Return of the Fly (1959) – Review

With the Return of the Fly, 20th Century Fox had the unenviable task of following a groundbreaking entry in science fiction horror film that had captured pathos and horror in a new way, unfortunately, it was with a sequel that tried and failed to capture the same level of suspense, depth, and innovation that made its predecessor a cinematic milestone.

Directed by Edward Bernds this sequel picks up where the original left off, following the legacy of the ill-fated scientist Andre Delambre and his experiments with teleportation. André Delambre’s son, Philippe (Brett Halsey), is now determined to continue his father’s work, even after learning from his uncle François Delambre (Vincent Price) of the tragic and horrific consequences that resulted in his father committing suicide, after being turned into some sort of fly/man hybrid. Phillippe is so single-minded in his desire to follow in his father’s footsteps that he even blackmails his uncle into funding his experiments, threatening to sell his shares of the family business to anyone willing to buy them.

 

“Come on, what are the odds of the same thing happening to me?”

Needless to say, the odds are not in his favour as he hires Alan Hinds (David Frankham) as an assistant, because not only does he turn out to be an industrial spy, hoping to sell the secrets of teleportation to the highest bidder with the aid of fence Max Barthold (Dan Seymour), who works out of a local funeral home. When Alan’s criminality is revealed he’s the one who turns Philippe into The Fly by tossing both Philippe and a fly into the disintegrator-integrator. And why would Alan do such a thing? Well, he knows Phillippe has a horrible aversion to flies so integrating him with such an insect would be the ultimate dick move. Of course, this movie isn’t all criminal subterfuge and mad science because what good is a monster movie without a female to scream in horror at the creature of the day? In that role we have Cecile Bonnard (Danielle De Metz) as Philippe’s childhood sweetheart, sadly, she’s barely given any screen time and thus the tragic love story that was the backbone of the original film is completely missing here.

 

Beauty and the Beast this is not.

Stray Observations:

• This sequel takes place twenty years after the original but Francois Delambre, once again played by Vincent Price, looks as if he’s hardly aged a day. More mad science, you say?
• The film is set in Montreal, Quebec, Canada, yet all the public signage is in English, and like in the previous film, hardly anyone speaks with a French accent.
• We get the old science fiction chestnut of “He ventured into areas of knowledge where man was not meant to go.” All we needed was Vincent Price to rant about “God’s domain” to make it complete.
• Phillipe tells Alan that they have to “Go back into town and get my father’s papers out of the old lab” but in the original film, we saw André Delambre burning all of his notes and records of the experiment.
• Their first experiment with a live subject resulted in a “giant” guinea pig, and while they call this a failure all I could think of was “Didn’t they just solve world hunger?”
• When André Delambre had his teleportation accident he ended up with the head and one arm of a fly, that his son would end up with the basically same combination, with only an added fly leg for variety’s sake, is beyond coincidental.
• Phillipe in killer fly mode heads over to the morgue and kills Max Barthold, but other than earlier seeing Alan walk out of the funeral home he had no reason to believe Max was involved.
• François posits the question “What if Phillipe does not have the mind of a human, but the murderous brain of a fly?” While that is an interesting question I’m fairly certain flies do not have murderous brains.

 

Murder is kind of a human thing.

If one were to look up the word “contrived” in the dictionary I wouldn’t be too surprised to find a reference to this sequel in the notes. There is nothing organic or natural about the script for Edward Bernds’ Return of the Fly, instead of building upon the intriguing concept of the original film the sequel opts for a nearly identical storyline. It revisits the idea of a scientist experimenting with teleportation, leading to disastrous consequences but with little innovation or fresh perspective. This choice results in a predictable and unengaging plot that fails to capture the imagination as its predecessor did. Much of the film’s running time is spent in the laboratory setting and despite it being the “scene of the crime” and the impetus to this film’s monster, not much interesting happens there, well, other than the moment when Alan kills a police investigator and integrates him with a guinea pig.

 

Basically, Alan is kind of a dick.

The film’s characters are also notably one-dimensional and unmemorable. The protagonist, Philippe Delambre, played by an almost comatose Brett Halsey, lacks the depth and charisma that made David Hedison’s portrayal of the doomed scientist in the original so compelling. The supporting cast fares no better, with most of them coming off as uninspired and forgettable, even Vincent Price seems somewhat lethargic in this outing. Moreover, the special effects in Return of the Fly are a far cry from the groundbreaking work found in the first film. While the original The Fly was known for its impressive practical effects and iconic sequences, this sequel relies on cheap and unconvincing visual effects that are more likely to elicit unintentional laughter than genuine horror or awe. The transformation sequences, in particular, lack the realism and impact that made the original so memorable and the giant fly head in this film is more goofy-looking than it is scary, and the less said about the little fly with Philippe’s head the better.

