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Flick is Kevin S. Tenney’s sequel to his own 1986 Witchboard, but aside from a ouija board being key to the plot, it is a sequel in name only. Pretty young Paige (Ami Dolenz) has moved into a new apartment only to find a ouija board left behind by the previous owner. Of course she begins to use it and is contacted by the former tenant, a woman named Susan Sidney (Julie Michaels). At first the spirit seems to want help from Paige in solving her murder, but there may be a deeper and far more sinister reason for the spirit’s presence.

Film is written and directed by Tenney, much like the first movie and like that flick is far more fun than scary. It follows the first film’s formula of a woman being contacted by a spirit via a ouija board and the ghost, at first, appearing benign and in need of help. Like the 1986 movie, Paige also has a jerk of a boyfriend (Timothy Gibbs) who we have a hard time liking and our heroine begins to show signs of progressive entrapment, as the sprit slowly takes control. Aside from the basic story elements, though, there seems to be no connection between Paige and Witchboard‘s Linda, nor any shared characters or referenced events. There is little or no suspense or scares, but it is entertaining and there are a few bloody deaths, though no explicit gore or nudity. Paige is a cute and likable heroine, even if her outfit of daisy dukes and cowboy boots doesn’t quite click as an outfit one would dig up a body in the middle of the night in. It does play much like an 80s horror, despite being made in 1993 and that helps with an amusing nostalgia factor. Tenney’s films aren’t known for mustering much intensity, but this flick has a few moments, though a few border on the silly, too, like a scene with a circular saw blade chasing it’s prey.

The cast is small but solid for this type of movie. Fan favorite Ami Dolenz is a good choice for Paige. She cute, sexy and makes an engaging heroine. She’s very likable and gives off a good Nancy Drew vibe as she investigates Susan’s alleged murder. Timothy Gibbs is fine as Paige’s cop ex-boyfriend Mitch, who remains an unlikable jerk till the last act, which makes it hard to root for him when he starts to behave more like a hero. John Gatins is far more likable as the landlords’ photographer son Russel, who takes an interest in Paige and thus her paranormal investigation. Russel’s parents, hippie landlady Elaine and her handyman husband, Jonas are played by SNL legend Laraine Newman and TV actor Christopher Michael Moore, respectively. Actress and stunt woman Julie Michaels (the hottie from the opening scene of Jason Goes to Hell: The Final Friday) plays the late Susan Sidney in flashback and possession sequences and is effective in the part. Both Dolenz and Newman would work for Tenney again in his Die Hard with college coeds, Demolition University.

This flick doesn’t seem to have garnered the cult classic reputation that the original Witchboard has, though it’s just as amusing and Dolenz makes for a bit more animated a heroine than the slightly wooden Tawny Kitaen. It’s got an 80s vibe, despite it now being 1993, as it would be three more years before Scream would make horror flicks become more self aware and filled with pop culture referencing. It has a few spooky moments, some bloody demises and enough nostalgia to make an entertaining watch.

-MonsterZero NJ

Rated 3 (out of 4) planchettes.






From Frights To Fun: The Evolution Of 80s Horror


From Frights To Fun: The Evolution Of 80s Horror

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To me, the 80s is one of the best decades ever for horror flicks…with the 70s following right behind it. Sure, every decade since films started being made has it’s classics from 1922’s Nosfeatu to 2007’s Trick ‘r’ Treat, but in terms of sheer proliferation and the number of classics that came out of it, the 80s was an amazing time to be a horror movie fan and I am glad I was in my theater seat for it all the way. And as I have said before, it was a time where low-budget B horrors could still be seen in a theater, where they belong and a time I will always cherish. I will also admit there was a lot of garbage to sift through to get to the gold, but even those had their entertainment value, especially when you and your friends were sitting in your seats giving those lesser efforts the old MST3K treatment, years before that show even existed…and that classic show is also a product of the 80s, might I add. But the one thing I also find striking about 80s horror is a distinct tonal shift in the style of horror flicks as the decade wore on that can only be appreciated now as we look back in nostalgia. Darker and more somber slashers became flicks that were lighter in tone, more colorful and with far more of a sense of fun about themselves. Let’s take a look…

John Carpenter’s Halloween may not have been the first slasher, but it is the film whose success started the early 80s slasher trend as studios and indie filmmakers realized you could make a lot of money on a shoestring budget. The early 80s cinemas became filled with films that followed the slasher formula with the stories being set on or around a special event or time, such as the prom in Prom Night, or college hazing as in Hell Night, or a fateful day like Friday The 13th. And then, within that setting, having a group of young high school or college co-eds being stalked and cut down by a killer with a grudge, till one feisty young girl…or sometimes a couple…is left to fend off our killer. For the most part these films took themselves very seriously and had a somber mood and moderate pace with the violence level being anywhere from fairly tame, like in thrillers like Terror Train or over-the-top gory as in Willaim Lustig’s Maniac or Charles Kaufman’s Mother’s Day…though, let’s not forget that some of the gorier entries where a result of the success of George Romero’s ultra-violent Dawn Of The Dead which started it’s own trend of extremely violent horrors that predominately came out of Italy and was spearheaded by filmmakers like Lucio Fulci. There were some rare instances where a director had a more humorous approach like Joe Dante’s The Howling or An American Werewolf in London, but horror/comedy is nothing new and the early 80s horror films predominately followed a more serious direction at this point in time.

