The 27th Day (1957) – Review

Science fiction films with invading aliens are easily one of the more popular entries throughout the 1950s but in William Asher’s The 27th Day we get aliens who take an interesting tactic when it comes to teaching Earthlings a lesson or two and setting up a “benevolent” colonization.

Based on the novel by John Mantley, the narrative begins with a mysterious extraterrestrial race observing Earth’s nuclear capabilities – as aliens tend to do – and in response to humanity’s potential for self-destruction they’ve decided to intervene by providing five individuals from different parts of the world with capsules containing deadly weapons.  Their pick of humans consists of Englishwoman Evelyn Wingate, (Valerie French), American reporter Jonathan Clark (Gene Barry), Chinese peasant Su Tan (Maria McClay), German physicist Klaus Bechner (George Voskovec) and Soviet soldier Ivan Godofsky (Azemat Janti), who all mysteriously receive capsules containing deadly extraterrestrial microbes. The space traveller, known only as “The Alien” (Arnold Moss), hands each of them a capsule that grants the power to annihilate entire populations with nothing more than a single thought. The catch is that these capsules will only activate if opened on the 27th day.

 

“Did I mention these capsules come with an Advent Calendar?”

And why would these people be given such power? The Alien explains that he is the representative of a dying world that needs a new one to inhabit within the next 35 days, yet they are prohibited by their own moral code from killing intelligent life, so if humanity does not destroy itself, then the Aliens cannot invade and they will perish. Of course, they expect that humanity will use all the capsules, obliterating itself and leaving the Earth for the aliens to populate. Talk about a passive aggressive invasion plan. The film then follows each character as they grapple with the gravity of their newfound abilities and the ethical implications of holding such unimaginable power. The screenplay is by the book’s author and Mantley and the script does its best to explore the moral dilemmas faced by the characters as they grapple with the responsibility of deciding the fate of humanity.  At 75 minutes it also has a very Twilight Zone feel to it as you could easily expect Rod Serling to appear that the film’s climax to explain the moral of the story. Aliens on The Twilight Zone were well known for messing around with humanity, whether to see how they’d react to super strength or how to instill rampant paranoia among neighbours, so this particular Alien would certainly be right at home as a busybody extraterrestrial on that series.

 

Five Characters in Search of an Exit.

Stray Observations:

• The theme of aliens concerned with humanity’s proliferation of atomic bombs is quite reminiscent of Klaatu’s ultimatum in The Day the Earth Stood though a little more self-serving in this outing.
• The alien spacecraft in this movie was “borrowed” from another Columbia Pictures science fiction classic, Ray Harryhausen’s Earth vs. the Flying Saucers.
• Actor Gene Barry was no stranger to alien invasions as he starred in George Pal’s The War of the Worlds, though those aliens were a bit more overt with their invasion plans.
• The Alien refers to worlds in many other “universes,” but he must mean other “solar systems.” That or he’s not a very intelligent interstellar traveller.
• Of the five humans who were each given the boxes, only Su Tan has no dialogue in this movie. I’m not saying this film is racist but it seems a bit odd on the part of the filmmakers.  Then to add insult to injury, she’s not even credited.

 

A tragic and compelling character sidelined by a 1950s script.

One of the film’s strengths lies in its thought-provoking narrative, which goes beyond typical alien invasion tropes, instead, The 27th Day serves as a commentary on human nature, the potential for abuse of power, and the consequences of decisions made in the face of overwhelming responsibility. The film also excels in creating a tense atmosphere, heightened by the Cold War backdrop as the fear of nuclear annihilation permeating the 1950s was very real and is made quite palpable in this outing. The 27th Day uses this fear as a backdrop to intensify the stakes of the characters’ decisions, and despite being from diverse backgrounds they are underdeveloped and their decisions lack the emotional weight needed to make the audience truly invest in their struggles. This lack of depth prevents the film from reaching its full potential as a thought-provoking exploration of humanity’s moral fibre.

