Release Date: July 27th, 1979 Directed by: Stuart Rosenberg Written by: Sandor Stern Based on:The Amityville Horror by Jay Anson Music by: Lalo Schifrin Cast: James Brolin, Margot Kidder, Rod Steiger, Murray Hamilton, Don Stroud, James Tolkan
Cinema 77, Professional Films, American International Pictures, 117 Minutes
“GET OUT!” – The House
The Amityville Horror was a fairly terrifying picture when I first saw it. I was probably seven years old, give or take. It’s always had an effect on me ever since and that’s probably because I saw it at such a young age.
While it’s not a movie I revisit often, I still always like it and get somewhat enchanted by it whenever I revisit it.
It’s a slow movie but the more serious horror films of this era were. It uses its time to build up both suspense and dread and this film does that exceptionally well. It’s a slow burn to a pretty terrifying and effective payoff.
This is also a movie that is enhanced greatly by its atmosphere. That atmosphere is really thick and brooding. The house has the right look, as does the area around it. But watching this and being immersed in it, it almost feels like it’d be hard to breathe in that house once the supernatural shit really kicks up.
The movie is also helped by the actors. All of the key players are immensely talented and they really threw themselves into this picture. James Brolin, Margot Kidder and Rod Steiger, especially, gave their all in this and because of that, this was elevated from just a simple, run-of-the-mill haunted house story to a film that’s become moderately iconic and is still sequelized and remade to this day.
I also think that Lalo Schifrin’s musical score helps with the atmosphere and the growing dread.
The Amityville Horror had a bigger impact than what the filmmakers probably could’ve predicted. That impact, still felt today, has helped shape horror and the haunted house subgenre of horror ever since this was released.
Modern franchises like The Conjuring and all its spinoffs, owe a lot to The Amityville Horror and its effect on filmgoers over forty years ago.
Also known as: The Night the Japs Attacked (working title) Release Date: December 13th, 1979 (Los Angeles premiere) Directed by: Steven Spielberg Written by: Robert Zemeckis, Bob Gale, John Milius Music by: John Williams Cast: Dan Aykroyd, John Belushi, Ned Beatty, Lorraine Gary, Murray Hamilton, Christopher Lee, Tim Matheson, Toshiro Mifune, Warren Oates, Robert Stack, Treat Williams, Penny Marshall, Nancy Allen, Eddie Deezen, Slim Pickens, Dianne Kay, Wendie Jo Sperber, John Candy, Frank McRae, Lionel Stander, Michael McKean, Joe Flaherty, Don Calfa, Elisha Cook Jr., Mickey Rourke, John Landis, Dick Miller, Donovan Scott, James Caan, Sydney Lassick (uncredited)
“You get me up in that plane, then we’ll talk about forward thrust.” – Donna Stratton
Considering that this was directed by Steven Spielberg and is loaded with dozens of stars that I like, having not seen this until now seems like a crime. But honestly, it came out when I was a year-old and it wasn’t something that I saw on TV growing up in the ’80s. Frankly, it flew under my radar for years and even if I saw the VHS tape in a mom and pop shop, the box art wouldn’t have piqued my interest.
I have now seen the film, though, and while I enjoyed it, I can see why it wasn’t held in the same esteem as Spielberg’s other work at the time.
This features a lot of characters and ensemble pieces like this can be hard to balance. With that, this felt more like an anthology of separate stories that don’t really come together until the end, even if there is a bit of overlap leading to the climax.
Everyone was pretty enjoyable in this but at the same time, they all just felt like tropes and caricatures, as none of them had much time to develop. That’s fine, though, as this isn’t supposed to be an intense dramatic story about war coming to US soil.
One thing I will point out as great in this movie is the special effects and being that this featured World War II military vehicles, it almost felt like Spielberg’s test drive before directing the Indiana Jones ’80s trilogy, which employed some of the same techniques and effects style that this film did.
