Night of the Creeps (1986)

{Warning: The review contains spoilers.}

1989. I’m sitting in my living room, watching a reruns of the TV show Batman (my favorite show at the time), and angered that I have suffer through a whole slew of commercials before I get to see how the episode is going to end. Suddenly a promo for tonight’s movie pops up; at first I’m not interested, as it looks like a lame ass zombie film, but that all changes when I hear the following exchange:

Detective Cameron: I got good news and bad news, girls. The good news is your dates are here.

Sorority Sister: What’s the bad news?

Detective Cameron: They’re dead!

After that, I feel that I MUST watch this movie, it is my duty, nay my destiny to do so. The movie, needless to say, is Night of the Creeps and I, being ten years old at the time, am absolutely mesmerized by everything that I have just seen. This film has EVERYTHING: Zombies, leeches (creeps) that shoot into people’s mouths, a hardboiled detective, a teenage love story, and space aliens. I was so enamored by the movie that when the station re-aired it a few days I popped in a blank video cassette and  pressed the record button on the VCR (our remote was broke), convinced that I would have it for all eternity, or until the cassette wore out. That didn’t happen, as my dad taped it over for an episode of Columbo.  In his defense, it was an exciting episode in which Columbo goes to a movie studio to solve a mystery.  However, it would be well over a decade until I saw the film again and that was when it aired on the Sci-Fi channel.  This time I made damn sure no one would tape over it and I’ve been true to my word, I still have it in my “tape off TV” video library. 

What surprised me upon seeing it as an adult was how funny the film was in parts, I completely missed this as a ten year-old kid. By this time I had taken a few film studies course at UWM and was pretty well versed in cinema history, so I found it absolutely humorous that the characters shared the same last names with famous horror directors: Chris “Romero”, Cynthia “Cronenberg,” J.C. “Carpenter,” and Detective Ray “Cameron.” And the topper was that the characters go to Corman University. As a kid, I didn’t really pay much attention to interactions between the characters, but rather spend the minutes counting down when the zombies were going to attack. As an adult, I tend to find the character scenes for more interesting than any of the horror scenes.  Night of the Creeps strongest asset is that it has fairly interesting and likable characters, rather than the standard personality free super models that often populate many horror films of today:

1.       Chris Romero (Jason Lively) – Chris is probably the least interesting of the main characters, but that’s mainly because he essentially serves as the film’s straight man. He is a fairly average looking college student and lacks self confidence, he still recovering from a bad break up from his high school sweetheart and moans about it all the time, much to the chagrin of J.C.  He is extremely self conscious and is a complete wet blanket at social gatherings.  He is also a hopeless romantic, when he sees Cynthia for the first time he is completely starry eyed and is convinced, despite not knowing her, that he is in love. However, he’s too nervous to introduce himself to Cynthia at frat party, so his best friend J.C. does the talking for him. When J.C. (lies) and tells Chris that Cynthia doesn’t have a boyfriend, Chris thinks the only chance he has with her  is by joining a fraternity, rather than being himself.  This in turn leads to the creeps being unleashed upon the college; in order for Chris to get into a fraternity he must pull a prank on one of the sororities, which involves stealing a cadaver and putting it on the lawn of sorority house. Chris and J.C. then go to the medical lab, where they stumbled upon a cryogenically frozen corpse.  Chris wants to get the hell out of there, but J.C. presses a button which opens the cryogenic chamber.  Chris tries to lift the corpse (while the disabled J.C. keeps asking him annoying questions), when suddenly it grabs his arm, this freaks out both him and J.C. and they run out of the lab, “screaming like banshees.” A lab assistant walks in and is promptly “creeped” by the thawed cadaver.  After this incident, Chris is not only depressed, but a little paranoid as well. However, as his world comes crashing down, Chris is essentially forced into action and proves himself fairly adept at handling high pressure situations; by the end of the film he becomes a fairly commanding presence, ordering the sorority sisters to leave the house, while him and Cynthia head down to the basement to take care of the creeps.  

2.       J.C. Carpenter (Steve Marshall)- J.C. is the exact opposite of Chris, extremely confident and a fairly funny loving guy, despite having a physical ailment that makes him use crutches to get around. It’s to Dekker’s credit that he never uses J.C.’s handicap as a cheap ploy for sympathy; there is no sad back story about to explain his ailment, nor are there violins heard on the soundtrack when he is first introduced, instead J.C. is presented as a wiseass that just happens to be handicapped.  His is constantly cracking jokes to make light of bad, often ridiculous situations. When he comes back from talking to Cynthia, Chris wants to know all about her, J.C. replies, “Well, she knows her name, which is impressive for a sorority girl.” Most importantly, he is a true friend to Chris and his not afraid to call him out on his bullshit; after having been scared by the corpse, the two go running back to their dorm room. Chris asks what they should do and J.C. cracks a joke that involves bolting the windows and shouting, “You’ll never take us alive coppers!”  This irritates Chris and he shouts, “Everything’s a joke to you tonight.” This sends J.C. off a huge, long rant:

Fuck you, Chris! Look, every single day I put up with your moaning about what’s her name and how you wish could fall in love again, but you’re too chickenshit to do anything about it. And then this Cynthia girl comes along, dream girl 2001, and I say to myself, “What the hell? I’m sure as hell never gonna get laid, so I might as well help my best friend, right?” Then you say, “J.C., help, we got to join a fraternity so she’ll give me the time of day. I say, “What the hell? You got to do it, you got to do it. And what do I do? I bust my ass off to help you and you get chickenshit again. And I push and I push and I don’t give up, and why? Why? You don’t even know. You don’t even care, because it’s important to me that you’re happy. Is that so crazy? And if we got to act like jerks and get into trouble to do that, then what the hell! It’s better than acting like jerks for no reason, right? So yeah, everything is a joke. It’s hilarious! Because if you take it seriously, you just get depressed all the time like you are. So fuck you!

Night of the Creeps boldest stroke is that it kills J.C. (an extremely likable character) midway through the film, thus setting up that no one is safe in this film. J.C.’s death is handled offscreen, but he still plays a vital role in the film’s denouement, after he gets “creeped” he records a message for Chris and explains that fire will kill the creeps.

3.       Cynthia Cronenberg (Jill Whitlow)- Cynthia is fairly sweet and somewhat naïve sorority girl, who inexplicably is dating the biggest dipshit on campus, Brad or “the Bradster” as he calls himself. However, despite her seemingly sweet exterior, she isn’t a complete pushover and often refuses to put up with Brad’s nonsense. Twice she stands up to Brad, calling him out on his arrogant behavior.

