Editorials
30 Years Later: A 1990 Theatrical Horror Retrospective
The ‘90s are widely regarded as the worst decade for horror, but in 1990 the spirit of the ‘80s was still alive and well. Big budgeted blockbusters were still the rage, but the continued popularity of VCRs meant home viewings could be just as successful, thus inspiring independent filmmakers and studios to release smaller budgeted options.
This, along with the fact that it was still too early to have formed its own identity, meant 1990 was all over the map in horror offerings. Notable horror sequels, over the top creature features, and bold entries of original horror; 1990 was accessible to all tastes in genre fare. 1990 might also be the year of Brad Dourif, who appeared in four different genre theatrical releases alone.
In order of release, these theatrically released horror films are all turning 30 this year.
Henry: Portrait of a Serial Killer
Surprise! This horror film might technically be an ‘80s child, but it wasn’t until 1990 that it finally received a limited theatrical release on January 5. Directed by John McNaughton and starring Michael Rooker as the eponymous Henry, this film is unflinching in its depiction of a serial killer committing a series of murders without a care or second thought. It’s harrowing and gritty, and it set a new standard for thrillers of this ilk.
Leatherface: Texas Chainsaw Massacre III
Released on January 12, this sequel marked the first entry of the franchise not helmed by Tobe Hooper. It also marked the lowest grossing film of the franchise (at the time), both a critical and commercial failure. As for plot, the third entry opted for a more straightforward slasher approach, featuring new characters that fight for their lives against Leatherface and new members of the Sawyer clan. Look for Caroline Williams in a small cameo as final girl Stretch, Viggo Mortensen as the maniacal Tex Sawyer, and Ken Foree as formidable hero Benny.
Brain Dead
This is it, the film that likely caused Peter Jackson’s Braindead to be rebranded as Dead Alive in the states. Starring Bill Pullman and Bill Paxton, it’s man versus machine in this ambitious mind-bender. The plot follows Pullman as Dr. Martin, who’s enlisted to extract vital information from the mind of a mental patient but finds himself caught up in a corporate nightmare in the process. Psychological horrors ensue in this Corman production, released on January 19.
Tremors
A horror comedy of massive proportions, Tremors won critics over with its charm, humor, and cool creature work. Between the residents of Perfection, Nevada, led by Kevin Bacon’s Val McKee and Fred Ward’s Earl Bass, and the instantly memorable Graboids, Tremors launched an ongoing franchise. Released on January 19, where it was only a modest at best success, it eventually found its audience on home video.
Nightbreed
Written and directed by Clive Barker, based on his novella Cabal, Nightbreed pits the troubled Boone (Craig Sheffer) against his psychotherapist Dr. Decker (David Cronenberg), a serial killer looking for a fall guy in his murders. Caught in the middle are the monstrous residents of Midian, a mythical haven for the inhuman. Though not commercially successful upon its theatrical February release, Nightbreed received video game and comic book tie-ins, and would eventually receive a restoration of the Director’s Cut Barker always intended.
The Witches
It’s fitting that a new adaptation of Roald Dahl’s dark fantasy novel is set to arrive in theaters this year, exactly 30 years after director Nicolas Roeg’s (Don’t Look Now) take. The story sees a little boy teaming up with his grandmother to thwart a coven of witches after he’s been turned into a mouse, with Anjelica Huston turning in an iconic performance as the Grand High Witch. Many childhood nightmares were instilled by the witches in this gateway horror film.
Spontaneous Combustion
Sam (Brad Dourif) discovers he has pyrokinesis as a result of atomic bomb experiments performed on his parents prior to his birth. He can control it, but the power comes with unpleasant side effects. It was a serious commercial flop for writer/director Tobe Hooper, fresh off his disastrous three-picture deal with Cannon Films. In other words, the ‘90s weren’t exactly kind to Hooper, and the theatrical failure of this film set the tone.
