Long before Stranger Things, are imaginations were captured by a man named Steven Spielberg, and a loveable little guy known simply as “E.T.” The film became an immediate hit, and a staple for every ’80s kid such as myself (what kid back then didn’t want to be able to fly on their bikes with their friends, and after dark at that?!).
Originally released on June 11, 1982 (after premiering at Cannes on May 26), E.T. the Extra-Terrestrial follows the story of Elliot (Henry Thomas), a suburban ten-year-old who discovers his newfound friend from another world in his backyard. Along with his older brother Michael (Robert MacNaughton) and kid sister Gertie (Drew Barrymore), Elliot keeps E.T. a secret from his single mom (Dee Wallace) and government agents hot on the trail, all while bonding with the little fella and incorporating some of his traits.
The film sways from Sci Fi/adventure to drama (with just a hint of horror in the beginning), and broke the record of highest grossing film of all time, knocking Star Wars out of the coveted spot and remaining there until another Steven Spielberg film, Jurassic Park, took the title of number one eleven years later in 1993.
It also spawned countless toys and merchandise, including the ill-fated Atari game, notoriously remembered as one of the worst video games of all time after being rushed for a Christmas 1982 release (to this day it still remains a topic of lore to many). There’s even been theme park rides, such as the original E.T. Adventure ride still operating at Universal Studios Florida to this day.
In a 2020 interview with the film’s star Dee Wallace, I had to ask her what made the film so endearing after all of these years. Her response was simple enough; “I still cry, I still laugh. As we all know it’s just a magical movie, and has become a part of our consciousness. I never get tired of it, or talking about it – and I can’t say that about all of my movies (laughs). It opens hearts and reminds people of what’s really important, and we just need a lot more of that these days.”
I couldn’t have possibly said it better myself if I tried. All these years later, instead of terrifying, this little green man from another planet still manages to pull at our heart strings. Spielberg has entertained us all and caught lightning in a bottle both before and since its release, yet there’s still just something special about E.T.
Although I was lucky enough to speak with two of the key factors of 13 Fanboy on behalf of Rewind It Magazine last year – Actress Dee Wallace, and Director/Writer/Actress Deborah Voorhees – I still only had a vague understanding of what to expect from the film. But almost immediately after sitting down to watch it, I completely understood what the filmmakers were trying to achieve with this one, which was to simply bring back the basic, root elements to a horror movie.
Without giving away too many details, 13 Fanboy follows fictional versions of real-life horror film stars (mostly alumni from the Friday the 13th series) such as Kane Hodder, Judie Aronson, Lar Park Lincoln, C.J. Graham, and Tracie Savage (among others) and newcomer Hayley Greenbauer, as they are stalked (and in some cases, slaughtered) by an obsessive fan with plenty of ‘whodunit’ -ness done in perfect fashion (Corey Feldman also makes a notable appearance as a sleazy producer). Extremely meta in its delivery, it’s part Scream, part Wes Craven’s New Nightmare, and for the most part, all fun (something hard to come by in the genre these days).
The gore is there, but it’s not over-the-top/unnecessarily violent. And although it might lack the big budget of such Hollywood blockbusters as the the recent Halloween Kills, it more than makes up for it with heart and atmosphere. And there’s almost no effort to weave in comedy, which can be “okay” if done correctly, but often overused in horror films these days. In short, 13 Fanboy is the perfect late night fright flick to watch in the dark with your significant other (or even by yourself), especially this time of year.
The 1980’s no doubt saw an unprecedented surge of werewolf films; the original Howling starring Dee Wallace spawned a franchise full of endless sequels, while Stephen King’s Silver Bullet was adapted in to a feature film starring Corey Haim in 1984. And who can forget when Michael J. Fox became a Teen Wolf in 1985 (and when Jason Bateman followed in his paw prints for its sequel just two years after that?)? But out of all of these films, none of them reached the sheer surrealism (or weirdness) of 1981’s An American Werewolf inLondon, which just reached its fortieth birthday mark this past week.
Originally released on August 21 of that year, the plot found two best friends, David (David Naughton) and Jack (Griffin Dunne) attacked by a werewolf while backpacking through England together. Jack is killed mercilessly, while David survives the bloody ordeal, only to carry the curse of the lycanthropy with him until his eventual transformation.
In the meantime, David is taken in by the beautiful young nurse (Jenny Agutter) who befriended him while his stay in the hospital. Unbeknownst to her, David is not only suffering from terrifyingly vivid nightmares, he’s also being paid visits from a decaying Jack, warning David of his grim fate, and urging him to take his own life before it’s too late. When the inevitable finally happens and David turns, it causes for some of the most tense animal rampage moments ever captured on screen up until that time, eventually leading to its near tear-jerking climax.