-The first time occurs after Brad confronts Chris and J.C. about the cadaver prank. Brad put the two up to it, but it upset that it wound up on the lawn of the sorority Cynthia goes to. Of course, the two guys know nothing about it, as they chickened out when the corpse seem to come to life. They are complete unaware that they corpse walked to Cynthia’s sorority, where its head burst open and shot creeps anywhere. J.C. tells Brad to back off and to “practice goose stepping.”  Brad kicks the back of J.C.’s crutch, which sends J.C. falling to the ground. Brad then asks Cynthia if she’s coming with him and she replies by flipping him the bird.  Then she helps J.C. up and gets introduced to Chris for the first time in the film.

-Brad calls Cynthia on the phone and then starts berating her for sticking up Chris and J.C. He then criticizes her for being a psych major and she, not wanting to hear any more of his drivel, hangs up the phone.

Her role of heroine is accidentally, in fact you could say that she is recruited by Chris, when the zombies converge on the sorority house, Chris gives her the flame thrower and briefs her on how to use it.  At first, she is completely shocked by all that is happening around and is incapable of doing anything, but eventually she snaps herself out of it and proceeds to set ablaze all the zombies (and the creeps that burst out of their heads) that come into her path.

4.       Detective Ray Cameron (Tom Atkins)- Cameron is the most complex character in the film, on the surface he is your average cinematic hardboiled detective, he doesn’t suffer fools gladly and often makes off color jokes, but deep inside he is a complete emotional  wreck. Cameron is haunted by the murder of his high school sweetheart 27 years earlier at the hands of an axe wielding maniac, as he confides to Chris, “Your high school sweetheart went on with her life. Mine got hacked up by some nutcase with an axe.” Cameron later on hunted down the killer, murdered him and buried the body it in an empty lot. However, despite having his revenge, he is still incapable of moving on with his life; at one point his superior asks, “Do you get off on living in the past?”  When the creeps are unleashed upon the campus, Cameron is convinced that it somehow ties together with his past, and is later proven correct when the corpse of the axe wielding maniac is resurrected by the creeps.  Cameron once again confronts his sweetheart’s killer, who is literally a pile of walking bones and blows his heads off, which in turn unleashes a whole bunch of creeps on civilization. After this confrontation, Cameron has a complete breakdown and is on the verge of suicide, when Chris comes knocking at his door to inform him that J.C.  has been taken by the creeps.  Cameron is hell bent on stopping the Creeps and doesn’t care  whether or not he comes back alive. In fact all Chris really manage to do was delay Cameron’s suicide, as Cameron sacrifices himself by dousing the basement of the sorority house with gasoline and blowing up the place. The presence of Detective Cameron is what really makes Night of the Creeps unique to the 80s horror cycle; in most horror films from that period (and even today for that matter) the law is either largely absent or completely inept, here Cameron dominates every scene he is in and is completely competent at his job. He’s also slightly insane and by the film’s end the role of action hero has been passed from him to Chris. 

There’s always been a divide amongst horror fans as to whether or not humor belongs in a horror film; some fans absolutely detest it, while other fans completely embrace it. I really think it depends on the film’s subject matter.  In Night of the Creeps the humor is needed to help the audience digest it’s rather ridiculous premise:  Experimental leeches (creeps) are shot from a spaceship in a canister, crash land on earth, and proceed to turn random people into zombies by flying into their mouth.

By adding humor into the mix director Fred Dekker lets the audience know that the film is not to be taken seriously and should sit back and enjoy themselves, plus it helps to masks many of the films flaws. If this film was played completely straight, chances are audiences would laugh at the film, as opposed to laughing with it. Night of the Creeps benefits greatly from the humor, whereas a horror film like Night of the Living Dead power lies in its straightforward, documentary like approach to the subject matter. For instance, if the character of Ben was to shout a stupid catchphrase after killing a zombie, it would be completely out of the place and destroy the overall tone of the movie. In Night of the Creeps, when Detective Cameron shouts, “It’s Miller Time!” before blasting off the head of a zombie, it fits perfectly into the overall tone of the film and usually gets a huge response from the audience.  

However, it’s also important that the humor respects the horror aspect of the film; the threat genuinely needs to be real in order for the audience to buy the premise.  If, for example, there was a scene in which one of the creeped out zombies slipped on a banana peel or did an elaborate pratfall, it would diffuse any tension that the filmmaker might be going for.  The humor often comes from the characters reactions to the zombies, or their being completely oblivious to the matter; when Cynthia is trying to comfort a creeped out Brad, she has her backed turn towards him and is unaware of the creeps shooting out of this mouth. It’s a moment that gets two reactions: 

1)      You’re laughing at how blissfully ignorant she is to the situation.

2)      You’re shouting at the screen, pleading for her to turn around.

The threat is genuine, but you can’t help but to laugh at how oblivious Cynthia is to the danger that is standing right behind her.  Thankfully, Chris arrives just in time to dispose of zombie Brad.

The other thing I couldn’t help to notice is that Night of the Creeps (especially in the first half) often plays like an 80s teen comedy. The archetypes are there:

Chris - the insecure lead who is infatuated with Cynthia.

J.C.- the wise cracking, off beat sidekick who dominates the first half of the film, but vanishes at the film’s climax, though in J.C.’s case he is killed off.

Cynthia - The girl of Chris’ dreams, who is coincidentally dating the biggest asshole on campus.

Brad – The campus bully that makes Chris’ life a living hell.

Teenagers often populate horror films, but they tend to belong in groups and there really is no pecking order. They are either camp counselors hoping to relax before the kids arrive, or they are party animals whose goals are to get wasted and/ or laid over the weekend; which makes it even more interesting that Chris’ main goal is to be in a genuine relationship with Cynthia, as opposed to just wanting to sleep with her. He even confides in J.C. that Cynthia could be the one and that he is in love. That was often the driving narrative in most teen comedies of that period; the lead male’s desire is not to have sex with his dream girl, but to be in a fully committed relationship with her. In Teen Wolf, after Scott and Pamela have just had sex, he is absolutely heartbroken to learn that it meant nothing to her. In Chris’ case, he gets his wish and at the film’s end is embracing Cynthia in his arms while her sorority burns down.

