Like most hopeless, depraved movie nerds, I’ll watch pretty much anything with Nicolas Cage in it, since he’s a reliably entertaining performer no mattery the quality of the project signing that week’s paycheck. That means I’ve seen a lot of mediocre DTV action movies over the years, often ones where Cage’s prominence on the poster is outright dishonest about his prominence in the picture advertised. I had somehow deluded myself into believing this slumming-it phase of Cage’s career was coming to a close, though, since recent projects like Mandy, Pig, and Dream Scenario were starting to reveal a light at the end of that particular sewer tunnel. Cage’s latest made-for-streaming action horror Arcadian—which locally premiered at Overlook Film Festival last weekend—was a reality check on that delusion. Between its post-apocalyptic setting, its grim-grey lighting, and Nicolas Cage dutifully showing up just along enough to earn a sizeable payment to the IRS, Arcadian feels as if it’s about five to ten years behind the times, even when it’s trying its hardest to show you something new.
Cage stars as a single, grieving father who moves his surviving family to remote farmland at the start of The Apocalypse. His twin boys get increasingly difficult to manage when they age into teenage grumps, which makes it even more difficult to survive the nightly attacks of the mutant creatures who ended modern civilization in the first place. Since there is no shortage of reference points for this kind of doomsday prepper action-horror, Arcadian doesn’t put much effort into explaining the details of the world Cage & his boys are fighting to survive. Whether it’s the artsy abstraction of It Comes at Night or the weekly soap opera of The Walking Dead, you’ve seen this exact setup before. What you haven’t seen is the peculiar biological details of these exact monsters: hairy ostrich-wolves who clap their jaws like chattering-teeth novelty toys and travel as a pack in a rolling Ferris wheel formation. There’s plenty of intrigue there for anyone drawn in by Cage’s name & face on the poster, which does a lot to make up for him spending half of the runtime offscreen, comatose. When he suddenly perks up for the climactic fight against the impossible wolf-beasts, you can practically see him flipping on his It Factor movie star presence like a light switch. It’s only a few seconds of screentime, but it’s exactly what you paid to see.
Arcadian is decently entertaining for a Shudder-brand creature feature, by which I mean its monsters’ design is inventive & upsetting enough to hold your attention despite the banality of their surroundings. Director Benjamin Brewer’s most prominent IMDb credit to date is as the lead visual effects artist for Everything Everywhere All at Once, which shows here in the ambition & absurdity of the wolf-beasts’ hideous biology. The dark, muddled color palette and handheld cinematography style are more befitting of a war drama than a creature feature, but again it’s worth pushing through that tedium to get a better look at the monsters. And hey, there’s still making popular, big-budget Quiet Place sequels long after that series has maintained any purpose or novelty, so I can’t say this film is entirely out of date. Brewer leveraged Cage’s image on a poster and piggybacked off a familiar mainstream horror template to show off his prowess for inventive, impressive visual effects. I can’t be mad at that kind of Roger Corman marketing hustle, especially since Cage has lent this likeness to far, far worse.
There’s a new Godzilla & King Kong wrestling match in multiplexes right now: a tag team formation of the legendary monsters just three years after their last onscreen battle in the American production Godzilla vs Kong. Do you know what’s never reached American theaters, though? The original 1962 crossover film King Kong vs Godzilla – at least not in any wholly intact, wholly legal form. It wasn’t until the mid-2000s that the 1954 Japanese cut of the original Godzilla officially reached American audiences, with the only widely available version being a warped American edit featuring awkward post-production inserts of actor Raymond Burr. Twenty years later, that film’s second sequel, King Kong vs Godzilla, has still not yet been made wholly available for American audiences … but we’ve gotten damn close. In 2019, The Criterion Collection released a gorgeous box set of digitally restored Showa Era Godzilla films, with every title dutifully de-Americanized except for King Kong vs Godzilla. The original Japanese edit of that film is included in the set, but it’s stashed away among the supplementary Bonus Features on the final disc, not listed in sequence. It’s also not fully restored to the image quality standards of the rest of the set; only the scenes left untouched by the American edit are in Blu-ray quality, while the reintegrated Japanese-only scenes switch to a jarring standard-definition DVD scan. The reason for this choppy, half-complete restoration is somewhat mysterious to anyone who’s not an employee of Criterion, Toho, or Warner Bros, but I can at least say I’m grateful that it was included in the set at all, compromised or not.