The film was written and directed by John Landis, who was previously known primarily for such slapstick hits as National Lampoon’s Animal House (1978) and The Blues Brothers (1980), which no doubt aided in the levels of dark comedy found within Werewolf. The award-winning makeup effects were handled by the legendary Rick Baker, whose resume not only includes such Hollywood blockbusters as Star Wars, but numerous other werewolf films as well, including not only the previously mentioned The Howling from the same year, but also Michael Jackson’s video for Thriller two years later (for which he and Landis were both handpicked by Jackson for their work on the film). But it was Baker’s revolutionary work on Werewolf that would forever help shape the face of the genre to come.
Even the music in the film stands out with its own sense of irony; not only are two different versions of the hit pop song “Blue Moon” featured, so is Creedence Clearwater Revival’s “Bad Moon Rising” (a band Rewind It Magazine was also there to cover live in 2019 – the “Revisited” version anyway). These songs (among others) are brilliantly inserted at prime moments throughout the movie.
Since it’s release, An American Werewolf in London has become somewhat of a cult classic, and was one of those films that seemed to always be on cable TV any given Saturday afternoon in the ’90s (I still even have the VHS copy of it that I picked up at a Kmart at some point in my teens). By the end of the decade, it even spawned it’s own stunningly predictable sequel, 1997’s An American Werewolf in Paris, starring Tom Everett Scott.
But it’s the original film that will no doubt be remembered for years to come. In 2007, I was lucky enough to meet the film’s star, David Naughton (see photo below). Even then, I asked him something along the lines of why he felt the film had such a lasting effect with audiences (my early journalistic instincts obviously kicking in), to which he said (and I’m completely paraphrasing here) something along the lines of; “I think it just struck a nerve because of how different and shocking it was at the time. People were not expecting what unfolded before them at all.” I couldn’t agree with you more, David.
The ’90s – especially the mid-to-late ’90s – were a unique time indeed for cinema when it comes to horror films; The Silence of the Lambs paved the waved for more ‘sophisticated’ thrillers in the beginning of the decade, while typical slasher franchises originally led by the likes of Freddy, Jason, and Chucky, were laid dormant to make way for the more realistic meta-horror of the Scream franchise and all its numerous copycats. As a fan of both horror films, and Michael J. Fox since his Back to the Future and Family Ties days, I was eager to see this new intriguing horror flick with him in it (something he had not yet attempted to do), and was at the theater to watch it with friends within its first couple of weeks of release (see original ticket stub photo attached below). What ensued was nearly two full hours of dark, brooding insanity, and big budget, zany chaos.
Before it there were also the more surreal horror flicks that bordered on equal parts fantasy, and silliness. Films such as Leprechaun (1993) and Brainscan (1994) stretched one’s imagination while taking liberties with reality as a whole. When Peter Jackson’s The Frighteners was released on July 19, 1996, it definitely ticked many of the same boxes as said previous films, yet in its own unique way. Author and Rewind It Magazine contributor Shawn McKee commented on the film; “The Frighteners is one of those films that has gotten a lot of reevaluation over time. It was both a precursor to (film director) Peter Jackson’s mainstream success with the Lord of the Rings trilogy, and the rise of the Weta Digital and the Weta Workshop, the New Zealand (where the film was also filmed) special effects company co-founded by Jackson.”
He continued; “Upon its release in ’96, the scare trailers that followed made little mention of it as a Peter Jackson movie, who was still unknown at the time to most audiences. It was instead marketed as a supernatural comedy by Universal Pictures and Robert Zemeckis, the film’s executive producer. The trailers also struggled to explain what the movie was even about. This most likely led to its brief theatrical run, low box office performance, and eventual second chance on home video.”
The plot is fairly simple; Fox plays Frank Banister, an ex-architect turned ghost hunter who uses the help of a trio of spirits (played brilliantly by John Aston, Chi McBride, and Jim Fyfe) that only he can see to con locals into believing they have an actual haunting. Things start going awry once would-be client Ray Lynskey (Peter Dobson) mysteriously drops dead (among many others), and his widow Lucy (Trini Alvarado) immediately enlists Frank’s services to solve what happened. Further complicating things for Frank is an aggressive detective (Jeffery Combs) dead set on proving Frank had killed his own wife years before, a newspaper editor (Elizabeth Hawthrone) hell-bent on proving Frank’s a fake, and other spooks like Master Sargent Hiles (played by the late R. Lee Emery in a role which emulates his Full Metal Jacket performance from 1987) disgusted by Frank’s chosen methods.