 

“I’m ready for my close-up Mister DeMille.”

In addition to its technical and storytelling shortcomings, Return of the Fly also fails to capture the thematic depth of the original. While The Fly explored themes of scientific ambition, ethics, and the consequences of tampering with nature, the sequel fails to delve into these themes with the same level of sophistication, instead, we get a more straightforward and superficial approach, missing an opportunity to deliver a thought-provoking narrative, and while Vincent Price’s presence is a welcome one, even his talent cannot salvage a film that is ultimately marred by its lack of ambition and creativity.

Despite its flaws, Return of the Fly does deliver a decent dose of old-school sci-fi chills and thrills. Cinematographer Brydon Baker does his best to create mood and tension – made a little easier as for this outing the filmmakers went for black and white photography versus the lush colour of the original and the haunting music provided by composers Paul Sawtell and Bert Shefter was able to create a nice sense of dread.

 

To be fair, this particular look did become iconic.

In conclusion, Return of the Fly is a somewhat serviceable sequel that will most likely appeal to fans of 1950s sci-fi horror and Vincent Price enthusiasts, and while it doesn’t reach the heights of its predecessor, and has its share of flaws, it offers a decent dose of nostalgic entertainment. If you can overlook its shortcomings and appreciate it as a product of its time, you may find it to be a quirky and fun addition to the classic sci-fi horror genre.

The Fly (1958) – Review

As the 1950s were drawing to a close a science fiction entry would explode on the screen and bring the world one of cinema’s most disturbing creations, in a movie that wasn’t so much about “mad science” as it was “Oh my god, that is so gross” science. That film would be director Kurt Neumann’s The Fly, which would not only put forth interesting ethical questions but would also help launch the horror career of Vincent Price.

Based on the 1957 short story by George Langelaan, the film’s premise centres around the enigmatic scientist who is working on a groundbreaking teleportation experiment, and by groundbreaking, I mean things are going to go horribly wrong because, like most stories in the genre, we veer into mad-science territory. What is fascinating about this sci-fi horror outing is its plot structure as the film is primarily told with a flashback format, with the movie opening with Hélène Delambre (Patricia Owens) crushing the head and left arm of her husband, André Delambre (David Hedison), in a hydraulic press and then calmly calling up her brother-in-law François Delambre (Vincent Price) to confess to the crime. François quickly notifies Inspector Charas (Herbert Marshall) of the Montreal police and our mystery is off and running. While Hélène may have confessed to the crime, she refuses to provide a motive and begins acting strangely. In particular, she is obsessed with flies, more pointedly, a white-headed fly with a funny leg.

 

“Was André practicing mad science again, is that it?”

While not exactly made science, André invention, a pair of telepods, does hold the promise of revolutionizing transportation by allowing instantaneous travel from one location to another, of course, it leads to tragedy when he becomes the victim of an experiment gone horribly wrong. It seems he wasn’t all that careful and let a common housefly enter the disintegrator-integrator – I must say telepods is a much better name, thank you David Cronenberg – and this results in André’s DNA becoming entangled in the teleportation process, leading to a gruesome fusion of man and insect. Now sporting a fly head and left arm, he tasks his wife with finding the fly that has his human head and arm – with some helpful assistance from their son Philippe (Charles Herbert) – and it becomes a race against time as the fly’s instincts take over his brain, with André slowly becoming more monster than man.  Which is the kind of thing that will put a strain on even the strongest relationships.

 

“Hélène, I think we should start seeing other people.”

Stray Observations:

• David Hedison suggested he wear progressive makeup effects that showed him in a combined part human/part fly state which would get progressively more disturbing as the story went along, instead of just revealing a fully formed fly head as depicted in the film, and while the studio thought this was too expensive it’s an idea that David Cronenberg would embrace for his remake.
• The story takes place in Montreal, Quebec, but other than the odd small part the bulk of the cast do not have French accents despite the location and them all having French names.
• André Delambre may not exactly be a “mad scientist” but using the family’s pet cat for an experiment is a bit of a dick move.  The sound of the disembodied cat meowing still haunts me.
• The sound made by the teleporter in this film is the same sound heard when the prototype disappears in the George Pal adaptation of The Time Machine.
• One of the other sound effects used in the film for the disintegrator/integrator is the “bass guitars played backwards” effect used for the Martians’ Heat-Rays in George Pal’s The War of the Worlds.
• A fly’s vision is not composed of several identical small images grouped together, as is seen in the film. This “insect trope” would remain a staple of horror films and be used in such “classics” as Empire of the Ants.
• The Fly is one of the rarest of movie monsters who doesn’t actually kill anyone, he commits “suicide” before his fly half can take over.
• Sadly, Andre did not receive the proportional amount of strength a fly as he seemed to have difficulty picking up Helene when she fainted.