The only reason King Kong vs Godzilla‘s muddled distribution history is worth noting in the first place is that the film was a significant creative swerve for both of its overlapping franchises. If nothing else, it marks the first time either Kong or Godzilla were featured in color or in widescreen, three entries into both respective series. The monsters’ onscreen crossover match being billed like a boxing PPV was a big deal, as it set the template for dozens of sequels to come: Godzilla vs. Hedorah, Godzilla vs. Mothra, Mothra vs. Godzilla, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla … all the way to the aforementioned Godzilla vs. Kong. More importantly, it was a major change in course for its titular monsters in terms of its intent & tone. The original Godzilla film has obvious, deep roots in the cultural & historical contexts of 1950s Japan, but it also pulled a lot of narrative influence from the monster-movie template established by the 1930s American classic King Kong. Kong’s second outing in 1933’s Son of Kong and Godzilla’s second outing in 1955’s Godzilla Raids Again—both rushed to market mere months after the success of their predecessors—were mostly just pathetic cash-in imitators of former glories. Of the pair, Godzilla Raids Again feels especially superfluous, since it can only offer the novelty of seeing the pro-wrestling style kaiju battles of later Godzilla sequels filtered through the relatively elegant aesthetics of the original (through Godzilla’s fights with the dinosaur-like Anguirus, again recalling plot details from the original King Kong) with no other notable deviations. Son of Kong is likewise shameless in its willingness to repeat the exact tones & events of its predecessor, but it at least introduces the adorably useless Little Kong of its title to keep the rote proceedings novel. Together, they make for convincing evidence that both series would have to get goofy to keep going, which is where King Kong vs. Godzilla comes to the rescue.
1962’s King Kong vs. Godzilla is a wonderfully goofy corporate satire that feels like it has less in common with previous Kong or Godzilla pictures than it has in common with more cartoonish titles like Giants & Toys and Will Success Spoil Rock Hunter?. A lot of the early stirrings of my beloved Godzilla vs Hedorah seem to have originated here, from the psychedelic pop-art color palette to the tangential indulgences in Looney Tunes goofballery. Our two skyscraper combatants are unleashed upon the modern world in ways that feel true to their origin stories but are heightened for comedic effect. When an American nuclear submarine gets wedged on an iceberg in Japanese waters, a slumbering Godzilla explodes out of the ice to attack the crew onboard. Meanwhile, Kong is once again collected from his island home to participate in low-brow vaudevillian entertainment, but this time it’s to boost the ratings for a television program that promotes the Japanese company Pacific Pharmaceuticals. Shockingly, the island extraction sequence that sets Kong loose somehow feels even more racist than the 1930s film that inspired it (a sequence the original Godzilla copied with much more tact & grace), but if you can stomach the blackface humor long enough to get past it, the rewards are worthwhile. Pacific Pharmaceuticals quickly establishes itself as the villain of the piece, exploiting their bungled extraction of Kong and the simultaneous emergence of Godzilla to craft the ultimate ratings booster: the world’s first televised kaiju battle. Instead of nuclear proliferation or the exploitation of Nature, a novelty television program advertising Big Pharma drives the horror of the plot, damning capitalistic greed and bloodthirsty quests for increased ratings. That theme can’t help but feel a little silly by comparison, and the movie smartly leans into the humor of its villains being incompetently evil in their selfishness instead of being knowingly evil in some grand mastermind scheme. The world suffers for their folly regardless.