The miniature work was superb and I loved the sequence of the airplane dogfight over Hollywood, as well as the submarine sequence at the end. The action was great, period.
I also generally enjoyed the comedy in this. It’s almost slapstick in a lot of scenes and it kind of felt like Spielberg’s homage the comedy style of Hollywood during the time that the movie takes place in.
That being said, the costumes, sets and general design and look of the film was great and almost otherworldly. This felt fantastical but in the way that the films of the 1940s did. There was a cinematic magic to the visuals and the film should probably get more notoriety for that.
What hurts the film, though, is that it just jumps around so much and it’s hard to really get invested in anything. There’s just so much going on at all times that your mind loses focus and starts to wander.
The story, itself, isn’t hard to follow but nothing seems that important, other than the Americans need to defend their home from this rogue submarine that appeared off the coast of Los Angeles.
In the end, this is far from Spielberg’s best and I’d call it the worst film of his uber successful late ’70s through early ’90s stretch. However, it’s still an enjoyable experience.
Rating: 6.25/10 Pairs well with: other comedies with Dan Aykroyd, John Belushi or other Saturday Night Live cast members of the era.
Release Date: July 4th, 1979 Directed by: Philip Kaufman Written by: Rose Kaufman, Philip Kaufman Based on:The Wanderers by Richard Price Music by: various Cast: Ken Wahl, John Friedrich, Karen Allen, Toni Kalem, Jim Youngs, Tony Ganios, Alan Rosenberg, Dolph Sweet, Olympia Dukakis, Richard Price (cameo), Wayne Knight (uncredited)
Film Finance Group, Polyc International BV, Orion Pictures, Warner Bros., 112 Minutes
“It’s a shame to see kids beatin’ each other’s brains out, especially when there’s no financial advantage.” – Chubby Galasso
This movie’s been in my queue to watch and review for a really long time. I’m glad that I finally got around to it, though, as it’s pretty damn enjoyable. Especially, if you like teen gang movies that take place in the ’50s and ’60s.
The Wanderers kind of feels like one-part The Outsiders mixed with one-part The Warriors but then it meets somewhere in the middle.
Mostly, this is a dramatic, coming-of-age story that just happens to be set in the Bronx in 1963, which was overrun by youth gangs. It also reflects a time when America was just about to head to Vietnam and the civil rights movement was starting to make significant changes in American culture.
I liked most of the characters in this movie a lot, except for the one kid that was always causing all the problems for the gang because he was tiny and couldn’t shut his mouth. I had a friend like that in my high school crew and when he thought he could talk shit and then hide behind us, we let him get his ass kicked. That cured his short man’s syndrome really quick.
Anyway, I like that all of the gangs have unique identities and that many are segregated by race. It allows the story to show the racial tensions between the different groups of kids but ultimately, it shows many of them from various backgrounds, coming together to fight the biggest asshole gang of the bunch. Through that unity, the kids of different cultures gain each other’s respect and a broader sense of brotherhood.
All of the young people in this were really good. I was really impressed with Ken Wahl and Tony Ganios’ performances, as they’re the two that really stood out. Karen Allen also held her own and was as sweet and charming as always. I also thought that Toni Kalem was really good and your heart kind of breaks for her, witnessing what she goes through in this.
I also have to point to the incredibly intimidating performance of Dolph Sweet. As a kid of the ’80s and ’90s, I only really knew Sweet as the loving police chief father on the sitcom Gimme A Break. Here, he essentially plays a 1960s Tony Soprano. Honestly, he’s like a proto-Tony Soprano that gives such a powerful performance that I wouldn’t be surprised if James Gandolfini didn’t look at it and take some pointers. The scene with the bowling ball was an absolutely chilling but perfect sequence.
I like that this movie also included a side plot about a shady Marine recruiter that dupes a bunch of drunk youth into joining up, just as America is one the verge of war.
There are a lot of characters in this and they’re all pretty well-balanced. You mostly care about everyone and there are just so many good sequences that they all get their moment to shine in some way.