Whether or not this is intentional by Dekker is a matter of speculation, but it plays nicely into the era that he is stylizing onscreen. One of Dekker’s wisest decisions is to have a title card the reads “Pledge Week – 1986,” after the films black and white introduction. This may not seem like a big deal, but it allows for present day audiences to accept the film’s more dated aspects.  It was often common for other horror films of that decade to begin with a prelude set in the past and when it cut to the present a title card would flash onscreen that read, “Present Day” as opposed to giving you the exact year. This was often done to give the film a timeless feel, by not giving an exact date the filmmaker was trying to imply that it could take place in any era. The problem is that these films look nothing like the present day. In the original Friday the 13^th, the characters lifeline is stripped away when the land phone gets disabled; now a day practically everyone would be carrying a cell phone and would have the cops there in a matter of minutes.  

As I mentioned before, I first saw Night of the Creeps on television, I bring this up because the TV version’s ending was significantly different that the ending that was on the theatrical and video release of the film.  In the theatrical/video cut Cynthia notices a dog, crouches down to pet it and gets creeped for her effort. The final shot is of a creep flying towards the camera, thus screwing Cynthia and Chris out of a happy ending. In interviews Dekker has stated he regretted this ending and only used it because the studio didn’t approve of his original ending.  Obviously they had a change of heart, because when the film premiered on television, they substituted the “Cynthia gets creeped” ending for Dekker’s original, far more elaborate ending.  The television version gives Cynthia and Chris their happy ending, but then cuts to an ambulance driving down the road, just then the charred corpse of Detective Cameron walks into frame with a cigar in his mouth. The charred corpses takes a few more steps and then collapses, once his body hits the ground, creeps burst from his head and scurry under a gate; the camera tracks back to reveal that the gate belongs to a cemetery. The camera then proceeds to track over the gate and into the cemetery, when all of a sudden a light shines onto a headstone.  The camera then tilts up to reveal an alien spaceship flying into frame, slowly searching the cemetery for the creeps.  This was the ending I grew up with and naturally it’s the ending I prefer. What I like about the cemetery ending is that it puts the audience through an awry of emotions: When the creeps burst from Cameron’s head and slither into the cemetery, the audience’s naturally reaction is, “You have got to be kidding me!” The problem has seemingly gone from bad to worse, it’s only a matter of time before Cormon University is swarming with zombies; but then confusion sets in when the spotlight shines on the headstone. When the spaceship flies into frame, the audience doesn’t know what to expect or even how to react; it’s a prelude to a movie that we never see.  It’s a far more ambitious and ambiguous ending that the audience can interpret it anyway they want.  I always feel a sense of relief when  I see the spaceship flying, because (in my mind) the aliens have come to save the day. They are here to reclaim their experiment and to offer the Earth some assistance; it’s on par like in the westerns when the cavalry arrives at the last minute to save the heroes from certain doom.  The way I figure is if the aliens can fly across the galaxy and locate the creeps to this exact cemetery, then it is a cinch that they will be able to have this problem cleaned up in no time.  I also like this ending, because I like the character of Cynthia and seeing her getting creeped is a complete bummer, especially after everything she has been through. The movie has already killed off two likable characters in J.C. and Cameron, does really need to off a third?  It’s also served as a nice bookend; the film begins with the aliens and ends with them, tying everything up rather neatly. When the movie was finally released to DVD in 2009 the cemetery ending was “restored” to the film, while the alternate ending with Cynthia was relegated to special features.

In my previous entry for Better off Dead, I mentioned how it was a shame that director Savage Steve Holland was given very few opportunities to unleash his imagination on the movie going public and the same applies to director Fred Dekker.   In his short lived career Fred Dekker directed three movies: Night of the Creeps, The Monster Squad, and Robo Cop III.  While it’s probably best that no one remembers Robo Cop III, both Night of the Creeps and The Monster Squad are highly entertaining films filled with interesting ideas, and surprisingly both have developed a cult following over the years.

Night of the Creeps is a whole grab bag of ideas: a teen comedy, zombie film, and alien invasion film all rolled into one.  Dekker begins the film a board an alien spaceship where an alien that has been creeped steals a canister and shoots it off into space, then the film segues way into a black and white sequence modeled after the science fiction films of the 50s. The looks is wonderfully authentic, if you were to compare this sequence to the many science fiction films of the 50s, it would be hard to tell them apart; the cinematography and the acting are spot on. 

Fred Dekker is extremely creative in the way he reveals information to the audience;  towards the end of the film we get a shot of Cameron lying on a couch in his apartment, holding a lighter in his hand and hesitating on whether or not he should light it. Just then a knock comes from his apartment door; he ignores it for a few seconds, but eventually gets annoyed by the nonstop pounding and gets up to answer the door.  The film cuts to high angle shot of Cameron ripping duct tape off the door cracks and he violently opens the door to find Chris waiting on the other side with tears streaming down his cheeks. Chris informs Cameron that the creeps got J.C.  (Alfalfa as Cameron calls him) and then explains to Cameron their life cycle and how they can be destroyed. We then got to a long shot of an opened oven, the camera slowly zooms in on it as Cameron walks in and out of frame gathering his gear, the camera finally settles on a close up of the oven’s dials, then Cameron’s hand pops into frame and turns off the gas.

It’s a wonderfully visual moment; it tells you everything you need to know about the character without a single line of dialogue. Fred Dekker’s direction is choppy at times, but for a first time filmmaker it's still pretty impressive and a real shame he wasn’t give more opportunities.


Cast: Chris Romero (Jason Lively), Detective Cameron (Tom Atkins), J.C. Carpenter (Steve Marshall), Cynthia (Jill Whitlow), Brad (Allan Kayser), Detective Landis (Wally Taylor), Sgt. Raimi (Bruce Solomon), Young Scientist (David Paymer), Johnny (Ken Heron), Pam (Alice Cadogan), Lisa (Suzanne Snyder). 

Writer & Director; Fred Dekker

Running Time: 90 minutes.  

Better Off Dead(1985)

1985 was a pivotal year in the teen comedy cycle; it took the teen comedy to whole new levels that ranged from the supernatural (Teen Wolf, The Heavenly Kid, Once Bitten) to commentary about gender relations (Just One of the Guys), and commentary about the high school social structure (The Breakfast Club). And there was Better Off Dead, which almost belongs in a category of its own. Better Off Dead’s basic storyline isn’t anything original, in fact, it is pretty formulaic to the teen comedies of that time; all the tropes are there:

Lane –  The average male protagonists, who lacks confidence and obsesses over a pretty blonde (in this case his ex-girlfriend). He spends the majority of the film either obsessing on how to get Beth back, or attempting suicide and failing every time.