Of course, all of this plot detail and background context ceases to matter during the final act, when Godzilla & Kong finally start going at it in earnest. I won’t spoil who wins that fight, but I will say that the result is bullshit. There’s some great monster action throughout, though, including a sequence where a lightning-powered Kong fights an especially slimy octopus and one where Godzilla survives miniature missile fire from an army of toy tanks. The most notable dynamic to the monsters’ one-on-one match-up is the difference in the care put into their respective looks. Godzilla looks just as great as ever here, while Kong looks like his costume was left to melt on some forgetful production assistant’s dashboard on a summer afternoon. I could not get over the bizarre, lumpy proportions of Kong’s hairy, apish body; it felt like I was standing naked in front of a full-length mirror, my exact body type finally represented onscreen. The half-SD, half-HD lumpiness of the movie’s presentation had a similar kind of misshapen charm to it as well. In truth, it was no worse than watching a movie on a streaming platform that frequently buffered down to a lower quality due to internet bandwidth constraints, which isn’t ideal for a Blu-ray purchase but also isn’t a total deal breaker. However, it did have the unintended benefit of highlighting just how much of the original Japanese version of the film had been removed from its American cut, denoted by alternatingly crisped & blurred visual details. It’s obviously a wonderful thing that Criterion was able to officially present King Kong vs Godzilla to an American audience for the first time in the half-century since it premiered in Japan, regardless of lumpiness. It’s been so long since the film first came out that its titular combatants have since become tag team partners in fights against other, lesser monsters, so it’s somewhat embarrassing that their original outing together is still partially stuck in a distribution limbo. King Kong vs. Godzilla is a deeply silly film, but it’s also a historically important one, and it should be treated as such.
For this lagniappe episode of The Swampflix Podcast, Boomer, Brandon, and Alli celebrate Godzilla’s 70th birthday (and first Oscar win) by looking back to the monster’s 1954 debut.
One distinctly American subgenre is the backwoods family horror, which shocks the audience simply by introducing them to a family of reclusive weirdos who live in the rural South. Defined by such low-budget, high-visibility titles as The Texas Chainsaw Massacre, Spider-Baby, and Mudhoney, the backwoods family horror tradition continued in an increasingly goofy fashion in The Texas Chainsaw Massacre Part 2, the later Basket Case sequels, Nothing but Trouble, and in pretty much every movie directed by Rob Zombie. And since the intersection of unrestrained goofiness & unoriginal genre filmmaking is the exact sweet spot of the American home video label Full Moon Features, they of course made a backwoods family horror of their own for the mid-90s video market. Head of the Family is a variation on the Texas Chainsaw weirdo-family subgenre, reconfigured to fit into Full Moon Features’ house specialty: R-rated movies for children. It has everything an unsupervised child could possibly want out of a late-night movie snuck past their sleeping parents: cussing, sex, and a house full of weirdo freaks. Adults might not be as impressed with those goofball transgressions, but Full Moon doesn’t really make horror movies for adults anyway. That ground was already well covered by Tobe Hooper.
Head of the Family is built entirely on one visual pun. The “Head” in question is just that: an oversized human head. He pilots his wheelchair around his family home with the tiny limbs that extend from the liminal space where his neck and torso should be. The other three members of The Head’s family make up a set of telepathically-linked quadruplets. Naturally, The Head is the brains of the operation, and his similarly mutated siblings help make up the rest of his deconstructed body: The Eyes (a spy with hyperactive senses), The Muscle (a towering brute enforcer), and The Body (a buxom bimbo honeypot). They all share thoughts & senses as a collective, but The Head makes all of their decisions – until The Muscle eventually rebels. Not much is done with the disembodied body horror of this premise, which is a little disappointing when it comes to the three brothers vicariously experiencing sexual pleasure through the dalliances of The Body. Mostly, the movie coasts on the initial shock of introducing the audience to the horrid little monster inspired by its titular pun, and then letting us get to know his fucked up family as they go about their busy routine (of collecting & torturing local, unsuspecting citizens in the dungeon under their Grey Gardens mansion).
One thing this entry in the backwoods family horror canon gets exactly right is the genre’s inherent Southerness. The Head is a bitchy Southern dandy, constantly rolling his eyes at the comparative unintelligence of his fellow conversationalists as if he’s constantly four martinis deep. To be fair, the dialogue offered by his intellectually inferior foes is remarkably vapid, including such astute observations as “This is some kind of weird bullshit” and “Sometimes I feel like a big ol’ turd in a small toilet”. The audience is forced to spend a half-hour with these low-life dolts before we’re graced with the refined Southern gent presence of The Head, patience that it is only somewhat helped along by most of their lines being delivered mid-coitus. Once The Head arrives, though, the Full Moon dream factory makes the most of his hideous visage, dwelling on the horror of watching him accomplish simple tasks in confrontationally tight close-ups: slurping soups, wetting lips, licking nips, etc. When the novelty of that image wears off, the movie mostly just kills time in order to achieve feature length. At one point, The Head forces his dungeon captives to put on little stage plays for his amusement, as if to make fun of how bad of an actor everyone else is except him.