The First Power
Detective Russell Logan (Lou Diamond Phillips) teams up with a psychic (Tracy Griffith) to take down the Pentagram Killer (Jeff Kober). When the killer is executed, he’s granted demonic powers to seek revenge. The critics hated this Satanic neo-noir thriller upon its April theatrical release, though it was successful regardless.
The Guardian
A young couple hire a nanny to care for their newborn, unaware that she’s really a Druid with a penchant for sacrificing babies to an evil tree. Based on a novel called The Nanny, about a baby snatching nanny, of course, Universal Pictures reportedly pushed for a more supernatural slant once director William Friedkin (The Exorcist) came on board. The previous director? That would be Sam Raimi, who departed from the project to helm Darkman instead.
Tales from the Darkside: The Movie
After four seasons, anthology series Tales from the Darkside finally made it to the big screen. Directed by anthology expert John Harrison (Creepshow), no less. A modest success upon its May theatrical release, this anthology weaves three tales together with a wraparound that features Deborah Harry as a witch looking to prepare her paperboy for dinner. With a stacked cast and solid segments all around, Tales from the Darkside: The Movie did both the series and anthology horror proud.
Def by Temptation
Written, directed, produced by, and starring James Bond III, Def by Temptation pits an evil succubus against a minister-in-training, an aspiring actor, and a cop who specializes in the supernatural. Troma acquired the film in the late ‘80s and tailored it to fit its brand, which accounts for many of the B-movie horror moments. Samuel L. Jackson plays Minister Garth, but more importantly, Ernest Dickerson (Tales from the Crypt: Demon Knight) was the cinematographer.
Gremlins 2: The New Batch
Joe Dante tapped Rick Baker to handle creature effects for this highly unconventional sequel, which took the gremlins out of the small town and into the Big Apple. Poor Gizmo is used as a guinea pig at a media-mogul’s skyrise, unleashing a slew of colorful new gremlins. It’s up to Gizmo and his human pals Billy (Zach Galligan) and Kate (Phoebe Cates) to stop them. Released in theaters early June, audiences and critics didn’t know how to handle the more cartoonish direction and the film underperformed. Naturally, it’s much more widely embraced and adored now.
Arachnophobia
How do you make a PG-13 horror-comedy scary? Add spiders. Lots of them. Produced by Amblin Entertainment and Steven Spielberg, Arachnophobia starred Jeff Daniels as a small town’s new doctor dealing with an influx of mysterious deaths. The culprit is a deadly South American spider that’s hitched a ride in a coffin to America and bred with a local species. John Goodman steals scenes as the overzealous exterminator. Released in July, these spiders won over audiences in a big way.
Flatliners
Five medical students experiment with death to see if there’s an afterlife, but the more they dabble the more dark secrets from their past threaten to physically destroy them. An ambitious psychological sci-fi horror film by director Joel Schumacher (The Lost Boys) with an A-list cast featuring Julia Roberts, Kiefer Sutherland, Kevin Bacon, William Baldwin, and Oliver Platt, Flatliners won the box office upon its August release.
The Exorcist III
William Peter Blatty adapted his own novel, Legion, as well as directed the third entry in the Exorcist series. A worthy sequel that didn’t just erase the bitter taste left by the previous entry, but rivaled the chilling effectiveness of the original film. This time, a police lieutenant is investigating the crimes of the Gemini Killer, which leads him to the patient of a mental hospital; none other than Father Karras (Jason Miller). The Exorcist III also stars George C. Scott and Brad Dourif, and delivered one of horror’s greatest jump scares. It spooked up a decent audience upon its August release.
Darkman
Between the favorable reviews and box office success, it looks like Sam Raimi chose the correct project with his own comic book movie creation. Released in theaters on August 24, Darkman starred Liam Neeson as Peyton Westlake, a brilliant scientist hellbent on revenge when a laboratory explosion leaves him permanently disfigured. His synthetic skin allows him to become anyone for a short period of time, making for a fun action thriller with appearances by Larry Drake, Ted Raimi, Bruce Campbell, and Frances McDormand.
