Film Review: Poltergeist (1982)

Release Date: June 4th, 1982
Directed by: Tobe Hooper
Written by: Steven Spielberg, Michael Grais, Mark Victor
Music by: Jerry Goldsmith
Cast: JoBeth Williams, Craig T. Nelson, Beatrice Straight, Dominique Dunne, Oliver Robbins, Heather O’Rourke, Zelda Rubinstein, Richard Lawson, Martin Casella, James Karen, Michael McManus

SLM Production Group, Metro-Goldwyn-Mayer, 114 Minutes

Review:

“[first lines] [talking to the television] Hello? What do you look like? Talk louder, I can’t hear you! Hey, hello! Hello, I can’t hear you! Five. Yes. Yes. I don’t know. I don’t know.” – Carol Anne Freeling

Poltergeist was a massive hit back in 1982. I was too young to see it in the theater but once it hit TV, it was on all the time. It was also one of the few horror movies to actually scare the shit out of me. While those scenes aren’t as effective to my 39 year-old brain now, throughout the ’80s, I was terrified of clown dolls, creepy trees and the possibility of my face falling off just by washing it. Hell, I was afraid to turn the television off when there was snow on the screen. I didn’t want to be anywhere near that haunted infernal machine.

There was just something about the styles of Steven Spielberg and Tobe Hooper coming together that created a special kind of magic that complimented the two men’s styles even more. Granted, there was a lot of friction during the production of this film and bad blood formed between the two men but the end result is quite exceptional and still carries that magical quality today, thirty-six years later. In fact, the sequels didn’t come close to capturing lightning in a bottle like the original did and I really feel like that is due to Hooper not directing them.

The special effects in this are damn good for the time and the movie does feel like its a big budget affair when compared to other ’80s horror. This is much closer in special effects quality to Ghostbusters or Spielberg’s E.T. and Close Encounters than say Friday the 13th or Halloween III.

Poltergeist also has a really solid cast with Craig T. Nelson, JoBeth Williams and Beatrice Straight. I also love that James Karen is in this, even if he isn’t as over the top as he was in Return of the Living Dead.

On paper, if you ignore the two capable directors behind this, Poltergeist is really just a run of the mill haunted house story. This is a tale that’s been told a million times but something about this film is just different and better. I wish I could define it with words but for fans of ghost stories, you just sort of have to experience this. I’d hate to keep using the word “magic” but there really isn’t another word to fit what this is.

I love this movie. Even if it scared the everliving crap out of me as a kid, I still watched it… a lot. As an adult, I still throw it on every couple of years and never grow tired of it.

Plus, for those ’80s horror aficionados that love those rotating room scenes in A Nightmare On Elm Street, this movie did it first. And it did it nearly three decades before Christopher Nolan’s Inception.

Rating: 8.25/10
Pairs well with: The other two Poltergeist films. Ignore the remake.

Film Review: Sixteen Candles (1984)

Release Date: May 4th, 1984
Directed by: John Hughes
Written by: John Hughes
Music by: Ira Newborn
Cast: Molly Ringwald, Anthony Michael Hall, Michael Schoeffling, Paul Dooley, Justin Henry, Gedde Watanabe, Billie Bird, John Cusack, Joan Cusack, Jami Gertz, Brian Doyle-Murray, Zelda Rubinstein

Universal Pictures, 93 Minutes

Review:

“Can I borrow your underpants for 10 minutes?” – The Geek

This was the movie that put John Hughes on the map and made him one of the most prolific directors and writers of the ’80s and ’90s. While not my favorite Hughes film, it still has some charm, resonates today and set the stage for his better films that would follow.

One thing Hughes was really good at doing was tapping into the teenage psyche and making it relatable to audiences of any age. In a way, his approach makes his films feel timeless, even if they are bogged down in ’80s cliches and tropes. While his films may feel like a cultural time capsule they still feel genuine and his characters still feel authentic.

While the teen comedy genre was already booming by the time that Sixteen Candles came out, it was this film that created some of the tropes that became synonymous with the style. While Fast Times at Ridgemont High predates it by two years and set the stage, it was a much more serious film at its core. Sixteen Candles keeps things fairly lighthearted and it also doesn’t delve into the teen sex comedy well as deeply as most of the similar films of the time like Private SchoolThe Last American Virgin, etc.

This was really Molly Ringwald’s breakout performance. She had appeared in a few films and was on the early episodes of the sitcom The Facts of Life but it was here that she became a major bankable star in the ’80s.

This film also helped Anthony Michael Hall become a household name, even though he had already done National Lampoon’s Vacation, by this point. He would be a pivotal part in two more of Hughes’ teen films: The Breakfast Club and Weird Science.

It’s worth noting that the sibling duo of John and Joan Cusack also had roles here.

Sixteen Candles was a great foundation that Hughes used to propel his career forward, thus giving us several great pictures. Without this movie, Hollywood in the ’80s and what became known as teen comedies, would be very different. Hell, everything today could still just be Porky’s and Meatballs clones.