In case you were unaware you had stumbled into a Full Moon Feature, the label’s house composer Richard Band opens the production with the most acrobatically goofy score of his career – employing violins, harps, glockenspiels, vibraslaps and percussive cheek pops to achieve the Fullest Moon sound ever recorded on VHS. Head of the Family also promises to deliver on another definitive Full Moon Features trope: the sequel no one asked for. Just a couple years ago, Full Moon teased promotional art for a decades late follow-up titled Bride of the Head of the Family, coming soon to a Tubi app near you. It makes sense that a sequel to this picture would have to expand the size of the Family with new, hideous members, since there isn’t much to this genre beyond getting to know the insular, often incestuous little freaks who populate it.
One of the things I look forward to most every Overlook Film Fest is their vendor partnership with Vinegar Syndrome, who usually bring a table of pervy, schlocky products to peddle in the festival’s shopping mall lobby. There are certainly cheaper ways to shop for Vinegar Syndrome titles; the boutique Blu-ray label is infamous in genre-nerd circles for their generous Black Friday sales. Still, that annual trip to the Vinegar Syndrome table at Overlook is the closest feeling I still get to browsing the Cult section at long-defunct video rental stores like Major Video. There’s just no beating the physical touch of physical media. The staff always points me to titles I would’ve overlooked if I were just scrolling on their website, too, which is how I got around to seeing gems like Nightbeast & Fleshpot on 42nd Street in the past. Sidestepping the shipping costs doesn’t hurt either. Vinegar Syndrome has never before complimented my Overlook experience quite as decisively nor directly as it did this year, though, when the vendor rep nudged me into picking up a copy of the early-90s creature feature The Suckling. It was perfect timing, since I had just wandered from a screening of the couture-culture body horror Appendage, which featured a great rubber monster puppet but had no real grit or texture to it elsewhere. You could feel the audience pop every time the retro, gurgling monster appeared onscreen, which unfortunately becomes less frequent as the film chases down mental health metaphors instead of practical-effects gore gags. I liked Appendage okay, but I left it starving for more rubber monster mayhem, which that Blu-ray restoration of The Suckling immediately supplied in grotesque HD excess. God bless Vinegar Syndrome for coming through that night and, for balance, Hail Satan too.
While The Suckling may have a major advantage over Appendage in its commitment to rubber-monster puppetry, it’s an extremely inferior product in terms of political rhetoric. Instead of pursuing a thoughtful, responsible representation of women’s bottled-up familial, romantic, and professional frustrations in the modern world, The Suckling pursues a politically reckless subversion of women’s right to choose. Only, I don’t get the sense that it meant to say anything coherently political at all. This is a kind of anti-choice, pro-environmentalist creature feature where an aborted, toxically mutated fetus gets its revenge on the brothel-clinic that brought it into this sick, sad world. It knows that abortion is enough of a hot-button political issue to grab jaded, seen-it-all horror audiences’ attention, but it doesn’t know what to do with that thorny subject except to milk it for easy shock value. The illegal dumping of toxic waste that mutates the aborted fetus into the titular monster is just as much of underbaked political messaging, a boneheaded matter of course that got no more thoughtful consideration than its knock-off John Carpenter score. The Suckling uses abortion as lazy rage-bait marketing, even going as far as to hand out fake, miniature aborted fetuses in jars as mementos during its original New Jersey grindhouse run. Personally, I found being offended by the movie’s amorphous politics part of its grimy charm. It’s not a full-on Troma style edgelord comedy at pregnant women’s expense, but it’s still playing with thematic heft that’s way out of its depth as a dumb-as-rocks monster flick. By contrast, Appendage is way more coherent & agreeable politically but loses a lot of texture by prioritizing that agreeability over its titular monster, and The Suckling is way more memorable in its commitment to political tastelessness.