Monster movies like The Boogens or Without Warning or supernatural horrors like The Fog and  The Boogeyman also followed the slasher format with victims being isolated and killed off one by one, leaving a frightened heroine to fend for herself with the occasional surviving love interest to help her survive. And for the first two or three years of the decade, theaters where inundated with such horrors to the delight of screaming fans. And we got many a classic horror flick out of it. But like any trend, such as the 70s possession flick trend inspired by The Exorcist, these things run their course. But not only did 80s horror start to open up with more supernatural themed flicks like the A Nightmare On Elm Street films, that cleverly added an incorporeal villain and surreal elements to the slasher formula, but the films started to reflect the overall buoyant mood of the 80s with brighter cinematography, more humorous tones and even began to reference and acknowledge past films and filmmakers. The first ‘inside’ reference I can remember was Sam Raimi’s subtle shout-out to Wes Craven by having a The Hills Have Eyes poster displayed in the basement of the old cabin in 1981’s The Evil Dead…to which Craven responded by having Heather Langenkamp watching Evil Dead on TV in the first Elm St movie. In terms of the lighter tone, the first time I noticed it was back in 1982 with Friday The 13th Part 3. When I saw it at my beloved Oritani Theater, I was kind of taken back by it all. The film had a very colorful production design, had a lot more humor than the first two installments…including characters that seemed to be there just for comic relief…and seemed to almost be having fun with the fact that we’ve been through this twice before. Jason went from a creepy, deformed backwoodsman to a hulking comic-bookish monster complete with iconic hockey mask. The film’s trademark kills were a bit more elaborate and far-fetched, as if the filmmakers were getting a bit playful with Jason’s M.O. The tone shift seemed to be starting, but without knowing what was to come in following years, I was simply disappointed with the flick and had no idea the trend would continue.

And the shift did continue with the advent of Freddy Krueger who was creepy at first, but quickly became a wisecracking, demonic gremlin that pulled people into his dream world for elaborate and outrageously gimmick-laden fates. The movies were far more fun than scary, but these films at least were more creative and imaginative than the simple stalk and kill films that came before them, though I missed the intensity and the serious tone of films like The Prowler. Flicks also started to jokingly reference their inspirations, like 1986’s Night Of The Creeps which names every character after a horror film director of that era like “Chris Romero”, “Cynthia Cronenberg” and James Carpenter-Hooper”. We also got MTV inspired films like the music filled and music video styled Return Of The Living Dead, the classic The Lost Boys, as well as, the neon-lit Vamp. Those films were far more entertaining than they were frightening as The Lost Boys even has a touch of Spielberg in it’s over-all tone…reminding us of the stark example of what happened when Carpenter’s grim and gory extraterrestrial The Thing went up against Spielberg’s bug eyed visitor from E.T. in 1982No better an example of the start of audience change of taste in the 80s than was the beating Carpenter’s now classic sci-fi/horror got from critics and at the box office…though, I saw it at least three times in a theater!

The trend continued with even lighter and more humor-laced films as we headed toward the 90s with flicks such as Waxwork, Chopping Mall and Night Of The Demons which were loaded with as many laughs as they were scares and gore. The MTV generation was being fed films that were faster paced, brightly colored and took themselves far less seriously as the arrival of music video and the end of the Cold War had created an era that was a bit more overindulgent and the films of the day reflected this. Even somewhat more serious horror like 1988s Intruder and the 1985 classic The Re-Animator still openly had a good time with their premises and occasionally winked at the audience, which films now acknowledged were sitting there and were familiar with the type of flick they are seeing. Earlier 80s films rarely acknowledged that they were a movie and that there was a horror savvy audience watching, but the second half of the decade was filled with movies that referenced those earlier films and were quite aware of themselves and who their audience was. They played to that audience instead of simply telling their scary story. And at this point Freddy Krueger was turning girls into giant cockroaches and Jason was a zombie battling telekinetic teenagers. Even the old school boogiemen had traded in their scares for more outrageous and silly story lines with each installment, as almost every horror hit became a franchise. Michael Myers also returned in 1988 to now stalk his young niece…why not his second cousin too? Needless to say by the time 1990 rolled around, horror had become burnt out and silly until horror master Wes Craven would revive it as pop-culture-reference filled heavy nostalgia with a bite in Scream… but that is another story.

Another aspect of the shift that may not have been as noticeable to the average audience, but was very noticeable to film buffs was in how these films were now being made and how they looked. By 1985 the home video market was in full swing. I should know, I worked at a Palmer Video back then. Direct to VHS films were starting to appear due to the cost effectiveness of not having to produce film prints for theater showings. And a lot of the horror films of the later decade were being made with the home video market in mind. Even some of the ones that got theatrical releases lacked that theatrical look. Gone were the cinematic visuals and widescreen presentations. Flicks like Witchboard and Waxwork had the look and feel of a TV movie and were filmed in the more TV screen friendly 1:85 format. Only some of the big studio releases and films by veterans like Carpenter and Craven maintained that theatrical look in their visual styles and still looked like a movie made for theaters. A disappointment to those who find the film’s visuals as important as their story and content. And another example of how drastically movies changed from 1980 to 1990.

