commonly regarded as one of Italian gore maestro Lucio Fulci's best efforts, House by the Cemetery is likely his most-maligned fan favorite.  This criticism isn't unwarranted, as in many ways the picture is a bit of a mess.  The English dub is an abomination, mostly due to the horrible job they did with young Bob's dialogue, which is truly wretched.  Also, either the picture lost a lot in terms of editing and that sub-par dub, or the script was a mess.  The film is littered with plot holes and boasts some of the most questionable character logic you'll ever see.  This may work in its favor, however, as House by the Cemetery functions largely as a surreal nightmare.  It is also so derivative that it becomes its own unique absurdity, if such a thing is possible, riffing on a gruesome host of beloved horror tropes.  These elements include everything from haunted houses, mad scientists, ghouls, spooky kids, ghastly premonitions, housewives going mad, driven dads who may just be lunatics, to good old-fashioned slasher flicks.  On the positive side of the coin, the cinematography is astounding, the score is mesmerizing, and Fulci brings his trademark gory gloom and doom to a full boil.  He really finds his stride in the last reel, which is utterly horrific, and the director's undying love for downer endings gives this climax some added impact.  Reasonable viewers may well find themselves talking to the screen as things spiral out of control in that final reel.  I watched this one last night, and I said "Nope" a great many times and offered up some iteration of "Don't go in the basement!" at least a dozen times or more.  Unlike The Beyond, Zombi, or City of the Living Dead, Fulci doesn't quite nail the parting shot, which I'm not quite sure I can make heads or tails of.  The verdict is clear, however; House by the Cemetery falls well short of Lucio Fulci's best output, but probably warrants a spot in his Top 5.  It is more than a little problematic, but the creepy factor is high, and the final act is relentless and terrifying in equal measures.

Final Grade: B-

It's a bit of a mess, but it still works, and the scares come fast and furious as House by the Cemetery  nears its grim conclusion.

Short Attention Span Review: Knightriders (1981)

Short Attention Span Review: Knightriders (1981)

As a teen, I didn't know quite what to make of George Romero's Knightriders, a fascinating character study that stands as perhaps his most quixotic production.  That's saying something, for while he will always be best known for his gory shockers and his role as the man who put zombies on the map in a big way, he produced a few headscratchers (to include pictures like Martin and Season of the Witch) along the way.  I wanted more of the jousting atop roaring motorcycles and the daredevil flair that Tom Savini brought to the picture as Morgan.  I didn't quite get Billy as portrayed by Ed Harris, the king of the medieval troupe that has traded horses for motorcycles that Knightriders focuses on.  Billy isn't interested in stardom or money, and his devotion to a peculiar but noble set of ethics may even trump his concern for those who look to him for leadership.  In my youth, he seemed to be a bit of a lunatic whose zeal clearly surpassed his logic or compassion, and I may have yearned to see him dethroned--I note this despite the fact that the valiant yet suitably heartbreaking conclusion to the piece didn't sit well with me at the time.  Upon further review, I still enjoy Savini's quality performance and Morgan's perfectly reasonable yearning for gratification and publicity.  Yet Billy's inspired devotion and refusal to compromise in a world that grinds such valiance into dust now strikes me as a far more worthy centerpiece for the tale, and Ed Harris certainly nailed his first true leading role with the sort of magnificence that is worthy of a king.  I also found that ending to be absolutely perfect, and eerily reminiscent of the equally fitting climax that brought Vanishing Point to an end a decade before this film's release.  Lest I slight everyone else involved, there is little to complain about so far as the technical aspects and supporting cast are concerned.  Knightriders is far from a lavish production, but the cast is game, the stunts are lively, and the one and only George Romero does an exceptional job of bringing this unconventional saga to life in riveting fashion.


Final Grade: B

Savini is surprisingly good in one of his biggest parts, but Ed Harris shines, putting his formidable talent on full display long before he would become a legitimate star.

Top 20 Horror Movies - #19) The Howling (1981)

As I celebrate the month of October with all my fellow horror fanatics, I'm ranking my Top 20 Horror Movies for you.  Thus far, the list includes:

#20) The Fly (1986)

And now I'm pleased to unveil my latest selection, another spectacular horror movie from the 80s!

Top 20 Horror Movies - #19) The Howling (1981)

One of two werewolf movies to make the list, The Howling is a twisted frightfest that I have a lot of affection for.  It has all the necessary ingredients for a quality horror flick, to include a worthy cast, an excellent setting, some creepy visuals, and an ominous mood.  The script by John Sayles varies greatly from the novel by Gary Brandner, but brings an engaging and fearsome story to the screen to superb effect.  Director Joe Dante does a tremendous job, and while I'm a big fan of Joe's other genre efforts (most notably Gremlins and Piranha) I believe that this is his best feature film.  It's tightly paced, brimming with atmosphere, and loaded with shocking sequences.  I'm awarding some serious bonus points for the unnerving opening and the equally disturbing conclusion.  There's also a nifty scene midway through the picture that surely ranks as one of the most frightening horror scenes out there that takes place in broad daylight.  The cast is stellar, with Dee Wallace slaying it in the lead role with quality support from players like Patrick MacNee, Kevin McCarthy, Slim Pickens, and the one and only John Carradine.  Pino Donaggio gave the film an eerie score that is a splendid fit for all the spooky shenanigans unfolding on the screen.  The Howling is equal parts engrossing, entertaining, and terrifying.  It is somewhat amazing to me that both this picture and that other werewolf movie released in 1981 (a superior effort that is ranked much higher on my list) remain the finest attempts to bring lycanthropy to the cinema.

Chief among the strengths of The Howling are
an ominous mood and some nightmarish visuals.