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It Fell From the Sky: One of Horror’s Best Remakes, ‘The Blob’ Turns 30!

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Sometimes the success of a movie hinges completely on its timing. When the remake of The Blob crash landed into theaters on August 5, 1988, it didn’t quite earn even half of its budget back. It was a flop. Perhaps audiences were tired of creature features, as the golden age of practical effects were winding down. Perhaps it was just a slow period at the box office. For whatever reason, what should’ve been a success simply wasn’t. Though the film did eventually build a cult following upon home video release, The Blob still doesn’t have the popularity it should have received 30 years ago. It’s a damn shame. One of the best horror films to emerge from the ‘80s, this horror remake is the perfect blend of characters worth rooting for, fantastic special effects, gruesome kills, and a ton of heart.

One of the ironies of this film’s failure is that it came directly on the heels of one of horror’s most beloved films of the decade; A Nightmare on Elm Street 3: Dream Warriors. Released a year apart from each other, both Dream Warriors and The Blob featured screenplays co-written by Frank Darabont (The Mist, The Walking Dead) and Chuck Russell, with Russell serving as director.  Both films share that spirit of fun and a cast of characters the viewer loves to root for, but The Blob manages to do it even better.

Shawnee Smith’s Meg Penny remains one of horror’s most overlooked and underappreciated final girls to this day, though I suspect it was this movie that led to Smith’s casting in Saw (give her more roles, please). She begins the narrative as the sweet cheerleader and ends as an amorphous blob fighting badass by the film’s end. It’s a brilliant role reversal when paired with Kevin Dillon’s Brian Flagg, the tough outcast who’s ultimately revealed to be a big softie. The clever character work that Darabont and Russell do with both leads is great on its own, but the first act twist with football player Paul Taylor (Donovan Leitch) is absolute brilliance.

Everything about Paul screams “hero.” The definitive nice guy who does everything right (except choose his friends wisely), Paul and Meg seem like the perfect team to lead the front lines against the amorphous man-eating amoeba from space. They do the right thing without hesitation in taking the homeless man to the clinic when they run across him on their first date, the first brush with the Blob, when Brian Flagg would rather flee to avoid dealing with the police. No one would have suspected Paul to suffer such a gnarly death, and so soon.

That’s a large part of what makes The Blob so effective, even 30 years later; this weird pink blob from space kills at random. No one is safe. Not the nice guy, not the caring Sheriff Herb Geller (Jeffrey DeMunn), not even children. Granted, even the bad guys die too, like would be date rapist Scott at the scene of his own crime. But this monster has an insatiable appetite, and anything in its path enters its buffet line. Dying in horror movies is never easy but being digested whole by this monster must rank among the worst.

Special makeup effects artist Tony Gardner (Zombieland, Cult of Chucky) deserves a lot of accolades for how great the effects look, and how well this film still holds up today. The deaths are memorably icky, from Paul’s unnerving digestion to the massive theater feast, this Blob functions like a massive stomach breaking down food with acid. The death of the poor waitress, though, who escapes to the phone booth to call the Sheriff for help only to find him already there, is brutal. If you haven’t yet seen this movie, I’ll let you discover how that plays out. It’s one of the best death sequences of all time.

The Blob is one of horror’s best remakes in existence. It pays proper homage to the 1958 original but shed much of the cheesiness in favor of loveable characters and glorious practical effects. The updated origins of the creature work even better than its 1958 counterpart. Of course, I’d be remiss if I didn’t point out how horrible Kevin Dillon’s mullet is in the film, but don’t hold it against him. Russell pushed him into it, and his character is great regardless of ‘80s hairstyles.

Stunning practical effects work, a great story with great characters, and a huge sense of fun, it’s a shame that The Blob doesn’t have as big of a following as it should have. It’s also a shame that it’s never quite gotten a proper release (Arrow, Scream Factory, anyone; I’m begging for a proper collector’s edition here). This is one of my all-time favorites, so I’m clearly biased, but I don’t know that anyone could ever be disappointed with The Blob. Yet, if you somehow need even more incentive, then give it a watch to pick up all the Stephen King references Darabont snuck into the script. Either way, even 30 years later, The Blob is still an underdog, and one of horror’s all-time greatest.

Editorials

‘The Dark Pictures Anthology: The Devil in Me’ Looks to Be the Series’ Most Cohesive Title to Date [Hands-Off Preview]

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Supermassive Games has recently announced that the latest entry in The Dark Pictures Anthology: The Devil in Me will be released on November 18, 2022. In addition to the recent announcement, I had the chance to preview some gameplay footage, as well as hear from Game Director, Tom Heaton, about the inspirations and influences that impacted the development of the game. Referred to as “the season one finale of the anthology”, The Devil in Me already looks to be an amalgamation of lessons learned from previous entries in the anthology and feedback from its playerbase, and the preview has left me eager to dive back into The Dark Pictures come November.