Hardware
The 2020 release of Color Out of Space feels all the timelier in that it comes thirty years after writer/director Richard Stanley made his feature debut with a lean, mean cyberpunk thriller. After an artist’s lover gifts her with the head of a cyborg for her current work in progress, it rebuilds itself and goes on a violent, homicidal spree. Stylish and vicious, Hardware was a small release in September, but has long since grown into a cult favorite.
Night of the Living Dead
George A. Romero sought to remake his own film for rights purposes, and though Tom Savini was hired originally to handle the effects, Romero persuaded him to direct instead when he got tied up with obligations to The Dark Half. The result is a refreshing new spin on a classic that still retains the core values of the original while making necessary modern updates with self-awareness. Tony Todd stars as Ben, and Patricia Tallman imbues Barbara with the ferocious backbone she never had before. It failed to resonate, sadly, making this one of horror’s more underappreciated remakes.
Graveyard Shift
A textile mill with a rat infestation has something far more dangerous lurking in the basement, in this outlandish horror movie based on Stephen King’s short story. Brad Dourif turns in an insane performance as the exterminator, rivaling John Goodman for scene-stealing exterminators in 1990. Released in October, this bonkers creature feature didn’t win over critics, but it did at least earn back its budget at the box office.
Jacob’s Ladder
Grieving over his deceased child, a Vietnam vet (Tim Robbins) struggles to get a grip on reality the more dreams, nightmares, and hallucinations bleed over into his waking life. A moderate success upon its early November theatrical release, Jacob’s Ladder quickly became a cult favorite thanks to its surreal imagery and disorienting horror.
Child’s Play 2
Set two years after the events of the first film, killer doll Chucky is reassembled and resuscitated. His only goal: take down Andy Barclay, who’s now in foster care. This sequel marked the franchise’s shift from United Artists to Universal Pictures, with John Lafia -a co-writer of the first film- picking up the directorial reigns. Don Mancini penned the screenplay. Child’s Play 2 opened number one at the box office upon its November 9 release.
Predator 2
The titular alien hunter ventured into the concrete jungle in this sequel, cleaning up the streets and leaving a body trail amidst a gang war. Only Lieutenant Mike Harrigan (Danny Glover) stands in the Predator’s way. Though it still made a strong showing in theaters upon its November release, this sequel didn’t make as big of an impact on audiences and critics as its predecessor.
Misery
Written by William Goldman and directed by Rob Reiner, this adaptation of Stephen King’s novel marked one hell of a way to close out the year’s horror releases. James Caan stars as Paul Sheldon, a popular novelist rescued by his biggest fan, Annie Wilkes (Kathy Bates), after a car crash. His savior quickly becomes his tormentor, subjecting him to nightmarish abuse. Misery didn’t just pull in a strong showing at the box office, it earned the praises of critics and slew of award nominations, including an Academy Award win for Best Actress in a Leading Role for Bates.
Soon after the New Hollywood generation took over the entertainment industry, they started having children. And more than any filmmakers that came before—they were terrified. Rosemary’s Baby (1968), The Exorcist (1973), The Omen (1976), Eraserhead (1977), The Brood (1979), The Shining (1980), Possession (1981), and many others all deal, at least in part, with the fears of becoming or being a parent. What if my child turns out to be a monster? is corrupted by some evil force? or turns out to be the fucking Antichrist? What if I screw them up somehow, or can’t help them, or even go insane and try to kill them? Horror has always been at its best when exploring relatable fears through extreme circumstances. A prime example of this is Larry Cohen’s 1974 monster-baby movie It’s Alive, which explores the not only the rollercoaster of emotions that any parent experiences when confronted with the difficulties of raising a child, but long-standing questions of who or what is at fault when something goes horribly wrong.
