Posts Tagged ‘scifi’

My Readers and following friends,

It’s been a hard year with personal loss and sadness, so I’ve been off the social media merry-go-round. Whatever you are going through, you will get through it. Keep the dream alive, have trust. Merry Christmas to you and your loved ones!

The Christmas season is upon us and we’ve got a few signed editions of Darkest Moons (contact via the website), also if you order any paperbacks you get the Kindle Free, for those who want to start reading immediately and have a keepsake paperback winging its way to you.

Darkest Moons

Darkest Moons

In 1878 a mining community came to terms with the existence of a terrifying horror.

As the moon rises the curse begins!

The Final Version

The Final VersionJourney through the history of genetics and be catapulted to a post-apocalyptic future, a conflicted dystopian utopia of cyberpunk, cryogenics and government-conspiracy.

Blood Hunger

Blood Hunger

From the fall of the vampire and the Dracul brothers in medieval Europe to their return in the present day. Prepare yourself, their first bite will be your last!

Dead Pulse

Dead PulseDeath does not discriminate…

The dead have returned to life… The world’s focus is on the city of Ravenswood and the once idyllic town of Farmore as platoons and scattered survivors fight the hordes of the dead, unbeknownst one of them holds the key to end the undead’s reign of mayhem.

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*** Warning this review contains major skin job spoilers ***

2049, a blade runner for the Los Angeles Police Department, unearths a secret that has the potential to plunge a company and department into chaos.

Without drawing too many comparisons to Ridley Scott’s 1982 classic, director Denis Villeneuve’s neo-noir science fiction film is powerful, atmospheric and like its predecessor mostly likely not an instant classic but a slow burning grower. All the lights are out at the Tyrell building and the weather is more unpredictable than ever before with snow, dust storms on top of the usual expected rain. Even though Hampton Fancher and Michael Green screenplay follows the excellent Ryan Gosling’s character officer K later Joe it’s very much a film about Harrison Ford’s Rick Deckard and Nexus 6 Rachael. Both the advancement in A.I. relationship element is focused upon here as well the expected replicants memories, relationships, life spans and more importantly reproductive system.

Packed with excellent performances, notably limited screen-time from Jared Leto, Robin Wright and Dave Bautista in brief but impressive subtle and violent appearance. Edward James Olmos also reprises his role as Gaff and with ease gives Gosling a run for his his money in the few minutes he appears on screen. Sean Young’s Rachel is also prevalent throughout, whether it be in dialogue, photos, voice recordings, skull and bones or a better than Rogue One’s Tarkin appearance with some jaw dropping, impressive computer generated wizardry film magic.

While Harrison’s screen presence sizzles Golsing carries the film well in amongst the mesmerising effects and earthly sets that are captured by veteran Roger Deakins’ cinematography. Hans Zimmer and Benjamin Wallfisch’s music is fitting and has all the Vangelis staples and expected moving horns and beats. To Villeneuve’s credit he achieves the almost impossible and that is to conjure up a sequel that doesn’t simply rehash, but builds on the first film as Golsing’s Joe goes about finding out what or who he really is and his purpose. As well as subtly answering questions about its predecessor, namely the fate of various characters, life spans and so forth it also leaves many fittingly unanswered. Up for speculation, interestingly not a plot point, without specifically saying so it hints that rule-abiding “Skinner”, “Skinjob” K, KD3:6-7, is possibly a younger version of retired Deckard B-263-54.

A must see, but expect a futuristic breadcrumb detective story with slight of hand memory tricks and a few twists rather the Gosling’s Joe hunting down and simply disposing/retiring Replicants.

Transformers: The Last Knight Movie Poster*** This review may contain spoilers ***

Autobots and Decepticons are still at war and the key to saving our future lies buried in the hidden history of Transformers on Earth.

The expensive state-of-the-art special effects and Mark Wahlberg is mostly what keeps the fifth installment of the franchise watchable, aside for the nods to the original series (ship crashed on a hill, Frank Welker’s voice, the episode “A Decepticon Raider in King Arthur’s Court” to name a few) very little remains what many of the 1984 viewers fell in love with.

Director Michael Bay’s staple eye candy and stereotype battle of the sexes aside, although some human characters return including Josh Duhamel, Nicola Peltz (voice cameo), John Turturro and an unrecognisable Stanley Tucci as Merlin, not even Anthony Hopkins can raise this above mediocre.