 

I guess a career as a superhero was not in the cards.

Directed by Kurt Neumann, The Fly’s strength lies in its ability to build tension and unease, as well as its compelling character development. Vincent Price, who plays Francois Delambre, Andre’s brother, delivers a standout performance as the compassionate family friend determined to uncover the truth behind Andre’s bizarre transformation, and as the story unfolds it skilfully explores the emotional turmoil of the Delambre family as they grapple with the horrifying consequences of Andre’s experiment. What sets this film apart from many other science fiction movies of its era is its willingness to explore profound themes. The film delves into the consequences of scientific discovery and the boundaries of human knowledge. It poses questions about the ethical implications of tampering with the fundamental nature of existence, making it a thought-provoking experience for audiences.

 

“Don’t worry, Phillipe, I’ll make sure nothing like this happens to you.”

Strangely, of the three classic “Fly Movies” this entry is the only one shot in colour, with the studio moving the production of this film out from under the less-respectable Regal banner and making it a more prestige offering. The money and talent for this science fiction horror offering were certainly not the norm for this era and the end result is a testament to the practical effects and makeup talents of all involved, with the transformation of Andre into a grotesque human-fly hybrid being particularly impressive for its time. The slow reveal of the insectoid features on Andre’s face is haunting and unforgettable. One of the film’s most iconic moments is the climactic unveiling of Andre’s final, pitiable state and it’s the use of suspense, coupled with a chilling musical score, that adds to the overall atmosphere of dread. The story is captivating, with a surprising twist that leaves a lasting impression.

 

“Help me! Help meeeeee!”

While the special effects are a little dated they still possess a certain charm and remain integral to the film’s appeal and the appearance of a man with the head of a fly has become an iconic image one that has echoed through pop culture over the years. The Fly is a testament to the ingenuity of filmmakers in the late 1950s who managed to create horrifying imagery with limited resources. As for the performances, the cast of this genre classic is all commendable, particularly that of David Hedison and Patricia Owens. Hedison brings depth and sympathy to the character of Andre, effectively conveying his desperation and inner turmoil. Owens, in the role of Helene, delivers a powerful and emotional performance as she grapples with the shocking events surrounding her husband and while the film stars Vincent Price and David Hedison playing the title character it is Patricia Owens who really carries this film.

 

She’s a solid Scream Queen as well.

In conclusion, The Fly is a classic of its genre, offering a thought-provoking narrative, memorable performances, and a spine-tingling sense of horror. It has rightfully earned its place in the annals of science fiction and horror cinema and is a must-see for anyone interested in exploring the darker side of human curiosity and the consequences of scientific experimentation. This timeless gem continues to captivate and terrify audiences, proving that the fear of the unknown is a universal theme that transcends generations.

The Thing (1982) – Review

In 1951, producer Howard Hawks and director Christian Nyby adapted John W. Campbell Jr.’s novella Who Goes There? into the science fiction classic The Thing from Another World, unfortunately, practical and visual effects of the time were not able to pull off the shapeshifting alien monstrosity from Campell’s story and this resulted in James Arness dressing up standard monster make-up. Flash forward to 1982 and the world was treated to an adaptation that would bring the horror of Campbell’s novella viscerally to life.

As was the case in the original story and 1951 adaptation, this remake is set in the desolate Antarctic landscape but it opens with a Norwegian research team pursuing a dog across the icy tundra. The dog finds its way to an American research station, Outpost 31, and the Norwegians, in their frantic attempts to kill it, accidentally trigger a series of events that set the stage for a nightmare of horror and paranoia. The American crew at Outpost 31, led by helicopter pilot R.J. MacReady (Kurt Russell), takes in the seemingly harmless dog and is puzzled by the violent actions of the Norwegian researchers. MacReady and the crew’s doctor, Dr. Copper (Richard Dysart), decide to visit the Norwegian camp to uncover the truth. There, they discover a horrific scene of death and destruction, along with a mysterious alien spacecraft buried in the ice.

 

Did Han Solo crash the Millennium Falcon here?

Back at their station, the crew begins to unravel a terrifying secret. The alien organism that was aboard that craft is capable of mimicking any living being it comes into contact with and is now loose among them. Paranoia and distrust mount as they realize that any one of them, or even the dog, could be the Thing. As they struggle to survive, the group becomes increasingly isolated and paranoid, and the tension builds to a breaking point. It’s here where Carpenter explores themes of identity, trust, and the fragility of the human psyche in the face of an unimaginable threat. The story becomes a battle for survival not just against a deadly extraterrestrial creature but also against the disintegration of the group’s cohesion. Blair (Wilfred Brimley), the senior biologist, grows paranoid after running a computer simulation that indicates the creature could assimilate all life on Earth in a matter of years, and his steps to end the threat lead to an even greater sense of isolation and paranoia.