 

“Let’s find someplace to hide and hook up.”

While not a bad adaptation of the source material, the dialogue often feels stilted and lacks the natural flow necessary to convey the depth of the ethical and philosophical themes the movie is attempting to explore. This disconnect between the ambitious ideas at the core of the narrative and their execution on screen creates a noticeable dissonance one that hampers the film’s effectiveness. I also have a few issues with the touch-feely ending as its problematic resolution feels rushed and unsatisfying. The potential for a gripping and morally ambiguous conclusion is sacrificed for a more conventional ending, leaving us with a sense of missed opportunities. A more nuanced exploration of the consequences of the characters’ decisions could have elevated the film to a higher level.

 

If you are evil you will die, is not the most subtle moral.

As to the special effects, they may seem a little dated by today’s standards, when not relying on borrowed footage, but they were innovative for their time and showcased the filmmakers’ attempts to bring Mantley’s imaginative story to life. The focus, however, remains on the narrative and the moral quandaries faced by the characters rather than on flashy visuals and the black-and-white cinematography by Henry Freulich contributes to the overall atmosphere of suspense and brings the whole production up a notch. The 27th Day is more than just a typical sci-fi adventure; it raises profound questions about human nature, morality, and the consequences of unchecked power.

 

“With great power comes great responsibility.”

In conclusion, The 27th Day stands the test of time as a unique and intellectually stimulating science fiction film one whose exploration of moral quandaries, combined with solid performances and a compelling narrative sets it apart from its contemporaries, and despite its shortcomings it is a solid genre entry and one fans of classic science fiction will appreciate.

Invasion of the Body Snatchers (1978) – Review

Tackling a remake of a much-beloved classic was certainly a daunting task but in 1978 director Philip Kaufman set his sights on helming a remake of the 1950’s classic Invasion of the Body Snatchers, a film that blended the communist scare and science fiction in a not-too-subtle way, and made his own masterclass in paranoia.

Unlike the original, which was set in a small town, the remake is set in the bustling city of San Francisco, and the protagonists this time out are health inspector Matthew Bennell (Donald Sutherland) and his colleague Elizabeth Driscoll (Brooke Adams) who becomes concerned when her boyfriend, Geoffrey Howell (Art Hindle), starts behaving strangely with her claim that his personality has changed overnight, becoming distant and unemotional. She confides in Mathew her belief that Geoffrey is no longer Geoffrey, and while initially skeptical, Matthew begins to notice other people around him also exhibiting similar changes.

 

It’s not paranoia if they’re really out to get you.

As Matthew and Elizabeth investigate further, they discover the shocking truth: an alien species of plant-like organisms has invaded Earth. These extraterrestrial beings create pods that produce perfect physical replicas of human beings while the original sleeps. However, these duplicates are devoid of human emotion and individuality. The original humans are destroyed in the process, leaving only their soulless copies behind. Dr. David Kibner (Leonard Nimoy), once a friend and now a pod person, explains to them “We came here from a dying world. We drift through the universe, from planet to planet, pushed on by the solar winds. We adapt and we survive. The function of life is survival” with the added chilling words “There’s no need for hate now. Or love.”

 

“I am not Spock.”

The pods begin to spread rapidly throughout San Francisco, as more and more people fall victim to the invasion. Matthew and Elizabeth, along with their friends Jack Bellicec (Jeff Goldblum) and his wife Nancy (Veronica Cartwright), try to warn the authorities, but their pleas fall on deaf ears. The alien conspiracy spreads, infiltrating every level of society, including the government and the police force. As the situation becomes increasingly desperate, Matthew, Elizabeth, Jack, and Nancy realize that they must flee the city if they hope to survive. However, the aliens are everywhere, and it becomes nearly impossible to tell who is human and who is not. The tension escalates as the group is pursued by the relentless pod people.

 

How far can you run and how long can you stay awake?

