Supernova is a textbook example of how a troubled production can derail even the most promising concept. Billed as a sleek sci-fi thriller, the film instead arrived as a fragmented, disjointed mess that left audiences—and its own cast—wondering what went wrong.
The behind-the-scenes chaos is almost more compelling than the movie itself. Walter Hill, a director known for his gritty, character-driven work, left the project amid creative disputes. Jack Sholder was brought in to salvage it, and eventually, even Francis Ford Coppola was tapped for re-edits. Despite these efforts, the result is a patchwork narrative that never gels.
The cast, including James Spader, Angela Bassett, and Robin Tunney, reportedly distanced themselves from the final product. It’s easy to see why: their performances feel stifled, victims of erratic direction and an incoherent script. Spader’s natural charisma is muted, while Bassett’s talent is wasted on a character given little to do.
Visually, the film oscillates between dated CGI and occasionally striking production design, but even its better moments are overshadowed by the narrative incoherence. What should have been a tense exploration of isolation and the unknown instead devolves into a nonsensical series of events culminating in an ending that feels both rushed and unsatisfying.
Thematically, Supernova had potential, with its exploration of humanity, technology, and the dangers of the unknown. Unfortunately, its lofty ideas are buried beneath the weight of its disastrous production. Twenty-five years on, the film stands as a cautionary tale of how too many cooks—and too little vision—can ruin a cinematic stew.
25 years ago, before Scream would reawaken the horror genre and generate a plethora of like minded movies came a film that tapped wholly into my adolescent brain. I’ll let you decide which part of the brain from which I am referring. Needless to say, Fairuza Balk’s Nancy stirred something inside me that yearned for and connected with females who drifted outside the mainstream of what was considered “normal”.
Recently, The Craftwas given new life in the public eye thanks to its sequel of sorts, The Craft: Legacyreleased by Blumhouse last year, but somehow it failed to ignite the same passion as the original.
Some of this could easily be put down to its strong, young cast with the afore-mentioned Fairuza playing the main antagonist to Robin Tunney’s white witch, Sarah in what is essentially a coming of age teen-drama. Joining these two are also Neve Campbell, Rachel True, Skeet Ulrich, and Christine Taylor, who all essentially lift what comes across as a medicroe tale when reviewed through today’s eyes.
It still however holds a strong place in my heart, despite its flaws and molded my love of 90s teen horror as a result. What can I say, it’s my achilles heel.
It helps that swiftly following TheCraft came the behemoth of Teen Slasher films… Screamdirected by the great, Wes Craven. It also boasted two of the movie’s stars in Neve Campbell and Skeet Ulrich whose careers were rightfully projected to stardom as a result.
Scream is now the stuff of legend with its meta representation of the horror franchise and again boasted an awesome cast with Courtney Cox, David Arqette, Matthew Lillard, Rose McGowan, Jamie Kennedy and let’s not forget that killer opening sequence with Drew Barrymore. Before the decade was out a sequel would also follow the following year and along with it a franchise and Ghostface’s interchangeable personna was born.
Chief among setting the tone for the decade and the success that followed in Scream’s wake was Dawson’s Creek scribe Kevin Williamson, who managed to tap into the pulse of those of my generation, eager to be understood and have those “deep and meaningful’ relationship discussions.
By 1997, Williamson was just starting to hit his stride with I Know What You Did Last Summerstarring Campbell’s fellow Party of Five alumni Jennifer Love-Hewitt.
Love-Hewitt stars as Julie James, who along with three other school friends (Ryan Philippe, Freddie Prinze Jr. and Sarah Michelle Gellar, the latter was already on the rise thanks to a certain Buffy role) accidentally run down a stranger on the road and leave him for dead. It’s basically an elongated urban legend with the man with a hook hellbent on revenge. Like Scream it would also generate a franchise with a further two sequels to cash the cow.
Back to the Dawson’s Creek connection and another teen horror, Disturbing Behaviourthat would be released in 1998, the busiest year for the sub-genre, At the time, I more-than jumped on this band-wagon following Katie Holmes’ second feature film. This was a time when I, like Dawson, was undecided about the whole Joey/Jen thing, before realising in my case, that Michelle Williams was always the more interesting person to watch on screen, but more about her in a moment.