 

“Guys, start writing your wills, we’re all fucked.”

With no means of communication or escape and the relentless snowstorm outside, the crew must confront their worst fears, leading to a series of gruesome and suspenseful confrontations with the alien organism. The film keeps us on the edge of our seats as it leads to a nerve-wracking and unforgettable climax where no one can be trusted, and the fate of humanity hangs in the balance. Carpenter builds relentless tension that is driven by the fear that any one of these men could be an imposter, creating a palpable sense of dread that rarely lets up. Childs, (Kieth David), the outpost’s chief mechanic makes some brutal pragmatic observations while his dope-smoking assistant Palmer (David Clennon) has a more free-formed process, and Palmer’s observation of “You gotta be fuckin’ kidding” when the head of Norris (Charles Hallahan), the team’s geologist, detaches and grows spider legs perfectly captures the attitude many viewers will be having at this point.

 

You have to admit, that is a pretty fair response to this.

As the plot unfolds the ensuing atmosphere of paranoia and mistrust becomes palpable and Carpenter expertly crafts an environment where no one is truly safe. As one after another, they are taken out by this otherworldly monster. It is this element that brings the aspect of a “And Then There Were None” Agatha Christie mystery to the proceedings as the cast of characters is whittled down one by one over the film’s 109 minutes. Of course, the real mystery comes from the film’s ambiguous ending, which has been a subject of debate and discussion among fans for decades. This open-ended conclusion adds to the film’s enduring appeal, as it invites viewers to ponder the fate of the remaining characters. John Carpenter’s remake is more than just a terrifying monster movie; it’s a profound exploration of human nature under extreme pressure one that film delves into themes of identity, trust, and the thin veneer of civilization when confronted with unimaginable horror. It raises essential questions about the human condition and our inherent fear of the unknown.

 

Also, what you find in the ice, leave in the ice.

Stray Observations:

• Unlike the 1951 adaptation, there are no females running around John Carpenter’s The Thing, that said, there is one female presence in the film, that of Carpenter’s then-wife Adriene Barbeau who voices the chess computer that MacCready loses to.
• When the creature is seen absorbing several of the station dogs part of it splits off and goes up through the roof of the kennel, in clear view of everyone watching, but no one seems concerned that part of the alien monster is loose and still running around.
• Flamethrowers would be useless in Antarctica, especially outside, gasoline has too high a freezing temperature to be forced out of a tank without solidifying.
• Even though the group is told that the alien organism is highly infective they don’t seem all that concerned about sharing the same knife to get their blood samples.
• The film does not explain the purpose of the American team in Antarctica but as the Antarctica Treaty dictates that Antarctica must only be used for peaceful and/or scientific the profusion of pistols, shotguns, automatic weapons flamethrowers and explosives is entirely ridiculous for an Antarctic research facility.

 

The treaty clearly needs to be updated to cover alien threats.

The film’s strength lies in its practical effects and creature design, which remain astonishingly effective even by today’s standards. The grotesque transformations and otherworldly horrors are both visceral and nightmarish, thanks to the brilliant work of makeup and special effects artist Rob Bottin. The imagery created in The Thing is unforgettable, and it’s a testament to the craftsmanship and creativity of the production team. Carpenter’s direction is impeccable, building an atmosphere of claustrophobia and impending doom within the research station while Ennio Morricone’s haunting, minimalist score adds to the overall sense of unease. The combination of Carpenter’s minimalist yet effective direction and Morricone’s unsettling music contributes significantly to the film’s enduring legacy. Not to be left out is Dean Cundey’s cinematography which captures the bleak Antarctic setting in all its frigid, isolated glory. The use of wide, snow-covered landscapes against the claustrophobic interiors of the research station creates an eerie sense of both isolation and desolation.

 

When paranoia is a good thing.

While Carpenter’s adaptation is most famous for Rob Bottin’s practical effects without its impeccable cast this would not be the classic it turned out to be. All of the actors give strong performances, with Kurt Russell’s portrayal of R.J. MacReady being a tour de force. His grizzled, every-man persona serves as an anchor amidst the chaos, and his performance remains one of the standout elements of the film. But he’s not alone, the ensemble cast of great character actors effectively portray the growing mistrust and terror that grips them as they confront the shape-shifting horror in their midst, there is not a single miss-step in the bunch, from Wilfred Brimley’s descent into madness to Donald Moffat’s exasperated station commander “I know you gentlemen have been through a lot, but when you find the time, I’d rather not spend the rest of this winter TIED TO THIS FUCKING COUCH!” Basically, with this great script and collection of amazing actors, this film was destined for greatness.

 

I miss being a Disney kid.