Beth -  Lane’s pretty ex-girlfriend, who (as the genre dictates) is a flakey blonde who left Lane for the more popular Roy Stalin.

Roy Stalin – Beth’s current boyfriend and Lane’s main antagonist. He is captain of the ski team and makes it his goal to humiliate Lane.  He is also a local hero, because he is only person to have ever skied the K-12 from the glacier and lived to tell about it.

Charles - Lane’s oddball sidekick, who constantly laments over the fact that he can’t score real drugs. He has been going to Glendale high school for seven and a half years.

Monique -  The pretty brunette (and French Foreign Exchange Student) that lives across the road from Lane. She is staying with the Smiths, who are completely insane.

Again, there’s absolutely nothing original nor innovative about the characters and storylines; in fact, one of the man criticisms regarding Better Off Dead is it’s conventional storyline. In his Movie and Video Guide, Leonard Maltin writes:

            Frustrating film starts off with funny original gags……then it settles into much too conventional story and goes down the drain.

Maltin is essentially correct (except for the whole “goes down the drain part), Better Off Dead ends on a rather, typical teen comedy note. The unremarkable boy and the pretty girl next door are united at the end, the villain gets his just desserts, and the pretty blonde gets kicked to the curb.

However, what most critics miss about Better Off Dead is that its narrative serves as framework for director Savage Steve Holland to hang  his many jokes and gags on; the story is secondary and takes a back seat to the comedy. Throughout the course of the movie Holland will interrupt that narrative just so he can spring one a nonsensical joke at the audience.

1.      There’s the recurring gag of paper boy Johnny and his constant harassment of Lane to get his TWO DOLLARS. This real has no overall function to the narrative and, in fact, Holland probably could have easily removed all of Johnny’s scenes and basically have the same movie. 

2.      Throughout the course of the film, various males (Lane’s geometry teacher, the mailman, and Barney Rubble) ask Lane if it’s okay if they ask out Beth.

3.      There’s the many disgusting food concoctions thought up by Lane’s well meaning, but air headed mom. The most memorable one is a green, slimy blob that crawls off Lane’s plate that his mom made solely because it has raisins and Lane likes raisins.

4.      The many misadventures of Lane’s younger brother Badger, who often cuts coupons off of cereal boxes for the prizes. During the course of the film, he:

a)      Builds a laser gun

b)      Read’s a guide on how to pick up trashy women and then has a New Year’s party with the women he has picked up.

c)      Builds a spaceship which launches during the film’s end credits.

5.      Lane is constantly challenged to drag race by the Ree brothers, one (the driver) of whom speaks no English and other learned to speak English by watching the Wide World of Sports. They have speakers mounted to the top of their car and the English speaking brother taunts Lane in a Howard Cosell-like voice. 

6.      Then there’s a funny bit, in which Lane is driving in his car and hears the song, “Breaking Up Is Hard To Do,” playing on the radio, not wanting to be reminded of Beth, he turns to another station, which is also a playing a song about breaking up, then he turns to another and gets the same result. Finally, out of frustration, he throws his car stereo out the window.

7.      And then there’s a short, claymation sequence that revolves around an anthropomorphized hamburger lip syncing to the Van Halen classic “Everybody Wants Some.”

This was a common tactic used by comedians in the silent era; make a list of gags and then develop a narrative to build that gags around. In Better Off Dead the gags take a precedent over the story, it really isn’t until the last half hour that the REAL story kicks in: Lane bonds with Monique and with her help finds confidence in himself that he’s able to beat Stalin in a ski race.  This narrative would usually slowly develop throughout the course of the film, but in Better Off Dead it’s condensed into the final act of the movie. Interestingly, Monique and Lane don’t actually meet one another until the film is halfway over and even then their meeting gets interrupted by random comedy bits.

Monique’s screen time in the first half is fairly limited, she will occasionally pop up to remind the audience that she’s there, but she’s almost a nonfactor. The major advantage to this is that it answers the question, “Why is Lane so obsessed with Beth, when a better looking brunette is waiting in the wings?” This tends to be the most irritating aspect of most teen comedies; the main character obsesses over a popular blonde and is oblivious to the fact that much nicer and better looking woman is standing right next to him the entire time. In Better Off Dead, Lane doesn’t notice Monique, because he hasn’t meet her yet. And once he gets to know her, it isn’t long before he is smitten with her.  Surprisingly, despite being condensed, the relationship between Lane and Monique is absolutely believable, this is large due to the wonderful chemistry between John Cusack and Diane Franklin; the interaction between these two actors makes it easy to believe that these characters would fall for one another. 

Furthermore, Holland establishes from the get go that the two are kindred spirits, they both find themselves victims of circumstance:  Lane’s girlfriend has left him to be with his most hated rival and Monique is doing her best to keep her sanity while living with the ultra nerdy Ricky and his deranged mother, Mrs. Smith. In one of the film’s funniest moments, Monique is having Christmas with the Smiths and Ricky’s mom asks, “Do you have Christmas in France? You know….CHRISTMAS! CHRISTMAS!” 

She then grabs Monique’s lips and makes her enunciate the word Christmas. Ricky (after being spurred by his mom) then gives Monique a present, which is a framed picture of him making a rather idiotic face.

Monique is absolutely stunned. Later, she walks outside and bursts into uncontrollable laughter.

The main reason the relationship between Monique and Lane is believable is that is the first person (in fact the only person) in the film that is capable of having a normal conversation with Monique. In the school cafeteria, he confides in her about his mom’s terrible cooking and how anything, including cafeteria food, tastes good in comparison. The other characters really don’t regard her as a person: Roy views her as his next conquest and speaks to her in French, in an attempt to seduce her. Monique responds by shaking up a can of soda, opening  the tab and spraying it all over him.  Mrs. Smith treats Monique like a misbehaved child and often talks down to her, while Ricky doesn’t speak to her at all, but keeps her at arm’s length whenever they are seen together. Later on, when Monique is venting by throwing apples at a speed limit sign, she confides in Lane that she can speak English (up until this point the audience is lead to believe she can only speak French) and that the reason she pretended she couldn’t was, “If you lived with a family like that, the less you spoke the happier you would be.”

