Editorials
Why ‘The Thing’ and ‘The Blob’ Make for a Perfect Horror Remake Double Feature
According to some, remakes do untold damage to childhoods the world over, leaving nothing but tears, regrets, and crumpled up memories in their wake. Obviously, the idea of redoing a beloved movie is a touchy subject for film fans as the results are sometimes less than stellar. In some cases, they’re not even adequate. But horror remakes fair a little better. Specifically, ones with a creative team with something on their mind or a singular perspective.
Every week in October, I’m suggesting a double feature of remakes for your Halloween viewing pleasures. The movies are connected and never random, even if the connection is not-so-obvious at first sight. Besides the fact we’re all dying for horror to watch during the spooky season, double features are great introductions to movies for the uninitiated. And for seasoned vets, watching two movies back-to-back can sometimes put them in a different light.
So, without further ado, let’s get to the picks.
What Are the Movies?
Four movies were the impetus for this entire endeavor, and these were the top two: John Carpenter’s The Thing and Chuck Russell’s The Blob. Remember last week when I said the 80s is horror’s most hallowed decade? No need to jog your memory; I definitely said it. Anyway, these two movies are quintessential reasons why.
For the three or four of you reading this site who haven’t seen The Thing, it’s a remake of 1951’s The Thing from Another World. Like last week’s picks, Carpenter applies the basic idea about an alien attacking a group of researchers in Antarctica and creates a brand-new story that speaks to the 80s. Actually, given our current circumstances, it’s talking pretty loudly to 2020 as well. The Thing is about paranoia and distrust due to a shapeshifter that is basically, well, a virus. Coming a year after the AIDS epidemic in the United States began in earnest, it’s easy to see the movie as a parable for real-world issues.
That’s all well and good, but Rob Bottin’s special effects are the real stars of the show. Pretty sure I’m not going out on a limb when I say the effects work is a big reason the movie doesn’t look or feel even slightly dated. In horror, filmmakers usually keep monsters in the shadows. Why? Because conventional wisdom says nothing they show us is more horrifying than what we conjure in our minds. The Thing is one of, if not the greatest horror movie of all time. One reason is that it throws that conventional wisdom out of every possible window in its vicinity. The creature design goes to places my mind wouldn’t dream of, much less consciously conjure. The beauty of dealing with a shapeshifting alien is it can be anything. The titular “Thing” is a combination of every species on every planet it’s ever assimilated, allowing Bottin and his crew to go nuts. The practical effects are a spoonful of horror sugar to the film’s medicine of nihilism.
And then there’s The Blob, which feels like cotton candy confection, even without comparisons to The Thing. Trading in the ’50s Midwest small-town setting for an ’80s west coast small town, the movie is about, big surprise, an amorphous blob come to earth. Rather than make friends, it attacks this sleepy, little California town and rips apart the city’s Americana veneer. Yeah, The Blob satirizes 1950s culture while paying it homage but never forgets to be a scary movie. In what comes as a shock to no one at all, the team responsible for one of the best Freddy Krueger movies understands the perfect balance of humor, horror, and intelligence.
The movie is called The Blob for a reason, and it delivers. Obviously, the design is simple, but that doesn’t mean it isn’t scary. The creature crushes people, phone booths, people, guns, animals, and of course, more people. The blob idea is more than a little silly, but the special effects team creates something not to be laughed at even a little bit. The Blob grows and can extend tendrils. It can be in one place, like a kitchen, hiding in plain sight. It can be everywhere and nowhere all at once and only has one weakness. No, I’m not telling what the defect is because that wouldn’t be any fun. But in another testament to how well-written the movie is, the blob’s fatal flaw is “set up and payoff” at its finest.
Okay, Why These Two?
Why not these two? They’re both ’80s remakes of ’50s classics and feature some of the best practical effects in the genre, much less the decade. Both films make the ’50s relevant to the ’80s, almost as if they’re on the same wavelength. The Blob lays its more jaded 1980s worldview on top of idealism and nostalgia of the 1950s. The Thing takes a 1950s staple—alien invasions—and turns it into an unseen virus that shines a light on humanity’s worst qualities. And that light is visible even in the darkest of winter nights in the Antarctic. They’re both a lot of fun in their very own ways and stand the test of time as watershed moments.
