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“Aaahh!!! Real Monsters” – Nickelodeon Series Made ’90s Kids Fall in Love With Monsters

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For this month’s installment of “TV Terrors” we revisit “Aaahh!!! Real Monsters,“ the fondly remembered Nickelodeon animated series that aired from 1994 through 1997.

Every Nickelodeon fanatic has their period where they thought the network really hit their stride. For me, 1994 was their real peak of pure kids entertainment. It was a time where they’d tapped into a wonderful momentum with programming blocks like Saturday Night’s SNICK, weekday morning’s Nick Jr., and excellent series like “Rugrats,” “All That,” “Legends of the Hidden Temple,” “The Secret World of Alex Mack,” and a whole lot more.

It was also the year that “Aaahh!!! Real Monsters” premiered.

Debuting officially on October 30th, 1994, the program was another of the many Klasky-Csupo produced animated shows that had dominated the airwaves for most of the Nickelodeon golden age. Breaking in to their tendency to spotlight the lesser explored corners of our society, “Aaahh!!! Real Monsters” focused on the world of monsters; the monsters that hide in our closets, under our beds, in our bathtubs, and in our toilets. It is one of the few genuinely horror-oriented animated shows that Nickelodeon has ever aired.

Set in New York City, the show’s protagonists were monsters themselves, many of whom aspired to be what was known among their race as “scarers.” Desperate to be taken seriously as “scarers,” a must in their world, the series specifically follows a trio of lovable monsters that live in a large landfill teeming with secret entrances. Oddly enough they’re also the primary heroes of the show. There’s Ickis, a small red creature often confused with a rabbit; Oblina, a thin striped female monster often confused for an upside down candy cane; and Krumm, a hairy, smelly, chubby monster who holds both of his detached eyes in his hands (and sounds a lot like Seth Rogen).

The trio attends a school for monsters where their teacher, The Gromble, looks for various human kids around the city to scare. The very existence and survival of monsters depends on their ability to scare people, and it’s mandatory that monsters in this reality learn how to give a great scare. Their assignments are chronicled and scrutinized by the Gromble who implements the Viewfinder, a chair-like projection device that is used to replay the scaring activities of students.

Much of “Aaahh!!! Real Monsters” garners the whimsical, eccentric, gothic animation influence of Edward Gorey, and was often darker than most of Nickelodeon’s other shows. Klasky-Csupo’s “Rugrats” had a great premise in focusing on what toddlers did when adults weren’t looking, and “Aaahh!!! Real Monsters” taps the same vein. Funny enough, both series would eventually cross over in the season six “Rugrats” episode, “Ghost Story.”

While the tone from “Rugrats” differs drastically, this doesn’t stop the series from feeling oh so inviting and absolutely entertaining. Though our reluctant trio of monsters made for charming and entertaining protagonists, they also thrilled in giving the best scare possible. This resulted in them terrifying other characters (humans) to a state of delirium by the end of an episode. And it also garnered them a few nemeses that did everything to out them to the public at large.

In fact, most of the episodes revolved around Ickis, Oblina, and Krumm either being sent on an assignment to scare a human, or being stuck in the human world with risk of giving away their existence. The series was brilliantly voiced by David Ecles, Charlie Adler, and prolific and well known Nickelodeon actress, the late Christine Cavanaugh. The tension was also centered on whether or not the world would find out about them, and what consequences the Gromble had in store for them.

Despite being icky monsters, dammit, we rooted for them every time.

Since their world relies on a fear of the unknown, the monsters had to often find a way to ensure their path home without revealing their existence, lest they be punished by the militant Gromble. As the series progressed, most of their former scare victims would re-appear again, hoping to find the monsters and bring them to the public eye. All while they avoided a relentless monster hunter (voiced by Jim Belushi) named Simon.

Some of the best episodes include Ickis bonding with a stray dog in their landfill home, Ickis’ challenge to complete five scares in one day, and “Rosh-O-Meter,” a clever spoof of Rashomon involving three different stories told from the monsters’ point of view. The characters were twisted and ugly, but they were also absolutely adorable. I always particularly related to Krumm, who loved to eat garbage and often carried his eyes in his mouth when his hands were full. I’ve never done either–but I loved his humility despite being a horrific monster.

“Aaahh!!! Real Monsters” still holds up wonderfully today with a unique, PG twist on what’s become a surprisingly well worn formula over the years with fodder like Little Monsters, Foster’s Home for Imaginary Friends, and the Monsters Inc. franchise, respectively. In spite of the latter’s immense success, “Aaahh!!! Real Monsters” is still in a league of its own as a fun, often brilliant series that gave us a peek into monster life, showing us that deep down they too are also just students anxious to simply prove themselves academically.

The show was able to make its mark with some great merchandise including school supplies, candy, action figures, Fleer trading cards, video cassettes, and of course a very entertaining platformer video game for the SNES and Sega Genesis where you got to play as all three of our resident scarers.

While it was popular and very well received in its heyday, the series has thankfully managed to maintain a pretty large fan base of viewers that still fondly remember it as one of the better Klasky-Csupo series ever produced for the network (fans often go back and forth between this, “Rugrats,” and “Duckman”).

“Aaahh!!! Real Monsters” is perfect 90s nostalgia and top notch gateway horror, as well.

Rest in Peace, Christine Cavanaugh.

Is It On DVD/Blu-ray/Streaming? The series can be streamed now on Paramount Plus in its full and uncut form, and it’s still available on DVD in its complete form (and in various volumes) from Shout! Factory.