The Wanderers isn’t a film that people talk about today. It feels kind of lost to time. But I think that fans of The Outsiders, The Warriors, Rumble Fish, etc. will find a lot to love in this picture.
Rating: 8.25/10 Pairs well with: other youth gang movies of the ’50s through ’80s.
Also known as: Stridulum (original Italian title) Release Date: March 22nd, 1979 (Italy) Directed by: Giulio Paradisi (as Michael J. Paradise) Written by: Giulio Paradisi, Ovidio G. Assonitis, Luciano Comici, Robert Mundi Music by: Franco Micalizzi Cast: Joanne Nail, Paige Conner, John Huston, Mel Ferrer, Glenn Ford, Lance Henriksen, Shelley Winters, Sam Peckinpah, Neal Boortz, Steve Somers, Kareem Abdul-Jabbar (cameo, uncredited), Franco Nero (uncredited)
Brouwersgracht Investments, Film Ventures International, Swan American Film, 108 Minutes, 90 Minutes (edited version)
“Now listen to me Katy isn’t there something you want to tell me?” – Det. Jake Durham, “Yeah. Go fuck yourself!” – Katy Collins
I came across the trailer for this movie randomly on YouTube while looking for another film. The trailer grabbed me, however, and I was intrigued by it, even if the concept felt derivative. It was just so strange looking with insane visuals and it was an Italian horror picture that was shot and takes place in Atlanta, which is somewhat bizarre.
Also, this has one hell of a cast!
While some reviews I read said that this great cast was wasted in a shit picture, I couldn’t disagree with that more. But I guess, Italian horror movies only work for a special breed of American film aficionados, myself being one of them.
This doesn’t really have that ’70s giallo-styled color palate but it is still a vivid and vibrant looking picture in its own way. It looks and feels more American than a typical Italian horror production but that genuine Italian touch still exists in nearly every frame. It’s kind of hard to explain but giallo fans will know what I mean if they watch this.
For an Italian picture, the production is also really impressive, as this has a higher quality standard than what’s typical of similar films. The special effects are sometimes a bit hokey but it all works remarkably well and the film also doesn’t try to overdo it and keeps things fairly grounded, which doesn’t expose the production’s limitations.
Sure, some of the rooftop alien scenes are weird and total ’70s Euro horror cheese but then nearly everything else comes off looking like a low budget but well-produced American horror flick.
I thought that every actor in this brought their A-game and took this movie seriously enough to give it some actual gravitas and authenticity. Even the little girl, who had a lot on her shoulders in this film, did a fantastic job at being a sadistic, evil superchild.
This is just a damn cool movie that should definitely be on more people’s radar. Those who already love Italian horror of this era, should most likely love the hell out of this.
Rating: 7.75/10 Pairs well with: other ’70s horror movies about creepy kids with crazy powers.
Also known as: Nosferatu: Phantom der Nacht (original German title), Nosferatu: Phantom of the Night (alternative title) Release Date: January 17th, 1979 (France) Directed by: Werner Herzog Written by: Werner Herzog Based on:Dracula by Bram Stoker, Nosferatu, eine Symphonie des Grauens by F. W. Murnau Music by: Popol Vuh Cast: Klaus Kinski, Isabella Adjani, Bruno Ganz
“[subtitled version] Time is an abyss… profound as a thousand nights… Centuries come and go… To be unable to grow old is terrible… Death is not the worst… Can you imagine enduring centuries, experiencing each day the same futilities…” – Count Dracula
Back in the 1970s, I probably would’ve been vehemently opposed to a remake of the 1922 classic F. W. Murnau film, Nosferatu. However, I would’ve been very wrong, as Werner Herzog, who was still a very young director back then, made an update that fit the time while also being very true and respectful to the source material it used as its blueprint.
This incarnation of one of the greatest examples of the German Expressionist style did its damnedest to try and recreate the original. It employed great art design in how it recreated the look of the characters, the locations and the overall tone.
