Author: unkle lancifer

Hello terrific and magnificent Kindertrauma readers!

Killer Party is one of those underrated, bizarre movie finds that doesn't seem to get much credit or love from scary movie fans. As of right now, it only has a 5.1 on IMDb and rarely gets mentioned on horror websites, but that needs to change right now and I am leading the charge! I will host a fundraiser telethon on PBS if I have to in order to get the word out that this is must-see TV. Everyone should be having a Killer Party party! I want Dolly Parton, Lady Gaga, Beyoncé, and Adele to sing songs about it. I want Julia Roberts, Sandra Bullock, Viola Davis, Laura Linney, Ryan Reynolds, and Mark Ruffalo to do a Zoom script reading for it. Blimps should fly in the air with the movie poster on their sides. That's how magical this movie is. Let's face it, 2020 has been a rough year for a lot of us. We all need more Killer Party in our lives. To quote the amazing Kelly Clarkson, my life would suck without you. Here's why you should give this one a chance (or a reassessment if you've already seen it).

Jennifer, Phoebe, and Vivia. Horror movies aren't always known for giving the audience likable characters to root for (I'm looking at you, The Gallows, Grave Encounters 2, Unfriended, and especially you, creepy creeperton Paul from Hell House LLC). Killer Party gives us not one but three charming, well-acted leads with Jennifer (Joanna Johnson), Phoebe (Elaine Wilkes), and Vivia (Sherry Willis-Burch). They're relatable, thoughtful, quirky, capable, supportive of each other, and completely believable as best friends thanks to the phenomenal chemistry the actresses have together. Along with Blair, Tootie, Natalie, and Jo, this is the group of 1980s best buddies I'd most want to hang out with. Far removed from the cool-girl clique from Heathers, they're the kind of friends who would have sleepover dance party singalongs to Cyndi Lauper's She's So Unusual and I want in on that invite list. If I had my way, Jennifer, Phoebe, and Vivia would have made several The Love Boat crossovers and had their own nighttime soap opera like Dallas or spy series like Alias. They'd certainly fit in as useful, eccentric additions to the Scooby Gang on Buffy the Vampire Slayer. In having these three personable, affable women as leads, Killer Party stands out from the crowd of late-80s slasher fare. We should all be so lucky to have best buddies with such personality, character, and loyalty. Horror scriptwriters, take note and make your characters this engaging.

The bonkers opening. In the first ten minutes of the movie, we get a movie-within-a-music-video starring April, whose crimped hair is the crimpiest crimp ever put to film. The off-kilter, slightly humorous tone is set immediately, with a somber funeral starring a vengeful corpse, angry family member, bumbling priest, and distracted crematorium workers. But wait! It's just April and her date Stosh watching a horror movie (not Cats) when they realize they're trapped inside a rock music video starring Whitesnake's second cousin White Sister. However, instead of Tawny Kitaen gyrating on top of shiny cars, April has to battle goopy, choreographed zombies who want to eat your brain but also want to dance like they're on tour with Paula Abdul! The opening scene's audience fake-out ends up being something Phoebe is watching on television as the main plotline begins. This creatively meta approach was way ahead of its time and not yet a popular trope in horror flicks of the 80s (with exceptions such as the great Friday the 13th Part 6: Jason Lives), having come to prominence with 1996's Scream.