Horror and science fiction have always been a part of the television canvas, and constant attempts have been made over the years to produce classic entertainment. Some have fallen by the wayside, while others became mainstream phenomena. With “TV Terrors,” we take a look back at the many genre efforts from the 80’s, 90’s, and 00’s, exploring some shows that became cult classics, and others that sank into obscurity.

Felix is a horror, pop culture, and comic book fanatic based in The Bronx. Along with being a self published author, he also operates his blog Cinema Crazed and loves 90's nostalgia. His number one bucket list item is to visit Ireland on Halloween. Or to marry Victoria Justice. Currently undecided.

Editorials

Silly, Self-Aware ‘Amityville Christmas Vacation’ Is a Welcome Change of Pace [The Amityville IP]

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Twice a month Joe Lipsett will dissect a new Amityville Horror film to explore how the “franchise” has evolved in increasingly ludicrous directions. This is “The Amityville IP.” 

After a number of bloated runtimes and technically inept entries, it’s something of a relief to watch Amityville Christmas Vacation (2022). The 55-minute film doesn’t even try to hit feature length, which is a wise decision for a film with a slight, but enjoyable premise.

The amusingly self-aware comedy is written and directed by Steve Rudzinski, who also stars as protagonist Wally Griswold. The premise is simple: a newspaper article celebrating the hero cop catches the attention of B’n’B owner Samantha (Marci Leigh), who lures Wally to Amityville under the false claim that he’s won a free Christmas stay.

Naturally it turns out that the house is haunted by a vengeful ghost named Jessica D’Angelo (Aleen Isley), but instead of murdering him like the other guests, Jessica winds up falling in love with him.

Several other recent Amityville films, including Amityville Cop and Amityville in Space, have leaned into comedy, albeit to varying degrees of success. Amityville Christmas Vacation is arguably the most successful because, despite its hit/miss joke ratio, at least the film acknowledges its inherent silliness and never takes itself seriously.

In this capacity, the film is more comedy than horror (the closest comparison is probably Amityville Vibrator, which blended hard-core erotica with references to other titles in the “series”). The jokes here are enjoyably varied: Wally glibly acknowledges his racism and excessive use of force in a way that reflects the real world culture shift around criticisms of police work; the last names of the lovers, as well the title of the film, are obvious homages to the National Lampoon’s holiday film; and the narrative embodies the usual festive tropes of Hallmark and Lifetime Christmas movies.

This self-awareness buys the film a certain amount of goodwill, which is vital considering Rudzinski’s clear budgetary limitations. Jessica’s ghost make-up is pretty basic, the action is practically non-existent, and the whole film essentially takes place in a single location. These elements are forgivable, though audiences whose funny bone isn’t tickled will find the basic narrative, low stakes, and amateur acting too glaring to overlook. It must be acknowledged that in spite of its brief runtime, there’s still an undeniable feeling of padding in certain dialogue exchanges and sequences.

Despite this, there’s plenty to like about Amityville Christmas Vacation.

Rudzinski is the clear stand-out here. Wally is a goof: he’s incredibly slow on the uptake and obsessed with his cat Whiskers. The early portions of the film lean on Wally’s inherent likeability and Rudzinski shares an easy charm with co-star Isley, although her performance is a bit more one-note (Jessica is mostly confused by the idiot who has wandered into her midst).

Falling somewhere in the middle are Ben Dietels as Rick (Ben Dietels), Wally’s pathetic co-worker who has invented a family to spend the holidays with, and Zelda (Autumn Ivy), the supernatural case worker that Jessica Zooms with for advice on how to negotiate her newfound situation.

The other actors are less successful, particularly Garrett Hunter as ghost hunter Creighton Spool (Scott Lewis), as well as Samantha, the home owner. Leigh, in particular, barely makes an impression and there’s absolutely no bite in her jealous threats in the last act.

Like most comedies, audience mileage will vary depending on their tolerance for low-brow jokes. If the idea of Wally chastising and giving himself a pep talk out loud in front of Jessica isn’t funny, Amityville Christmas Vacation likely isn’t for you. As it stands, the film’s success rate is approximately 50/50: for every amusing joke, there’s another one that misses the mark.

Despite this – or perhaps because of the film’s proximity to the recent glut of terrible entries – Amityville Christmas Vacation is a welcome breath of fresh air. It’s not a great film, but it is often amusing and silly. There’s something to be said for keeping things simple and executing them reasonably well.

That’s a lesson that other indie Amityville filmmakers could stand to learn.

2.5 out of 5 skulls

The Amityville IP Awards go to…

  • Recurring Gag: The film mines plenty of jokes from characters saying the quiet part (out) loud, including Samantha’s delivery of “They’re always the people I hate” when Wally asks how he won a contest he didn’t enter.
  • Holiday Horror: There’s a brief reference that Jessica died in an “icicle accident,” which plays like a perfect blend between a horror film and a Hallmark film.
  • Best Line: After Jessica jokes about Wally’s love of all things cats to Zelda, calling him the “cat’s meow,” the case worker’s deadpan delivery of “Yeah, that sounds like an inside joke” is delightful.
  • Christmas Wish: In case you were wondering, yes, Santa Claus (Joshua Antoon) does show up for the film’s final joke, though it’s arguably not great.
  • Chainsaw Award: This film won Fangoria’s ‘Best Amityville’ Chainsaw award in 2023, which makes sense given how unique it is compared to many other titles released in 2022. This also means that the film is probably the best entry we’ll discuss for some time, so…yay?
  • ICYMI: This editorial series was recently included in a profile in the The New York Times, another sign that the Amityville “franchise” will never truly die.

Next time: we’re hitting the holidays in the wrong order with a look at November 2022’s Amityville Thanksgiving, which hails from the same creative team as Amityville Karen <gulp>

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