Cohen begins making his underlying points early in the film as Frank Davis (John P. Ryan) discusses the state of the world with a group of expectant fathers in a hospital waiting room. They discuss the “overabundance of lead” in foods and the environment, smog, and pesticides that only serve to produce roaches that are “bigger, stronger, and harder to kill.” Frank comments that this is “quite a world to bring a kid into.” This has long been a discussion point among people when trying to decide whether to have kids or not. I’ve had many conversations with friends who have said they feel it’s irresponsible to bring children into such a violent, broken, and dangerous world, and I certainly don’t begrudge them this. My wife and I did decide to have children but that doesn’t mean that it’s been easy.
Immediately following this scene comes It’s Alive’s most famous sequence in which Frank’s wife Lenore (Sharon Farrell) is the only person left alive in her delivery room, the doctors clawed and bitten to death by her mutant baby, which has escaped. “What does my baby look like!? What’s wrong with my baby!?” she screams as nurses wheel her frantically into a recovery room. The evening that had begun with such joy and excitement at the birth of their second child turned into a nightmare. This is tough for me to write, but on some level, I can relate to this whiplash of emotion. When my second child was born, they came about five weeks early. I’ll use the pronouns “they/them” for privacy reasons when referring to my kids. Our oldest was still very young and went to stay with my parents and we sped off to the hospital where my wife was taken into an operating room for an emergency c-section. I was able to carry our newborn into the NICU (natal intensive care unit) where I was assured that this was routine for all premature births. The nurses assured me there was nothing to worry about and the baby looked big and healthy. I headed to where my wife was taken to recover to grab a few winks assuming that everything was fine. Well, when I awoke, I headed back over to the NICU to find that my child was not where I left them. The nurse found me and told me that the baby’s lungs were underdeveloped, and they had to put them in a special room connected to oxygen tubes and wires to monitor their vitals.
It’s difficult to express the fear that overwhelmed me in those moments. Everything turned out okay, but it took a while and I’m convinced to this day that their anxiety struggles spring from these first weeks of life. As our children grew, we learned that two of the three were on the spectrum and that anxiety, depression, ADHD, and OCD were also playing a part in their lives. Parents, at least speaking for myself, can’t help but blame themselves for the struggles their children face. The “if only” questions creep in and easily overcome the voices that assure us that it really has nothing to do with us. In the film, Lenore says, “maybe it’s all the pills I’ve been taking that brought this on.” Frank muses aloud about how he used to think that Frankenstein was the monster, but when he got older realized he was the one that made the monster. The aptly named Frank is wondering if his baby’s mutation is his fault, if he created the monster that is terrorizing Los Angeles. I have made plenty of “if only” statements about myself over the years. “If only I hadn’t had to work so much, if only I had been around more when they were little.” Mothers may ask themselves, “did I have a drink, too much coffee, or a cigarette before I knew I was pregnant? Was I too stressed out during the pregnancy?” In other words, most parents can’t help but wonder if it’s all their fault.
At one point in the film, Frank goes to the elementary school where his baby has been sighted and is escorted through the halls by police. He overhears someone comment about “screwed up genes,” which brings about age-old questions of nature vs. nurture. Despite the voices around him from doctors and detectives that say, “we know this isn’t your fault,” Frank can’t help but think it is, and that the people who try to tell him it isn’t really think it’s his fault too. There is no doubt that there is a hereditary element to the kinds of mental illness struggles that my children and I deal with. But, and it’s a bit but, good parenting goes a long way in helping children deal with these struggles. Kids need to know they’re not alone, a good parent can provide that, perhaps especially parents that can relate to the same kinds of struggles. The question of nature vs. nurture will likely never be entirely answered but I think there’s more than a good chance that “both/and” is the case. Around the midpoint of the film, Frank agrees to disown the child and sign it over for medical experimentation if caught or killed. Lenore and the older son Chris (Daniel Holzman) seek to nurture and teach the baby, feeling that it is not a monster, but a member of the family.