Disturbing Behaviour is probably the weakest in this line up of movies, but does boast James Marsden and Nick Stahl in the mix, in a tale of idyllic suburbia with a sour undertone in both its take of the American Dream and repressed teenage sexuality but it does still have the same beats and touches on the same wavelength that was being generated at the time.
Onto Holmes’ counterpart, Michelle Williams, who, again in my opinion, deserves greater praise for the work that she produces each year. In 1998, Williams would be cast in the support role of Molly in one of Horrors biggest franchises, Halloween.
Halloween H20: 20 Years Later would have Kevin Williamson on writing duties, so it’s no wonder that Williams would connect well with the screenplay. Aside from bringing Jamie Lee Curtis back for the first time since Halloween 2 to pit against Michael Myers, it also introduced us to the so fresh and hot right now, Josh Hartnett. Let’s not talk about that hair cut though, for in his other movie that year, The Faculty, he slipped easily into the bad boy, good heart character with a brooding presence. Oh and that guy Kevin Williamson is behind the screenplay again.
When I first watched The Faculty I had a strong negative reaction to it, as I wore my snobbery hat when I watched it and took all the homagees embedded within as rip=offs of the great films that preceded it. I was a huge fan of director Rober Rodriguez at the time, which I think added to my disappointment further.
I have since grown to love this film more though and recognise it for what it was, a love of sci fi horror and again had some great stars in Elijah Wood (pre-LOTR), Jordana Brewster, Clea Duvall (I had such a thing for her too – Apparently I have a type, just ask fellow Surgeon Antony Yee), Laura Harris, Salma Hayek, Famke Janssen, Bebe Neuwirth, Robert Patrick, Shawn Hatosy, Jon Stewart, and Piper Laurie. It definitely warrants repeat viewing and holds up because of the fun energy and bold direction that Rodriuez alway brings to his movies.
Rounding out the quartet of movies for 1998 is Urban Legend which is a little forgotten despite generating a franchise in its own right and another strong cast considering with Alicia Witt, Jared Leto, Tara Reid, Rebecca Gayheart, Michael Rosenbaum, Joshua Jackson (Dawson’s Creek again), Robert Englund, and Danielle Harris into the fold. It captures the urban legend tales of horror well enough but can’t quite shake off the fact that it’s riding on the coattails of stronger movies and suffers a little with age.
My last notable film to mention however lifts the half-decade of teen horror back to higher standards with its clearly tongue in cheek tale, Idle Hands where a stoner, Anton (Devon Sawa currently seen in a cracking film, Hunter Hunter) who discovers his hands are possessed after waking up to find his parents murdered. A cool cast again with Jessica Alba and Seth Green, Idle Hands is great fun to watch and definitely not to be taken seriously.
Sawa would also go on to star in another cracking film at the turn of the next decade in Final Destination as the trend would dial down a little.
For those 5-6 years though, it would produce a number of movies, some to hold high and some probably best forgotten but for nostalgic reasons still resonate with me today. I can only blame Nancy. I should have taken the heed and bound her from harm… harm to others and harm to myself…
“NOW IS THE TIME. This is the hour. Ours is the magic. Ours is the power.”
There is something quite nostalgic about re-watching The Craft and even more shocking that it’s 20 years old this year.
The film itself isn’t necessarily special but with Fairuza Balk crazing it up like only she can, Neve Campbell at the height of her charms (this being the same year that Scream was released)and Robin Tunney doing the whole millennial thing before it was even a thing.
All of this makes great chemistry on screen and the story of a group of girls who discover that they can use witchcraft to harness their opportunism becomes much more believable.
Of course all will turn sour and the deranged Nancy amps up he mania and turns on newcomer Sarah, exploiting her weaknesses and making her feel more of an outcast.
Ultimately it comes down to a battle of dark and light, good and evil.
The outcome may be predictable, but the journey is enjoyable enough.
It’s still worthy of a revisit and yes the CGI may have aged drastically but the performances still hold strong, coupled with a storyline that is both engaging and thrilling.
Surgeons of Horror 