With a shocking heist and car chase, the film blasts the viewer into the action. This doesn’t let up for the first ten minutes. At first, one may think that Jack Sholder’s The Hidden is just another 80s action flick. But after the cool down from the initial scene, one realizes one has also entered the realm of sci-fi horror.

After helming the slashers Alone in the Dark and A Nightmare on Elm Street 2: Freddy’s Revenge, director Jack Sholder shifted genres. Combining buddy cop action, dry humor, and an intergalactic twist, he gave New Line Cinema a modest box office success that most critics at the time received favorably. What makes The Hidden stand out from the other alien body-horror thrillers of the time is the script’s reflection on what humanity is and should be. It contrasts hedonism with the desire for connection with others, particularly through family.

Sholder could not properly handle the theme without the effort of the actors. After the exciting opening on the Los Angeles streets, we see the realistic camaraderie at LAPD headquarters. With the banter back and forth, one can tell that the officers truly care for each other. The atmosphere may seem stereotypical in the context of a wake of other police procedurals. We start with the sarcastic hysterics of the lieutenant as he deals with the FBI involvement. Yet, Sholder employs humor, which he sprinkles throughout the film, that is not over-the-top unlike the action. This keeps the officers dealing with the mysterious body-hopping threat looking competent rather than buffoonish.

The best interactions are between the two main investigators, Det. Thomas Beck (Michael Nouri) and FBI Special Agent Lloyd Gallagher (Kyle MacLachlan). Nouri portrays a tough officer who wants to do what it takes to stop the ongoing mayhem but hates being out of the loop. Still, despite his somewhat gruff demeanor, the film eventually reveals a tender love for his wife and daughter. MacLachlan is the individual standout performer. He must play Gallagher with a mysterious, alien air who seemingly has dropped out of nowhere into the investigation. Gallagher shows a naïve honesty that is still hiding that he knows more than he’s letting on. This leads to funny snippets of dialogue as police partners.

It also leads to touching scenes such as when Beck invites Gallagher to his home for dinner. We see a sweet awkwardness as he takes sense of his surroundings and tries to engage with the Becks. We also note there must be a tragic backstory for Gallagher as he observes their daughter. It’s no wonder that David Lynch would later select him to portray Dale Cooper in Twin Peaks.

Although the spotlight is on Beck and Gallagher, the pursuit itself would fall flat without a memorable antagonist. This could go quickly awry as the antagonist is an alien parasite controlling human hosts. The actors portraying the human hosts thus must be both individualized but also display a similar nonchalant attitude to the host body and others. They also need to exhibit a wonder at some of the more materialistic and tawdry aspects of humanity. All the possessed characters manifest this to degrees of success. However, the standouts are Jonathan Miller (William Boyett) and Brenda Lee Van Buren (Claudia Christian). Miller steals the show as an unhealthy middle-aged man pursuing whatever he sees. It’s like the id run rampant. Brenda stuns as an exotic dancer turned Terminator-like being. She engages the duo in both another thrilling car chase and following shoot-out.

This brings us to what most will likely view as the crowd-drawing aspect of the feature: the action. As mentioned before, the film immediately starts with a shocking heist and chase. Sholder decides to go from grainy bank security cam footage to a short transition to bright, sunny L.A. streets. He follows this with stunning shots of the fleeing Ferrari as it recklessly terrorizes the city streets. Throughout the film, there is further interesting focus on vehicles, including Gallagher’s equally eye-catching Porsche. This, combined with the ambulatory mayhem the alien forces its hosts to commit, leaves the audience little time to relax.

However, the quiet moments do allow for the audience to catch their breath. It’s during these moments that I believe that Sholder wants to contemplate the underlying theme. That theme is revolves around what it means to lead a fulfilling life as a human. The antagonistic alien parasite shows what happens when selfishness takes control. It not only destroys others, but it damages the host beyond repair. Gallagher, however, shows concerns for Beck and his family though they are new acquaintances. The thought is to choose to see what is more important: human connection or the pursuit of heedless desires.