The Thing and The Blob were dope in the ’80s, and they’re just as good in October 2020.
Maybe even better.
I’m relatively new to the Bloody Disgusting family, but I feel the need to admit something that you might find disturbing, distasteful, and downright disappointing. Basically, and with the utmost respect for your feelings, I’m of the opinion that Fede Alvarez’s Evil Dead is the best entry in the entire franchise.
To be clear, I like Sam Raimi’s original trilogy well enough, especially 1987’s Evil Dead II, but the zaniness can’t help but neuter the horror for me. They’re fun movies! I’m entertained by them, but I’m just drawn to Alvarez’s meaner, gorier, and more tonally unrelenting take on the same material.
A new Evil Dead film is now in theaters, and just as 2023’s Evil Dead Rise followed this same brutal vibe, Evil Dead Burn is continuing that wet slide into utter carnage.
Now keep reading to see what I heard on the commentary for…
Evil Dead (2013)
Commentators: Fede Alvarez (director/co-writer), Rodo Sayagues (co-writer), Jane Levy (actor), Lou Taylor Pucci (actor), Jessica Lucas (actor)
1. The family watching in the basement at 3:11 includes producer Rob Tapert’s son and a local actor from New Zealand, the one with the disfigured face, who has survived two separate plane crashes.
2. The decision to flip the opening shot (post title) upside down came in editing as Alvarez recalled being unsettled by a shot from Raimi’s original Evil Dead. “Something that really impressed me about the original was all the camera work, and there’s a moment… where Bruce [Campbell] runs from one side of the room to the other, and the camera looks back and upside down.”
3. It was composer Roque Banos who came up with adding the siren sounds. His inspiration came after living in Los Angeles for a short time and hearing many, many sirens.
4. It was Pucci’s idea for his character, Eric, to have a beard and long hair – partly as a visual nod to the film’s 1970s vibe, and partly because “you never have to do anything” with it.
5. “In any good story you have one of the main characters taking a bad step in the beginning,” says Alvarez as David (Shiloh Fernandez) fails to simply turn around and apologize to his sister Mia (Levy). “He makes another mistake,” adds Levy when he ignores her pleas for help after she’s been assaulted by the tree, but Alvarez says that choice is far more understandable.
6. Pucci is asked if it was his choice to be playing with the deck of cards on the porch swing, but he says it was Alvarez’s suggestion. The director adds that he had just tried impressing Pucci with a card trick – turns out they’re both amateur magicians – and Pucci carried it into the scene. It’s also a nod to the original film.
7. The clock at 14:56 is the actual one from the original film.
8. Most of them agree that the blood would send them packing in real life well before the book would. They’d be curious about the latter.
9. “It smells like burnt hair” was improvised by Pucci.
10. The script called for dead crows in the basement, but Tapert suggested they try something different, so they went with cats. A dead one had been found “in an alley” somewhere, and they took a mold of it to craft additional prosthetic cat corpses.
11. All of the closeups of people touching the book feature Alvarez’s hands.
12. Mia’s front yard vomit consisted of cold soup.
13. Early scenes of a wet and angry Mia were preceded by her doing sprints or jumping jacks offscreen to make her seem more exasperated. She was so amped up while driving the car that Alvarez, who was hidden in the backseat, was scared “while Jane is going crazy.”
14. Levy recalls Alvarez suggesting a similar scene from Wild at Heart as a reference point for her own performance after crashing the car into the pond.
15. They shot the film mostly chronologically, and that left producers a little concerned as they were seeing a lot of character drama. “They didn’t know what we were doing, and they were really anxious to get to the horror.” Those concerns were put to rest when they saw the dailies for the assault and bunkbed scene that follows.
16. It was Tapert who suggested they include the tree vine assault, and Alvarez was happy to see it used as more than just a shocker. “Being raped is her being injected with the devil,” says Levy, and he adds that it moves the story forward rather than just disturb.
17. The shower burn was the first bit of graphic mutilation that the writers conceived when they started working on the script.
18. The attempted escape in the Jeep after Mia is burned originally included a shot of David trying to call for help on his cell phone only to be stymied by a lack of service, but Alvarez took it out. He doesn’t think the audience needed it, and he didn’t want it to knock viewers out of the scene’s intensity.