This also had to be a big challenge, as far as the location shooting went, as they couldn’t return to the same spots as the original due to the Berlin Wall and communism being in the way. They did, however, find great spots that replicated some of the original film’s most iconic visual moments.
The biggest difference with this picture is that it is presented in color and with sound. Other than that, it feels as true as a nearly sixty year-old remake can.
What also makes this so great is the cast. There wasn’t a more perfect actor at the time to play the title role. Klaus Kinski had already made a name for himself as an extremely versatile character actor in Europe and his most memorable roles were the ones where he was creepy or villainous.
In this, Kinski is absolute perfection. He owns the role, gives it life (even though he’s undead) and has this unsettling presence and an aura of death every time he is present on the screen. Plus, he had incredible chemistry with both Isabella Adjani and Bruno Ganz.
The cinematography is excellent and even though this film had a pretty iconic visual roadmap to try and emulate, it was done so to perfection and with great care. Herzog and his cinematographer, Jörg Schmidt-Reitwein, created a dark, gritty yet very lived in world that is full of atmosphere and nuance to the point that the scenery feels like a character in the movie.
My only real complaint about the film is that I didn’t like how they switched the character’s names to those in the Bram Stoker Dracula novel, as I always felt that the original Nosferatu really did a superb job in taking that story and reworking it into its own unique thing. I feel that to truly do an homage to the Murnau film, they should referred to the vampire as Count Orlok and not Count Dracula. I know it’s nitpicky but it’s just one of those things that is kind of jarring and takes me out of the movie. This could also be due to the fact that I’ve seen the original more than a dozen times.
Overall, this is how a remake should be done: just like a cover song. It should only exist if it can take the source material and build off of it and legitimately try to improve upon it. While this isn’t as good as the original, it is still a damn fine attempt and one of the best vampire movies ever made. Plus, seeing Kinski play an Orlock-like vampire is incredible because it feels like it was his destiny to do so.
Rating: 9/10 Pairs well with: the original 1922 film, as well as other film’s featuring Nosferatu-like vampires like Salem’s Lot and Shadow of the Vampire.
Also known as: Mad Monkey (Germany) Release Date: October 5th, 1979 (Hong Kong) Directed by: Lau Kar-leung Written by: Ni Kuang Music by: Eddie Wang Cast: Hsiao Ho, Lau Kar-leung, Lo Lieh, Kara Hui, Ching Chu
Shaw Brothers, 116 Minutes
This was one of my favorite kung fu movies that used to pop up on cable when I was a kid. I’d watch it every time I came across it and my cousins and I would often times try to replicate what we saw in the film.
It’s also one of the pictures that led to us actually taking up martial arts. We wanted to be as cool as the heroes in this film, as well as the heroes in other innovative martial arts flicks like it. Then as the ’80s rolled on, we got more into ninja shit but it all really started with the clever and amusing Shaw Brothers films like this gem.
Watching it now, it all sort of came back to me. Honestly, I barely remembered the movie and a lot of the kung fu pictures of that era sort of blended together in my head. But certain scenes and sequences just triggered that nostalgia bug in my brain.
For what this is, it has aged really well and the film has this cool, youthful energy about it that makes it a lot of fun to watch, even as an adult with back problems that can’t do 1/10th of the martial arts that he thought he could do well as a kid.
As much as I enjoy Lo Lieh’s work, I actually forgot he was in this. It was cool seeing him get to ham it up while also being a total badass.
This is one of those kung fu classics that is really the perfect type of late ’70s/early ’80s drive-in action movie. It’s got just about everything you’d want in a Shaw Brothers film and just a wee bit more.
Rating: 7.75/10 Pairs well with: other Shaw Brothers kung fu flicks.