Unfortunately, the road to greatness was a rocky one as the film received a broad selection of negative reviews upon its release with comments from critics ranging from “instant junk” to “wretched excess” and while most reviews of the actors’ performances were generally positive the film’s special effects were simultaneously lauded and lambasted for being technically brilliant but visually repulsive and excessive. Variety called it “the most vividly gruesome horror film to ever stalk the screens” while others called it more disgusting than frightening. This proves the age-old adage that, you can’t please everyone. One of the biggest stumbling blocks of this film’s release was that it was up against Steven Spielberg’s E.T. The Extraterrestrial which gave the world a more optimistic take on an alien encounter as opposed to Carpenter’s more nihilistic approach.

 

This thing doesn’t give a crap about Reese’s Pieces.

In conclusion, John Carpenter’s The Thing is a masterclass in suspense and horror, from its timeless practical effects to its chilling atmosphere this movie has become a cornerstone of the genre and cemented itself as one of the best remakes of all time. I’d like to end this review with a quote from the great Richard Masur, which I think sums up this movie pretty well, “I dunno what the hell’s in there, but it’s weird and pissed off, whatever it is.”

The Thing from Another World (1951) – Review

With the arrival of the 1950s the horror genre was slowly moving out of Gothic castles and beaker-strewn laboratories into the wider world of the atomic age, and with that came irradiated monsters and visitors from outer space. Launching this cinematic change was the Howard Hawks film The Thing from Another World, an entry that warned Americans to “Keep watching the skies” and ushered in a whole new kind of terror.

Based on John W. Campbell Jr.’s novella “Who Goes There?” this science fiction horror tale is set in the remote Arctic at an outpost run by scientist Dr. Arthur Carrington (Robert Cornthwaite), who along with a group of scientists report finding a crashed ship north of their facility. A United States military team, led by Capt. Pat Hendry (Kenneth Tobey), is sent to investigate but instead of finding a crashed Russian spy plane or a meteor it turns out to be a large circular object that gives off a very strong “Fly Saucer” vibe, and when an attempt to de-ice the spaceship with thermite bombs results in them blowing the crap out of the craft, leaving the only remaining evidence the frozen remains of the alien pilot (James Arness), they quickly chop it out of the ice and bring it back to their base.

 

“Who asked for the large frozen dinner?”

Things quickly get out of hand when one of the men tasked with guarding their frozen guest is dumb enough to cover its gruesome visage with a heated blanket – to be fair it’d have creeped me out as well – but this allows the creature to thaw out and revive. But something is missing, an element that every 1950s science fiction movie requires, oh yeah, we need a pretty face to pour coffee and scream when required. In the case of this movie, that role falls to Captain Hendry’s past romantic Nikki Nicholson (Margaret Sheridan), who is now working as Dr. Carrington’s secretary. But unlike many women in this genre, Sheridan is given a little more to do with her character than found among the many stock girl scientists tropes out there. Her romantic bantering with Kenneth Tobey’s hard-nosed military man is quite charming, of course, we don’t have a lot of time for romance as this movie is just 89 minutes long and we’ve got an alien creature to flambe.

 

James Arness is definitely holding a torch for Kenneth Tobey.

Like the original story, this movie deals with a scientific research station but unlike the novella, the screenplay for this film adds an additional military element, called in when the spacecraft was discovered, and this allows for the film to delve into themes of scientific curiosity versus military pragmatism, offering food for thought amidst the heart-pounding action. When they discover that the Thing is a plant-based creature that could soon overrun the planet, sprouting out an army of evil little bastards that need our blood to grow, and this is where the film’s real conflict stems, that being the conflict between Captain Hendry’s desire to end the alien threat as quickly as possible and Doctor Carrington’s demands that they keep it alive, “We owe it to the brain of our species to stand here and die… without destroying a source of wisdom.” Needless to say, Hendry is not about to lie down and die simply for the sake of advancing science.

 

“I don’t have to take that kind of crap from eggheads like you.”

Stray Observations:

• This film beat the box office numbers of two other classic sci-fi films that came out in 1951; When Worlds Collide and The Day the Earth Stood Still.
• Both the novella and the John Carpenter remake have the spacecraft crashing to Earth millions of years ago, while in this movie it crashed just a day ago and it was the heat of the craft that melted it into the ice.
• Characters repeatedly mention the crazy Geiger counter readings given off by the crashed craft yet no one seems all that concerned about the fatal radiation poisoning they are being exposed to.
• The block of ice that contained the Thing would have weighed a ton and would have been near-impossible to lift out of the ice let alone transported back to the base.
• Our brave heroes barricade the mess room with wooden boards but as the door swings inwards, towards the creature, this makes their barricade rather useless. Way to go guys.

 

No one accused this group of being military geniuses.

