To say that I went into Studio 666 with low expectations would be a gross understatement. Foo Fighters are hardly known for their acting prowess, and their promise to deliver a horror comedy seemed to be a tough act to deliver. Despite this, I was still lured in. Why was this?
Well, it has to be stated that Foo Fighters marked a significant point in my music journey through the 90s, and while their production output has been questionable of late, with some, including myself, thinking that the ink has started to run dry in their creativity, this rock outfit has been entertaining for many years now. They are entertainers and it is inherent in their bones. So, was I entertained?
To begin with, my doubts doubled with a slightly cringy approach to getting the band into the studio house of horror with the guise of recording their 10th album. The creeks were deafening, and the horror tropes were overwhelming… but…
The further they ventured into the world, the more the bands’ characters and appeal began to shine. The jokes, which some critics have baulked at as being juvenile, genuinely had me laughing out loud. Something I didn’t predict at all.
And then there’s the music, but not from the area that you would expect. The composition to the score is in the hands of a horror maestro, John Carpenter. As soon as those pulsating rhythms take hold, you know that you are in safe hands when it comes to someone of his ability orchestrating the score. And what’s more, we even get a treat to his presence on screen in a truly apt cameo.
This alone is an indicator of just how well Grohl and the gang know their genre because there are some great nods to auteurs of the past. And possibly the greatest playing card in their final product, is the brave attempt to cast a light on the Foo Fighters darkest characteristics, mainly centred on Dave Grohl’s ego. Here is a man often cast as the nicest man in rock music, and yet there is a bubbling undercurrent that there is too much control going on. What Dave Grohl says goes and no one dares cast their wind against him. Foo Fighters has always been his vision, and with so much of a tight grip, there has to be questions about how the rest of the band react to that. This is the vein of the film and Grohl is not afraid to cut this open and expose the inner truths and turmoils lurking within. In doing so, Studio 666 throws both dark and light into the mix, combining these moments of calamity with comedy that zings.
The prognosis:
Yes, it was over-the-top and delivered on a huge platter that was hard to swallow, but they kept on entertaining and produced a fun-filled film.
They are not actors, but neither were The Beatles. Similarly, Foo Fighters have giving us a highly enjoyable film that projects their characteristics to the fore.
This episode looks at John Carpenter’s In The Mouth of Madness starring Sam Neill, a film that was considered a box office failure but went on to receive cult status.
Does it deserve high praise?
The Surgeons team dissect and discuss the movie to find out. Check out our thoughts in the ep below.
The Surgeons team continue to dissect and discuss the films of John Carpenter with the last film he would direct in the 80s and cult classic, They Live.
But does it still stand up and is it relevant today?
The Surgeons team continue to dissect and discuss the movies of John Carpenter in our current season.
In this episode we scrutinise Big Trouble In Little China starring Kurt Russell and Kim Cattrall, a film that didn’t pull the numbers at the Box Office but has since become a cult classic.
Listen to the episode and the thoughts of the Surgeons team below:
The Surgeons continue their journey through Director John Carpenter’s film work with this shift away from his horror movies into sci-fi fantasy, Starman starring Jeff Bridges.
It’s been a long time coming. Since 1978 fans of Michael Myers have endured the ups and downs of their favourite slasher as he carved his way through the residents of Haddonfield, but never has captured the hearts and imagination of John Carpenter’s original vision.
We’ve seen Myers omitted from the franchise only to be brought back to stalk his niece, then inflicted with an ancient curse, played the part of a reality TV series, and then reimagined by director Rob Zombie with conflicting results.
It seemed that Myers was dead and buried, but when ‘hotter than hot right now’, production team Blumhouse started to taut the idea of bring him back to the screens once more, a new-found interest began to surface once again.
There were certain things that began to fall into place, such as the return of Jamie Lee Curtis as Laurie Strode (albeit with slight reservation as they had done this before), which was rewarded further with the approval of Carpenter himself, plus part of his agreement was that he would provide the score. Hell yeah!
It might be a small thing but with the casting of Nick Castle to the Shape back to Myers cemented things for their storyline, which would be set 40 years after the original events transpired. The catch, none of the other movies in the franchise would exist. The producers would be picking up the baton without the sequels to muddy the water.
The other slight snag is that director David Gordon Green and his writing collaborator Danny McBride, normally associated with comedy were attached to steer this new direction. The screenplay they presented had the approval of those around them, but could they pull off a horror slasher and one that comes with so much expectation?
As the pre-credits began to roll, you suddenly felt that they had got the tone just right, ranging from the familiar score charging up the emotions and the image of the pumpkin rebuilding itself with a giant metaphor for the franchise. Halloween is back and they’re going to make it as damn good as they can, whilst keeping in tone of the original movie.