The bananas ending. The finale goes all-out. Is it a slasher movie? Is it a haunted house movie? Is it a possession movie? Be like Wilson Phillips and hold on, because it's all three. The supporting characters are dead and the party has cleared out, leaving Vivia and Phoebe to fend off their best friend Jennifer, who has been possessed by the angry spirit of Allan. It seems that Allan was the unfortunate victim of a fatal fraternity hazing 20 years prior at Pratt House, and Jennifer is the perfect person to use to carry out his vengeance. It's an interesting twist, as Jennifer is set up as the main final girl from the beginning, even so far as to take a page from Crazy Ralph's playbook and forewarn her friends that something is "wrong". Usually the prescient, hyper-aware characters survive the carnage, but here she spends the movie's conclusion destroying staircases, growling and snarling in a boogeyman baritone, climbing the walls and ceilings, and terrorizing her best friends. If only they had heeded her warnings. Vivia and Phoebe shine as final girls in these scenes, highlighting how resilient, smart, strong, brave, and resourceful they are; from the always-appreciated "find-the-bodies" slasher staple where they first discover the imminent danger to the realization that their beloved bestie is now a bloodthirsty maniac to their resolute determination to save each other. The final scenes of the movie are extra creepy fun as well, wherein Allan's spirit overtakes Phoebe ("You raised a demon, Vivia," she says in a spooky possessed voice) as the paramedics load Vivia and Phoebe into the same ambulance despite Vivia's shrieking protests. No happy endings here (except in the fanfiction I wrote where they all make it out alive, finding happiness running a motel chain with the Rose family from Schitt's Creek and making Moira their fourth BFF).

The killer's costume. The movie was severely edited in order to receive an R-rating, leaving out almost all of the gore and bloodshed. These scenes have never been released uncut, though photos of the special effects were shown in old issues of Fangoria magazine. The more graphic footage was reworked to have all of the violence occur in a particular section of the film. Here is where the killer, dressed in a cumbersome, bulky diver's suit shows up to quickly decimate the cast. Any killer that can wear 190 pounds of costume just to slaughter a bunch of partying college kids has serious dedication to their job. It's an impractical yet visually arresting, unique, and memorable ensemble that is right at home with the weirdness of the movie. How do none of the victims hear him coming? How much Zumba did the killer have to do be in such good shape to choose that particular get-up? Where does one even find a trident to kill people with? How do you pronounce "gif"?  I have no answers. Like Jon Snow, I know nothing.

The soundtrack. We've already discussed White Sister's contribution to the stellar soundtrack, but wait until you hear "These Are the Best Times". This tune, which sounds like the best Bananarama or Spice Girls song that they never made, is sung by the three lead actresses and plays in both the beginning and over the end credits of the film. It is a jingle and a jam that you will never get out of your brain. Had this been officially released in any capacity, I would have requested the DJ to play it every time I went roller skating at Skatetown USA. If you haven't heard this enchanting melody, you can find it on YouTube. You'll want it to be your wedding song.

And random deep thoughts… There were a few extra things about the movie that I wanted to mention before I'm done convincing the world at large to watch it. The poster and VHS/DVD cover art is incredible and perfectly encapsulates that video store rental experience. The supporting characters are fun and enjoyable, beginning with Alicia Fleer as sorority mean girl Veronica, the Regina George of Briggs College. From her sneers and outfits alone, she is a memorably crotchety foil for Jennifer, Phoebe, and Vivia. The wonderful Paul Bartel shows up as the amusingly kooky Professor Zito. Just Before Dawn's Ralph Seymour makes nerdy Martin more than a one-note caricature. Martin Hewitt takes his role of Blake, who could have been just a stereotypical jerk who listens to Jock Jams on repeat, and gives him some depth. The loopy Mrs. Henshaw (Pam Hyatt), while dispatched too early on, adds to the offbeat nature of the proceedings as she pleads at Allan's gravestone for him to move on. Killer Party deserves more recognition because of Barney Cohen's idiosyncratic script, solid direction from William Fruet (who directed several episodes of the awesome and underappreciated Friday the 13^th: The Series), and the general peculiar proceedings that both adhere to and conversely stray from the conventional slasher movie. It's a weird, wild, lively, amiable movie with no loftier goals than to be entertaining, and succeeds in a big way. Killer Party is a fun time that would make for a fantastic drive-in movie experience, night in on the couch and under a comforter with some Hot Pockets, or maybe someday, an uncut version on a big movie theater screen. I can dream! One final fun fact: the title of this movie was originally going to be "April Fool" but had to be changed because the April Fool's-themed Slaughter High and the excellent April Fool's Day were both in production. Thank you so much for reading! Be happy, safe, and healthy! Wear your mask!