I disagree with Leonard Maltin’s claim that the movie “goes down the drain” once it reaches its climax; if the audience didn’t care about the plight of Lane then maybe he would have a point, but the greatest strength of Better Off Dead is that it builds sympathy for Lane right from the beginning. There are probably a lot of men out there who can relate to Lane’s frustration of seeing the woman of his dreams date a guy who is a complete douchebag. It is the ultimate kick to the groin. I certainly can relate, as I witnessed it first hand, granted she wasn’t the girl of my dreams, but she was extremely cute and her boyfriend…well the less I say about him the better. Not only is Roy Stalin a douchebag, but he is the ULIMATE TEEN DOUCHEBAG. Roy’s antagonism towards Lane is never really justified, most teen comedies at least try to give the bully a motivation for tormenting the hero, but Roy is an asshole just for the hell of it. He calls Lane, “Oscar Meyer” and often makes jokes at Lane’s expense, like suggesting that Lane try out for the girl’s water ballet team. The most frustrating aspect is that not only is Roy an asshole, but he’s practically better than Lane at everything, hell the guy is a local hero as he is the only person to successfully have skied the K12. Charles, Lane’s best friend, even says that Lane is a great skier, but Roy is incredible.
And if that wasn’t enough, the film stacks even more miseries on poor Lane:

1) He is harassed almost nonstop by paperboy Johnny, who often pops up in the most unlikely of places, like the roof of Lane’s car.
2) He is constantly been challenged to race by the Ree brothers.
3) His dad keeps lecturing him on how needs to shape up his act. At one point he sets Lane up on date with his law firm partner’s daughter, who has a huge set of braces on her face and doesn’t even go out with him, but rather calculates what the total cost of their date would have been and has Lane pay her half the bill. His dad also gets him a job at Char Burger, which is owned by the guy whose truck Lane has run into twice.
4) At one point, Lane tries to ask out cheerleader Chris Cremmens, who dates the basketball team. “Not just certain members of the team, but the entire team. “ He notices she wears roller skates, so he borrows a pair of skates from some random teenager, puts them on and hopes it will get her intention. She calls him a jerk and when he tries to clarify he trips on his skates, grabs hold of Chris’ cheerleader uniform and accidentally rips it off, leaving her exposed in her bra and panties. The basketball team gangs up on Lane and gives him a sound beating.

5) He attempts to ski the K12 on multiple occasions, but loses his balance each time and tumbles down a long, painful distance.

With all this nonstop misery, it’s no wonder Lane is suicidal for the first hour of the film. He attempts suicide four times in film; twice talking himself out of it and the other two times fate intervenes. In one case, Charles sees Lane about to jump off a bridge, reassures him that everything will be alright, and pats Lane on the back, which sends him flying into the back of a garbage truck. The other time Lane is about to set himself ablaze but is interrupted by a surprise dinner for the Smiths and Monique.

However, the frustration keeps building and finally Lane takes it out on Roy, challenging him to a ski race atop of the K12.

The race atop of K12 and the montage building up to it are the weakest parts of Better Off Dead. Throughout the course of the film Lane has been completely inept when it comes to skiing the K12, but through the magic of a movie montage, Lane goes from falling on his ass to being a world class skier, to the point that he’s capable of doing all sorts of hard tricks, like skiing through Monique’s legs and skiing on one ski.  It’s more likely a case of director Holland shoehorning one of his hobbies into the film and trying to show the audience all the neat stuff that can be done while skiing, regardless as to whether or not it fits the tone of the film.
It’s also makes Monique comes off as being a bit too perfect for her own good; earlier in the film she helps Lane repair his broken down Cammaro and here she coaches him on how to ski the K12.  She does a run to show Lane how it’s done and he makes an attempt and once again falls on his ass. It comes completely out of left field, because nowhere in the earlier scenes is it established that Monique is a skier. Thankfully, this only eats up only about ten minutes of the film’s actually screen time, and it manages to regain its footing once the race is over and Lane has a duel with Ricky(with ski poles) for the fair hand of Monique.

The other enjoyable aspect of Better Off Dead is how it often takes conventional scenes from teen movies and turns them on their head.

1.      Beth’s break up with Lane.

We never see Beth break up with Lane, but rather it is handled in a voiceover as a shot of Lane driving in his car is shown on screen. Beth is pretty direct with her reasons for breaking up with Lane, “I think it would be in my best interest if I dated someone more popular, better looking, drives a nicer car.”

2.      The classroom scene.
Practically every teen comedy has a scene in which the characters sit around in the classroom and are absolutely bored by the lesson they are learning. In Better Off Dead, the class is completely enthralled by the geometry lesson they are being given by Mr. Kerber to the point that when the bell rings, they all depressed that is has come to an end. Mr. Kerber reassures them by saying, “No, no! I’ll see you all again tomorrow. Just remember to memorizes pages 39 to 110 for tomorrow’s lesson.” The class lets out a shout of joy and goes on their merry ways. Another funny bit is when Mr. Kerber asks for volunteers to show the results of their homework on the chalkboard; everyone (except Lane) raises their hands at once, shouting, “EW! PICK ME!”  When he picks a person, the rest of the class lets out a groan of disappointment.

3.      The school dance.
The teen genre dictates that there must be a scene at a school dance and Better Off Dead is no exception. The dance scene is a pivotal point, because it’s when Monique literally runs into Lane. This scene, however, is a lot of fun, mainly for all the comedy bits that are scatted throughout:

a)      Lane and Charles are sitting at a table looking dejected when Roy walks up to them and says, “You got my vote for cutest couple. You better shave her before you kiss her goodnight.” Charles breaks out into a fit of hysterical laughter to the point that his eyes begin to water. Later, Roy and Beth are dancing, when Charles interrupts them still laughing at Roy’s comment.

b)      Ricky shows up to the dance with Monique in tow. He gets on the floor and starts swinging Monique around in circles. A crowd gathers around the two, Ricky puts Monique down and, through the crowd’s urging, attempts to slide on the dance floor. He takes off his glasses, loosens his tie, and dives….knocking himself out in the process. Monique escapes during the confusion, while the crowd proceeds to dance over Ricky’s unconscious corpse.

c)      Monique sees Lane exiting the building, runs after him, and pushes him down to get his attention. She apologizes and proceeds to shake his hand over and over. At this point, she stills feigning that she can’t speak English. Ricky, having gained conscious, runs after Monique holding a balloon his right hand. He is shocked to see Lane and Monique together, let’s go of the balloon, and makes an ill fated attempt to grab it before it flies away.