As the film unfolds it soon becomes apparent that what Green and McBride are telling isn’t just a typical horror film, but one of the trauma and the suffering that one faces when they have gone through a massive ordeal such as the one Laurie Strode faced all those years ago. What does that do to the psyche? What would happen to someone like Laurie and how would she cope back once faced with the reality of her situation? The choice was to place her as a survivor of sorts who is still fighting her demons, as she has become a modern day doomsday prepper, although in her case, Laurie isn’t preparing for the end of the world, but her inevitable last encounter with Michael Myers.
Jamie Lee Curtis does an amazing job of portraying Laurie and the impact that her character has had on her family. I’m not sure if I can recall her ever showing such raw emotion on screen, but she is able to deliver a full range of vulnerability, compassion, strength, and empowerment and with it she harnesses the other characters with her to produce a well-accomplished, solid movie. Laurie Strode is now a symbol of the effect that trauma has on those who’ve lived it or experienced it. In one scene, Jamie Lee Curtis is so broken in her portrayal that you can see the pain etched across her face as her whole body folds in on itself. It truly is a wonderful performance and a fitting one as we move in a time of change and recognition of the suffering that women have had to endure over the years, forced to bury their emotions in a world that didn’t or refused to understand.
On Laurie’s journey of torment is her daughter, Karen, (who has had to bear the suffering of a childhood trapped in fear) and her Granddaughter, Allyson (a symbol of hope and understanding). Allyson almost represents the overall message here for the Halloween franchise. We have to bypass a whole generation in order to rebuild for the future. Our hands rest in the youth of tomorrow and if anyone is going to tap into that generation, it’s Blumhouse.
That’s no to say that Halloween doesn’t ignore the people that have had to tolerate each new chapter, if anything the movie wears it on its sleeve with plenty of nods and references along the way. It’s a fine line to tread, but Green manages to keep a perfect balance of old and new, whilst still offering something fresh and serving decent bouts of nostalgia to please all and sundry.
There are some stints of humour along the way though. It’s not all doom and gloom. Green is a comedy director first and foremost but he doesn’t saturate the film with light-hearted moments, instead he delivers when the beats serve it and it lifts the film all the more, especially with the scene in which Julian is being babysat for by Allyson’s friend, Vicky. It’s a great little exchange between the two of them that you know will just go sour as soon as Michael enters the scene.
As for our beloved psychopath, Michael, he hasn’t gone without his own set of changes. Having been incarcerated for 40 years, he too has bottled up his emotions, stifled from a system that refuses to let him indulge in his passion for killing. So when he does break free from prison bus transportation, he unleashes with such brutality that hasn’t been present in the franchise before. This suppressed Michael will stop at nothing to go on his killing rampage, selectively picking his victims at will, before coming face to face with his nemesis Laurie again.
The climax of the movie also hits some great strides and rewards with the choices that the characters take to meet the conclusion and puts you through the wringer whilst leaving you pleasantly satisfied with the result.
The Diagnosis:
“Welcome back Michael Myers.
David Gordon Green and Danny McBride have successfully resurrected new life into a much-loved franchise and delivered a movie that will delight both old and new generations alike.
Congratulations to the Blumhouse team. You’ve produced the best Halloween film in 40 years.”
THERE’S A SLIGHT change in this week’s surgery podcast as not one, but three movies go under the knife.
Halloween 4: The Return of Michael Myers, Halloween 5: The Revenge of Michael Myers, and Halloween 6: The Curse of Michael Myers.
The reason for combining these three movies from the Halloween franchise together is due to the shift in focus for the movies.
The bold attempt to turn the franchise away from the Michael Myers storyline and launch it into an anthology series would prove to be way ahead of its time.
Halloween lll: Season of the Witch may have its core fans but ultimately it would fall foul of dumping its much-loved villain.
The people spoke and the producers listened.
Bringing Myers back was the easiest part in resurrecting the franchise.
The tricky part was to encourage its writers John Carpenter and Debra Hill back into production. A task that would be too great as no amount of persuasion could encourage them to do so.
Not only that but their lead protagonist, Laurie Strode aka Jamie Lee Curtis turned down the chance to return, citing other commitments.
Laurie would be written out (at this stage), killed in a car crash.
So what is an antagonist without its protagonist to hunt down and kill?
The writers would have to come up with something fast if the game of cat and mouse was to mount to anything on screen.
The answer was to bring in another Myers relative to continue the bloodline in the form of Laurie Strode’s daughter, Jamie Lloyd played in the next two installments by 8 year old, Danielle Harris.
The only trouble was that being a kid, Jamie Lloyd was no match for Myers.
So another nemesis would be brought back from the ashes, Dr Sam Loomis (Donald Pleasance once again taking on the role) to outwit Michael.
The series owes a lot to Pleasance’s gravitas on screen – a legend in his time.
Throw in a cult and Paul Rudd and you have a mixture of twisted storylines to keep the beating heart of the Halloween franchise going.
But what do the Surgeons of Horror make of this round of movies in the franchise.
Does it take too many twists and turns on its journey?
Listen to the podcast to catch our thoughts and opinions.
Surgeons of Horror 