Also known as: Space Station One, Space Probe (working titles) Release Date: December 18th, 1979 (London premiere) Directed by: Gary Nelson Written by: Gerry Day, Jeb Rosebrook, Bob Barbash, Richard Landau Music by: John Barry Cast: Maximilian Schell, Anthony Perkins, Robert Forster, Joseph Bottoms, Yvette Mimieux, Ernest Borgnine, Roddy McDowall (voice – uncredited), Slim Pickens (voice – uncredited), Tom McLoughlin
Walt Disney Productions, Buena Vista Distribution, 98 Minutes
“[to Reinhardt] If there’s any justice at all, the black hole will be your grave!” – Kate McCrae
I love science fiction from this era but that’s also probably because it’s the sci-fi I grew up with in the ’80s.
The Black Hole was always one of my favorite films when I was really young and I wore out the VHS tape in the same way I did TRON, The Last Starfighter, Logan’s Run and the original Star Wars trilogy.
This is just incredibly imaginative, a ton of fun and it channels 20,000 Leagues Under the Sea quite well.
The film is about a small crew in a small vessel that come across a seemingly derelict spaceship of massive size. The ship, the Cygnus, sits at the edge of a black hole. However, the small crew soon discover that the ship is inhabited by a scientist named Reinhardt, who is essentially Captain Nemo in space. And with Maximilian Schell playing the role, he comes across with the same sort of eloquent authority as James Mason’s Nemo from Disney’s 20,000 Leagues.
The rest of the cast is also solid, especially the three male character actors: Robert Forster, Anthony Perkins and Ernest Borgnine. Not to mention the sweet and lovely Yvette Mimieux and the uncredited voice performances by Roddy McDowell and Slim Pickens, who play the two good robots.
As the story rolls on, we discover Reinhardt’s sinister plan, meet his robot army and also discover that many of his robot crew are the deceased, zombie-like crew members that have been modified by Reinhardt to serve his nefarious purposes and fulfill what he sees as his destiny: entering the black hole.
Even though this came out two years after the original Star Wars, the film shows what almost all other sci-fi films of the time show, that big studios hadn’t yet caught up to the artistry and special effects mastery of George Lucas and Lucasfilm. But that’s okay, as late ’70s into early ’80s science fiction almost has its own unique style apart from Star Wars.
The Black Hole is visually similar to films like Logan’s Run and Saturn 3, as well as shows like the original Battlestar Galactica and Buck Rogers In the 25th Century. However, The Black Hole feels more fantastical and looks better than those other properties.
It is both dark and bright, it uses a lot of color in almost a vivid and vibrant giallo style while employing shadows, high contrast and the use of electronic starship instruments to accent the general cinematography. The film also does a fine job of creating an environment that feels as cold as space, despite its liveliness.
The one thing that really works in this film, above all else, is the musical score. This is my favorite soundtrack that John Barry has composed outside of his more famous James Bond work. The opening overture followed by the opening credits and title theme are stupendous and set the stage for something sinister, brooding and cool.
By the end, the movie gets really bizarre and kind of channels Stanley Kubrick and Arthur C. Clarke’s 2001: A Space Odyssey. But the score is really the glue that holds all the pieces together, allowing you to embrace this unique and neat motion picture.
They don’t make films like this anymore. And I don’t mean that in regards to the visual style and the dated effects. What I mean is in the way this tells a compelling story with a good adventure, some real darkness and a sort of coolness that Hollywood has lost.
I love The Black Hole because it really is cinematic magic. Modern audiences would probably disagree and think of it as a relic of the past that should probably be remade as a Disney+ exclusive movie starring Charlie Hunnam. But those people are dumb. Well, Disney has become dumb too, so this may happen.
Rating: 8/10 Pairs well with: other late ’70s and early ’80s sci-fi.