Whatever the course the horror films of the 80s took, I will always have a soft spot in my heart for these movies, good or bad. Whether it be the more serious chillers of the early years, or the reference heavy, lighter toned flicks that came later on, it was a decade when I came of age and was most influenced by movies and was still a time where a low budget flick like Galaxy Of Terror or Final Exam could see the inside of an audience filled theater. And not only was I proudly there to see it, but will never forget it. And now, decades later, many a night when my social calendar is empty, I can be found in a darkened living room, on the couch, with some of my favorite brews, reliving those days long gone, but never…ever…forgotten!

… and one of the reasons I now share my passion for those movies with all of you!

-MonsterZero NJ


The Oritani Theater: 300 Main St. Hackensack N.J Photo from the Mitchell Dvoskin collection




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(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

This 80s horror written and directed by Kevin Tenney (Night Of The Demons) is a silly flick when viewed strictly as a horror movie, but is so delightfully 80s…with it’s feathered hair, heavy metal music, valley girl psychics and, of course, 80s icon Tawny Kitaen as it’s lead…that it’s just a lot of fun to watch even though it is devoid of scares, or much suspense and evokes more laughs than chills.

The film starts out at a party being held by gorgeous Linda Brewster (Tawny Kitaen) and her overly obnoxious boyfriend James (Todd Allen). A former friend of Jim’s and ex-love interest of Linda’s, Brandon (Stephen Nichols) brings a Ouija board and tries to make contact with the spirit of a little boy. Things go awry as Jim’s taunts provoke the spirit and when Brandon leaves in anger, he leaves the Ouija behind. A curious Linda begins to communicate with the spirit of ‘David’, but her sudden shifts in behavior and the strange and sometimes violent occurrences that begin to occur around the couple, indicate that the spirit Linda has evoked is no child and certainly does not want to play. Can Jim save Linda before she is possessed by this malevolent entity, or it kills him and anyone that stands in it’s way?

While presented seriously by writer/director Tenney, this is still a very silly flick, but is a lot of fun as it is just has so much 80s nostalgia. There is little suspense and no real chills or scares, but it is a very good example of the tonal shift 80s horror movies made about midway through the decade, from the dark and somber slashers inspired by Halloween to lighter toned and more colorful flicks such as this and the Elm St. sequels. The attempt seems to be to make a straight horror, but when you introduce characters like Kathleen Wilhoite’s over-the-top, wisecracking, valley girl medium, any attempt to be taken seriously goes out the window just as it does when Whitesnake video girl Kitaen begins to threaten Jim in a husky man’s voice while dressed in men’s clothes. Fun…sure…scary…hell, no. There are a few instances of gory violence, but they are too few to really add impact, though they are well executed by the FX people. The movie is competently made on a small budget and certainly entertains, but it’s too silly to be anything but a light diversion that now packs a heavy dose of  80s era nostalgia…which is fine with me. Roy H. Wagner’s cinematography is a little too bright and colorful to add atmosphere to a horror film, while Dennis Michael Tenney’s score…with it’s theme performed by metal band Steel Breeze…evokes the 80s but not chills.

The cast are all satisfactory enough. Tawny Kitaen was at her hotness prime and while she is a stunner, she is a bit wooden as Linda and not very convincing in the possession scenes despite the dubbed man voice, but considering how silly it all is, it doesn’t really hurt the proceedings. Allen comes across as a jerk and it takes most of the film to warm up to his Jim and believe he really cares about Linda. Stephen Nichols gives us a Brandon who is a pompous elitist at first, but he legitimately seems to want to help and takes responsibility for what’s happening and transforms into a likable character, when all is said in done. As Zarabeth, Kathleen Wilhoite gives us a totally over-the-top, valley girl psychic that really smothers any possible tension made up to this point and while her character’s time on-screen is brief, she is disruptive and it’s hard to believe the arrogant Brandon would take her the least bit seriously…we certainly don’t. I’m sure that is how the character was written and directed to be played, but one has to wonder why Tenney would choose to make a joke out of a pivotal scene with such a flamboyant character.

Overall, I find this movie a lot of fun, but not sure for the reasons intended. It’s story is routine and been done before, there is little tension or suspense and the gore is effective but very minimal. There is, however, fun to be had watching the actors try to play this stuff straight and the film is at least competently made. There is also heaping amounts of 80s nostalgia to be had and that in itself makes this a good time to watch, especially with quintessential 80s babe Tawny Kitaen as our lead. A fun movie whether that was the intention or not and one best enjoyed with a few pints of your favorite poison.

3 possessed video vixens.

witchboard rating

and as a bonus Steel Breeze with their biggest hit, You Don’t Want Me Anymore…