It turns out that Frank is not the only one with the power to see those from beyond; local patient Patrica Bartlett (Dee Wallace) has been helping her long deceased lover Johnny (Jake Busey) continue his killing spree from beyond the grave for years, and along with a little help from his ghosts and Sheriff (Troy Evans) Frank and Lucy have to put an end to the twosome’s rampage once and for all. In an October 2020 interview, Wallace revealed to me what it was like to play a villain in place of her usual squeaky clean “mom” roles; “Oh God, I had so much fun doing that! I love exploring all of the different sides of me, and the psyche, and I just loved the arc of going from the little victim, to becoming the killer towards the end!”
The Frighteners was far from a runaway hit; grossing just under $30 million on a $26 million dollar budget, it received a lukewarm reception from moviegoers and critics at the time. Though it had the potential to become the Ghostbusters of the ’90s, it was too “out there” for the casual viewer to “get;” too dark for the family friendly crowd, and not gory enough for the usual horror fanatic. Still, a quarter of a century after its release, it remains a stepping stone in Jackson’s flimography, and worth a revisit, whether it’s your first time ever seeing it, or fifth.
The ’80s were no doubt full with an abundance of creature feature flicks to choose from. Being younger at the time, Freddy and Jason were usually off the table unfortunately while I was growing up (though I still managed to sneak them in whenever and wherever I got the chance to). But slightly tamer, more “family-friendly” horror/Sci-Fi films like Poltergeist (1982), Gremlins (1984), and Critters (1986) were still fair game in our household, and I can vividly remember watching many of these titles on a couch with my siblings (and/or the other kids in the neighborhood) and a tub of popcorn, often times in awe.
Critters was originally released in the U.S. by New Line Cinema on April 11, 1986, and almost instantly drew comparisons to the previously-mentioned Spielberg romp Gremlins (although Director/Writer Stephen Herek has maintained that he and co-screenwritter Dominco Muir had the script in the works long before either of them had ever heard of or seen Gremlins). The film stared veteran actress Dee Wallace as Helen Brown, who was already known for her appearances in a sleuth of horror films including The Hills Have Eyes (1977), The Howling (1981), and Cujo (1983). M. Emmet Walsh, Billy Green Bush, Scott Grimes, Nadine van der Velde, Don Keith Opper, Terrence Mann, and a young, then-unknown Billy Zane also rounded out the main cast.
The plot was simple enough; vicious creatures from another planet land in the middle of rural Kansas and wreak havoc on the Brown family farm. But two out-of-this-world bounty hunters (played by Mann, and eventually Opper as well in future installments) throw a monkey wrench in their gears, ultimately saving the day from the destructive vermin. In October of 2020, I interviewed Wallace on behalf of Rewind It Magazine, who declared of the film, “It was just such a simple, but harmlessly fun movie to be a part of. I enjoyed every minute of it.”
Multiple follow-ups continued the original series, with only Opper and Mann reprising their roles in all of the next three films (although Grimes did return as Brad Brown in the first sequel). 1988’s Critters 2: The Main Course (which was one of the first times I can recall ever seeing so much, ahem – female anatomy – on screen while watching it on cable TV at a friend’s house) was the last film of the series to be released theatrically after a disappointing $3 million box office return (the first entry had grossed over $13 million on a budget nearly equivalent to the sequel’s intake), but remains a cult/Easter classic among many to this day. The next two additions to the franchise, 1991’s Critters 3 (notable for starring a young Leonardo DiCaprio in his first film role) and 1992’s Critters 4 (which featured Brad Dourif and Angela Bassett), promptly received straight-to-video treatment, and saw the titular monsters taking on the big city, and outer space itself, respectively.
It would be nearly three decades until the franchise would be revived, with a reboot film titled Critters Attack!, and a web series Critters: A New Binge, both dropping in 2019. Wallace returned for the former (in a role that may or may not have been the same as her character Helen Brown from the original). Regarding her return to the series, Wallace told Rewind It Magazine in the same 2020 interview; “It was a lot of fun. My first question for them was, ‘Are you doing the critters CGI?,’ because if they were I wouldn’t have done it, and I think the fans would have been disappointed. But I read the script, and met with the director, and I got to go to Cape Town, South Africa, so how bad could it be?!”
Critters have even found themselves as the punchline in random pop culture; the 1990 film Teenage Mutant NinjaTurtles features a scene where one of the turtles, Raphael, is seen walking out of a movie theater (with the film’s poster displayed in full view) and proclaiming in disgust, “Where do they come up with this stuff?!” The song used in the original film, “Power of the Night” by the fictional Johnny Steele (also played by Mann) has also taken on a small life of it’s own as well in some underground circuits and online (had it been released as an actual single at the time of it’s original release, it could’ve possibly even been a hit).
No matter where the franchise goes from here, there’s no denying the lasting impact this campy series has had on multiple generations of Sci-Fi/horror fans for well over three decades now. Thirty-five years on, the original still remains the perfect film for late night viewings as it ever has.