19. The flooded river at 35:16 “is a real river.” It’s the same one the Jeep passes through at the beginning, and they simply waited for a heavy rain and then filmed the result.
20. Alvarez asked the sound department to come up with a unique sound for the Deadites, and the result was the crackling, “bug in a jar” noise.
21. “This was the hardest thing ever,” says Levy at 37:54 as her character projectile vomits blood onto Olivia’s (Lucas) face. They did four takes of the scene with Lucas having to be completely rinsed off and reset each time.
22. That’s not digital trickery at 39:32 as Olivia’s reflection gives an evil grin. “This was a timing thing because the mirror had to go away from me, and as it went away from me I had to actually do that face.” We see mostly the back and slight side of her outside of the reflection at this point, and the result is a cool little shot.
23. The bathroom encounter between Olivia and Eric originally ended with her hitting her head, but Raimi watched the dailies and asked Alvarez to milk the horror and gore a little bit longer.
24. “So everyone actually kills each other,” says Levy, “Mia never kills anybody in this movie.” Alvarez adds, “That’s the whole beauty of the story; Mia is the only innocent person, she’s a victim all the way.”
25. Alvarez recalls that one of Raimi’s “three rules of horror” is that “the innocent must be punished.” Does that contradict the point immediately above? Maybe, but she went through hell, and at the end of the day, are any of us actually innocent?
26. He acknowledges that the film, like many horror movies, is filled with characters making questionable choices, but he defends most of them as being understandable given the context.
27. “It’s my first sex scene,” says Levy at 1:31:11 as her character licks Natalie’s (Elizabeth Blackmore) leg. “This one was her stunt double’s leg.” She adds that “Kiss me, you dirty cunt!” is the favorite thing she’s ever said.
28. Natalie’s attempt to rinse her hand wound was originally written to include a black worm coming out of the gash, “but we didn’t want to be too supernatural.” Mr. Alvarez, my good man, have you seen your own movie?
29. Alvarez sees the theme of the movie as accepting that sometimes the only way out of a problem is through it – and here that means killing your friends before dismembering or burning their bodies. A good lesson for us all, really.
30. Eric’s laughter at Natalie saying “My face hurts” was real as Pucci found the line – one that Alvarez added on the fly – to be very funny given the situation and the fact that both of her arms are gone.
31. “Those woods were really, really creepy,” says Pucci, and Lucas adds that their New Zealand filming location was near a Maori burial ground.
32. Mia, gasping for her life in the hole with the plastic bag over her head, was apparently Levy’s audition scene.
33. They see Mia’s resurrection – the real Mia coming back to life after her brother’s janky defibrillator attempt – as a reward from beyond for David finally apologizing to her like he should have done from the start. I don’t mind saying that this is an odd take given how clear this film (and franchise as a whole) makes it that there’s absolutely no good supernatural entity looking out for these characters. Characters in these movies are absolutely and utterly fucked, and they should probably just accept that. Alvarez ultimately concedes that you can also just believe that the defibrillator actually worked.
34. For those who missed it, the necklace chain on the ground at 1:16:51 is in the shape of a skull as a nod to the scene in the original film where Ash (Campbell) goes for a necklace and sees a skull.
35. The machete comes through the wall at 1:20:10 and slices Mia’s leg, and they used Natalie’s prosthetic arm for the shot – it’s getting cut at the elbow.
36. They went through various versions of the Abomination Mia (Randal Wilson), including one that was made up of all five of the friends.
37. The original ending saw Mia walking on the road, but they cut it. The image still made it into the one-sheet poster.
38. The end credits feature extremely bloody shots filmed at high speed and meant to reference various beats from the film itself in tighter, close-up detail that viewers might have missed.
Quotes Without Context
“You kind of want to put the rape idea in people’s minds.”
“The car, of course.”
“I would definitely open the book.”
“Swimming through the swamp was fun.”
“Duct tape fixes everything.”
“How come David is such a bad boyfriend?”
“This kiss, I was really suffocating her.”
“I’m such a perv.”
“It’s like Beetlejuice.”
“Fede kept telling me this is my Bruce Willis moment to pump me up.”
Keep up with more horror commentary breakdowns here.
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