It’s Alive takes these ideas to an even greater degree in the fact that the Davis Baby really is a monster, a mutant with claws and fangs that murders and eats people. The late ’60s and early ’70s also saw the rise in mass murderers and serial killers which heightened the nature vs. nurture debate. Obviously, these people were not literal monsters but human beings that came from human parents, but something had gone horribly wrong. Often the upbringing of these killers clearly led in part to their antisocial behavior, but this isn’t always the case. It’s Alive asks “what if a ‘monster’ comes from a good home?” In this case is it society, environmental factors, or is it the lead, smog, and pesticides? It is almost impossible to know, but the ending of the film underscores an uncomfortable truth—even monsters have parents.
As the film enters its third act, Frank joins the hunt for his child through the Los Angeles sewers and into the L.A. River. He is armed with a rifle and ready to kill on sight, having divorced himself from any relationship to the child. Then Frank finds his baby crying in the sewers and his fatherly instincts take over. With tears in his eyes, he speaks words of comfort and wraps his son in his coat. He holds him close, pats and rocks him, and whispers that everything is going to be okay. People often wonder how the parents of those who perform heinous acts can sit in court, shed tears, and defend them. I think it’s a complex issue. I’m sure that these parents know that their child has done something evil, but that doesn’t change the fact that they are still their baby. Your child is a piece of yourself formed into a whole new human being. Disowning them would be like cutting off a limb, no matter what they may have done. It doesn’t erase an evil act, far from it, but I can understand the pain of a parent in that situation. I think It’s Alive does an exceptional job placing its audience in that situation.
Despite the serious issues and ideas being examined in the film, It’s Alive is far from a dour affair. At heart, it is still a monster movie and filled with a sense of fun and a great deal of pitch-black humor. In one of its more memorable moments, a milkman is sucked into the rear compartment of his truck as red blood mingles with the white milk from smashed bottles leaking out the back of the truck and streaming down the street. Just after Frank agrees to join the hunt for his baby, the film cuts to the back of an ice cream truck with the words “STOP CHILDREN” emblazoned on it. It’s a movie filled with great kills, a mutant baby—created by make-up effects master Rick Baker early in his career, and plenty of action—and all in a PG rated movie! I’m telling you, the ’70s were wild. It just also happens to have some thoughtful ideas behind it as well.
Which was Larry Cohen’s specialty. Cohen made all kinds of movies, but his most enduring have been his horror films and all of them tackle the social issues and fears of the time they were made. God Told Me To (1976), Q: The Winged Serpent (1982), and The Stuff (1985) are all great examples of his socially aware, low-budget, exploitation filmmaking with a brain and It’s Alive certainly fits right in with that group. Cohen would go on to write and direct two sequels, It Lives Again (aka It’s Alive 2) in 1978 and It’s Alive III: Island of the Alive in 1987 and is credited as a co-writer on the 2008 remake. All these films explore the ideas of parental responsibility in light of the various concerns of the times they were made including abortion rights and AIDS.
Fifty years after It’s Alive was initially released, it has only become more relevant in the ensuing years. Fears surrounding parenthood have been with us since the beginning of time but as the years pass the reasons for these fears only seem to become more and more profound. In today’s world the conversation of the fathers in the waiting room could be expanded to hormones and genetic modifications in food, terrorism, climate change, school and other mass shootings, and other threats that were unknown or at least less of a concern fifty years ago. Perhaps the fearmongering conspiracy theories about chemtrails and vaccines would be mentioned as well, though in a more satirical fashion, as fears some expectant parents encounter while endlessly doomscrolling Facebook or Twitter. Speaking for myself, despite the struggles, the fears, and the sadness that sometimes comes with having children, it’s been worth it. The joys ultimately outweigh all of that, but I understand the terror too. Becoming a parent is no easy choice, nor should it be. But as I look back, I can say that I’m glad we made the choice we did.
I wonder if Frank and Lenore can say the same thing.
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