Goke, Body-Snatcher from Hell (1968)

Goke, Body-Snatcher from Hell (1968): written by Kyuzu Kobayashi and Susumu Takaku; directed by Hajime Sato: Fun though often somber and horrifying Japanese scifi/monster movie. 'Goke' isn't so much from Hell as it is from space, the vanguard of a supposed invasion. 

Goke, Body-Snatcher from Hell uses the always-reliable Stagecoach template here, with a limited number of characters randomly brought together by shared transportation (an airplane here, not a stagecoach, lifeboat, or spaceship). 

That airplane soon crashes thanks to Goke's flying saucer. And the survivors are soon beset by problems from within and from without, way without, as Goke has landed on their island to tease and torment them with some Dope alien powers.

The whole thing makes for an effective horror ride with out-dated but often extremely effective visual and special effects. There's more than a hint of allegory as well, with the violence and confusion of the world of 1968 portrayed through assassinations, bomb threats, corrupt politicians, corrupt arms dealers, and an American woman recently widowed by the Viet Nam War.

Goke, Body-Snatcher from Hell is rumoured to be a favourite of Quentin Tarantino. At the very least, he included a Goke-like scene in Kill Bill 1 that involved a jet flight and a lurid orange sky right out of Goke. Fun stuff. And a special award goes to the grotesque visualization of Goke entering and leaving a victim's body, along with a terrific ending. Recommended.

A Quiet Place (2018)

A Quiet Place (2018): written by Bryan Woods, Scott Beck, and John Krasinski; directed by John Krasinski; starring Emily Blunt (Evelyn Abbott), John Krasinski (Lee Abbott), Millicent Simmonds (Regan Abbott), Noah Jupe (Marcus Abbott) and Cade Woodward (Beau Abbott): 

Best known as Jim from The Office (USA), John Krasinski does fine work here as co-writer, director, and co-star of A Quiet Place, a quiet piece of science-fiction horror that was almost a Cloverfield movie.

The movie isn't as quiet as the hype suggested. Or maybe I'm just more accustomed to quiet movies than most audiences and critics. It is pretty quiet, though. As the trailers and posters tell you before you enter the theatre, A Quiet Place follows the efforts of a family to survive an alien invasion by creatures who hunt by sound.

In case you're wondering, that's both active and passive sound. Passive-only and the aliens would spend a lot of time running into things as a tribute to the T. Rex of Jurassic Park and its inability to see things that aren't moving. Ha ha! But no, the aliens also possess some sort of active sonar.

Krasinski and real-life spouse Emily Blunt are excellent as the parents of three children, one of them -- the oldest daughter -- deaf. Do you think that deafness will become a plot point, perhaps even a major one?

Krasinski wisely keeps the monsters mostly off-stage and barely glimpsed until the climax. They're interesting creatures design-wise, and that design plays into the finale. The film also does a solid job of presenting pertinent information without relying on conventional exposition. A lot of information about the alien invasion appears in newspaper headlines pinned to the wall of Krasinski's character's workshop. So, too, possible foreshadowing of things to come.

For the most part, A Quiet Place is about desperate people who nonetheless remain competent in the worst situations. In this sense, it's a throwback to 1950's horror-science-fiction movies, except that instead of following experts trying to combat giant ants or flying saucers, we're on the ground with a single family. It's surprising how refreshing competent characters can be. It's almost subversive!

Perhaps there are a few things that don't quite ring true. But overall, this is a lovely piece of work, tense and tart and occasionally sweet, with characters one comes rapidly to care about. I do sort of dread the fact that a sequel has been ordered, however. Unless it involves alien invaders who hunt by the sense of smell. And is presented in Smellorama! Highly recommended.

Invasion of the Body Snatchers (1956)

Invasion of the Body Snatchers (1956): adapted by Daniel Mainwaring from the novel by Jack Finney; directed by Don Siegel; starring Kevin McCarthy (Dr. Miles Bennell), and Dana Wynter (Becky Driscoll): Invasion of the Body Snatchers is the first of four (!) film adaptations of Jack Finney's The Body Snatchers, and it's still the best.* 

I'd put it in a list of both Top 25 science-fiction movie and Top 25 horror movies ever made. And the term it made popular 60 years ago -- "pod people" -- remains in our mass-cultural lexicon to this day, used primarily now by people who probably have never seen the movie, much less read the novel it's based on.

Made on a shoestring budget, Invasion of the Body Snatchers became a surprise horror hit in 1956. Don Siegel's direction and Daniel Mainwaring's script keep things tight, perhaps a bit too tight when it comes to the rapid acceptance by several characters of an invasion of pod people. But that's a minor quibble. 

Kevin McCarthy does a fine job portraying the gradually mounting paranoid exhaustion of a man who doesn't dare go to sleep, and Dana Wynter is fine as well as McCarthy's love interest.

It's the creepiness of the concept, and that concept's portrayal, that makes the whole movie sing. You will be replaced by an emotionless replica of yourself -- and that replica will talk about how great this development is. This first adaptation keeps the mechanics of the 'changeover' murky, which is a plus. A couple of later adaptations would make the switch from person to pod-person a piece of graphic visual horror (and a job for the garbage-men). 