The Last Knight is packed with pointless expletives, the usual flash editing, big fights, eye rolling comedy and a compulsory loud soundtrack to accompany the on screen shenanigans. The tone is inconsistent as it goes from one setup and continent to the next. It’s crowded with new characters and set pieces including underwater submarine chases, medieval battles, D-Day WWII like battles to outlandish colliding planets with jets, three headed dragon Transformers, swords, a staff and a butler – everything is thrown in.

There’s a niggling feeling that the Transformers franchise needs to go back to some design basics and charm of the original series even with harking back to the knights of King Arthur in the plot. Yes, sadly some classic G1 Transformers are missing or not resurrected and new robots are thrown in just to sell more toys. However, where there is an improvement, is that here we have more interaction and characterisation from Transformers robots themselves.

Entertaining at times, watchable, slick leave your brain at the door robot action film, but unnecessarily messy and desperately needs to go back to the source material.

Alien: Covenant Movie Poster*** This review may contain spoilers ***

On the far side of the galaxy the colony spaceship USCSS Covenant takes a detour and discovers horrors on an uncharted planet.

Opening with a flashback of David being activated by Peter Weyland we are treated to an Alien-style title sequence. After a shocking neutrino burst opening we are then introduced to the characters brought abruptly out of hyper-sleep by Walter a synthetic model. Soon the crew land on a planet and after a series of hostile events meet David, a survivor of the Prometheus mission. David and Walter (Michael Fassbender in dual roles) are put centre stage. To Ridley Scott’s special effects team credit the androids are exceptional and you never question the illusion of the two characters being on screen at once.

Whereas Prometheus felt somewhat innovative and charted a different direction to the Alien series if you are a fan be warned, Covenant takes a step back with the Engineers and Shaw’s story thread ending abruptly. Aside from Guy Pearce’s Weyland’s cameo, ties from Prometheus are broken and even Noomi Rapace’s Shaw who appeared in Covenant’s promotions is substantially cut in the final film. This is in place of a standard three act Alien affair, without the suspense of Alien but all the brashness of Aliens, still director Scott’s moody, thoughtful style shines here. Naturally the aesthetics, cinematography, production design are of Scott’s high standards and Covenant moves at breakneck speed, from ship, to planet, back to ship à la Alien format borrowing also from Aliens and his own Prometheus and even a line from Blade Runner. In addition, Jed Kurzel’s soundtrack takes all the best cues from Jerry Goldsmith’s 1979 Alien score and hones a reminiscent hybrid of sorts.

Lead Katherine Waterston’s Daniels (terrible hair cut aside), does her best with what she’s given. James Franco appears briefly and like Rapace his part aside from body and video footage is left promo material hell. Waterston offers enough emotion to keep Franco’s Branson spirit alive throughout and you buy into her loss. Logical straight talking Callie Hernandez’s Upworth is notable along with Billy Crudup’s to the book Oram and Demián Bichir’s tough solider Lope is memorable. Fassbender’s dual performance is excellent. However, he unjustly steals the show and his position of prominence takes away what made (certainly David) so interesting as a secondary character in Covenant’s predecessor.

The various looking aliens on display are highly aggressive from the outset. The Alien effects are first rate and the introduction to a H. R. Giger style creepy white Neomorph alien (born from spores that grow inside you into a Neomorph Bloodburster) gives Pan’s Labyrinth chills. Nevertheless, there’s not enough suspense or stalking from the aliens, but plenty of running around. It felt like too many CGI beast shots and not enough practical effects. However, when the Neomorph stood upright in front of David it was quite impressive. When the traditional albeit upgraded version of the Alien turns up it’s a joy. There’s a missed opportunity to face off the old Xenomorphs Alien with the new Neomorph. Or even solely focus on the Neomorph as there is some interesting communication between David and the Aliens that is never fully explored. There’s also the thread that David may or may not have gone stir crazy due to his humanistic characterisations. (Incidentally, the novelisation through various passages and additional dialogue fill in the blanks, e.g. why they leave the landing ship without helmets, what happens to the other Neomorph, Shaw’s cross necklace and many more, it’s a shame these moments were either not filmed or cut.)

When things go pear shaped there’s plenty of blood and gore, the alien eggs, Chestburster and Facehuggers are finely tuned for screen, Scott also throws in fighting androids and Aliens-like shoot outs – there’s plenty to like about Covenant. Waterston along with Danny McBride’s pilot Tennessee look comfortable going head to head with the pesky Alien, even if it all feels somewhat rehashed and rushed. However, die-hard Alien fan’s will have to buy into facehugger embryos (?!), David creating eggs and incubation times. This is topped of by handful of writers who offer a frustrating ending which teases another follow up.