The only gripe that I have is with parts of the score. There are stretches of beauty, particularly during the interaction of Gallagher with Beck’s family. However, the synth work often feels tinny. This is not a solitary problem with this film. From the late 80s to the early 90s, a lot of synth scores sound hollow compared to earlier in the 80s. Perhaps, it’s due to the shift from analog to digital. However, it can be distracting. Fortunately, the “alien” nature of the plot occasionally complements the dissonance. It would just be better if the keys had a richer tone. The soundtrack, on the other hand, plainly rocks. Special props to The Truth and the title track “Hidden.”

New Line Cinema was fortunate to have The Hidden in its roster of films. Being “the house that Freddy built,” there’s little that holds up outside of cult status during the studio’s early years. There’s the Nightmare and Critters series, and even those had some duds. With its thrilling set-pieces, atmospheric L.A. location, and interesting character interaction, this thematic but not pretentious genre-mesh deserves greater visibility.

Cronenberg drops us into the seamy world of television broadcasting which Channel 83 executive Max Renn (James Woods) navigates as he receives a morning brief via video. We instantly see he lives an untidy life, but he’s still committed to looking for the next shocking thing to host on his channel. He’s tired of the soft but still scandalous fare that is scouted for programming. He doesn’t know how much his life, or at least his mind, will change when he’s introduced to Videodrome. This possibly pirate broadcast features material beyond the tasteless, verging to the illegal. However, Max soon learns that once viewed, you become part of Videodrome and Videodrome becomes part of you, perhaps to fatal consequence.

While critics praised the film, the material was likely too weird and extreme for general audiences. Budgeted just under six million dollars, the film failed to recoup its expenses. Still, the resonant themes combined with the compelling acting of the leads and the imaginative visual effects has turned Videodrome into a true cult classic. Often, people assign that identifier to any movie that gets an updated media release. How can a film that focuses on the dead media of VHS say anything to a world of multiple streaming options?

Max Renn is an unsavory character, but Cronenberg doesn’t present him as fully unlikeable. Supposedly he has no limits, but even he’s taken aback by the actions of the mysterious Nicki Brand (Debbie Harry), even as he’s further drawn into seductive visuals of Videodrome. Nicki, introduced to Max on a hosted debate/discussion, reveals herself to be a woman of contradictory layers. Seemingly, she’s the voice of reflection concerning whether society has become overstimulated by the media landscape, but she reveals herself to be a woman of masochistic impulses.

As the attraction of Videodrome draws her in, Max becomes the voice of hesitation. However, it’s too late, as Max learns that Videodrome is more than entertainment, Nicki is both more and less than she seems, and there are greater ideological forces wanting use Videodrome to transform society. Max Renn, as an audience surrogate, is confident in knowing who he is at the start but uncertain of what’s physically tangible and mentally possible by the conclusion.

What most would remember about Videodrome are the odd and often disturbing visual effects. In one bizarre scene, a cold inanimate television set becomes a stirring fleshy object, inviting intimacy with Max. Is it alive, or is it part of Max’s increasingly off sense of reality? Even Max himself becomes an object of mutation as orifices appear without prompting and technology merges with his body. Media prophet Dr. O’Blivion speaks of “The New Flesh.” Max, whether he wants to or not, becomes the latest subject of media/technology/body evolution. At the end you may not understand fully what you’ve seen. The images, being both realistic in composition and fantastic in their presentation, will leave an impression.

Composer Howard Shore’s stylistic choice of music is interesting. He’s known for writing bombastic scores whether working with Cronenberg or with other directors. This time he decided for a more minimalistic approach. Though still utilizing traditional instrumentation, he has overlayed it with synthesizer tones. Rather than dramatic highs and lows, there’s a pulsating droning that occasionally falls away for a plangent flourish of strings. The music serves the film, and there’s nothing incorrect about the placement in the scenes. However, the synthesized orchestra may disconcert the listener. Possibly that was Cronenberg’s and Shore’s intention, but it also likely means for most people that this score won’t be on listening cycle outside the film, unlike other science fiction films and horror films of the 1980s.