Set in 1970s Brooklyn to make its indulgence in post-Halloween slasher tedium feel relevant to the plot, The Suckling follows a young, timid couple’s visit to a seedy brothel that doubles as an illegal abortion clinic. Once their fetus is flushed down the toilet by the clinic’s nursetitutes, it’s greeted by illegally dumped toxic waste in Brooklyn’s sewers, then rapidly evolves like a flesh-hungry Pokémon until it becomes a Xenomorphic killing machine. Its fetal killing powers are supernatural and vaguely defined, turning the brothel-clinic into a womblike prison by covering all the doors & windows with fleshy membrane so it can hunt down its freaked-out prisoners one at a time. Once Skinamrinked in this liminal space for days on end, the Suckling’s victims turn on one another in violent fits of cabin fever, to the point where their infighting has a higher kill count than the monster attacks. The sex workers are, of course, the highlights among the cast, especially the mafiosa madame Big Mama and her world-weary star employee Candy, who frequently fires off nihilistic zingers like “I hope we die in this fucking sewer” as if she were telling knock-knock jokes. The only time we see them at work is before the Suckling gets loose in the house’s plumbing, in a scene where a teenage dominatrix pegs a jackass businessman with a vibrator wand while rolling her eyes in boredom. Otherwise, they’re just killing time between Suckling attacks, to the point where the film becomes a kind of perverse hangout comedy in which every joke is punctuated by a violent character death. The longer they’re trapped in the house the looser the logic gets, taking on a dream-within-a-dream abstraction that had me worried it would end with the abortion-patient mother waking up in the brothel-clinic waiting room and fleeing from the procedure. Thankfully, the ending goes for something much grander & stranger that I will not do the disservice of describing in text.
The Suckling is not a perfect movie, but it is a perfect This Kind Of Movie, delivering everything you could possibly want to see out of schlock of its ilk: a wide range of rubber monster puppets, over-the-top character work, stop-motion buffoonery, and opportunities to feel offended without ever being able to exactly pinpoint its politics. It’s New Jersey outsider art, the only directorial credit for local no-namer Francis Teri. You can feel Teri’s enthusiasm in every frame, just as often resonating in the film’s off-kilter compositions as in its rubber-puppet monster attacks. I don’t know if it’s the cleaned-up Blu-ray image talking, but The Suckling does feel like it belongs to a higher caliber than most made-on-the-weekends subprofessional horrors of the video store era, turning its cheapness & limited scope into an eerie, self-contained dreamworld instead of an excuse for laziness. The only place where the film is lazy is in its political messaging, which makes the entire medical practice of abortion look as grotesquely fucked up as how the Texas Chainsaw family runs their slaughterhouse. And I haven’t even gotten into its hackneyed depiction of mental institutions. Whether you can overlook that political bonheadedness to enjoy the boneheaded monster action it sets the stage for is a matter of personal taste but, given how hungry the Appendage audience was for more rubber monster puppetry, I assume this movie has plenty potential fans out there who need to seek it out ASAP – whether on Blu-ray or on Tubi. If anything, there should’ve been a long line in the Overlook lobby leading to the Vinegar Syndrome table where the entire Appendage audience queued up to buy a copy. It’s wonderfully fucked up stuff, and exactly what I was looking for that night.
Every month one of us makes the rest of the crew watch a movie they’ve never seen before, and we discuss it afterwards. This month BoomermadeAlli,Brandon, and Britnee watchStepmonster (1993).
Boomer: Did you ever have one of those movies that’s stored so far down in the back of your brain that it just haunts you? I don’t know how old I was the first time I saw Stepmonster. I know that it was on TV, the Disney Channel specifically, and that it must have been during one of their free preview weekends. With this having a 1993 release date, I’m going to peg it at 1994/1995, when I was (I’m going to date myself here) seven. I think if I were even marginally older, this movie would never have lodged itself so deeply in my brain. There were countless tiny images from this movie lodged in my brain that I knew originated here: the guy from the Michael Bay Aaron Burr milk PSA running a comic book store, our young protagonist standing in a demolished living room holding a bat, that super cool monster and what she looked like in a wedding dress, and (most distinctly for some reason) Alan Thicke playing the violin. There were even other images that, if I imagine my child mind as a kind of filing cabinet, had fallen out of the Stepmonster file and gotten stuck in the back of the drawer, summoned up very occasionally by an unexpected mental misfire and with no real idea of their origin: a goldfish skeleton being spat out of a jewelry box, John “Gomez Addams” Astin dressed as a priest and smoking, a woman falling downstairs in her wedding dress, and what I guess we could call “the PG-13 Body Double sequence.” It’s also the movie that prompted me to ask my mother what “phlegm” was. For years, I couldn’t track this movie down. It was out of print, didn’t seem to have held any interest for any library in any place I lived, and never showed up on the shelves of any Goodwill or St. Vincent de Paul that I frequented. Three years ago, the Alamo Drafthouse on S. Lamar was hosting a VHS swap meet, and there it was: Stepmonster. As someone who was a VHS apologist and hobbyist for a long time but one who only ever built his collection out of thrift store finds and hanging around dying rental stores like a carrion bird in the last days of the independents, I paid the most I had paid for a cassette after 2003: a whopping $5. “It’s rare,” the man behind the folding table had said. And I knew he was right.