Everyone should know how great THE SENDER is by now and yet somehow they don't. All these years later and I still rarely see it mentioned. Obviously it's my duty to sing its praises yet again and so here we go…

1: The Tone

THE SENDER is one somber piece of work and it's magnificently consistent. The colors are uniformly grey, bland or beige and its subdued rainy day mood refreshingly goes against the grain of most early eighties fare. There's little if any levity and I think the only time we see the sun shining is during a suicide attempt. It's like A NIGHTMARE ON ELM STREET through the eyes of Ingmar Bergman. It's probably not for everybody and its glum nature may explain its limited appeal but I LOVE it. It's not too surprising that director Roger Christian was the art director for ALIEN and cinematographer Roger Pratt would go on to gift his talents to BRAZIL and 12 MONKEYS.

2:The Central Relationship/Actors

Intense Zeljko Ivanek portrays the wounded and confused "John Doe #83" who is sent to a mental clinic after trying to take his own life. The insanely underrated Kathryn Harrold is Gail Farmer, his concerned and intuitive therapist who takes him under her wing. The two are great together and it's easy to root for their positive, nurturing relationship as it threatened by shock therapy enthusiast Dr. Denman (effortlessly unlikable Paul Freeman) and John's unnerving and overtly religious mother (a quietly spooky Shirley Knight).

3: The Shock Therapy Scene

As it turns out John Doe#83 has quite a special talent and can "send" horrific nightmarish images and hallucinations into the minds of those around him- in some cases, triggering their deepest fears. It also turns out that when dealing with somebody with such ability that shock therapy is definitely not the way to go if you're trying to quell the issue. We're talking doctors and nurses flying about in slow motion through glass windows and fellow patients literally losing their heads. This scene is so beautifully done and continues to be a jaw-dropping sight no matter how many times I revisit the movie.

4:The Score

The great Trevor Jones (LABYRINTH, ANGEL HEART, DARK CITY) really gets behind the material and pushes everything to a higher level. Some of what he delivers is the saddest thing to ever hit your ears and then when needed, he brings on the bombast and creeping dread expertly.

5: The Visions

Rats crawling out of mouths, cockroaches swarming the fridge, decapitated heads flying about; what THE SENDER does not deliver in the body count department it certainly makes up for in the horrifying visual imagery arena. The line between reality and nightmare is cleverly blurred (and it should be noted, years before such a scenario was presented in the NOES series) and there's a grounded, realistic quality to the happenings that make them that much more disturbing.

THE SENDER was way ahead of its time and it may still be. I guess it'll never be an outright crowd-pleaser but it beats its own idiosyncratic drum in a way that has always impressed me. It's a mature, thoughtful fright flick that stands on its own two feet and caters to no one and I'll always be proud to champion it.

On my last visit to the hallowed halls of Kindertrauma, I caused somewhat  of a stir with my admission that Curtains—and not the more widely-regarded and revered Halloween or Friday the 13th or any number of other better crafted films from the subgenre's golden age—was my favorite slasher film. It was quite the scandal—pearls were clutched, jaws were left on the floor, and villagers of all ages fled the scene en masse, arms waving and voices shrieking in unison like Bodega Bay's schoolchildren in The Birds. Well, get ready for yet another brouhaha on par with the horror of an acapella chorus of "Risseldy Rosseldy" on a looping reel because I'm about to do it again.

Halloween isn't my favorite John Carpenter film.