The premise this time around isn’t focused so much on a specific event in history or mythology, but draws inspiration upon a specific historic figure: H.H. Holmes. For those unfamiliar, Holmes is one of the most notorious serial killers in modern history, often referred to as America’s First Serial Killer, and infamous for his “Murder Castle” hotel in Chicago which doubled as a torture chamber and trap for unsuspecting victims. Holmes was tried for his murders, wherein he claimed he was possessed by the Devil, and was ultimately sentenced to death. The Devil in Me centers H.H. Holmes as its main inspiration, with a fictional rendition of his “Murder Castle” as the setting. Additionally, a handful of classic horror movies are also referenced as pivotal influences: the Saw series, The Shining, Halloween (1978) and Friday the 13th (1980) are a handful of films mentioned.

Those exploring the hotel, and the new group of survivors (or victims) of The Devil in Me, is a small group of five that makes up a TV production company called Lonnit Entertainment. Desperate for a hit to land a second season of their documentary, Architects of Murder, the group takes a stranger up on his offer to investigate an old abandoned hotel based and built around H.H. Holmes’ “Murder Castle.” The cast includes Lonnit Entertainment director Charlie Lonnit, the oldest member of the crew with a pension of passion but also a short-temper, Kate Wilder (portrayed by Academy Award nominee Jessie Buckley) as the more meek and introverted as the group, Mark Nestor as the more chill and collected source of stability of the bunch, Jamie Tiergan who appears to win the superlative of “Least Likely To Put Up With Bullshit”, and Erin Keenan, an intern who seems to be pushed around by Charlie.

Unique to The Devil in Me is a new inventory system for each character. As the group makes up a TV production company, each member begins with specialized items unique to their job. For example, as Mark is the cameraman, he’s naturally equipped with a camera with a flash he can use for an extra source of light. Interestingly, it’s also noted that he can use the camera to “capture evidence”–it isn’t elaborated on, but perhaps The Devil in Me is reusing the “evidence” feature from Supermassive’s most recent title, The Quarry, in which the surviving character use evidence to prove their innocence at the end of the night.

Other unique items include a multimeter carried by Jamie which can be used to rewire electrical circuits, and a directional microphone that Erin can use to hear through walls. It’s also teased that these items may be upgradable, and that they may end up in the possession of other characters in the (likely) event that one is killed. In fact, not all of the characters make it out of the teaser unscathed–we’re treated to a scene which calls back to Supermassive Games’ original hit, Until Dawn, where Kate and Erin are trapped in two rooms that have the oxygen being sucked out, and the player will be tasked with choosing who to kill and who to save. This is surely just one of many life-or-death choices that players will be graced with having to deal with.

The new item and inventory feature is just one indication of Supermassive Games’ dedication to listening to feedback from its fans for the previous entries in The Dark Pictures Anthology and improving upon future titles. While many had voiced that previous entries relied too heavily on quick-time events as the core gameplay mechanic, which made gameplay a bit repetitive, they’ve remedied this by incorporating the new item system, which will likely tie into the new addition of puzzles that are also mentioned. Think classic Resident Evil and Silent Hill–it looks like you’ll need to push boxes around and search for hidden codes/passwords to move forward at times.

Additionally, while previous Dark Pictures title House of Ashes improved upon exploration mechanics by incorporating a much more fluid camera system, The Devil in Me has taken it a step (or two) further. Based on the teaser, environments are much more detailed and expansive, and will require characters to run, jump, shimmy, climb, and push their ways through it. Fans before had noted the linearity of previous Dark Pictures titles (and even Supermassive Games’ other hits, Until Dawn and The Quarry), and this will surely shake things up a bit. The teaser also mentions that this will be the longest Dark Pictures title to date–while the others clocked in around 3-5 hours, The Devil in Me has an estimated run-time of about 7 hours. That’s a lot of time to be tasked with avoiding death traps!

Overall, The Devil in Me looks to be the most cohesive entry in The Dark Pictures Anthology to date. It seems that Supermassive Games is finding its stride with balancing cinematic elements with gameplay elements to produce the best choice-based horror narrative games on the market. If you haven’t been a fan of the previous Dark Pictures titles, there’s a lot of new elements here that are likely worth your time to see if the new formula is a fit for you. And if you’ve loved the others (like myself), it feels like it’s delivering on the quality horror experience that you’d expect from Supermassive Games and will be a must-have come November.

The Dark Pictures Anthology: The Devil in Me will be released on November 18th, 2022, on most major gaming platforms including XBOX, PS4/PS5, and PC.

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