The studio found the original version of Invasion of the Body Snatchers too disturbing to release. So they added a frame narrative. It's a little annoying, but not too much so. Of course, all versions diverge radically when it comes to the novel's ending. And critical interpretations also differ as to the movie's sub-textual commentary on the American state of affairs c. 1956. 

Is this an allegory about Communism? (Joseph) McCarthyism? Consumerism and mass culture? Good question. As the movie isn't really 'about' any of these things, it supports all the above interpretations and more. Highly recommended.


* Followed by Invasion of the Body Snatchers (1978), Body Snatchers (1993), and The Invasion (2007).

The Thing from Another World (1951)

The Thing from Another World (1951): adapted by Charles Lederer, Howard Hawks, and Ben Hecht from the novella "Who Goes There?" by John Campbell Jr.; directed by Christian Nyby and Howard Hawks; starring Margaret Sheridan (Nikki), Kenneth Tobey (Captain Pat Hendry), Robert Cornthwaite (Dr. Carrington), Douglas Spencer (Scotty) and James Young (Lt. Eddie Dykes) : I suppose it's a measure of the contempt the producers and writers had for the source material that almost nothing remains of that source novella except the temperature (it's still cold) and the general idea (crashed UFO with an angry survivor).

The Thing from Another World nonetheless remains one of the minor science-fiction classics of the 1950's, but it's amazing how much is changed from John Campbell's 1938 original: not even the original names of characters survive in the screenplay.

Anyway, a UFO crashes at the North Pole near a U.S. experimental base. Some Air Force guys, led by the wooden Kenneth Tobey, arrive to help investigate. Soon, an alien with remarkable recuperative powers and an unquenchable thirst for blood starts rampaging around the experimental station. As he's a giant carrot, shooting him does no good, and unlike later versions of The Thing, there aren't a lot of flamethrowers lying around the base.

The movie's quite tense, with the hulking, monosyllabic alien -- who turns out to look like a bald Frankenstein's monster in a jump-suit -- kept off-screen most of the time, possibly because he looks like a bald Frankenstein's monster in a jump-suit . Campbell's paean to the resourcefulness of civilian scientists and engineers here becomes a paean to the resourcefulness of the Air Force. The chief, Nobel-winning scientist is an idiot who keeps trying to make peace with the alien even as the human body count mounts.

Though Professor Quisling really does have a point -- who wouldn't be pissed after crashing on an alien planet, getting frozen in a block of ice, and then almost immediately getting one's arm ripped off by a sled dog when one awakes? This has to be the worst first-contact scenario ever. Especially since the Air Force accidentally blows up the guy's UFO with some thermite while trying to excavate it from the ice. I'll be damned if I know why there were in such a hurry, and I'd hate to see them at a major archaeological dig.

It's fun to chart the differences between this film and John Carpenter's later, much more faithful adaptation of Campbell's novella. Only the giant carrot is a justifiable change -- visual effects of the early 1950's weren't up to a shape-changing alien. Watch the skies! Recommended.

Dim Bulbs

The Darkest Hour: written by Jon Spaihts, Leslie Bohem, and M.T. Ahern; directed by Chris Gorak; starring Emile Hirsch (Sean), Olivia Thirlby (Natalie), Max Minghella (Ben) and Rachael Taylor (Anne) (2011): Bastard great-grandchild of John Wyndham's Day of the Triffids, The Darkest Hour even lifts the Wyndham novel's celestial lightshow that ushers in apocalyptic events.

A bunch of bland American visitors to Moscow (well, I think Rachael Taylor's character is either British or Australian, but as almost no characterization beyond the Marvel comic-book level occurs in this movie, it's pretty much moot) get caught in an invasion of lights from outer space. The lights disintegrate people and are pretty much invulnerable to all Earthly weapons. Or so it seems! Luckily, the aliens don't check the basement the visitors hide in. Huzzah!

Other stuff happens, including the revelation that the aliens are basically really greedy leprechauns from outer space. What is it with movie aliens and their new obsession with strip mining (see also the naked space leprechauns of Cowboys and Aliens)? And why do highly developed alien species never wear clothing? And I'm looking at you, too, E.T. Put some pants on!

The movie is short and vaguely watchable, with a few interesting visual effects. It's not bad enough to be fun very often, and not good enough to be good. Full-frontal nudity from Olivia Thirlby would have made things a lot more interesting. Not recommended.

Defend the Block!

Attack the Block: written and directed by Joe Cornish; starring John Boyega (Moses), Jodie Whittaker (Sam), and Nick Frost (Ron) (2011): Fun, brisk alien invasion movie that bits some of the younger residents of a low-income London (England) housing project (or 'block') against furry, eyeless aliens with sharp, pointy, fluorescent teeth.

Will a non-British viewer have some problems with slang and accents? Probably -- I did, and I'm pretty good with these things. But the movie is clearly plotted and laid out. You'll know what's going on at all times.