It’s well known that the original film’s dark ending was changed by the studio – they didn’t want to frighten the kiddies or depress the adults – but lucky for us, director Philip Kaufman’s even bleaker ending was released to the public. The remake’s chilling conclusion sees Matthew seemingly blending in with the pod people, only to reveal in the closing moments that he, too, has been replaced. His haunting scream, directed at a horrified Nancy – who had managed to avoid detection until that moment – leaves the audience with a sense of hopelessness and dread. This gut-punch ending is painful to watch no matter how many times you see it and it remains one of the greatest and darkest moments in cinema history.

 

This scene defines unforgettable.

Stray Observations:

• The opening scene of uncredited Robert Duvall as a priest weirdly playing on a swing perfectly set the off-kilter tone that Kaufman brought to this remake.
• Casting Leonard Nimoy to play a cold analytical and emotionless character is a bit on the nose.
• Nancy Bellicec tells a customer that “Plants have feelings, just like people.” Which in the case of the plants in this movie, it’s quite the opposite.
• Jeff Goldblum would go on to star in another fantastic remake, playing the protagonist of David Cronenberg’s The Fly.
• Don Seigel, the director of the 1956 original, plays a cab driver who rats our two protagonists to his fellow pod people.
• Of course, the best cameo in this movie is by star Kevin McCarthy who may be reprising his role from the original as he accosts our heroes screaming “They’re coming, they’re coming! You’re next! You’re next! We’re in danger!”

 

Will no one ever believe this man?

As was the case with the original, 1978’s Invasion of the Body Snatchers is more than just a horror movie; it’s a psychological thriller that plays on our deepest fears of losing ourselves to a faceless, oppressive force. The film’s final moments are a chilling reminder that sometimes, the most terrifying monsters are the ones that look just like us. What makes this remake so effective is its ability to maintain the core themes of the original—fear of the “other” and loss of identity—while updating them for a contemporary audience. The film’s pace is methodical, allowing tension to build naturally without relying on cheap scares.

 

Shout out to the film’s creepy practical effects.

This film is not just a remake but a reinvention, amplifying the original 1956 film’s themes with a sharp commentary on the anxieties of the late 1970s. Kaufman’s direction is taut and deliberate, creating a sense of creeping terror that escalates with each scene. What sets this version apart from its predecessor is its pervasive sense of dread. Kaufman uses the city of San Francisco almost as a character in itself, with its labyrinthine streets and cold, sterile spaces contributing to the film’s unsettling atmosphere. The cinematography, by Michael Chapman, is claustrophobic, often framing characters in ways that suggest they’re being watched or trapped, heightening the sense of paranoia. As for the cast, everyone here is at the top of their game and you can’t help but be drawn in as things go from bad to worse.

 

And then there were none.

In conclusion, the 1978 Invasion of the Body Snatchers stands as a high watermark in horror cinema. It’s a film that combines atmosphere, performance, and theme into a cohesive and terrifying whole. Whether you’re a fan of the genre or just appreciate finely crafted cinema, this is a movie that deserves to be seen, and once seen, it’s not easily forgotten. Whether you’re a fan of the original or new to the story, this remake is a must-see for anyone who appreciates intelligent, atmospheric horror.

Invasion of the Body Snatchers (1956) – Review

Hollywood loves a good alien invasion story – the George Pal adaptation of War of the Worlds and Ray Harryhausen’s Earth vs the Flying Saucers are classic examples of this – but with Don Siegel’s Invasion of the Body Snatchers we don’t see any national monuments being blasted by rayguns or fleets of alien spacecraft filling the skies, instead, we get a more insidious type of invasion.

