Editorials
Ivan Reitman’s ‘Evolution’ – Celebrating 20 Years of the Other Ghostbusters
No matter how you feel about the sequels, reboots and spin-offs, there’s no denying that the first Ghostbusters captured lightning in a bottle in a way that not even the original team could replicate. Sometimes, the right people pop up at the right place and the right time, and the universe gifts us with an unforgettable classic. Of course, this hasn’t stopped studios from trying to rekindle that magic with similar projects, and while we were all hyped for Jason Reitman’s Ghostbusters: Afterlife, last year also marked the 20th anniversary of Ivan Reitman‘s other attempt at a spiritual successor to his most iconic franchise. Naturally, I’m talking about the underrated 2001 monster movie, Evolution.
Originally envisioned by screenwriter Don Jakoby as a hyper-serious horror/sci-fi thriller, Evolution gradually shifted into a completely different direction once Reitman came onboard the project. Inspired by the premise of a group of friends banding together to face an otherworldly threat, the director saw the film as a potential Ghostbusters for the new millennium, with an updated cast of charming oddballs fighting extraterrestrial mutations instead of supernatural entities.
After a series of comedic rewrites, the studio began searching for an ensemble cast with franchise potential. Hot off the heels of The X-Files, David Duchovny was chosen as the sardonic lead that would keep the group together, with Orlando Jones becoming his best friend and partner in crime. The ever-lovable Sean William Scott was also cast as the humorous everyman of the team, with Julianne Moore rounding things out as a clumsy scientist with a heart of gold.
The finished film follows college professors Ira Kane (Duchovny) and Harry Block (Jones) as they investigate a mysterious meteorite that crashes in the Arizona desert. Unfortunately for us humans, the meteorite contains microscopic life-forms that rapidly adapt to their new environment, going through millions of years of evolution in just a few hours as they mutate into monstrous creatures hell-bent on taking over the planet. Knowing that an extinction-level event is at hand, Ira and Harry team up with the CDC’s Dr. Allison Reed (Moore) and the aspiring firefighter Wayne Grey (Scott) in order to study the alien menace and devise a plan to save the world, all while butting heads with an inept military response.
I’m still mad that we didn’t get more of this!
The alien invasion setup may sound familiar, but the formula is solid enough for Evolution to work as a light-hearted sci-fi romp with plenty of impressive monster designs and memorable character moments. Despite wearing its intentions on its sleeve as it attempts to become “the next Ghostbusters“, the movie actually manages to stand on its own as a retro-styled comedy with an early-2000s twist, and I think it’s a shame that no one really one talks about it anymore.
From silly moments like watching the aliens reach a primate-like level of intelligence to fun set-pieces like when the crew attempts to bring down a mutated dragon in the middle of a crowded shopping mall, I’d argue that the movie is at its best when reveling in its own absurdity. Hell, I know I’ll never forget that bizarre finale where dandruff shampoo miraculously saves the day in what can only be described as a cellular enema.
Ivan Reitman’s Evolution admittedly stumbles during its transparent attempts at recreating Ghostbuster’s success (even Dan Aykroyd makes an appearance and the poster’s three-eyed smiley face is obviously meant to emulate that film’s highly marketable anti-ghost logo), but the insanely charming cast helps to smooth out most of the rough edges. The dated jokes and familiar tropes are no match for Jones and Duchovny’s bromance, and even Sean William Scott gets the chance to shine with ridiculous amounts of “dudebro” energy. Dr. Reed is the only character that really suffers from the unpolished script, with Moore being relegated to lazy gags despite her legendary acting chops.
Unfortunately, there’s also the matter of the film’s heavy use of early-2000s CGI during its action sequences. While there are a handful of practical puppets on display here, and the designs are all pretty clever, the majority of the monsters are brought to life via wonky computer graphics that haven’t aged all that well. Thankfully, the movie’s playful tone keeps the effects from detracting from the experience, though I wish they had gone with the original plan of having the alien’s final form be a fleshy humanoid kaiju instead of a gigantic cell.
Where Product Placement and Deus Ex Machinas meet!
Personally, I think Evolution was a single draft (and maybe a Ray Parker Jr. song) away from being a classic, but I still appreciate how it lovingly emulates classic monster movies for a new crowd. From setting the story in the Arizona desert to having a bumbling military force be saved by outcast scientists, the film really nails the 50s sci-fi tropes without feeling like a parody. Hell, even the “real science” on display here is about as accurate as it was in those movies, and I wouldn’t be surprised if a possible sequel involved radiation turning lizards and insects into giant monsters.
Despite spawning a short-lived animated series, it’s a real shame that Evolution never took off as a franchise. This could have been one of those rare cases where a sequel with already-established characters could have surpassed the original, introducing even wackier monster-movie hijinks with each new installment. They may not be everyone’s favorite team of paranormal exterminators, but I could have watched hours of Jones and Duchovny bickering about space creatures and the periodic table, and I have a sneaking suspicion that I’m not the only one.
As it stands, Ivan Reitman’s Evolution doesn’t quite live up to its aspirations as a proper successor to the original Ghostbusters, but it definitely stands on its own as a highly entertaining throwback created by a team that clearly cared about the project. It may not have aged as gracefully as its inspirations, but I’d recommend this one to any fan of the light-hearted monster flicks of yesteryear. At the very least, you’ll learn that Head & Shoulders can be useful during an alien invasion, and with the way things are right now, it’s always good to be prepared.
College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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