Finally, the story development leads to two conclusions that may seem contradictory. First, one can appreciate the various themes that Cronenberg throws to the audience. What are the effects of media on humanity, especially involving extreme content; can one lose touch on reality as one delves further into video world; will increasing immersion in technology mutate us into something beyond what we know is the normal expedience?

However, the second conclusion is tangent to the first. There may have been a surfeit of themes to develop within the film’s running time to the viewer’s satisfaction. By the end, all gives way to Max becoming “The New Flesh” through a series of action sequences. We’re not even sure if he has agency in doing so. Cronenberg’s intentions for Max’s outcome may have influenced his plotting. That still might not be enough for the viewer who feels there’s an unbalanced ratio of questions to answers.

Now that we’ve been in the internet age for decades, Videodrome has the ostensible appearance of quaintness. For many, however, the digital world increasingly has taken the place of reality. This film invites us to reflect on who or what controls what or who as technology, especially as a means of entertainment, becomes ever more intertwined with humanity. Cronenberg presents ideas that he might not fully flesh out. Still, having something to mull over is better than just relying on visual effects to capture your audience’s attention.

We begin mid-conversation between scientist Seth Brundel (Jeff Goldblum) and reporter Veronica Quaife (Geena Davis) at an expo for researchers and inventors. Seth nonchalantly mentions that unlike the others, his invention will transform the world. Though she should exercise caution, Veronica is intrigued and brings back the mysterious and awkward Seth back to his place. Her doubts are soon shorn when he demonstrates his teleportation pods are not a gimmick. It’s a reality, that if publicized, would change the transportation world.

The only hiccup is that device cannot process “the flesh,” metaphorically and literally. Living material is not able to teleport successively. After Veronica helps him understand the flesh through connection, he’s able to solve the conundrum. Soon after though, this connection to another human leads to the sticky business of emotions that Seth has shut off for years. With a flare-up of anger and jealousy, he commits an error of judgement. The results are a genetic abomination and a tragedy for both.

Cronenberg’s most commercially and critically acclaimed film was surprise hit for 1986. Previous science-fiction horror remakes such as John Carpenter’s The Thing had lackluster response from both the audience and critics at the time. One would likely have predicted that the grisly fly transformation effects and dour ending would’ve dampened the box office. Instead, people praised the make-up. They also seemed to relate to the story of losing a loved one to a terminal disease, even with it wrapped in a fantastical package. The world seems to have changed much from 1982.

The relationship between Seth and Veronica is a draw for audiences, especially for those more inclined to dismiss the horror and science fiction genres as juvenile, or even worse, as junk. We don’t know what to feel when we first come across Seth. He’s not conventionally attractive per Hollywood standards, though there’s a spark of charm. He’s boastful, but his awkward nature somehow prevents this from tipping into an ugly arrogance. His behavior with Veronica when she first comes to his place would normally come across as creepy. However, he doesn’t attempt to make a first move romantically. He’s so unaware that he forgets that she came along as a journalist. He just wants to confide something important with another. His interaction with Veronica shows that he’s lived an isolated life, either by choice or social neglect.

It helps that the film sets up a scuzzy antagonist, Stathis (John Getz). This former boyfriend of Veronica and somewhat stereotypical corporate type provides the ick factor to keep us on Seth’s side. (It’s a fact in 80s movies that if you’re a professional with a beard, you’re distrustful). Though even he has a side that may prove to be a surprise to the audience, being part of the resolution to the escalating tragedy of Seth’s transformation.

Besides Cronenberg’s direction, Howard Shore’s score elevates the material beyond semi-remembered b-movie schlock. Shore pulls away from the synth soundscapes of the previous Cronenberg film Videodrome. He decides to flood the audience with an operatic-instrumental orchestration from the titles onward. Depending on the scene, the music whips our emotions from wonder of discovery to tension of frayed love to despair of biological terminus. Even though the sudden start and sharp end of the film could make the story seem like a slice-of-life narrative, the music transforms it into a 20th century tragedy. Just as in Classical Greek tragedy, where fate and the gods punish characters for their hubris, Seth is led down a similar path. It’s no wonder that the director later adapted the film into an opera.