Based on Jack Finney’s novel “The Body Snatchers” this fairly faithful adaptation is set in the fictional town of Santa Mira and follows Dr. Miles Bennell (Kevin McCarthy) returning home after being away at a convention, only to find that several of his patients are suffering from the same peculiar delusion. They claim that their loved ones are not who they appear to be, despite these impostors looking identical to the original people. Initially dismissive, Bennell is puzzled when his ex-girlfriend, Becky Driscoll (Dana Wynter), tells him that her cousin Wilma (Virginia Christine) insists her uncle Ira is not her uncle. Good ole Miles is quite dismissive of this “irrational” belief.

 

“Wilma, are you on your period?”

As the days progress, the number of similar cases increases and Bennell’s friend, psychiatrist Dr. Dan Kauffman (Larry Gates), tries to reassure him that these are nothing more than “epidemic mass hysteria,” but while Bennell takes this placation in stride things are not adding up and he comes more aware that something isn’t right. The situation takes a terrifying turn when Mile’s and Becky’s dinner date is interrupted by a call from Bennell’s friend Jack Belicec (King Donovan) and his wife Teddy (Carolyn Jones) who have discovered an incomplete, featureless body on his pool table. The body has no fingerprints and is eerily similar in appearance to Jack, and later, when Jack nods off while “guarding” this disturbing find, the body slowly begins to resemble Jack more closely.

 

“It seems someone placed mass hysteria on your pool table.”

Fears are heightened when Miles discovers a duplicate of Becky hidden in the basement of her father’s home, forcing him to flee with an unconscious Becky in his arms, but when he returns with Dan Kaufman the “body” is no longer there and Kaufman tries again to placate Miles, explaining it all away as a form of hallucination. Needless to say, our hero will have none of that. Things finally come to a head when a backyard barbecue with the Belicecs reveals a greenhouse full of these duplicates, grown from large seed pods, and we soon learn that these duplicates will take over the minds and bodies of the original humans while they sleep, resulting in emotionless but perfect physical copies. Eventually, are two main protagonists are captured by Dan Kaufman, along with a newly podded Jack Belicec, and soon are hounded by the entire population of Santa Mira.

 

This is why I avoid visiting my old hometown.

What follows is a nightmarish chase with our heroes not only trying to stay one step ahead of the “pod people” but staying awake so the same thing doesn’t happen to them. Miles’s attempts to alert the authorities are futile and the two find themselves increasingly isolated. It is soon revealed that alien spores had drifted through space and settled here on Earth where they quickly began the terrible takeover – with trucks being loaded with the large seed pods and being shipped to places unknown – and the chance now is to flee Santa Mira and find help. In a harrowing sequence, that takes the look of the film into the noir genre, they are pursued by the alien duplicates through the town and into the countryside.

 

“I hope Robot Monster isn’t in here.”

The film culminates in Bennell running through traffic on a busy highway, shouting warnings to passing motorists: “They’re here already! You’re next! You’re next!” – a scene that has often been interpreted as a critique of societal complacency and a warning against ignoring creeping threats  – but this ending was also considered to be too depressing by the studio and they insisted on adding a prologue and epilogue suggesting a more optimistic outcome to the story, leading to the flashback framing.

 

“Hey Kevin, knock it off, you’re scaring the kiddies.”

Stray Observations:

• Aliens taking over or “replacing” people was fairly popular in the 1950s, we’d previously seen it done in It Came From Outer Space and Invaders from Mars in 1953.
• The book’s original title “The Body Snatchers” was abandoned so as not to confuse audiences with the 1945 Boris Karloff film The Body Snatcher. Hollywood clearly didn’t have faith in the average person’s intelligence.
• Dr. Miles Bennell and Becky Driscoll refer to having been college classmates yet actor Kevin McCarthy was 17 years older than Dana Wynter. Was Bennell left back that many times, and if so, how did he become a doctor?
• Like any half-decent science fiction movie out of the 50s, this one utilizes the ever-present location of Bronson Canyon.
• While in the cave waiting for Miles, Becky falls asleep for an instant and wakes up as a “pod person” but this contradicts the entire premise of the rest of the movie, in which humans are physically being replaced by “pod person” duplicates.