Also known as: Salem’s Lot: The Movie (cable TV title), Blood Thirst (video title), Phantasma 2 (Spain), Stephen King’s Salem’s Lot (Netherlands), Salem’s Lot: The Miniseries (Germany) Release Dates: November 17th, 1979, November 24th, 1979 Directed by: Tobe Hooper Written by: Paul Monash Based on:Salem’s Lot by Stephen King Music by: Harry Sukman Cast: David Soul, James Mason, Lance Kerwin, Bonnie Bedelia, Lew Ayres, Ed Flanders, Fred Willard, Elisha Cook Jr., Marie Windsor
“You’ll enjoy Mr. Barlow. And he’ll enjoy you.” – Straker
The last time I watched this wonderful film/TV miniseries was just before the 2004 remake came out. So it’s been a really long time and because of that, I guess I forgot how incredibly fantastic this was.
While I’ve never read the book, I know about what changes they made in this adaptation and frankly, I’m fine with all the major tweaks.
For one, the vampire is not some Eastern European dandy of the Bela Lugosi variety. Instead, Tobe Hooper gave us a vampire that is more reminiscent of Count Orlok from the 1922 film Nosferatu. And the late ’70s were a great time for vampire movies, especially lovers of F. W. Murnau’s Nosferatu between this picture and the Nosferatu remake by Werner Herzog.
Another change that was made is that the final confrontation with the heroes and the vampire took place in the creepy basement of the vampire’s house, as opposed to one of the heroes’ homes. The vampire house was truly a character all its own in this film and it made this movie a mixture of classic vampire fiction and a traditional haunted house story.
What’s really great about the finale, is that the house that was created for the film is absolutely terrifying and enchanting all at the same time. The set designers created an incredibly creepy mansion for the final showdown and it truly brought the dread onscreen to a whole other level. A level that this film couldn’t have reached had they kept the story true to Stephen King’s novel.
The vampire mansion is just one part of this movie’s mesmerizing atmosphere, though.
All the scenes that feature some sort of supernatural element take on a strange life of their own. The scenes where the vampire children come to the windows and float into the rooms at night with fog billowing in are f’n incredible!
Honestly, for its time and maybe all-time, Salem’s Lot takes the cake for creating a perfect ambiance for a horror picture on the small screen. Honestly, I’d love to see this on the big screen, if it is ever showing somewhere near me.
The vampire kids at the window was so well done that it became a bit of a trope following this film. It was used in other movies like The Lost Boys and Buffy the Vampire Slayer.
Plus, this film has a moment where a character is impaled by deer antlers mounted on the wall. This would go on to be seen in other movies as well.
Additionally, this would inspire vampire movies in other regards. Fright Night borrows from Salem’s Lot in different ways. That film even has a big finale in the vampire’s home and while it isn’t as incredible as the finale of Salem’s Lot, it is still a great sequence that is a nice homage to it. Fright Night is a classic in its own right, which also spawned a sequel, a remake and sequel to the remake. I even heard a rumor that it may be turned into a television show in the future.
But while this film would go on to inspire countless others, Tobe Hooper, the director, also had his own homages to other films in this, primarily the work of Alfred Hitchcock and his masterpiece Psycho. The vampire mansion has a very similar appearance to the house on the hill above Bates Motel. Hooper also employed similar shots.
For a TV movie, this also has some pretty good acting but no one else quite kills it like James Mason. He absolutely owns every frame of celluloid in which he appears. I’ve always loved Mason but seeing him truly get to ham it up while being terrifying was so damn cool. And honestly, Mason looked like he was loving this film, as he was so committed to the role that he breathed life into it that no other actor probably could have.
Salem’s Lot is a bonafide classic and pretty close to perfect. My only complaint about it is the running time. The film does feel a bit slow in parts but it was a two-part miniseries and had a lot of characters and subplots. In fact, those were all greatly trimmed down from the original novel and some characters were combined to simplify the story. But honestly, I’m still okay with the final result and I wouldn’t trim much, as almost every scene featuring the main characters feels necessary.
In the end, I love this movie; more so than I remembered. I’m glad that I revisited it after all these years and I feel like it’s a film that I will go back to fairly often now that I’ve been reminded as to just how damn good it is.