The film’s strength lies in its masterful pacing and tension-building. Director Christian Nyby and producer Howard Hawks (rumoured to have had a heavier hand in directing than credited) expertly create an atmosphere of claustrophobia and paranoia, as the ensemble cast grapples with the existential threat. The palpable sense of dread is heightened by the tight quarters of the Arctic base, leaving no room for escape from the menacing presence. The isolated Arctic setting, with its desolation and endless night, adds an eerie backdrop to the unfolding events, and the use of stark black-and-white cinematography enhances the sense of claustrophobia and fear, creating a palpable atmosphere of dread that permeates the film.  At any moment the Thing could strike out of the darkness and turn you into mulch for its children.

 

More persistent than a Jehovah’s Witness.

The ensemble cast, led by Kenneth Tobey as Captain Patrick Hendry and Margaret Sheridan as Nikki Nicholson, delivers strong performances helped by the fact that their characters are well-developed and relatable, which makes their struggle against the alien invader all the more engaging. The film’s dialogue is sharp and witty, showcasing Howard Hawks’ trademark style, where the characters engage in fast-paced banter even in the face of danger. Of course, the true star of the film is the alien creature itself, and while modern audiences may be more familiar with John Carpenter’s 1982 adaptation, this 1951 version presented a unique and equally terrifying vision of the extraterrestrial, even if the monster make-up was less than imposing if looked at too closely.

Note: The filmmakers originally intended to style the creature as a shapeshifter, as in the novel, but the limited budget forced them to drop the idea and thus we get the standard man monster make-up.

While the creature is not fully revealed until the climax – a standard movie monster trope – the filmmakers employ clever techniques to create an aura of mystery and terror around it. The practical effects, though dated by today’s standards, were groundbreaking for their time and remain effective in conveying the creature’s formidable nature. The design of the creature is great, helped by an excellent performance by James Arness, is a remarkable achievement for its time and the practical effects hold up surprisingly well even today. It should be noted that Arness was not exactly happy with his role, claiming the costume made him look like a “giant carrot” but with excellent camerawork and lighting his creature is rightfully terrifying.

 

“Guess who’s coming to dinner?”

One of the standout aspects of The Thing from Another World is its taut and suspenseful storytelling as the film keeps us on the edge of our seats from start to finish, blending elements of science fiction, horror, and Cold War-era paranoia. The script, penned by Charles Lederer, provides sharp dialogue and engaging character dynamics that remain engaging even by today’s standards. This is not just a typical monster movie as it also explores deeper themes of human survival and cooperation in the face of the unknown. The film’s portrayal of the scientists and military personnel working together, despite their differences – excluding the one mad scientist who is a total dick – underscores the idea that humanity’s greatest strength lies in unity. And while this sci-fi entry may lack the sophisticated visual effects of modern sci-fi blockbusters, its enduring appeal lies in its intelligent storytelling and expertly crafted suspense. It stands as a testament to the power of atmosphere, character development, and genuine fear over flashy special effects.

 

We do get a nice shocking ending.

In conclusion, The Thing from Another World is a classic of the science fiction genre that has aged remarkably well. Its ability to create suspense, memorable characters, and a chilling atmosphere makes it a must-see for fans of both classic cinema and science fiction. It’s a testament to the enduring power of storytelling and imagination, and it continues to influence and inspire filmmakers to this day. Whether you’re a long-time fan or a newcomer to the genre, this film is sure to leave a lasting impression. And remember, “Everyone of you reading this review, tell the world, tell this to everybody wherever they are. Watch the skies. Everywhere. Keep looking. Keep watching the skies.”

The Incredible Hulk: The Snare (1979) – Review

Richard Connell’s 1924 short story “The Most Dangerous Game” has inspired many adaptations. Yet, none have come close to capturing that premise as a certain episode of a long-running television did back in the late 70s, one that featured Bill Bixby and Lou Ferrigno, because if you were to imagine a “Most Dangerous Game” you’d be hard-pressed to come up with something more dangerous than the Incredible Hulk.

The plot of this episode is fairly basic, David ‘Bennet’ (Bill Bixby) is invited by millionaire Michael Sutton (Bradford Dillman) to play a game of chess on his private island, unfortunately for David, the man turns out not to be so much a chess enthusiast as he is a hunter of “The Most Dangerous Game” and he has chosen David as his prey du jour. The two cross paths in an airport terminal, David’s plane to Miami is delayed by weather while Sutton’s private jet stops here for quick repairs. To pass the time the two sit down for a friendly game of chess, which our hero wins, but when David’s flight is cancelled Sutton offers to put him up at his private island, to which his jet would later fly David to Miami the following morning. He reluctantly accepts this invitation and soon finds himself being given a tour of a hunter’s paradise. If only David had known what was to follow he would have thrown the game.

 

“Mister Sutton, when I toss a chess board in anger, you better run.”