Overall, Scott plays it safe and delivers a sci-fi horror with a typical series of action setups that is basically there to appease action fans rather than create suspense which was the originals finest quality.

The Void Movie Poster

*** This review may contain spoilers ***

A group of people become trapped in a hospital by a gathering of hooded cultists and discover that the hospital has been taken over by grotesque creatures with a sinister agenda.

Though Steven Kostanski and Jeremy Gillespie’s writing/directing offering takes reminiscent cues from The Thing, Halloween and Hellraiser to name a few it has enough kicks and story beats to stand on its own two tentacles. With a page of H.P. Lovecraft’s Cthulhu The Void befits from convincing practical effects, old school film making and filmatic aesthetics which harks back to the high-end days of horror.

After a shooting a woman is mysteriously set ablaze, Deputy Daniel Carter picks up an injured man in the road and akin to Halloween 2 and Assault on Precinct 13 a group hold up in a remote hospital after encountering creepy, white sheet covered figures offering Wicker Man and The Fog chills. There we become acquainted with the players and things go pear shaped with killings, mistrust shenanigans and gross out mutations. Kostanski and Gillespie effectively couple this with sporadic modernised Fulci visuals (City of the Living Dead) thrown in for good measure, it has its surreal moments. Yes, it oozes John Carpenter in the first half and Clive Barker with a bit of Polanski in the second but that’s not a bad thing, it’s one of the films strengths as it plays as a homage of sorts.

The acting is first rate, with the edge of De Niro Aaron Poole (Forsaken, The Last Will and Testament of Rosalind Leigh) as Carter simply shines as the out of his depth officer is thrown into a maze of blood and gore with its darkened corridors and basements. Although Kathleen Munroe’s (Survival of the Dead) screen time is limited, she puts in a solid performance as Allison. Notable is Stellan Skarsgård looking Daniel Fathers as the hot head parent who wants to destroy the mysterious cult, pealed skin antagonist and his monsters. Kenneth Welsh (also of Survival of the dead fame) knocks it out of the park as Dr. Richard Powell. Like the supporting actors including Ellen Wong and James Millington, both Munroe and Poole set up a good emotional character rapport and you buy into their plight.

With some twists and as the story takes place over one night it gives it an intense ride feel with a score that adds to the on screen tension. Kostanski and Gillespie give The Void enough symbolism as to not spoon feed the viewer and top it off with some surrealism. It’s not some sub-par cheap looking digital addition to the genre, they offer serious suspense with excellent staging and full on displayed visceral practical effects as the characters try to survive the night from the weird shrouded cult and icky biological monsters.

Overall it’s a must see sci-fi horror hybrid, The Void is for old school effect house horror fans as well as new comers.

Image result for ghost in the shell impawards*** This review may contain thermo-optical camouflage spoilers ***

A young woman is brought back to life as a cyber-enhanced to be a perfect soldier and must stop a terrorist who wants to destroy the Hanka company that created her.

Without drawing too many comparisons to Shirow Masamune’s 1989 Manga and Mamoru Oshii’s animated 1995 counterpart, director Rupert Sanders’ Ghost in the Shell adaption is interesting, if somewhat plodding in places. Scarlett Johansson’s Major is devoted to stopping the world’s most dangerous criminals but Jamie Moss, William Wheeler and Ehren Kruger’s screenplay never really explores these missions and we are immediately thrown into an origin story of sorts where the missions are intertwined with the main plot of Major discovering the truth about herself.

Heavily Blade Runner influenced, whereas Deckard was a character in a world, Major’s world seems to revolve around her which limits Sanders’. That’s not to say it’s not a full realised world, it looks visually stunning. There’s political also business corruption, cyber-drugs, human trafficking and Yakuza activities touched upon. The sets and striking costumes are finely put together. Scarlett Johansson’s Major anti tall, skinny Hollywood typecast aesthetically excels and Pilou Asbaek is great as Batou with his cyborg enhanced eyes. Notable are Takeshi Kitano as Aramaki, Majors dirty Harry-like boss and Julia Roberts looking Juliette Binoche as Dr. Ouelet. Michael Pitt as Kuze is sadly given little to do aside from deliver theatrical lines cloaked in distracting, yet, excellent CGI. Also Michael Wincott has an extended cameo and is sorely missed early on.

