Twilight Zone: The Movie

Watching Twilight Zone: The Movie has always come with one great big caveat, can you enjoy the movie knowing that three people lost their lives during an accident on set? It's not an easy thing to get past. If you are able to set that aside for an hour or two, there is still plenty to enjoy in the movie. Sure, it's pretty well impossible not to think about the accident during the film's first segment. Directed by John Landis, "Time Out" is the story of an angry racist who gets to experience what it's like to be on the other side of bigotry and hatred. The second segment, "Kick the Can," directed by Steven Spielberg, doesn't quite fit the tone of the rest of the movie but is helped by Scatman Crothers' endless supply of charisma. The movie really kicks into high gear in the back half, with remakes of two all-time classic Twilight Zone stories. "It's a Good Life," directed by Joe Dante, pairs a lot of Dante's favorite cartoons and character actors with some memorable special effects from Rob Bottin. And finally, "Nightmare at 20,000 Feet," directed by George Miller, which features John Lithgow (in a role originally played by William Shatner) as a man desperately trying to convince his fellow passengers that there's a gremlin on the wing of their plane. The movie also includes appearances from Albert Brooks, Dan Aykroyd, Vic Morrow, Kevin McCarthy, Nancy Cartwright, Dick Miller and narration by Burgess Meredith.

Rating: 74%

(Image from Wikipedia)

Fun Fact: Steven Williams, who played a bar patron in the first segment, also played Creighton Duke in Jason Goes to Hell: The Final Friday and a tree trimmer in Better Off Dead.

The Raven

Instead of trying to adapt Poe's poem, Roger Corman's The Raven is primarily about a trio of squabbling magicians played by Vincent Price, Peter Lorre and Boris Karloff. Much like in Tales of Terror, Price and Lorre have great comedic chemistry together. While Karloff is mostly there to lend gravitas to the picture. Hazel Court is lovely as the devious Lenore and a young Jack Nicholson plays Lorre's son Rexford. Despite indulging in many of the same tricks and tropes, The Raven is much more of a straightforward comedy than any of Roger Corman's prior Poe pictures. There are plenty of jokes throughout the movie but the climactic magician's duel at the end of the film goes for broke with big, Looney Tunes energy.

Rating: 62%

(Image from Wikipedia)

Tales of Terror

Tales of Terror is made up of three short stories by Edgar Allan Poe, with Vincent Price playing a different character in each story. The first story, "Morella," is about a young woman reuniting with her alcoholic father (played by Price) after decades apart. The young woman, Lenora, was blamed for her mother's death and was sent away to be raised in boarding schools. After returning to her father's house, the ghost of Lenora's mother kills everyone and burns the house to the ground. In the second story, "The Black Cat," Peter Lorre plays a miserable alcoholic. After a renowned wine taster (played to the hilt by Price) steals his wife, Lorre's character gets his revenge by entombing the wine taster, his wife and their black cat in the basement "Cask of Amontillado"-style. In the final story, "The Facts in the Case of M. Valdemar," Vincent Price plays Valdemar, a dying man who agrees to be put under hypnosis at the moment of death. The devious hypnotist, played by Basil Rathbone, traps Valdemar's soul in limbo and attempts to extort Valdemar's widow. Of the three stories, "The Black Cat" stands out the most because it's the only one of the stories that has any humor in it. Lorre and Price play very well off of each other and their wine tasting duel is easily the most memorable part of the film.

Rating: 63%

(Image from Wikipedia)

The Incredible Shrinking Man

Scott Carey was a typical man, living out the 1950s equivalent of the American Dream. But after a chance encounter with a mysterious fog bank, he begins to shrink. At first, no one believes him. Before long, his diminishing size becomes undeniable. Scientists struggle to understand his condition, working feverishly to find a cure. Scott's dwindling size begins to put stress on his marriage. No longer able to work, his attempts to cash in on his infamy only lead to intense public and media scrutiny. He withdraws further and further into himself as he shrinks, taking out his frustration on his wife. Then one day she accidentally leaves the front door open and Butch, the family cat, gets into the house and begins to hunt Scott like it would a mouse. Barely escaping the cat, Scott is then trapped in his cellar, where his life and death struggles truly begin. Even though I don't think Scott is a particularly sympathetic character (he's a chauvinist who comes really close to cheating on his wife at one point in the movie) he has the pathos of a film noir character. He narrates the film, mythologizing his journey along the way. The Incredible Shrinking Man actually has a surprising amount of depth. I can see how the themes of the movie could be interpreted in a number of ways. It can be enjoyed easily enough on a surface level, but I'm also willing to bet that there are some Men's Rights Activists out there praising the movie and using it to justify all sorts of repugnant shit.

Rating: 70%

(Image from Wikipedia)

The Pit and the Pendulum

After the success of House of Usher, American International Pictures (AIP) were eager to make another movie based on the works of Edgar Allan Poe. Roger Corman, using many of the same people (and sets), brought The Pit and the Pendulum to theaters a little more than a year after House of Usher was released. With Vincent Price, once again, top billed, The Pit and the Pendulum continued the moody, gothic style of House of Usher. Pendulum tweaked the formula somewhat with psychedelic silent film techniques and slightly more sadistic and shocking violence. It would go on to be even more successful than House of Usher, prompting AIP to double down on Corman's Poe gamble. AIP and Corman would go on to make another six* Poe-inspired films over the next three years.

Rating: 66%

(Image from IMDB)

*seven, if you count 1963's The Terror

House of Usher

aka The Fall of the House of Usher

After a couple of years of making low budget black and white movies for American International Pictures (AIP), Roger Corman was able to convince the distributor to let him make a movie in color with a half-decent budget. AIP was initially confused by his choice of subject matter. "Where's the monster?" they asked. "The house is the monster," he told them. And then they wrote him a check. That man could sell anything. House of Usher ended up becoming the first of eight films made by Corman loosely based on works from Edgar Allan Poe. The movie has a kind of lower-end Hammer vibe going on but it also has some surprisingly stylish elements. And I'd be remiss if I didn't mention Vincent Price's stellar performance.

Rating: 68%

(Image from Wikipedia)

Duel

Before lighting the world on fire with Jaws, Steven Spielberg was a struggling director. Unable to get the material and opportunities he wanted because of his young age and lack of experience, he threw himself into directing for television. His first real breakout success came with the 1971 Movie of the Week Duel. The original TV movie received such acclaim that it was eventually padded out with some extra scenes and was released as a feature film in Europe. The most easily accessible version of the movie today is the European cut, which can definitely feel a little overlong at times. This movie is definitely a must-watch for Spielberg fans though. There are so many hints at where he'll go as a film maker in the first decade or so of his career. The masterful use of tension and release that proves so effective later in Jaws is here. The use of snakes and spiders and the incredible shots of cars and trucks moving at high speed that work so well in Raiders of the Lost Ark are here as well. Duel is the filmic equivalent of the basement tapes that proceed a great album.

Rating: A Valiant Effort%

(Image from IMDB)