During the evening, Banner and Sutton eat a fine dinner of rattlesnakes, drink wine, and partake in a game of chess. Well, the game doesn’t quite get past the opening move as Sutton has drugged the wine and Banner passes out, only to awaken the next day in an open grave. Surrounded by graves of other “participants” David learns that Sutton had grown bored of hunting animals and has found that “man” adds a more intellectual challenge to the hunt so he lures unsuspecting guests to his little hunting preserve for a little man versus man action, of course, what Sutton doesn’t know is that David Bennet is actually David Banner, The Incredible Hulk (Lou Ferrigno). While David is able to avoid a net snare he does stumble into a pit trap and it is the sting of a passing scorpion that unleashes the raging monster within. I love the fact that falling into a pit wasn’t enough to trigger the transformation, that it took an extra “fuck you” from the fates and a nasty little scorpion to get David to Hulk-Out.

 

“Hulk not like stinging little bastards, also scorpions.”

Unlike a normal person, Sutton doesn’t react with pants-pissing fear at the sight of this raging green monster, instead, he considers this new antagonist to be an even better sport than some random dude who beat him at chess. Thinking back, I don’t quite understand Sutton’s audition process. You’d think he’d want to face off against former Green Berets or at least other big game hunters like himself, but this actually works in the episode’s favour. Sutton isn’t some world-class foe like Kraven the Hunter, he’s a petty jerk who only picked David as prey because he beat him at chess and no one would notice him missing. This makes Sutton not only a memorable foe but one with a more complex motivation, at least more than what we see in many shows of this type, and it’s his character flaws that make him quite interesting. That Sutton doesn’t give up after his first encounter with the Hulk, where the big guy drops a tree on him, shows that he has some modicum of courage.

 

Or he’s more psychotic than previously assumed.

From this point on it becomes a cat-and-mouse game between Banner and his psychotic stalker – our hero must solve puzzles and avoid traps much in the way Jigsaw would later orchestrate in the Saw movies – but what makes this adaptation of “The Most Dangerous Game” so good isn’t the fact that the villain got more than he bargained for in this particular game but that he is actually excited about taking on such a fearsome opponent as the Hulk, decrying to the sky “I saw that beast you turned into David, unbelievable! What was it, how do you do it? It was magnificent, David, Magnificent! Make it come back?” He is so far gone with his desire to take down this “ultimate prey” that when he eventually corners Banner, he doesn’t deliver the coup de grâce, instead, he proceeds to beat Banner with a bullwhip in an attempt to bring forth the beast.

 

I guess you can’t argue with success.

Stray Observations:

• Two days before this episode aired, an episode of Charlie’s Angels titled “Angel Hunt” was broadcast and featured the Angels being tricked into coming to an island where they were also hunted by a madman.
• Three years earlier Bill Bixby starred in the pilot for Fantasy Island, which also featured a take on “The Most Dangerous Game,” though Bixby wasn’t in that particular segment.
• The Hulk certainly isn’t a novice when it comes to being hunted, in season four’s “Bring Me the Head of the Hulk” a mercenary determined to kill The Hulk sets up the perfect trap in order to locate him.
• The Hulk’s “Gentle Giant” nature is highlighted in this episode when he rescues a pair of baby birds when their nest is dislodged by one of Sutton’s tripwire traps.

 

The Hulk is a friend to all animals.

Directed by Frank Orsatti and co-written by Richard Christian Matheson and Tom Szollosi “Snare” is one of the top ten episodes to come out of the five-year run of The Incredible Hulk and if there is any criticism to level at this episode it’s that the producers were hampered by the show’s budget and formula – you only get two Hulk transformations per episode and the Hulk can not directly harm anyone and certainly not kill them – and this limitation definitely lessened the impact of a crazed hunter versus the Hulk. More bizarre is the fact that not only doesn’t the Hulk simply rip this asshat’s head off – Sutton dies due to accidentally stabbing himself with a poisoned tip arrow and then falling off a cliff to the lake below – and the Hulk actually goes down to retrieve the body.

 

Was the Hulk planning to try CPR?

Needless to say, Bill Bixby gives a great performance as a man who has become resigned to the fact that his life sucks and that he will constantly be pulled into these types of situations – from hijacked planes to vengeful ghosts he meets all kinds of problems – but what makes “Snare” such as standout episode is guest-star Bradford Dillman as the demented hunter obsessed with catching the ultimate prey, his performance is nothing short of Emmy worthy and makes every moment of his screen time a true joy to behold. Overall, this episode was a very fun take on “The Most Dangerous Game” and while I would have loved to have seen a more physical altercation between Sutton and the Hulk that doesn’t take away from “Snare” being an excellent entry in the series.