Edited by Billy Rich and Neil Smith it appears purposely but jarringly choppy in places, who knows possibly to cash in on the younger age rating or a home media extended marketing ploy, either way this hampers what could be a decent if somewhat condensed adaption as Major, a brain in her mechanical body, or shell fights her way through cyber- enhanced foe at times utilising her tantalising thermo-optical camouflage. You’d think though that the screen writers would have the opportunity to deep dive into the themes, rather than dull them down. Also the cumbersome spider tank steals from the closing some much needed tension. There are a few twists and emotional scenes in amongst the handful of action set ups but the premises are material we’ve seen explored before. Lorne Balfe and Clint Mansell’s music is moving and perfectly fitting, to Sanders’ credit it has quiet times, Asbaek particularly shines in these moments.

Essentially this incarnation of Ghost in the Shell is a journey of self discovery and one finding themselves, not about Major becoming more. It’s reminiscent of Robocop, Strange Days, Aeon Flux, Ultraviolet and countless others and that’s the snag with the timing of this live-adaptation, a good movie is (usually) a good movie no matter how original or unoriginal it happens to be but it doesn’t feel fresh enough to break the mould.

Overall, it’s worth your time if only for the visuals, comic book action and robotics. Now with the origin-like story already told a sequel could be very appealing indeed.

Star Trek Beyond Movie Poster*** This review may contain spoilers ***

The USS Enterprise crew are tricked to a nebula in the furthest reaches of uncharted space, where they encounter a ruthless enemy who wants to tear the Federation apart.

Director Justin Lin offers a fast paced third instalment with plenty of explosions and phaser laser shoot-outs. The action comes at full velocity especially after the Enterprise (is unnecessarily destroyed again). With the established cast of well loved characters Lin effortlessly helms what feels like a big budget Star Trek episode as they crash land on a planet. The effects are for the most part excellent, even if larger-than-life for epic set-up sake, especially in the opening attack and closing with the fleets star ship USS Franklin, zooming about a giant space station Starbase named Yorktown.

With Kirk regulars (Chris Pine), Spock, Bones (Karl Urban), Uhura (Zoe Saldana), Sulu (John Cho), Chekov (Anton Yelchin) and Scotty (Simon Pegg) the cast look more at ease, seemingly settled in their established roles and bring the well loved characters to life suitably. Echoing Wrath of Khan (1982) thankfully protagonist Idris Elba as Krall has a strong screen presence and is one of the better Star Trek baddies, for a moment in the closing it appears he’s going to become sickly honourable but appreciatively the writers were wise to avoid the trope. The new addition Sofia Boutella as Jaylah is excellent on all accounts, her character fits universe perfectly. There are flashy moments where she uses a holographic device similar to Total Recall (1990), Escape from L.A (1996) and Superman II (1980) etc, still, her character is well developed and Boutella breathtakingly executes the fight scenes (there is an opportunity for her to join the cast of characters with untimely death of the excellent actor Yelchin). Under Lin’s direction Elba and Boutella simply shine throughout.

While it lacks any real Gene Roddenberry nebula exploration writers Simon Pegg and Doug Jung offer a straight forward story, the usual fitting Star Trek speak and relationship touches, echoing past films and series of the original crew, notably Bones’ interaction with Spock and Kirk. If anything it on the nose honours the original outings a little too much while not investing time in investigating the planets vegetation or natural life forms in place of a survival piece. It retains the series’ sci-fi roots, but skimps on the science and discovery, replacing it with blockbuster exploits. The staging, sets and costumes are perfect; Star Trek Beyond has some great visuals and it is wonderfully produced. Michael Giacchino’s great Star Trek theme finds it way throughout out and his additional scored music is more upbeat and less sterile, fittingly taking chances like Lin’s Beyond in whole. It’s interesting that they use the Franklin an old Starfleet ship, with Pegg and Jung’s transparent twist being reminiscent of H. G. Wells’ Morlock or the Cave (2005) to name a few. Touchingly there’s not only a tribute to Spock Prime (Leonard Nimoy) but to the whole original time-line crew where Zachary Quinto’s Spock comes across his older alternative time-line self’s belongings. The joint mission statement brings it casually to a Star Trek 50th Anniversary fan servicing close, enticing a fourth adventure.

Overall, Beyond feels like an expensive and extended action packed episode, while not boldly going to places they haven’t been before, it’s an enjoyable comfortable stop.