There’s not much more that one can say about the make-up effects than already said. They are grotesque and especially in the final stage, out-of-this-world. However, Cronenberg never neglects the human element. What does that mean? We will likely never come across a man genetically spliced to a fly. However, it’s almost definite that we’ll see a friend or family member decay either due to disease or old age. It may not be as alien and dramatic a transformation as we see with Seth, but it’s a transformation from what we once knew, nonetheless.

At every stage of his change into the creature, we still see the once briefly happy and awkward man trying to poke through. Even though we know he no longer can fit with this world, we’re still sad to see the person that was Seth Brundle go. At the end, there’s still a personality within the insect.

The Fly is a cautionary tale, but the lessons are unlike that of the original 50s film. Yes, hubris in scientific endeavors may lead to unexpected, even unwanted results. This film, however, is warning that there must be a balance between technology and the heart (or the flesh). Seth is stunted socially until he meets Veronica. With her touch, he can make the final touch on his discovery. However, a life of withdrawn emotions has not prepared him when feelings break free, and he cares for an actual person. This lack of emotional control is just as harmful as living without emotion. It ends up costing Seth. The paradox is that during the journey to becoming a fly, Seth embraced more fully what it means to be human.

What makes a film art? Is it subtext? The collage of mediums blanketed onto film with music and mood layering the textures, emotions and the suspension of disbelief? Well, the time has come. Yes, I did forget but, I remember now. 

This month’s Retro Movie is Panos Cosmatos’ debut psychedlic science fiction feature
– BEYOND THE BLACK RAINBOW (2010).

Spawned out of the grief of losing both his parents, Swedish sculptor Birgitta Ljungberg-Cosmatos and film director George P. Cosmatos (Rambo: First Blood Part II and Cobra), and funded from residuals from his fathers last film TOMBSTONE (1993). Beyond the Black Rainbow is a 35mm surreal mind-screw of colors, prolonged shots and transitions in lush panavision colors.

A young girl (Eva Allen) being studied and tested on by a mysterious scientific research corporation that is supervised by a mysterious and somewhat unhinged head of research scientist (Michael Rogers) for her untapped psychic potential. Yes, this was made before STRANGER THINGS. The runtime is 110 minutes and will feel longer due to the slow drip of tension and visuals. The shots are mostly long, giving the film a very claustrophobic and unnerving mood.

Jeremy Schmidt, keyboard player for Vancouver-based rockers Black Mountain, was invited by Cosmatos to compose the film’s soundtrack. “Evil Ball”, a track from Schmidt’s solo project, Sinoia Caves, was used by the movie’s director on a private screening held for Schmidt. A mutual appreciation for Tangerine Dream, John Carpenter soundtracks and Giorgio Moroder‘s music for Midnight Express (1978) and American Gigolo (1980) cemented their bond.^[25] Schmidt also pointed out the background music from The Shining (1980) and Risky Business (1983) as musical blueprints for the Beyond the Black Rainbow score.
– Wiki

There are themes of control woven into the drama. Control being presented here via Adults controlling the young or Masculine over the feminine. Barry Nyle at the start of the film seems like a scientist with an almost paternal affection towards his test subject but, as the film progresses that veil is removed to be nothing of the sort and his true and mutilated nature begins to bubble to the surface.

There is a very lovely film here with hints of all the films that were mentioned as musical influences to the score. The director being a fan of Michael Mann’s MANHUNTER and THE KEEP, Stanley Kubrick’s 2001 and the rest. The story of a young girl discovering her past and her strength and finally her liberation is a haunting, uncomfortable, acid-trip of a journey into the subconscious and the dark side of the third eye. Conspiracy Theorists will find a lot to chew on here within, with references to MKULTRA and a lot of the experimentation of psychedelics on human test subjects and research into psychic potential that has long been declassified by the C.I.A.

