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Late to the Party: ‘Gremlins’ (1984)

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I know what you’re thinking…”Did this guy even have a childhood?” I was going to pick something scarier for my first crack at Late to the Party, but, dammit, I felt a sense of duty to finally check Joe Dante’s Gremlins off my list.

Gremlins is the type of gateway horror movie younger audiences might fondly remember as one of their first introductions to the genre. I was wondering if I wouldn’t be able to appreciate it as an adult. Then again, a good film doesn’t need nostalgia to hold up. I popped in the disc (Sorry, no VHS), and the menu screen appeared with Jerry Goldsmith’s zany carnival-style theme song playing in the background. I knew I was in for a wild ride.

Gremlins opens unexpectedly like a neo-noir detective film, complete with voice-over narration from a fedora clad man with an unbelievable tale to tell. Inventor Randall Peltzer discovers a strange little creature called a Mogwai in a mysterious back-alley shop, and buys it as a bizarre Christmas gift for his teenage son Billy. Randall warns Billy to follow three simple rules: Keep it out of the sunlight, keep it away from water, and never feed it after midnight. I couldn’t wait for them to break all three.

It was bewildering how incredibly nonchalant the whole family was that the father brought home an unidentified, Nobel Prize-winning species, and acted like it was a Pomeranian. But, hey, people were bringing home all kinds of weird creatures in the 80’s. It’s not long before things go awry, and the town is under siege by hundreds of evil gremlins. If only the mom called the authorities when she discovered a half dozen monster cocoons in her attic, instead of going back downstairs and baking Christmas cookies.

We meet some of the unsuspecting townspeople in the first act of the film. Most characters have poetic payoffs, like the miserable, old crone Mrs. Deagle, who receives a hilarious comeuppance (more on that later). However, some character arcs get thrown to the wayside. Billy’s young, arrogant supervisor Gerald Hopkins is competing for the affection of Billy’s crush Kate. Gerald oddly disappears part way through the film, but it’s not a major detriment to the overall plot. Kate is also thankfully not turned into a damsel in distress. Despite some missed character opportunities, Gremlins doesn’t bother getting bogged down in too many subplots when the pace picks up.

The film is presented like a B-movie creature-feature elevated by fantastic execution. Charming matte paintings are utilized for the aerial shots of the small town, while most of the sets appear to be classic Hollywood backlots. The practical effects have many clever details that will still blow people’s minds, even today.

The crew pulled out all the stops with slimy cocoons, pulsating furballs, and, of course, the incredible animatronics. Even as a grown-ass adult, I found Gizmo absolutely adorable. The gremlins lurking in various nooks and crannies were often accompanied by retro glowing green or red lights and rolling mist. Stripe’s gruesome death sequence resembles the final scene in The Evil Dead (1981) in the best possible way. All these little touches bring the film to life with incredible flair.

The level of mayhem in Gremlins is glorious. One would expect the film to be smaller in scale due to budget restrictions, but they went all out. The gremlins tear-assing through the picturesque town showcases their mischievous personalities, and the creativity of the film crew. Not only were they destroying the town, they were having fun doing it.

Dante lets us take a couple moments to soak in the chaos the gremlins are causing in a local bar and theater. The camera pans around to show them swinging from ceiling fans, playing cards, slamming drinks, and all other sorts of crazy shenanigans. One of the best scenes is when they show up on Mrs. Deagle’s doorstep dressed in caroling garb, and launch the crotchety, old bat out her second story window via stair lift chair. I was rolling with laughter.

Gremlins is a perfect mix of lighthearted 80’s adventure, with a dash of slapstick gore. This film could have easily been a cheesy disaster if it was executed poorly. It instead became a classic with something for everyone. Modern audiences often try to decide if a film like Halloween (1978) is still terrifying by today’s standards. Gremlins, on the other hand, was never meant to be terrifying. It was meant to be a fun adventure, with excellent practical effects. In that regard, it absolutely holds up.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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