Charlie’s Angels: Angel Hunt (1979) – Review

When Richard Connell penned “The Most Dangerous Game” back in 1924 I doubt the idea that his short story would become an often-used trope in film and television had ever crossed his mind — especially considering the fact that film was a new medium at the time of publishing and television was decades away — I’m also pretty sure he would never have guessed that one day his work would inspire pin-up models running around a tropical island.

By the third season, Charlie’s Angels was starting to suffer from a diminishing quality of scripts, with Kate Jackson commenting “The scripts are so light it would take a week to get to the floor if you dropped it from the ceiling” which led to the actress departing after that season, being replaced by perfume model Shelley Hack. It was with her hiring that producer Aaron Spelling dictated that the priority for season four was to “bring back the glamour” but Shelly wouldn’t last more than a year and thus a new “Angel Hunt” would begin, leading to Tanya Roberts becoming the last new Angel until the show’s cancellation in the spring of 1988. But today we are discussing a different kind of “Angel Hunt” one where our favourite detective trio find themselves being hunted, not so much for sport but as a part of a revenge plot against Charlie Townsend.

 

“Charlie, could you call the Mod Squad instead?”

The episode opens with the Angels, Kelly Garrett (Jaclyn Smith), Kris Munroe (Cheryl Ladd) and Tiffany Welles (Shelley Hack) spending their day off at the beach, that is until they receive a garbled emergency telephone call from Charlie (John Forsythe) who tells them to immediately head for Diablo Island, located thirty minutes off the coast of Mazatlan, where he and Bosley (David Doyle) will meet them. Needless to say, that wasn’t their boss and the Angels are being led into a trap. They soon discover that they have been duped when their guide Mr. Wilson (Paul Sylvan), who brings them to the island via a small motorboat, abandons them on the seemingly deserted island with only the clothes on their backs. And why are they unarmed? Well, it’s because they stupidly left their luggage and weapons in the boat with good ole Wilson.

 

“Are we gullible or just stupid? I’d really like to know.”

The penny finally drops when Charlie gets a phone call from big game hunter Malcolm Case (Lloyd Bochner), an old enemy who had recently escaped from prison, whom Charlie had helped send there for murdering his family. Seeking revenge, Case has teamed up with fellow escapee and hunting enthusiast Burdette (L.Q. Jones), as well as the aforementioned Mr. Wilson, and Case threatens to kill one Angel per day unless Charlie and Bosley can find them. Why he doesn’t just tell Charlie where to go in the first place is never explained but I guess psychotic hunters don’t have to have clear thinking. What follows is your standard “Most Dangerous Game” plotline, with the three villains trying to track down the Angels and murder them, but unlike many such adaptations, the viewers of this episode are not treated to much in the way of on-screen thrills.

 

This man will fail because he’s an overconfident idiot.

Stray Observations:

• Two days after this show aired The Incredible Hulk had its own take on “The Most Dangerous Game” called “The Snare.”
• Lloyd Bochner had already appeared in a Charlie’s Angels episode titled “Angels Belong in Heaven” because television shows love to recycle talented actors.
• L.Q. Jones tops the recycle pile as he previously appeared as different characters in season one’s “Bullseye”, season two’s “Angels in the Backfield” and later in season four’s “An Angel’s Trail.”
• The Angels take a business card as the only proof that Charlie was the man taken to this secluded island, and I have to ask “Are we sure these girls are detectives?”
• Tiffany spends the night up a tree to stay out of the clutches of a tiger, but this would have availed her naught as there was a leopard nearby, a species known for its tree-climbing abilities.
• Kris takes out Wilson with a Tarzan swing but she and Kelly aren’t able to retrieve his rifle because he fell lying across it, and the idea that two grown women can’t roll over a man is just sad.

 

Is this what female empowerment looked like in the 70s?

This fourth season episode is pretty forgettable, even the “tropical setting” is rather bland and even the stock footage of tigers and leopards fails to spice things up, and the only thing of note that differs this this take on the Most Dangerous Game trope from what we saw in the Incredible Hulk episode is that two out of the three hunters are killed. In the Incredible Hulk episode “The Snare” the villain does die but it is from accidentally stabbing himself, with his own poisoned arrow, while in “Angel Hunt” Malcolm Case is mauled to death by a tiger but Burdette does die at the hands of an Angel when a dead-fall trap drops a tree on him.

 

“Damn, I need a better class of henchmen.”

Overall, this episode can be considered another step back in the feminist movement, with our three heroines spending more time hugging each than figuring out how to bring down these three asshats. Poor Shelley Hack as the new Angel gets the worst of it as her character not only fails in hand-to-hand combat with Wilson, she is easily knocked unconscious and left for dead, and later she is again found by Wilson and quickly captured, turning her into your standard damsel in distress, right down to being bound and gagged to await rescue. It’s at this point in the series I was wondering if Charlie should start outsourcing his cases to the Scooby Gang.