I know, I know. But all the holy water and melodramatic exorcism rituals from every bad demonic possession movie combined can't evict this demon of truth from my soul. Don't get me wrong; I adore Carpenter's Halloween—for both its merits as a classic horror film and its far-reaching genre influence. Plus, it gave me—er, I mean it gave the world—its preeminent scream queen, Jamie Lee Curtis. But as much as I love and appreciate the personification of evil in a mechanic's jumpsuit and Shatner mask slashing his way through leaf-strewn suburbia on its titular holiday, it's Carpenter's next film that captured my horror heart and remains—to this day—not only the one film this scary movie enthusiast watches religiously every Halloween but also my favorite horror film of all-time. Quelle surprise!

By now, you know the drill: Five of my favorite things about The Fog that contribute to its lofty ranking in my personal pantheon of great horror movies:

1. Mr. Machen's Fireside Ghost Story: The opening of The Fog is a masterclass in storytelling. From the random scenes of supernatural goings-on across the seaside town of Antonio Bay as the opening credits drift lazily in and out to the gathering of some of the town's youth around old Mr. Machen and a roaring campfire on the beach at midnight, Carpenter sets up his tale of ghostly revenge beautifully. As the late John Houseman (as Machen) recites the 1880 events that led to the purposeful sinking of the Elizabeth Dane, a clipper ship filled with leprosy-stricken colonists looking for a place to settle, the mood and atmosphere of the film is expertly set. Houseman is cast brilliantly here, his distinct, unmistakable voice the perfect vehicle to eerily establish the film's backstory. Even his nautical couture—bordering on a  caricature of the wizened sea captain—lends an added visual element of tonal consistency that serves to further foster a strong sense of mood. Adding to the spooky ambiance is Carpenter's score—arguably, his best—that imbues these early scenes with a feeling of pure, inescapable dread that seems to communicate to the moviegoer, "Sorry, folks—the only out is through." Fun fact: This scene wasn't even included in Carpenter's original shoot. It was added, later, after he and producing partner Debra Hill were dissatisfied with a rough cut of the film.

2. Sandy, the Sassy Sidekick: I know I'm not alone in lamenting the all-too-short acting career of Nancy Loomis. Whether by choice or circumstance, one wishes that her roles in a trio of Carpenter films—Assault on Precinct 13, Halloween, and The Fog—would have been as strong a career springboard for her as roles in the latter two were for Jamie Lee Curtis. As Sandy Fadel, assistant to Janet Leigh's Kathy Williams character, Loomis proved that she had a clear career path to becoming a memorable character actor. Crisp, efficient, and with a slight projection of boredom that manifested in brilliant moments of deadpan sarcasm, Sandy was the perfect assistant. Loomis plays the part to precision, keeping Sandy sassy enough without crossing the line into satirical stereotype. Her onscreen boss summed it up best: "Sandy, you're the only person I know who can make ‘Yes, Ma'am' sound like ‘screw you'."

3. The Lighthouse Setting: In The Fog, the climactic battle with the ghosts of the Elizabeth Dane takes place on two fronts—the old town church where most of the cast converge and the radio station where DJ Stevie Wayne (Adrienne Barbeau) forges her own solo battle against the risen seamen. Carpenter's brilliance in setting the radio station within the backdrop of a lighthouse cannot be underscored enough. Using the real-life Point Reyes Lighthouse to film many of Barbeau's scenes, the locale lends a genuine sense of isolation that adds to the escalating tension throughout the film. From high atop her vantage point, Stevie can see the titular menace rolling into Antonio Bay and is able to use her broadcasting ability to warn those on the ground. But when those misty tendrils slide over the rocks outside WKAB, spiraling upwards and engulfing the structure in gauzy whiteness that pulsates with the revolving lighthouse beacon, the audience knows that Stevie—physically cut off and alone—is in for the fight of her life. The lighthouse setting enables Carpenter to execute some of the film's most excruciatingly tense and frightening set pieces, aided tremendously, of course, by Barbeau's bravura performance. Ironically, the creative forces behind the ill-conceived 2005 remake of The Fog opted not to include the lighthouse locale—and that's one of many reasons why that film failed so miserably in this jaded loyalist's opinion.