4.      Lane’s challenge to Roy.

Roy and Monique are having lunch together, when Roy walks up and proceeds to harass Lane and Monique. He tries to seduce Monique by speaking French to her, but she dashes his hopes by shaking up a can of soda, opening the tab, and spraying it all over Roy, who then proceeds to insult Monique. This makes Lane furious and, in his anger, he challenges Roy to a ski race atop of the K12. As soon as the arrangements have been made, it is announced over the PA system that, “Lane Myer is racing Roy Stalin atop the K12 this Saturday.” All of Lane’s long oppressed classmates gather around him and pat him on the back.

5.      The K12 race.

The race is pretty conventional, with the exception that Johnny shows up and keeps chanting over and over, “I want my two dollars.” This freaks out Roy, who hits Johnny with his ski poll, which in turn sends Johnny barreling over a cliff. Has Johnny finally met his demise? Nope. A few seconds later the camera cuts to Johnny still alive and, even in his dazed state, demanding two dollars.

6.      Monique and Lane’s union.
Lane has one more challenge before he can claim victory and that is to save Monique for the clutches of the Smiths. After the race, the Smiths come to claim Monique; Lane comes running after them, grabs Monique and challenges Ricky to a duel….with ski poles. Lane loses his ski pole in the duel and Ricky goes charging in for the kill, but Lane steps out of the way, grabs Ricky’s pole and throws him into his mother. He then carries Monique off over his shoulder and has finally defeated his demons (well except Johnny).

It’s a real shame that director Savage Steve Holland wasn’t given more opportunities to direct movies (he made One Crazy Summer a year later and then went into television), because he has a wonderful sense of cinema about him. His direction is often very creative, which is amazing considering that this was his first film. Here’s just a few examples of Holland’s inventive direction:

1.      In a flashback, Lane and Charles are at a park playing catch with a football. Lane catches the football and notices Beth and her friend sitting at a picnic table. He waves at them and they start to laugh. At first we think they are laughing at his flirting, but then the camera tilts down to reveal Lane standing over a picnicking family and his feet are firmly implanted in their sandwiches. Lane then goes over to talk to Beth and notices her scratching her nose; he interprets it that she is sending a signal that something is on his nose, so he scratches his. She then interprets his scratching as him being too embarrassed to tell her that something is on her nose, so she scratches her nose again. This goes back on forth, until the scene ends with both of them blowing their noses with napkins, putting the conversation at a complete stand still.

2.      The dance scene begins with a close up of the singer (Elizabeth Daily), then the camera pulls back to reveal students dancing on the floor, and it pans over to the right to reveal Lane and Charles sitting at a table, both looking complete dejected. In a single shot, Holland perfectly establishes Lane’s relationship to the rest of the student body.

3.      When Mr. Kerber tells his students he would like to see the results of their homework, we are shown a shot of a kid printing up his homework on a printer, while another student has an entire binder filled with the assignment. The camera cuts to Lane, who pulls out a folded sheet of notebook paper from his back pocket, he unfolds it, finds a piece of gum stuck to it, and two underlined words written on the paper, “DO HOMEWORK!”

It is creative moments like this that separate Better Off Dead from all the other teen comedies that dominated the eighties. Those films, while funny, often tended to be a bit more realistic in their depiction of teen life, but Better Off Dead takes high school's most painful moments and exaggerates them to the Nth degree. It takes the pain and transforms it into pure comedy.

Cast: John Cusack (Lane Mye), David Ogden Stiers (Al Myer), Diane Franklin (Monique), Curtis Armstrong (Charles), Daniel Schneider (Ricky), Kim Darby (Jenna Myer), Laura Waterbury (Mrs. Smith), Amanda Wyss (Beth), Aaron Dozier (Roy Stalin), Elizabeth Daily (Herself), Vincent Schiavelli (Mr. Kerber), Damien Slade (Johnny), Scooter Stevens (Badger), Taylor Negron (Mailman).

Writer/Director: Savage Steven Holland.

Running Time: 98 minutes.

The Wonderful World of Godzilla

My first exposure to Godzilla is directly linked to the family’s first VCR; in 1985 my dad finally broke down, drove the family to Sears, and bought a VCR for the THEN low price of $400. It served its function rather usefully and lasted well into the 90s.  Well, owning a VCR is pointless if you don’t have anything to watch on it, so the next day the old man drove to K-Mart (this was before the coming of Wal-Mart) and picked up a few video cassettes, one of which was Godzilla vs. the Sea Monster.  He bought if for two reasons:

1)      He was a fan of old monster films, especially 50s sci-fi like Them and The Beast From 20,000 Fathoms.

2)      It was a relatively cheap video. This provides some context; it was relative cheap for 1985.  When most videos by major labels (MGM, Fox, etc.) ran anywhere from $14.99 to $39.99, my bought these videos for the reasonably low price of $9.99. Of course, there was a reason for that: these videos were of extremely poor quality. The print of Godzilla vs. the Sea Monster (which I still have) was especially poor, as the pan and scanning was inept, while the picture and audio were subpar.

However, at the age of six I was not aware of such things and the video’s cover (a drawing of a Giant Dinosaur and Giant Lobster duking it out in the ocean) drew my interest and I anxiously inserted the video in the VCR, not knowing what to expect. I was completely enamored! It was like nothing I had ever seen before; not only was a giant dinosaur and lobster in it, but a giant Moth as well. On top of that, none of the characters voices matched their lips! It was a truly, life changing moment. I have been hooked ever since.  As the months progressed (and to my utter joy) my dad picked up even more Godzilla titles:  Ghidorah, the Three Headed Monster(the video title is spelled Ghidrah, but was later corrected for DVD) , Godzilla vs. Megalon, King Kong vs. Godzilla, as well as Mothra and Rodan. My favorite film out of the bunch was (and still is) Ghidorah, the Three Headed Monster, mainly because it had four very cool monsters in it, especially three headed space monster Ghidorah.  As soon I was given an allowance, I would save up my money and spend it on whatever Godzilla film was available. This was during the time when owning the movie was enough; nowadays people tend to be disappointed if the DVD isn’t loaded with special features.  How many times are you going to watch a making of featurette anyways?

Coincidentally, the local station channel 18 (or Super 18) would often air Godzilla movies on Saturday afternoon (as opposed to infomercials). I would often to check the local listings to see if a Godzilla movie was playing and if there was I would drop everything I was doing, fire up the VCR, and watch the latest Godzilla masterpiece. I recorded not one, but two Godzilla films on the very same VHS tape: Godzilla vs. The Monster Zero (aka: Invasion of the Astro Monster) and The Terror of MechaGodzilla.  I watched these films over and over again that I finally wore out the VHS cassette. That’s how much I loved these films!