Rating: 9.25/10 Pairs well with: Werner Herzog’s Nosferatu remake, as well as other vampire films of the ’70s and 2000s Shadow of the Vampire.
Original Run: 1979-1984 Created by: Yoshinobu Nishizaki Directed by: various Written by: various Based on:Space Battleship Yamato by Leiji Matsumoto Music by: Hiroshi Miyagawa Cast: Kenneth Meseroll, Eddie Allen, Amy Howard Wilson, Mike Czechopoulos, Jack Grimes, Chris Latta, Lydia Leeds, Corinne Orr, Gordon Ramsey, Tom Tweedy
Academy Productions, Group TAC, Yomiuri TV, Claster Television, Sunwagon Productions, Westchester Film Corporation, ARP Films, Inc., 77 Episodes, 22 Minutes (per episode)
I know that I watched Star Blazers way, way back in the day. I was certainly very young when I saw it, which had to be around the time that I first discovered Robotech. In fact, I remember thinking that they were the same universe and wasn’t sure how they fit together. But I was like six years-old and stupid.
I’ve always wanted to see this since then but the VHS and DVD sets were always too expensive for me to get the whole saga. However, I was able to access it through a friend recently and I’m glad to say that this is definitely on the level and as good as my little mind remembered it.
Star Blazers predates Robotech (or the original Macross) by about a decade and it is pretty clear that Robotech borrowed from this show very heavily. Robotech differs in that their fighter jets transform into robots but other than that, the shows are incredibly similar between space battleships, space fighter jets, all the primary characters being military personnel and fighting a humanoid alien race with bluish skin.
What’s very apparent is that Star Blazers is the godfather of what became anime television. Without this show, there might not have been Robotech (in all its incarnations), Gundam, Evangelion and the more recent Knights of Sidonia.
This show was a trendsetter and it inspired generations of sci-fi creators. Star Blazers has exciting stories, fun characters, cool vehicles and a solid amount of cosmic swashbuckling. What’s not to like?
Frankly, this show is a bonafide classic in its genre.
Rating: 9.25/10 Pairs well with: later Space Battleship Yamato shows and films, as well as ’80s Robotech stuff.
Also known as: The Clonus Horror (original title), Artificial Humans: Clone Farm (Asia English video title), Clonus Horror (Spain), Alter Ego (UK video title), Clonus (alternate title) Release Date: August, 1979 Directed by: Robert S. Fiveson Written by: Bob Sullivan, Ron Smith, Myrl A. Schreibman, Robert S. Fiveson Music by: Hod David Schudson Cast: Tim Donnelly, Paulette Breen, Dick Sargent, Peter Graves, Keenan Wynn, Frank Ashmore
Clonus Associates, Group 1 International Distribution Organization Ltd., 90 Minutes
“I think it’s time I start paying back this country for some of the good things it’s given me.” – Jeff Knight
This is one of the few Mystery Science Theater 3000 episodes that I had never seen. I missed it way back in the day and it’s just eluded me ever since. But I’ve seen it now! Not that that’s something to be excited about because this motion picture is pretty dreadful.
I guess I could say that the story had some ambition to it but the people that had to give life to this interesting premise, failed in every way imaginable.
This is categorized as a horror film and even has “horror” in its title. It’s not very horrific though, so buffs of the genre aren’t going to get much out of this.
The story is about cloning gone amok. Everything takes place at a desert compound where people are cloned just to be harvested for their parts. The clones are basically enslaved and forced to work within the colony until they need to be cut up for rich people. The clones are also isolated from the rest of the world. As I’m typing the plot details, I get kind of excited. This sounds really compelling but again, all the creative ambition is lost in the movie’s poor execution.
As is common with films like this one, the acting is way below average and the script is a mess. Everything is just lackluster.
Parts: The Clonus Horror is mostly a waste of time. Unless you’re going to watch the MST3K version of it.
Rating: 2.25/10 Pairs well with: other late ’70s/early ’80s sci-fi fare that was featured on Mystery Science Theater 3000.