Editorials
‘Killer Klowns from Outer Space’ Turns 30!
Born from the single, frightening image of driving down a lonely road at night and the only other car on the road passes you with a clown behind the wheel eerily staring as it drives by evolved into one of the most quirky, memorable horror films of the ‘80s. That, combined with the unforgettable title for the film and their film creative experience meant that the Chiodo brothers’ first feature was destined for instant cult status. Released on May 27, 1988, audiences had just as much fun with Killer Klowns from Outer Space as the Chiodo brothers did making it, so it’s no surprise that 30 years later there’s still hope for more.
Fresh off special effects work on Critters 2 and Pee-wee’s Big Adventure, and with a title that literally sold itself, the Chiodos dove head first into creating their own first feature full of childhood inspirations and an iconic production design. Stephen directed, Charles handled production design, and Edward produced. All three wrote the screenplay together. The story is simple; alien klowns descend from space and use the small town in which they’ve landed as a feeding ground. Only Mike Tobacco, Debbie Stone, and Deputy Dave Hanson seem aware that the town is in trouble.
The Chiodos’ childhood influences on their film are overt; the opening sequence alone that begins on make-out point and follows the Klowns’ crash landing up until they claim their first victims emulates the original opening of 1958’s The Blob. There are nods to Forbidden Planet and Wizard of Oz. On a more personal level, though, many of the characters in the film are modeled after people they grew up with, including their character quirks. The Terenzi brothers and their attempts to lure women by way of ice cream truck were based on people they knew who did just that. The couple making out in the back of the car in an inflatable raft? Also a true story.
Childhood influences aside, the Chiodos crammed every possible clown trope and stereotype they could think of in their film. The clown car crammed full, popcorn, balloons, pies in the face, shadow puppetry, ventriloquism, cotton candy, and bold candy colors were all used to lure in victims before twisting into something far more nefarious and deadly. Cotton candy may never be the same for those watching for the first time, with the discovery of the very spider-like way the Klowns drink down their victims through crazy straws injected into cotton candy cocoons of dissolved flesh.
Of course, the protagonists Mike, Debbie, and Dave and their unresolved love triangle takes a back seat to the true stars; those killer klowns. The klowns didn’t really have names in the script, but decades later, thanks to the Chiodos coming up with them during production, hardcore fans fondly pick favorites among Fatso, Slim, Tiny, Shorty, Slam, Jumbo, and more. In the grand finale, there were about 40 klowns on screen circling the trapped humans. The largest of which was Klownzilla, a massive killer klown originally intended to be handled via stop-motion animation. Ultimately, it was another rubber suit with animatronic facial movements with Charles Chiodo as the performer.
The Chiodos’ background in special effects really worked in the film’s favor, making the klowns’ mayhem feel larger than its low budget. From puppetry, animatronics, to animation, the Chiodos utilized their experience and creativity to ensure every gag landed, or get inventive when they didn’t. Throw in an extremely catchy original theme song by the Dickies, and the film’s sense of fun became outright contagious.
The tongue-in-cheek humor and goofy premise of Killer Klowns from Outer Space seems very of its time, in the sense that it’s very difficult to imagine this would get greenlit today. Rumors have circulated on sequel potential for years, and the Chiodo brothers have continued to express desire to return to the universe they created. It’s rare to watch a movie where the filmmakers’ joy at making it feels palpable, and it would be fun to see where they would take this world after 30 more years of experience under their belt. It also is long past time to know if Debbie chose Mike or Dave (I predict Dave). Or if there are any Terenzi klown babies they owe child support for. But, really, it’s time to catch up with Tiny and Fatso. Happy 30th to one of the wackiest ‘80s horror films, Killer Klowns from Outer Space.
Editorials
Taking a Closer Look at the ‘Christmas Carol’ Ghosts of Ti West’s ‘Ebenezer’
The trailer for Ti West’s upcoming adaptation of A Christmas Carol raised a lot of eyebrows when it dropped earlier this week. While plenty of folks initially dismissed Ebenezer as a derivative project meant to cash in on the recent wave of unnecessary prequels that expand the backstory of beloved characters (such as 2023’s Wonka), Charles Dickens’ original novel already made a point of exploring Ebenezer Scrooge’s origins in detail – meaning that this new film is likely just a particularly faithful adaptation of the source material under a different name.
Couple that with the fact that the movie is being helmed by a genuine horror auteur and I think it’s safe to say that the latest iteration of the first modern ghost story is in good hands.
That being said, one detail that immediately jumped out at me during the brief teaser (other than a blink-and-you’ll-miss-it nod to Johnny Depp’s iconic bedroom death scene from the original A Nightmare on Elm Street) is the fact that many of Ebenezer’s ghosts appear to have been directly lifted from the iconic John Leech illustrations that accompanied the first edition of Dickens’ novel.
Here are a couple of stills from the trailer compared to the original artwork:

The Ghost of Christmas Yet to Come in ‘Ebenezer’ and ‘A Christmas Carol’

The Phantoms in ‘A Christmas Carol’ and ‘Ebenezer’

Marley’s Ghost in ‘Ebenezer’ and ‘A Christmas Carol’
Mainly working with old-school wood and steel engravings that would later be transferred to print, Leech was instrumental in crafting the iconic look of history’s most influential phantoms – especially since Dickens is said to have been deeply involved with the creation of these so-called “comic illustrations.”
And since the novel is commonly said to have popularized spiritualism in Victorian England, much of the ghostly iconography that we still see in genre media to this very day (including some of Ti West’s previous films) can be traced back to the author’s partnership with Leech.
Ebenezer won’t be the first A Christmas Carol adaptation to borrow heavily from these designs, but I can appreciate how Ti West is incorporating an important part of horror history into his latest film.
Ebenezer will be available in theaters starting November 13.

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