4. Getting to the Church on Time: There is a sequence at the beginning of the film's third act that is easily my favorite; I call it "The Foggy Roadway Shuffle." As members of the ensemble begin to understand that something sinister is befalling Antonio Bay on its centennial anniversary, they tune into their car radios to find pre-climactic battle Stevie in full-tilt panic mode. She's tracking and broadcasting the advance of the fog into Antonio Bay, and the audience is treated to expertly executed scenes where vehicles stop short and catch the beginning wisps of fog in their headlights as characters take note of street signs before jerking steering wheels hard left or right and tearing off in another direction at Stevie's disembodied radio guidance:

"It's moving faster now, up Regent Avenue, up to the end of Smallhouse Road. It's just hitting the outskirts of town. Broad Street…Clay Street. It's moving down Tenth Street. Get inside and lock your doors. Close your windows. There's something in the fog! If you're on the south side of town, go north. Stay away from the fog. Richardsville Pike up to Beacon Hill is the only clear road. Up to the church. If you can get out of town, get to the old church."

Those scenes are fraught with tension that both escalates and palpates as Carpenter's pounding score jolts with electronic urgency.

5. Convergence of the Ensemble: While poor Stevie Wayne is left to fend for herself high above Antonio Bay on the roof of her lighthouse radio station, the rest of the ensemble converge at "the old church." It's a marvelous sequence with Janet Leigh and Nancy Loomis arriving right behind Tom Atkins and Jamie Lee Curtis, who have just rescued Stevie's young son, Andy. (We won't discuss the raw deal poor Mrs. Kobritz got.)

Leigh's Kathy Williams, fretfully: "It cut us off!"

"Where is it?" asks Atkins' Nick Castle.

"Right behind us…in the driveway."

"Quick! Inside."

Once inside, the requisite barricading of doors and windows begins, while Leigh strongarms Hal Holbrook's inebriated Father Malone (a direct descendant of one of the original conspirators who doomed the Elizabeth Dane and her passengers to their watery grave) into reading from the journal he found at the outset of the film. Before you can say, "Hey, is that Captain Blake's lost gold there in your walls?", the church is surrounded by fog and besieged by the leprosy-ridden crew of the Elizabeth Dane. Some fantastic visuals here as gnarled, waterlogged hands break through backlit stained-glass windows. Lots of hair-grabbing and screaming cast members yanked backwards toward broken windows as Father Malone finally figures out the answer to their conundrum and makes haste to set the past straight. There's a kinetic energy and choreography to these scenes that just adds crackle and momentum and ratchets up the suspense exponentially.

It is, of course, also a real treat to see Curtis and Leigh together in these penultimate scenes, the second of three onscreen appearances they'd make before Leigh's passing in 2004. (The first was an episode of The Love Boat that aired in November of 1978; the third was Halloween: H2O in 1998.)

The Fog had a production budget of about $1 million, which included Carpenter's wise choice to shoot in 2.35:1 anamorphic widescreen to give the essentially low-budget production a big-budget feel. With reshoots and added footage, final production wrapped at around the $1.1 million mark. Someone behind the scenes had a lot riding on the success of Carpenter's high-profile follow-up to Halloween. In an unprecedented move, Avco Embassy spent another $3 million (three times the film's production budget for those keeping tally) exclusively on advertising—television and radio spots, print ads, and even the placement of fog machines in the lobbies of select theaters where the film was screening. The strategy worked. The Fog was released on February 8th, 1980 to mixed reviews but robust box office, eventually taking in a $21.3 million domestic haul.

For me, The Fog represented Carpenter's vision and narrative mastery at its best. He would come close one other time in his impressive but modest career with another ensemble piece—1982's The Thing—but his time spent in Antonio Bay was a pure love letter to the old-fashioned ghost story.

Vince Liaguno is an award-winning writer, editor, and pop culture enthusiast. Visit his official author website HERE or his Slasher Speak blog HERE.