 

“I have no emotions or scientific continuity.”

Don Siegel’s Invasion of the Body Snatchers excels in creating an atmosphere of pervasive dread and suspicion, and the black-and-white cinematography by Ellsworth Fredericks amplifies the sense of unease, using shadows and lighting to great effect. The ability to turn the classic small town into a place of dread and fear cannot be understated and is one of the film’s key elements.  The narrative’s pace is also quite tight, with Siegel’s direction ensuring that the tension never lets up and with the film’s relatively short runtime of 80 minutes it is packed with suspense, making every moment count.  On the acting side of things, Kevin McCarthy delivers a standout performance as Dr. Miles Bennell, perfectly capturing the transition from skepticism to frantic desperation of a man witnessing his world unravelling around him. Dana Wynter, as Becky Driscoll, brings depth and emotion to her role, providing a strong counterpart to McCarthy’s escalating panic and while her character falls into the “Damsel in Distress” category, Wynter is able to elevate things towards the film’s haunting end.

 

These two have enough emotion for everybody.

It’s safe to say that Invasion of the Body Snatchers has had a lasting impact on popular culture, spawning several remakes and adaptations and its themes of identity, trust, and paranoia have remained relevant, ensuring its place as a classic of the sci-fi and horror genres. In the decades since the film’s release, the term “pod people,” which was inspired by the transformed characters in the film, has become a popular phrase signifying people who are emotionally and creatively dead. The film’s enduring impact lies in its allegorical nature as it was released during the height of McCarthyism and the Red Scare and can be seen as a critique of conformity and the loss of individuality. The idea that one’s neighbours, friends, and family could be replaced by soulless replicas resonates with the era’s fear of infiltration and subversion.

Overall, this adaptation of Jack Finney’s science fiction horror novel has cemented its place as a cornerstone of both genres and is a masterclass in building suspense while creating a pervasive sense of dread. Its exploration of identity, trust and societal paranoia remains as relevant today as it was upon its release. For fans of classic cinema, sci-fi, and horror, this film is an essential watch.

Target Earth (1954) – Review

The 1950s was the peak era for cinema’s exploration of extraterrestrial threats and one of the greatest threats depicted in sci-fi movies would be the robot, and while the likes of Gort from 20th Century Fox’s The Day the Earth Stood Still may be the most notable example of this, Allied Artists did their best with their own mechanical threat that would target Earth.

The plot of this film deals with a small group of people waking up to find the streets of Chicago abandoned, with nothing but the occasional dead body strewn across a sidewalk to “liven” things up. Our hero, Jack Brooks (Richard Denning), is a determined man from Detroit who woke up after a mugging only to find the streets around empty. He plans to get to the bottom of things but, unfortunately, this involves a lot of running down empty streets and looking concerned and that gets old fast. His sidekick/love interest is Nora King (Kathleen Crowley) whose failed suicide attempt, via sleeping pills, caused her to miss the invasion and she brings some sass and heart to the occasion. But let’s be real – her survival skills are about as reliable as a despondent lemming. These two are soon joined by Jim Wilson (Richard Reeves) and Vicki Harris (Virginia Grey), a pair of booze hounds who decided an empty city was the perfect opportunity for a pub crawl.

 

“We survived Al Capone, we can survive anything.”

Turns out that an unknown menace had caused the city’s evacuation but due to various reasons our protagonist missed it and the film splits its time between our heroes trying to figure out what has happened – when not bickering and looking for sandwiches – and the military and scientists deciding how best to proceed against what appears to be a nigh unstoppable robot invasion. This is a good thing because our leads are going to do fuck all to solve things. The characters in this science fiction offering are straight out of central casting for 1950s B-movies. We’ve got Richard Denning as the straight-shooting hero who is on a mission to uncover the truth while winning the heart of fair Kathleen Crowley, but the appearance of a lumbering robot menace soon puts the mystery into high gear and their chance of survival in question.  Sadly, you’re more likely to root for the killer robots by the end of this picture than these two. The cast on hand gives it their best shot, navigating deserted streets like they’re auditioning for a “Who Left Chicago?” theatre troop, but with a tough guy with a heart of gold, a damsel in distress and a token scientist (Whit Bissell) spouting technobabble faster than you can say “flying saucer” it all becomes ridiculous rather quickly.  Yet it still somehow manages to charm its way through the absurdity. Will the army be forced to use nuclear weapons? Will the scientists come up with the “magic bullet” that can stop these seemingly unstoppable robots? Can Nora and Jack find love before the world ends?