The Lincoln Elementary School library actually had a book about Godzilla (as well as other famous screen monsters) that I would check out on a repeated basis. It may have been my favorite book at the age of six.  There is a photo in the book that stills stands out in my mind - special effects maestro, Eiji Tsuburaya, directing the actor (Haruo Nakajima) in the Godzilla costume. The book itself was more or less about this history of Godzilla (up until 1985) and was filled with black and white photos.

The most surprising thing about Godzilla is just how well the whole “actor in the suit” works. The experience I have with Godzilla films is that at first glance the suit elicits a few laughs, but as the film progresses, the audience starts to think of Godzilla as less as “an actor in the suit” and more as an actual character in the movie. The same applies to the original King Kong, the special effect is crude, but you eventually learn to accept Kong as a character.  There have been many CGI spectacles of the last decades, but most them have been forgotten, whereas Godzilla is just as popular now, if not more so, than he was nearly sixty years ago when he made his screen debut. What make Godzilla so unique is the way he has evolved throughout the course of the decade; in the 50s he was a physical manifestation of the atomic bomb, in the 60s he went from being a unintentional villain to a defender of the planet Earth, and by the 70s he had mellowed to the point that he became a beloved figure amongst the people of earth. Godzilla went through many face lifts and personality changes, but the one consistent was that he was an unstoppable force of nature and was not something to trifle with. It didn’t matter what obstacles were thrown his way, be they giant cockroaches, MechaGodzillas, or literally a giant walking pile of shit, because at the end of the day Godzilla would be the triumphant one. These villains would give him their best shot, but it was never good enough.  Godzilla is on par with Doctor Who in that he has been given many face lifts and personality changes, yet there are enough consistencies in the character to believe that one is the continuation of the other.

Many Godzilla fans tend to look down at the “kid friendly” Godzilla films of the late 1960s and 1970s, because they view it as a complete bastardization of the character. However, the “serious” Godzilla and the “kid friendly” Godzilla are not at odds as most fans would have you believe. In the original Godzilla was not only a physical manifestation of the nuclear bomb, but a victim of mankind’s reckless ambition as well. He wasn’t so much a villain as he was a lost soul doomed to wander the Earth. Unfortunately, he is extremely big and tends to level cities while doing his wandering. This point is apparent in Mothra vs. Godzilla where Godzilla’s destruction is depicted as being more incidental than willful; at one point in the film he stumbles on a cityscape and knocks over a tower in the process. In the later films of the sixties, Godzilla is not as big of a threat to mankind, but he’s not necessarily its ally either. He’s not so much as protecting mankind as he is defending his own territory from intruders. Often, like in Son of Godzilla, he is completely indifferent to the plight of the human protagonists and if he does save them, it is usually in an indirect manner.  In Godzilla vs. the Sea Monster, he proves as much a threat to the heroes as he does a savior; he destroys the giant lobster Ebirah and the villain’s base, but he nearly endangers the heroes escape from the island when he tries to engage Mothra in a battle. Luckily for the heroes (who are being carried by Mothra in a basket) Mothra flies by Godzilla unscathed and delivers them to safety.  If Godzilla chooses to team up with mankind, then it’s usually because it’s in his best interest to do so, not because he’s a benevolent savior.

The other complaint is how the later films became infected with camp humor, for instance in Invasion of the Astro Monster, Godzilla does a little jig after defeating Ghidorah on Planet X. Or most famously, he uses his radioactive breath as a rocket and takes off flying so he can catch the fleeing Hedorah in Godzilla vs. Hedorah. They claim these kinds of actions are out of character for Godzilla.  This certainly applies to the Godzilla of the 50s. If there was a scene in the original Godzilla in which he stopped his rampaging and proceeded to do a jig, it would definitely lead to a lot of head scratching from the audience. 

However, these silly moments are definitely within the spirit of the Toho films produced in the sixties and seventies. The original Godzilla is grounded in reality, its set in the real world…OUR WORLD…where the threat of nuclear war is very much a reality. It has a very stark, often documentary look to it, especially the scenes that show the aftermath of Godzilla’s attack on Tokyo, these are scenes that could have easily been lifted out of newsreel footage of Hiroshima and Nagasaki. Godzilla’s rampage is depicted in a very realistic, uncompromising manner; we see countless civilians killed onscreen. In one memorable moment, we are shown a shot of a young mother cradling her two children and comforting them by saying, “Soon we’ll be reunited with dad,” implying that their father was a victim of World War II. The original Godzilla was made just nine years after the events of Hiroshima and Nagasaki, so it is given that the citizens of Japan both in real life and the movies were still haunted by the bombings and the war in general. There’s a brief scene in a subway where a computer groans about having to take refuge in a shelter again, referencing America’s firebombing of Japan towards the end of the war.

The original Godzilla is ingrained in reality, whereas the countless sequels are fantasies set in a world where the appearance of a giant monster is an everyday occurrence, rather than a world shattering event.  The original Godzilla had no clear cut villain, while in the sequels the antagonists wear their villainy on their sleeves. In Invasion of the Astro Monster, we know the inhabitants of Planet X are evil, thanks to a not so subtle shot of them laughing as astronauts Glenn and Fuji take off. In the original Godzilla we are shown countless civilian casualties as Godzilla rampages through the city; in the sequels no innocent civilian ever seems to get harmed.  The only onscreen deaths we are shown are the villains getting their come up pence.  In Ghidorah, the Three Headed Monster, Ghidorah starts an avalanche by shooting bolt of lightning from his mouth, which in turn crushes the car that happens to be carrying the film’s villains. In Mothra vs. Godzilla, the greedy Torahata is crushed to death by falling debris, caused Godzilla’s tail smashing against the hotel he happens to be staying in. The protagonists are either out of harm’s way, or they survive the ordeal with only a few scratches.

It is often claim that Godzilla’s foray into camp is what killed the original series; however, I think this can be more attributed to changing tides in cinema.  The 1970s saw the rise of the blockbuster and the multiplex, while many drive ins (Godzilla primary audience) were being closed down. Secondly, with the release of Jaws and then Star Wars, Americans (and world audiences) expected much more sophistication out of their special effects that the Godzilla films could never hope to offer.  The fact is that even if the Godzilla films of the seventies were played in a straight manner, they still didn’t stand a chance against the big budget juggernauts that were dominating the cinemas.  After the seventies, only two Godzilla film would be released in American theatrically, Godzilla 1985 and Godzilla 2000, the rest would be released direct to video. 