And then it sat in my collection. I knew it would make its way to Movie of the Month one day. After all, this movie was all but lost media, right? Out of print, out of sight, out of mind. I just had to wait until my month fell during spooky season, and in 2022, it was finally time. Vexed to nightmare, this rough beast’s hour has come round at last. I only hope it was worth it.
Here’s the plot breakdown for our readers at home, accounting for the lack of widespread availability: Todd (Billy Corben) is a normal kid with an active imagination: he hates violin lessons, spends maybe too much time reading comics, and loves baseball. He’s at the age where it’s common to butt heads with your parents, but he’s having a particularly hard time with his father, George (Alan Thicke). George is an architect whose rationalistic, detail-oriented nature is reflected in his inability to fully communicate with his son, and an inability to disguise his frustration with his progeny’s fantasies and impatience for Todd to grow out of what he thinks is a phase. Truthfully, he spends an awful lot of time policing his son’s reading habits and taking away his comics, and not nearly enough time making sure Todd isn’t being a peeping little pervert vis-a-vis his spying on teenaged neighbor Wendy (Ami Dolenz). When Todd’s mother, Abby (Molly Cheek), goes missing in the woods, George seems to waste no time in getting remarried, as a mere six months later, he’s engaged to the titular stepmonster, Denise (MotM alum Robin Riker), a lovely woman for whom George was building a woodland cabin when Abby went missing. The immediately suspicious Todd sets out to find out what Denise is about, and although he immediately discovers that she’s a “tropopkin,” a scaly comic book monster, he’s unable to convince anyone else of this and is forced to set out to break up his dad’s engagement before the two get married on the summer solstice.
This is a movie that is clearly an attempt by producer Roger Corman to horn in on some of that sweet cash that his old frenemy Charles Band was making via his sub-Full Moon family imprint Moonbeam, famous for Prehysteria and Magic in the Mirror. The difference is that, despite the general melange of filth of a regular Charles Band production, those Moonbeam films are still kid-friendly, and the two I named are rated PG and G respectively. But that Corman sleaze just doesn’t wash off, and you can see it in the way that Stepmonster misses the mark with both its PG-13 rating (making it only recommended for viewers who are older than the protagonist in a film that can only really appeal to kids just a little younger) and its Pit-like choice of having our lead be a peeping tom, through whom the audience is presumably supposed to vicariously live. It’s a weird, unmistakably Corman touch. When Todd’s grandfather (George Gaynes, of Altered States and Police Academy) first says the word “horny” at the breakfast table and then recites the old adage about buying the cow, I was surprised that this was something that the Disney Channel used to air, and was only further dumbfounded by just how many times Todd aims his telescope at Wendy’s window. It makes for a tonally bizarre viewing, as the attempts to make this appeal to adults just make you a bit discomfited. The film still bothers to do some clever things, like having the father and his bride-to-be hammering that real estate sign on the inside of the literal white picket fence (because she’s not really intending to sell the house anyway, just eating the family and retreating back to her cave). One could try to argue that this was aiming for a slightly older demographic than middle schoolers, but this is completely undercut by the fact that the mother is discovered alive and well at the end, for a laughably happy ending.
What did y’all think? Devoid of any nostalgia factor, what were your thoughts? Is Todd too creepy to root for? Is George too dumb to live? Do we love Denise?