 

Could we, as an audience, care any less?

With Target Earth, director Sherman A. Rose provides us with a rollercoaster of B-movie clichés, introducing a group of strangers waking up to an empty Chicago, but they’re not in the mood for deep-dish pizza. Nope, they’re too busy wondering where the heck everyone went. Aliens? Zombies? An epic Cubs game? Cue the dramatic music and enter the extraterrestrial threat, which looks like a cross between a vacuum cleaner and a rejected Halloween costume. The lumbering aliens from the Ray Harryhausen classic Earth vs. the Flying Saucers looked a little silly but at least they had cool spaceships to zip around in while destroying national landmarks, in counterpoint, the invaders in this film don’t even have an intergalactic pot to piss in let alone a flying armada. Instead of thrilling alien attacks, we find ourselves subjected to such high-stakes drama as our plucky heroes finding themselves trapped with a psychotic killer (Robert Roark) who has his own survival plans.

 

Who needs killer robots when we have Wilmer the Gunsel to keep things exciting?

Stray Observations:

• The filmmakers make the bold choice of having its central characters having slept through the alien invasion, it’s not as if seeing the invasion would have interested us viewers.
• When Richard Dennings’ character encounters a panicked Kathleen Crowley on the barren Chicago streets he states “I’m not going to hurt you” and then proceeds to grab and slap her. Heroes of the 1950s were definitely cut from a different cloth.
• Frank theorizes the invaders are from Venus, stating “As far as I know it’s the only planet that might be capable of supporting human life. “It’s covered by a heavy layer of clouds, that means plenty of water, oxygen and hydrogen in its atmosphere.” In reality, Venus’s atmosphere is 96% carbon dioxide with clouds of sulphuric acid, which is not at all conducive to human life.
• In 1964 Britain made their own robot invasion film called The Earth Dies Screaming with a small band of survivors facing a robotic threat. That entry was handled with a little more grace and aplomb than this one.
• At the end of the film the soldiers tell Frank that their oscillator smashes the robot’s “cathode ray tube” and puts them out of commission, but a cathode ray tube is essentially a television, which means that the devastating robot army operates on home entertainment electronics.

 

Thrill to calipers in action!

One of the film’s major drawbacks is its reliance on a formulaic plot, one that echoes the pervasive Cold War anxieties of its time. The fear of an unseen and alien menace infiltrating urban spaces was a recurring theme in 1950s sci-fi, but Target Earth fails to bring anything substantially new to the table. The narrative unfolds predictably, with very little deviation from the established conventions of the era, leaving us with a sense of déjà vu rather than genuine suspense. From a technical standpoint, Target Earth is hampered by its shoestring budget and cheesy-looking robot and while allowances can be made for the technological constraints of the era, the film’s visuals often come across as cheap and unconvincing, undermining its ability to immerse viewers in its sci-fi world. That the production had only one robot suit to depict their “alien invasion” definitely undercut the seriousness of the extraterrestrial threat. When finally revealed, these aliens appear laughably rudimentary by contemporary standards, further detracting from the film’s overall effectiveness.

 

Tremble at the power of the army of one.