*** This review may contain spoilers ***

When Judge Dredd’s past catches up with him and a former Judge reappears he’s framed for a crime he didn’t commit and Mega City is thrown into chaos.

The first film adaptation based on the popular British comic book character Judge Dredd, director Danny Cannon (The Young Americans) delivers a visual treat complemented by Adrian Biddle’s cinematography. While some of the special effects, back projections etc. have aged, many elements, especially the sets, practical effects and makeup still hold up nicely. The costumes designed by Gianni Versace are a mixed bag and Sylvester Stallone as Judge Dredd is wise to discard the clunker unpractical 2000 A.D. costume pieces at every opportunity.

At times it feels choppy, especially in the last act. What’s seems evident as you watch Cannon’s offering is that it’s uneven, this apparently is due to studio interference, creative disputes and script changes. The other thing which takes the edge off the mix of Blade Runner and Bravestarr inspired aesthetics, aside from it feeling lighter than it’s comic source material is it’s similarities to Stallone’s Demolition Man (1993) which came out two years earlier. They’re both police films set in the future; feature comic relief Rob Schneider, the main character is framed, there’s corrupt officials – the list goes on and you can’t help feel a slight case of déjà vu.

Despite Dredd nontraditionally removing his helmet Stallone does a good job as the shamed Judge, John Spartan, er I mean Judge Joseph Dredd, sentenced to life imprisonment. Again Stallone’s Dredd works best when he’s playing it straight, training cadets, sentencing and offering emotion with his mentor Chief Justice Fargo played by the excellent Max von Sydow.

The comedy throughout is humorous – but it just doesn’t fit Dredd’s tone and would have been better placed in an action movie that doesn’t take itself too seriously like Demolition Man. Judge Dredd for some reason tries to be both a violent action and one-liner Schneider buddy movie. The cast are on form and the characters are fleshed out. Notable is Diane Lane as Judge Hershey. Jürgen Prochnow’s Judge Griffin the the rest of the cast are effective in their respective roles, right down to a small bit part by Ian Dury.

The mystery story is fleshed out and plays out quite well with reactivated projects, faked evidence and doctored photos. There’s some stand out scenes which include Dredd fighting psychotic Rico Dredd played wonderfully by Armand Assante as his clone Judges are awakened. With some great makeup there’s the Angel Gang, a family of cannibalistic scavengers. There’s Rico escaping from prison and reactivating a giant ABC Warrior robot. And a part where Schneider’s Fergee and Dredd must run through a tunnel in 30 seconds or be burnt alive.

With Alan Silvestri’s score adding weight, Cannon pacts in a lot of story threads which gives it scale. And to his credit Judge Dredd has plenty of visuals and some interesting darker sci-fi elements.

While its 2012 attempt fairs better, Judge Dredd ’95 remains a scifi action worth checking out.

The Final Version is the third book I’ve had published; my first was a zombie chiller and the second was a vampire horror novel, and was better received reaching #13 in the fantasy horror chart. The Final Version is the first novel I draft, even though released third. I, who never in the first 30 odd years of my life, ever imagined would write one word for publication. I never could have predicted it would reach #12 in the charts.

Yesterday, while prepping my next novel Darkest Moons (out October 2016) I looked over The Final Version digital eBook edition which is available is on Amazon (shameless plug). After rereading some of it was one of the strangest experiences of my life. I didn’t recognise half of what I’d written. Had no recollection of writing it. “Where did those words come from?” I questioned. “Who did they come from?” All I can figure is I went into some kind of writer’s trance. There’s a Bladerunner feel, but a plastic and neon one in and in contrast to crowded over population there’s an emptiness, loneliness where people have buildings to themselves and go about there business under big brother’s eye. The suburbs are different again, policed ravaged and dangerous.

But what came out is something that makes me laugh today after UKs decision to leave the EU because of the way the political landscape in the World especially the shift in UK and USA, which echoes in the  subtext of the novel’s backdrop. The Final Version, centres around a hearty mix of cyberpunk, DNA, A.I. Robots and Cloning, but its also a post war story of sorts, a warning if you like – which I hope doesn’t come to pass. Where the elite chose not to revive their fellow people (in cryo status), to keep power and resource across the remaining cities to themselves. Of course there’s assassinations, conspiracy, but never more has a piece of fiction I’ve written become a step closer to reality not just with DNA, advancements in technology and transatlantic travel but the blurred warped political agendas and unity of humankind.

For less than a coffee check out the future… Are you unique or simply the final version?