Brandon: No matter what rating the MPAA slapped on this thing, this psychosexual id horror is clearly aimed directly at kids. It’s very much of the Troll 2 & The Pit variety in that way, complete with the “tropopkins” standing in for The Pit‘s “tra-la-logs”. I also noted that this feels like Corman trespassing on Charles Band’s territory, so we appear to be on the exact same page this round. There’s a rhythm to Corman’s classic drive-in creature features that carries over here, briefly revealing the (step)monster in an early attack and then steadily doling out “kills” (kidnappings, really) throughout the rest of the runtime to maintain the audience’s attention. Otherwise, this is pure Moonbeam; all that’s missing is a dinky Casio score from Charles’s brother, Richard Band. That doesn’t mean it’s too generic to be unique, though. Denise’s monster design reads as a human-sized variation of the Gremlins knockoffs that VHS schlockmeisters were making in this era (Ghoulies in Band’s case, Munchies in Corman’s), but by the time she’s running around in her wedding gown the movie does achieve a kids-horror novelty all of its own. I’m not surprised to hear it wormed its way into its pint-sized audience’s subconscious through that kind of imagery, even if it has plenty of direct echos in Band & Corman’s respective catalogs.
What I am surprised to hear is that this aired on The Disney Channel. I’ve only watched exactly one Disney Channel Original Movie in my lifetime (Zenon: Girl of the 21st Century), but from what I’ve observed of that channel’s programming from afar, it’s usually severely asexual, presenting an entire universe hostile to the vaguest suggestion of sex. While little Todd isn’t quite as creepy as Jamie in The Pit, he is preoccupied with sex, to the point where the movie is just as much about his sexual curiosity as it is about fears of step-parental intruders. Beyond Todd’s inappropriate sexual fascination with his teenage babysitter neighbor, the movie is also weirdly hung up on the consummation of his dad’s marriage to Denise – something Denise is delaying until their wedding night as part of a full-moon blood ritual. I have to assume it’s that exact sexual undercurrent that landed the film its ludicrous PG-13 rating, since the monster attacks are relatively tame in their suspense & gore. Or maybe it was Todd’s passionate line-delivery of “Eat my shorts, you bloodsucking, bat-faced witch!” that pushed it over the line. Either way, I love that Corman and Band (and, in this case, special guest producer Fred Olen Ray) were making these inappropriate-for-children kids’ movies in the VHS era, and there’s something especially delicious about one of them sneaking its way onto the squeaky-clean Disney Channel lineup.
Alli: I started out thinking, okay, this is just one of those bizarre PG movies that came out, had some really weird scenes that stick in your mind, and disappeared into the ether. Then, I nearly choked on my drink as the grandpa said the word “horny”. This film immediately dips right into creepy 80s sex humor (despite it’s 90s release date), going from 0-100 in very little time. Sure, there was already Denise emerging out of the woods in that tight dress with no bra, but it was fairly tame before that “horny” line. A good ol’ family horror comedy romp.
With that in mind, once we got to Todd being a peeping Tom and photographing Wendy without her knowledge, and the grandpa letting it happen, I definitely lost some sympathy for the kid and his family. Not that I was really backing Denise either. Sure, she’s cool, using her sexuality as a weapon to ensnare this clueless, uptight man in order to make more tropopkins and then eat him and his weasel son, but I just wasn’t into her whole “Let’s get the kid labeled as crazy” attitude. The real heroes in this story are Phlegm and Wendy! Wow, I love them so much. Corey Feldman steals the show as the goofy bad boy Phlegm, while Wendy has got everything under control. I kept expecting Phlegm to be more of a key character than he was, like maybe he had a rare comic book issue that would save the day. Still, it was at least nice that his band’s equipment was part of the scheme that saves this undeserving family in the end. Likewise, Wendy does not receive enough credit as the hero of the story: digging through the trash, sticking by the kid even after his creepy photos, and giving said creepy kid rides all over town.
Even with the creepy main character and his bizarrely messed up family that only consists of his dad, his dad’s in-laws, and a monster, I thought this movie was a lot of fun. Like Boomer said, there are images that are going to stick with me for a long time, especially the tropokin in the wedding dress (so great) and the kid standing on top of a Marshall stack swinging a baseball bat at a bat monster. I was definitely on its sense of humor’s wavelength. I’m so glad Boomer found this rare media and could share it with us.