If one were to forgive the filmmaker’s inability to create a believable alien invasion on a shoestring budget there is still the issue of the film’s inability to build and sustain suspense. The movie meanders through long stretches of characters sitting around a hotel room or navigating the empty streets of Chicago, resulting in a stagnant narrative that struggles to maintain momentum. Even when the threat of an alien presence is introduced it fails to generate the requisite sense of urgency or menace, diminishing the impact of the film’s climactic moments. But you know what? Despite all its flaws, Target Earth has a certain charm that’s hard to resist. Maybe it’s the earnestness of its cast, or maybe it’s the sheer audacity of its premise. Either way, it’s the kind of movie that’s best enjoyed with a bucket of popcorn and a group of friends who appreciate a good laugh – preferably with a side order of flying saucers.

 

“This was no boating accident?”

In summary, Target Earth is a fun enough entry in the annals of 1950s science fiction cinema, and while it offers little in the way of innovation or intrigue it does give us a cool-looking robot, even if just the one. Ultimately, this film serves as a reminder of the pitfalls of failing to have a decent budget or even a sensible script when you’re trying to deliver a compelling cinematic experience.

Velma: This Halloween Needs to be More Special! (2024) – Review

With the amount of backlash from both critics and fans alike, there was very little chance that Velma was going to get a third season – the fact that it had a second season had more to do with the economics of creating an animated show rather than the quality of season one – but those that hoped this “special” would wrap up season two’s cliffhanger without doing any more damage to these beloved characters, were disappointed on both counts.

Oh, Velma, what have they done to you now? This Halloween Needs to be More Special! takes the already polarizing 2023 Velma reboot and dials it up to a level that’s… well, not special. If you thought the series was divisive, this Halloween special may leave you longing for simpler times when Velma solved mysteries with her gang instead of making you wonder why you spent 37 minutes of your life watching this train wreck. The special leans heavily into the same brand of “edgy” humour that defined the series, but it misses the mark time and time again. This special is so hollow and lacklustre that the Great Pumpkin himself would likely skip town rather than endure it. And one must ask “Does this terrible entry put the entire future of the franchise in question?”

 

“Do you think we’ll survive on TikTok or something?”

For those who don’t remember, or have been trying to forget, season two of Velma ended with Scrappy-Doo fatally wounding Velma (Mindy Kaling) but then ended up dying after Velma’s ghost possessed his body, and while Dr. Purdue was unable to restore Velma’s body, Amber revealed that they can revive her with magic, albeit only on Halloween night after finding a spell that works. This Halloween special begins with a failed attempt at putting Velma’s soul back in her body, none of Amber’s (Sara Rameriz) spells are strong enough, but Thorn (Jennifer Hale) reveals that she handed a more powerful magic book to the Historical Society, so with only nineteen hours left before Halloween ends our gang of “heroes” must act and act quickly.

 

“Guys, if we solve this fast enough maybe we’ll get a third season?”

Unfortunately, there is a wrinkle in their plan in the form of a corpse at the Historical Society. A staffer has recently fallen down the stairs to her death and it is suggested that this is due to the ghost of the Black Knight. Evelyn (Kari Wahlgren), an employee of the Historical Society, informs them that many years a scorned, dorky student dressed up as a Black Knight was run out of the first Sexy Halloween and pushed off a cliff, he returns to haunt it every year and claims a life, and by that, I mean a party goer is found dead via falling. When the ghostly whispering of the Black Knight sends Velma fleeing it becomes apparent that we have a real mystery on our hands.

 

How can Velma and her friends defeat this fearsome foe?

Of course, that’s not the only issue facing our group and despite this special’s short running time, we have a lot of plot threads. Daphne (Constance Wu) seems more focused on attending the Sexy Halloween party than resurrecting her girlfriend, Norville (Sam Richardson) is happy about being dragged to the Sexy Halloween party by his girlfriend due to the whole “murderous ghost” problem, and the parents of Crystal Cove continue to try and convince their kids to attend the Non-Sexy Halloween party at the school gym, and Fred finds out that his family is now broke.

 

“Sorry son, I invested our entire family fortune into this series.”