This is recommended viewing for anyone looking for something left-of-center. And a perfect start to a film career that was continued with MANDY (2018)

Keep your fingers on that Rewind button and stay loose, and stay easy…. and wear your masks.

The Thing is an alien invasion film. There are many of those from which to choose. In fact, The Thing is both a remake of Howard Hawks’ The Thing from Another World and a more faithful adaptation of the source novella, Who Goes There? But what makes the conflict between the Antarctic researchers and the creature terrifying is that not only is the creature a shape-shifter, but every cell of the creature is its own living organism, which can infect and absorb other creatures, whether they are plant, animal, or human. As the researchers realize that their fellows might no longer be human, this is when the paranoia, augmented by the barren icy landscape, truly takes hold.

The principal character is R.J. MacReady, played by the everyman action star Kurt Russell. He’s the reluctant hero, who, due to circumstances and the failings of his crew members, must take leadership to counter the alien threat. There are many fine performances by the supporting cast. The angry skepticism of Childs (Keith David) and the mental descent of Blair (Wilford Brimley) stand out though. The critics initially said that there was poor characterization. It’s true that there’s a large cast for this type of film. Some characters are given more attention than others. Paying close attention to the quirks of the characters, though, it shouldn’t be difficult to realize each’s individuality.

I focus on the characterization and the suspense of the scenes. One shouldn’t overlook Rob Bottin’s practical effects. There, however, can’t be much more said about the practical effects than were said at the initial release. Even the harshest critics knew that these were top-notch. They, however, felt that John Carpenter focused too much on them, at the expense of other aspects of The Thing. I disagree. The viewer doesn’t see the first active transformation until around the 30-minute mark. And each eventual transformation, while detailed and graphic, is not wanton and exploitative. It serves the progression of the plot. To some modern viewers, the creature effects in some scenes may seem rubbery or comic-book like. I’ll, however, take it over the majority of CGI effects that are produced now. It’s tangible, and that helps you feel the fear that the characters do.

The score or soundtrack can make or break a film. Fortunately, John Carpenter reached out to renowned traditional composer Ennio Morricone to provide most of the score. He, along with collaborator Alan Howarth, added his usual synthesized touches for further cues. It’s very shocking that The Thing‘s score received a Razzie nomination the following year. The music is not overbearing; it fits the despairing atmosphere. Moreover, it showed American audiences, who likely knew Morricone for spaghetti western and giallo scores, that he could score for any genre of film. Besides the slow, brooding march of the main theme, I recommend paying attention to the aptly named tracks “Despair” and “Humanity I.” The frigid atmosphere of the Antarctic saturates throughout, but the human element, represented by the various instrumental sections, underlies, lamenting the situation.

Once dismissed, now praised—that could be the short quote that encapsulates the reception that The Thing received. However, the film has gone beyond even this in comparison with other film reevaluations. Without a devoted fanbase, there wouldn’t have been a prequel, video game sequel and comic book sequels, or board game adaptations.  Even the winter skeleton crew at the South Pole hosts viewings of not only the 1982 film, but of the 1951 film and the 2011 prequel as well.

Other body-horror films will likely never top The Thing, though a number of films in the wake of the film’s release have tried in imitation. It’s a shame that John Carpenter received such a critical drubbing back in 1982. There’s no doubt that it affected his career. Though he received praise for the later critical hit Starman, Hollywood no longer considered him B-movie royalty. At least he and the fans see what was once trashed raised high as a genre classic.

Alternate history allows a reader not only to contemplate the past. It also makes one think upon the current culture and contrast its positives and negatives. This is what Kingsley Amis’s novel The Alteration does. It, however, comments on much more: the nature of freedom, dogma, and creativity, and how they interact. This winner of the John W. Campbell Memorial Award contrasts from the writer’s normally comic literary output. However, even though it’s not as well-known as Lucky Jim and The Old Devils, it’s one of his most thought-provoking novels.