The early stages may be a bit rough going for some people, as most of the heroes start off, unsympathetically, mugging a young nurse who also lives on the block. But alien invasions have a way of changing people. Or so I've learned from the movies. The protagonists all live in Wyndham Block -- I don't know whether this is a real housing project or an homage to British science-fiction great John Wyndham or both.

There are clever elements of other classic British alien-invasion movies and novels to note along the way, while the climax reminds me (in a good way) of the denouement of a lot of Dr. Who episodes. John Boyega is charismatic as the leader of the youth gang who learns better through adversity, Jodie Whitaker is suitably spunky as the nurse, and Simon Pegg's perennial on-screen and off-screen collaborator Nick Frost shows up to lighten things up as the flunky of a drug dealer. Recommended.

Brain Candy

Skyline, written by Joshua Cordes and Liam O'Donnell, directed by The Strause Brothers, starring Eric Balfour (Jarrod), Scottie Thompson (Elaine) and David Zayas (Oliver) (2010): I guess the directors of this film were originally visual effects guys, and the selling point of this movie was that it was made for the princely sum of $10 million despite having something on the order of 800 visual effects shots in it. Huzzah! Too bad about the writing.

Unlikeable couple Jarrod and Elaine visit friends in Los Angeles. The morning after a drunken party, aliens invade and start vacuuming people up into their garbage-pile-shaped ships. The aliens' primary abduct-humans machine is a hypnotic light that makes people develop black veins where there were no veins before just prior to their abduction. Various shenanigans ensue.

Did I mention that our unlikeable protagonists are in a high-rise apartment building so they can watch the invasion as it unfolds? Did I also mention that there's a hilarious anti-smoking scene at a point where only an idiot would be worried about somebody smoking? Or that nuking a large portion of Los Angeles doesn't result in clouds blocking out the sun?

Why are the aliens here? Well, based on what I can piece together from the movie, these aliens don't actually have their own brains. They steal them from other species. I'd love to know what ingenious alien genetic engineer thought that was a good idea. Even though the aliens we see only make 'gronking' sounds and various hisses and wheezes, they're apparently an advanced star-faring civilization. Either that or they stole a lot of spaceships and then got really lucky.

In any event, people do really stupid things and then either die or get vacuumed up. The aliens aren't much better, coming as they do from a civilization that's impervious to nuclear explosions but susceptible to fire, rocks, axes, car crashes and gunfire. One group of alien harvesters looks like the robot-squids from the Matrix movies; the other is essentially the StayPuft Marshmallow Man with a spider grafted to his face. To up the creative ante, the movie ends on a cliffhanger. Then you think the story's going to end in the series of stills played with the end credits. But it doesn't. That ends on a cliffhanger too. Yay! Maybe a Skyline 2 will come out! Recommended only for hilarity at the general ineptitude.

The Brain from Planet Arous (1957)

The Brain from Planet Arous, written by Ray Buffum, directed by Nathan H. Juran, starring John Agar, Joyce Meadows and Robert Fuller (1957): Hilariously bad, blessedly short (70 minutes) D-Movie science fiction from the swingin' 50's. John Agar, the patron saint of bad actors, gives a command performance as Steve March, a nuclear scientist possessed by Gor, an intermittently incorporeal brain from, well, planet Arous.

Gor is an escaped criminal who intends to rule the Earth because he can blow stuff up by thinking about it. Also, he seems to be a sex addict. Maybe he should just run for Congress!

Steve and his friend Dan discover Gor inside one of those caves that are in every cheap movie and TV show made in California, in the heart of Mystery Mountain, which looks like a rocky hill in that valley that appears in every movie and TV show that needs a rocky valley (it's in the Gorn episode of Star Trek, I'm pretty sure). Gor kills Dan and possesses Steve. Steve tries to date-rape his fiancee, who is saved by her plucky dog and is surprisingly forgiving about the whole date rape thing. Steve emotes like a crazy man, with John Agar's superb acting being supplemented by wacky contact lenses and a surprisingly inspired shot of Steve's face taken through a water cooler.

Gor blows up a couple of model planes and demands that the rulers of the world bow down before him to so he can use humanity as a cheap labour force to build a space battlefleet and conquer the universe. Vol, apparently planet Arous's least competent police officer, shows up to stop Gor and, after telling the fiancee and her father that he has powers greater than Gor's, spends the rest of the movie hiding inside the body of the fiancee's dog.

But wait! Vol does tell us that Gor has to leave Steve's body every 24 hours to breathe. And when he does so he becomes solid, and can be killed with a blow to the part of the brain called the Fissure of Rolando. Huzzah! Is that a handy axe I see lying around Steve's living room?

Aside from wretched dialogue, terrible visual and special effects, and lousy acting, The Brain from Planet Arous also has hilariously off-beat voice acting for the character of Gor, world conqueror. And a plucky dog! And, so far as I could count, maybe two different sets, along with a lot of outdoor work, some stock footage of atomic explosions, and an inexplicably abrupt exit by Vol at the conclusion of the film. It's like the good brain suddenly remembers he left his car running. Recommended for sheer awfulness.

Extra points if you notice that the film seems to have loaned its plot to the 1980's sci-fi actioner The Hidden, starring Kyle MacLachlan and Claudia Christian's breasts.