Sadly, the whole mystery concerning the Black Knight is put on the back burner for a while – who’d want a good mystery in a Scooby-Doo show that lacks Scooby-Doo – instead, it focuses on the gang trying to get Velma back in her body. With the fear that the “Witch Guide to Dark Magic” could corrupt anyone who reads it, Fred (Glenn Howerton) acquires an audiobook version, and from it, they learn that the only way to bring Velma back from the dead is to confront what they fear most. This results in an insufferable amount of time spent following the gang running around trying to find out which particular fear they need to confront and it’s about as interesting as it sounds.

 

My greatest fear is this show getting a third season.

But who is behind the many murders surrounding the Sexy Halloween party? Is it the ghost of Geoff (Nicholas Braun) the dorky kid in the Black Knight costume who was pushed off a cliff all those many years ago? Or is it one of the Crystal Cove parents who have their own agenda in preventing sexy parties at Halloween? Or is a bunch of lazy screenwriters coming up with a contrived twist that makes the original Scooby-Doo mysteries look like Agatha Christie by comparison? Well, it turns out that dear old Evelyn of the Historical Society created the myth of the Black Knight to keep everyone afraid, fear being required for her dark magic to work, and she’s been murdering people ever since in hopes of creating an atmosphere of dread and fear. With the book of Dark Magic in her hands she unleashes a zombie horde, and I just wish this was as exciting as it sounds.

 

“Klaatu barada nikto!”

Stray Observations:

• Rapper Saweetie shows up to perform at the Sexy Halloween party turning this portion of the Halloween special into an episode of Scooby-Doo and Guess Who?
• The character of The Black Knight is a nod to the very first episode of Scooby-Doo, Where Are You! called “What a Night for a Knight?”
• The local costume store stocks several costumes that reference other classic Scooby-Doo cartoons, such as the Space Kook, the Big Bad Werewolf and the Ghost Clown.

 

If you can’t be good at least reference something good, right?

The title promises something special, but what we get instead is a half-baked mystery mixed in with more moronic shenanigans by this gang of idiots. This special continues to depict Velma as a whiny, insecure wreck who spends more time worrying about her social media presence than catching ghosts, or in this case, having herself un-ghosted. The jokes aimed at poking fun at Halloween tropes often fall flat, either because they’re too on-the-nose or because they’re buried under layers of self-referential humour that don’t quite land. The special’s attempts at being “too cool” for Halloween, while simultaneously celebrating it, create a confusing dichotomy.

 

“Keep looking, we’re bound to find a plot here somewhere.”

Animation-wise, it’s a mixed bag. As with the previous two seasons, it’s a colourful and occasionally vibrant setting, but it feels like the visuals are trying to compensate for how utterly lifeless the story is. The attempts at humour fall flatter than a Scooby snack that’s been left out for a week. Instead of clever gags, we’re bombarded with tired meta-commentary about how outdated Velma’s character is—newsflash: we know, you don’t need to remind us every five minutes! Worse is the fact that this doesn’t even wrap up the series, instead, we get another cliffhanger indicating that the Book of Evil has corrupted Fred and thus a new threat hangs over Crystal Cove.

 

Thankfully, the threat of a third season is very small.

In the end, Velma: This Halloween Needs to be More Special! is a trick, not a treat. If you’re looking for a Halloween special to get you into the spooky spirit, this isn’t it. Watch literally anything else—It’s the Great Pumpkin Charlie Brown, A Nightmare Before Christmas, Hocus Pocus, or even that knock-off haunted house show your neighbour made. Trust me, it’ll be a better time and you’ll have more fun. If this special was meant to breathe new life into the Velma franchise, it failed miserably, and it even dropped the ball on wrapping up the pesky cliffhanger from season two which is pretty unforgivable. Overall, this Halloween special left me wishing I was watching the real Scooby-Doo gang hunt for actual monsters instead of enduring another soulless Halloween-themed pity party.