Britnee: When we make our Movie of the Month selections, Brandon is very diligent with ensuring that no one (other than the Swampie presenting) has watched the selected film. When asked if I ever watched Stepmonster, I was 110% sure I hadn’t. However, once Alan Thicke hit the screen, 15 years of suppressed memories were unleashed. I was immediately reminded of a goldfish skeleton being spit out of a box . . . I had seen this movie before! But I honestly remembered only fragmented images without being able to identify any sort of plot or characters, so it’s like I watched it for the first time. The Movie of the Month tradition is still going strong!
Funky children’s films from the late 80s/early 90s are sort of my jam. The crappy effects, nonsensical plots, and adult themed humor is a perfect combination. Trash for kids! I love how there’s been mention of Prehysteria and Magic in the Mirror in the conversation because those are absolutely fantastic films that are in the same realm as Stepmonster (the ultimate Band, Nicolaou, Corman trio). Needless to say, I thought this movie was a blast! Dad and Grandpa were such strange goobers who I found to be hilarious. They’re sort of these stereotypical “all-American” characters that say and do weird things that caught me off guard (like the aforementioned “We all get horny, Georgey Boy.”). However, the true star of this show was Denise. She’s the closest to a human version of Greta the Gremlin that we will ever get and great at being the perfect evil stepmother/tropopkin. All of those witty remarks and monster transitions are so good. My favorite scene is when Denise transitions into her true tropopkin form while chatting with the psychiatrist (Edie McClurg!).
Lagniappe
Britnee: The tropopkin makeup effects are incredible. Makeup effects artist, Gabe Bartalos, has made his mark on many classics, such as Frankenhooker, Leprechaun, Tim and Eric’s Billion Dollar Movie, and you guessed it, Gremlins 2: The New Batch. He’s definitely up there with Swampflix’s favorite special effects master, Screaming Mad George.
Alli: The grandpa is such a weird person. He dislikes so many decisions his son-in-law makes but backs them anyway. He tells his grandson about tropopkins but doesn’t seem to be the source of the kid’s love for comics, since he’s never taken him to the comic book store before. Also, he played major league baseball? I don’t normally like to nitpick or search for plot holes, but he really is a true enigma.
Brandon: I really liked the choice of presenting the tropopkins as “real life” creatures from the pages of Todd’s EC horror comics. Corman & company obviously routed most of the budget to Denise’s creature design, so it was smart to borrow some on-the-cheap visual style from classic horror comics to give the movie some life between her effects shots. Besides, it reminded me a lot of the EC horror stylings of Tales from the Crypt & Creepshow, which were the exact kind of age-inappropriate media I was sneaking past my parents’ censorship as a kid.
For anyone who’s desperate to watch Stepmonster but isn’t close enough friends with Boomer to borrow his personal VHS copy, there’s currently a low-quality scan of the film uploaded to YouTube in glorious 480p (courtesy of user myx360games, a true champion of cinema).
Boomer: I spent a truly inordinate amount of time trying to figure out exactly when Stepmonster would have aired on Disney Channel. One would think that old TV listings would be the easiest thing in the world to find, but as it turns out, not so much (unless you’re going to go down to the library and dig through microfiche). I couldn’t find any dates or any Disney Channel schedules from the likely years at all. However, while we’re here, I wanted to go ahead and speak out in favor of this great video from YouTube channel Yesterworld, which provides a pretty good rundown on the history of the channel, including some great historiography of the “free preview” years. YouTube channel Pop Arena, as part of their ongoing project to chart the show-by-show history of Nickelodeon (after five years, they’re up to 1990), did a great video about Nickelodeon precursor Qube that happens to function as a great delineation about the creation of cable television as well; it can be found here and is a great companion piece to the video above.
For this lagniappe episode of the podcast, Boomer, Brandon, and Alli discuss the Full Moon creature feature gross-out Castle Freak (1995), directed by Stuart “Re-Animator” Gordon.
00:00 Welcome
02:00 The Miracle of Morgan’s Creek (1944) 03:23 Mr. Arkadin (1955) 04:05 The Queen of Black Magic (1981) 07:00 My Octopus Teacher (2020) 07:55 Death of Me (2020) 10:28 We Summon the Darkness (2020) 11:34 Mary Shelley’s Frankenstein (1994) 13:20 Speed Cubers (2020) 16:25 Save Yourselves! (2020) 17:33 Dating Amber (2020) 19:55 Christine (2016) 23:42 Madame (2021) 27:47 Beast Beast (2021)
Swampflix 