Amazon The Final Version

The Final Version Trailer

Critters Movie Poster*** This review may contain toothy grin and dart quill spoilers ***

A group of ‘Crites’ hijack a prison ship and escape to earth where they lay siege on a farmhouse attacking the family inside.

Director/writer Stephen Herek Critters is an ambitious creature sci-fi, along with fellow writers Domonic Muir and Don Keith Opper it juggles a lot of sci-fi elements despite a predominantly rural setting. There are intergalactic face-changing bounty hunters, alien creatures, spaceships and ray cannons. Herek and company in true 80’s fashion spend little time in giving the creatures and bounty hunters a back story leaving it to the imagination. This works in its favour compared to the excessive exposition in many of today’s films. Likewise, the Critters just happen to come across the farmhouse after chowing down on a bull. Interestingly at the time of Critters’ VHS run I unjustly saw it as a rip off Gremlins, much like Munchies. Yes it cashed-in on its popularity but writers have since pointed out that it was written before Joe Dante’s classic went into production and subsequently underwent rewrites to reduce the apparent (in the ether) similarities between the two films.

The escaped alien Crites with their sharp toothy grins and tranquilizing dart quills amusingly roll around like hedgehogs on speed. Encapsulating the sound of 1986, artist Che Zuro plays in the background among some other 80s bands with David Newman’s score giving power to the action setups and menace to the Critter puppets. The encounter in the cellar where the father is attacked is quite effective, especially the preceding search and reveal by torchlight.

The Critters are amusing times, at one point they converse with subtitles, “They have weapons” says one, “So what?” replies another before getting blasted away. There’s also scenes where a Critter encounters an E.T. (1982) doll – tearing it apart, a toilet hiding Critter (a likely homage to 1985’s Ghoulies) and also a moment where one eats a cherry bomb may rouse a chuckle.

In the opening the commander of the prison hires two shape-changing bounty hunters to pursue the Crites/Critters to earth (maybe his inspired AVP Requiem’s story-line). These hunters, with Space Marine like costumes get some humorous moments mainly because of mistaken identity by the small townspeople. Tim Curry-like actor Terrence Mann takes form of the rock band front man Johnny Steele, complete with a Bon Jovi hairdo. While the other takes on faces of a few locals notably Don Opper who plays a duel role of both the bounty hunter and the towns paranoid drunk Charlie McFadden.

McFadden a friend of young Brad Brown have a Miyagi and Daniel san Karate Kid bond which is older man young boy relationship that are seemingly avoided in films these days. Brad played by Scott Grimes (who latter would voice American Dad’s Steve) is a stereotype 80s film kid experimenting with fire crackers, bickering with his sister and trying to bunk off school. Notable is Billy Green Bush’s Jay Brown as an everyday farmer and his wife played by Dee Wallace Stone). Wallace is given very little to do, the character Helen Brown is purely functional and pretty much retreads her E.T. mother role, that said she does get to fire off a few shots at those Critters. Playing Brad’s teenage sister April is fresh faced actress Nadine Van der Velde (who was 24 years old at the time) and incidentally appeared in the aforementioned copycat film Munchies. Actor Billy Zane sporting a little rats tail shows up as April’s boyfriend, destined to be Critter fodder. For sale-ability appeal Blade Runner’s acting veteran M. Emmet Walsh plays the pretty useless local Sheriff Harv.

There are a handful of stunts and although the optical effects have unsurprisingly dated the practical effects still hold up well. The impressive gooey face changing sequence is memorable and the Critters themselves are simple and effective from the rolling, to the firing quills with plenty of good old fashion blood on display after an attack. After the bounty hunters cause some mayhem in the church and a local bowling alley (the teams shirts echo a Ghostbusters logo design) they arrive at the farmhouse to capture the Critters. In the final act after the family house is invaded we have our heroes go about rescuing April from a giant kidnapping Critter. Herek gives us an obligatory end explosion, a chance for a special effect team to show off their fine miniature model skills, with moments for the editors to flex their skills. In addition, with some eggs laid in a barn there’s the inevitable unashamed set up for a sequel (which came two years later in 1988).

Critters still has a charm about it thanks to the novel creature design and acting of likable Grimes’. Produced by New Line’s Bob Shaye (A Nightmare on Elm St.) Critters is squarely aimed at its mid-teen target audience and despite some bumpy pacing Critters delivers enough laughs and playful alien set-ups to retain a lasting appeal long after the VHS was replaced by DVD and on-demand films.