It’s 1976, but the world of The Alteration is very different from the then-contemporary time of our world’s 1976. The Roman Catholic Church powerfully holds sway over the realm of Christendom, often dictating to the nationalistically-weak temporal powers. Technology is less developed, and Europe is in a tense cold war with the Islamic Turks.

How did this world come to be? Two pivotal incidents in our history led to this strange world: Martin Luther, the instigator of the Reformation, became reconciled to the Catholic Church, eventually becoming Pope Germanian I, and Arthur Tudor’s marriage to Catherine of Aragon ended up being fruitful, leading to a papal crusade to fight against Henry of York (Henry VIII in our world), who tried to usurp his nephew’s throne. The Church’s triumph leads to the near extinguishing of incipient Protestantism (Protestantism later flees and establishes itself in North America). This causes the arresting of further revolutions in scientific and political thought that would’ve followed.

This is the world that the novel’s protagonist Hubert Anvil is born in. He’s a ten-year-old boy who possesses a beautiful gift for music, both in singing and in composing. The Church appreciates his beautiful soprano voice, but wants to preserve it past maturity. The only option for this is castration, or as they call it in this world, alteration. Hence, one of the meanings of the novel’s title. As the time approaches for Hubert’s alteration approaches, will he submit to the authority of those desiring this operation? Or will the intrigues within the Church as well as concerns from Protestant representatives from the Republic of New England cause Hubert to change what seems to be his destiny as a castrato in service to Rome?

The narrative’s POV is third-person omniscient, but the focus is on Hubert. It’s quite a change for Amis to have such a young character as the principal character, but he does well in fleshing him out. Hubert is portrayed as innocent as a young boy would likely be, especially under the strictures of his society. However, he is not naïve, as time shows him to be perceptive and inquiring as story’s progresses. He knows that the alteration will nullify a future amorous existence and the prospect of family life even though he has limited knowledge of carnal matters. He realizes that this will lead to his living such a different life as a male after the operation, that by the time of his decision, he contemplates on his potential otherness, and how he would view himself and others would view him.

Amis populates the story with a variety of characters, whose personalities and motives this world’s history and culture has molded. Not all clerics have the same view about what they should do to Hubert. Charity motivates some, ego motivates others, while the rest see him just as a pawn in the struggle for authority within the Church. However, the characters are not cardboard cutout heroes and villains. Even the father of Hubert, who comes across as authoritarian in the beginning, comes out as sympathetic. He, just like the other characters, are who they are because of circumstances. They still though have the choice of making moral decisions despite what the unreasoning authorities may proclaim.

Is this a story of clerical authority run amok? Yes, but it’s much more. As mentioned earlier, the value of creativity when it’s submitted to dogma is another theme. Throughout the novel, there are references to many known creative figures, such as Mozart and Beethoven. We know that in our world that many of their creations were religious pieces, but the authorities did not force these works out of them. However, it’s likely that in the world of The Alteration, the creators do not produce out of religious joy coming from the heart. Instead, it comes from pressure from a Church that wants to control through fear.

Another interesting aspect is that Amis subtly disguises real 20th century political figures by as members of the Church’s hierarchy. These are men who in our world supported socialist, communist, fascist, and Nazi ideologies. What Amis is likely saying is that the desire to control people’s lives goes beyond dogma for those with totalitarian tendencies. It doesn’t matter what the cause or belief is, some just want to stamp down individuality. In a time when there is a creeping “soft” totalitarianism of PC or good-thought dogma, especially in the arts/entertainment field, this novel especially rings true.

Some may hesitate to read the novel because they feel that they lack enough of a historical background.  Or they believe that they’ll fail to understand the sprinkling throughout of Ecclesiastical Latin and religious terminology. Having such knowledge will help the novel come more alive. However, just taking your time to immerse yourself in the narrative will enrich by taking you to a speculative world that is strange but somewhat familiar.