I think the best way to come to grips with the Godzilla series is by thinking of the first film as a standalone film and the other films, not as sequels, but as spin offs. This isn’t entirely off base, considering that Godzilla was killed off at the end of the original film. The second film, Godzilla Raids Again, was made to cash in on the success of the first film.  It introduced a new Godzilla, as well as Anguirus, who despite having a back covered in spikes was rather inefficient in battle.
It is the Godzilla in this film that would continue to wreak havoc on Japan (and New York in Destroy All Monsters) for the next forty years.

The five things this film have in common (other than Godzilla) is that they were directed by Ishiro Honda, who was easily the best director in the series.  Honda’s films are interesting, because they usually have an emotional center to them. As a kid, I often fast forwarded through the human scenes and went straight to the great monster brawls that were scattered throughout the film, but as an adult, I tend to find the human scenes more interesting than any of Godzilla’s antics.  A theme that emerges in Honda’s Godzilla films is mankind duty to one another; that mankind must overcome their petty squabbles and work towards building a more peaceful world. There is scene in Mothra vs. Godzilla, in which the three protagonists (reporter Ichiro, photographer Junko, and Professor Miura) are sent to Infant Island to persuade the habitants to let Mothra fight Godzilla. They are met with great hostility by the natives, who view Godzilla’s destruction of Japan as the will of God. The protagonists are about ready to call it quits, when Junko stops forward and pleads for the natives to change their mind:

Please listen, we all understand. But do not blame every one of us of what has happened. The monster is killing everyone. The good are being killed, as well as the evil. Are you going to let innocent men die alongside guilty men? You have no right to decide that, that right is sacred. My friends and I appeal to you with the utmost humility. Our people are unable to stop Godzilla. We truly like to help you, but we need your help first. Refuse us then, and everyone will die!

Then Ichiro chides in with:

Just as you distrust as, then we distrust others we well. What's wrong? We're all human. As humans we are responsible for each other, we're related. Refuse us then you'll abandon your brothers. We must learn to help each other. 

Despite its preaching, it’s a surprisingly effective scene, especially in the Japanese version where the acting is far more restrained, as opposed to the over-the-top dubbing in the American version. In Ghidorah, the Three Head Monster this theme gets extended to the monster as well, when Mothra tries to persuade Rodan and Godzilla to stop their petty fighting and join forces, so they can stop Ghidorah from destroying the Earth.  Godzilla and Rodan are reluctant at first, but eventually put aside their differences and fight Ghidorah.

Ishiro Honda’s films are always worth a look, because not only are they interesting thematically, but absolutely beautiful to look at. His Godzilla films of the 60s are filled with colorful sets, beautiful cinematography, and wonderfully detailed models, but most importantly you often cared about the characters that populated his films.  He’s probably the only Godzilla director that gave his characters little moments that endured them to the audience (e.g. Shindo and Naoko teasing each other at the dinner table). They don’t necessarily advance the storyline, but it helps make the characters more relatable to the audience.

The most surprising (and most overlooked) aspect of Godzilla films is the role women play in them; they are often the driving force in the story or played a pivotal role in the saving the world. My favorite “Godzilla” actress is Yuriko Hoshi, who played Junko in Mothra vs. Godzilla and the journalist Naoko in Ghidorah, the Three Headed Monster. The thing I like about her characters in both films is that despite getting involved in extraordinary circumstances, they always remain calm, even in the face of danger.  Junko is given a nice character arc from being a slightly inept assistant to being the voice of reason at the film’s most pivotal moment, and Hoshi sells this nicely by never overselling her role. It’s a nice restrained performance that is at odds with the goofy voice assigned to her character in the dubbed American version. In Ghidorah, the Three Headed Monster, Naoko proves to be a most competent journalist, who’s able to locate Princess Salno before her brother Shindo, who’s a detective. 

In Terror of MechaGodzilla, the story is driven by the cyborg Katsura, who is torn between her loyalty to her mad scientist dad (Dr. Mafune) and her love for marine biologist Ichinose, who offers her a world of love and hope. In the end, Katsura sacrifices herself for the greater good of humanity. Earlier, in the film it is revealed she died in a lab accident but was brought back to the life by the advanced technology of an alien race. Later in the film, she is killed again and is once again given life by the alien’s technology, but with a catch, they have placed MechaGodzilla’s controls inside Katsura’s body. In the end, while Ichinose is cradling her in his arms, assuring her that everything will be alright, she shoots herself with an alien gun, which severs the power to MechaGodzilla. Oddly, enough this pivotal scene was actually cut from the video release of Terror of MechaGodzilla. In this version, we see Ichinose comforting Katsura and then it abruptly cuts to Godzilla taking out MechaGodzilla.  This is a pivotal part of the film and Katsura’s character arc, yet the America distributors felt the film could do without it; hence it ends in a jarring, nonsensical manner.

My favorite female in the series is Tomoko in Godzilla vs. Gigan; it’s easily one of the worst films in the Godzilla series, but it’s worth seeing just for the interaction between Tomoko and the film’s protagonist Gengo, a comic book artist. Essentially, their relationship boils down to this: he’s the brains of the operation and she is the muscle. It is established early on that she has a black belt in karate and we get to see her use these skills throughout the course of the film, in one scene she beats the crap out of two guards who are about to kill a scientist they have taken prisoners. My favorite bit in the film is when Gengo and Tomoko are running up a flight of stairs; Gengo runs out of breath and collapses, saying, “I can’t go on.” Tomoko grabs him and then shames him by asking, “Are you a man?”  It’s certainly one of the more enjoyable aspects in this otherwise dreadful film.

Godzilla films are ridiculous, WONDERFULLY RIDICULOUS, pieces of cinema. They entertain on many different levels:  some people might laugh at the bad dubbing and the guy in the rubber suit, while others might enjoy the story that is being told and genuinely like the characters onscreen.  However, this most often misunderstood aspect of special effects is that, “they are supposed to be realistic.” The function of special effects is to advance the storyline and people may laugh at the “man in the subber suit” gimmick, but it has been effective enough to spawn a pop culture phenomenon that has lasted nearly sixty years.  The America remake of  Godzilla had superior effects, but is essentially just another mediocre summer blockbuster, indistinguishable from the rest, whereas the old Godzilla films are hard to forget.