I remember it clearly; it was around Halloween time, and I was no older than ten at best. I sneaked out of the living room into my older brother’s room, where he and a friend were watching a “Jason” flick (something I had only heard of, but had not yet seen). The exact entry they were watching, and my introduction to the series and Jason Voorhees (although technically he does not really appear in it) was Friday the 13th Part V: A New Beginning.
I couldn’t believe what my young eyes were witnessing…the amount of graphic gore and female flesh (I’m almost positive I had seen nudity before, but not that much at once!) was almost overwhelming my senses. One such scene (and young lady) that really stood out and made a huge impression on me was the very naked/grisly demise of Tina, played by the lovely Deborah Voorhees.
After a few more roles in films such as 1985’s Appointment with Fear, and a recurring stint on the widely popular prime time TV drama Dallas, Voorhees stepped away from the spotlight to pursue work in the journalism field, and even took on some teaching jobs before her previous acting career came to light and cancel culture reared it’s ugly head over her involvement in the Friday the 13th series. But Voorhees has since re-emerged victoriously, first appearing in her own 2014 directorial debut, Billy Shakespeare, and now nearing completion of the ultimate meta Jason flick, 13 Fanboy, which she also directed and co-wrote along with Joel Paul Reisig.
One of the first things I wanted to know when I recently caught up with Voorhees from her New Mexico home, was just what it was like working with so much Friday… alumni on 13 Fanboy. She tells me; “It’s an intense thriller/slasher/classic ‘whodunit’ type film, and we have an amazing, talented cast from the series and the horror genre as a whole, including Corey Feldman, C.J. Graham, Kane Hodder, Tracie Savage, and (previous Rewind It Magazine interviewee), Dee Wallace.” She continues; “I directed, co-wrote, produced, and really was involved with every aspect of it, from appearing in it, down to the editing process.”
But even exceptional talent is not immune to the effects of 2020. When asked about a potential release date, Voorhees informs me; “Production has definitely slowed down due to Covid, and with a lot of theaters and things not being open right now, it’s been very problematic. But we’re hoping to have it out by August, which is when the next doable Friday the 13th lands. I think we’ve got a really good shot at that, so that’s what we’re aiming for right now. I feel pretty good about it though, and think everything should be wrapped up by then.”
I was also curious if Voorhees was a fan of the series prior to filming A New Beginning, and how she felt looking back on her appearance in the series today. She explains; “Beforehand I had only seen the first one, so it wasn’t until later on that I saw the other parts in the series. I think I’m most impressed with the fan base. Horror fans in general are just really terrific people, and the fans that love slasher films and Friday the 13th have been really good to me over the years, and I’m very grateful for that.” And although Part V contains a brief cameo by ’80s superstar Corey Feldman, it wasn’t until much later the two would actually meet. She tells me; “I met him before at a horror convention, but this was the first time I actually got to spend time with him during the production of 13 Fanboy.”
And I also wanted to know if there were any actors approached for 13 Fanboy who declined. She says; “Adrienne King was initially excited and wanted to do it, but after reading the script, decided it was too close to her given situation having had a stalker in the past, and just wasn’t comfortable doing it. Lar Park Lincoln (who also appears in 13 Fanboy) had one too, but everybody handles that sort of thing differently.”
Lastly, I asked Voorhees just how her path lead her back to filmmaking, and she says; “After I had finished with journalism (at the time), I had decided I wanted to ‘give back’ a little by teaching. While I enjoyed it very much, I ended up being thrown out of two high schools because a lot of people just had a problem with my past (and especially the nudity I had done), so I just decided I was going to go on my own, and that took me back to flimmaking in general. I did love teaching, but I’m happier doing what I’m doing now. It was a good experience for me, but it feels good to get back to where I belong, which was writing/telling stories, and making movies.”
By all accounts, actress Dee Wallace should need little to no introduction. In the world of horror films, she’s regarded as one of all-time top scream queens, appearing in such classics as The Howling (1981), Cujo (1983), and Critters (1986). But of her nearly two-hundred acting credits, she will perhaps forever best be known for her role in the 1982 Steven Speilberg blockbuster E.T. the Extra-Terrestrial. Last week, I had the chance to speak with Dee over the phone from her California home, where I was honored to ask her about many of said previous films, as well as her more recent, inspiring work in the self-help field.
And I was lucky enough to catch her just at the right time; at the very start of our conversation, Wallace informs me with glee; “I’m heading out to do a film, so you’re my very last, good little thing I get to do before I hop on a plane!” I also wanted Dee to know how much I had learned about her prior to our interview while doing background research, to which she delightfully chuckled before proclaiming, “That’s funny, everybody says that! Well thank you for doing your research!”
One of the first things I wanted to know was what made Wallace decide to step into the world of motivational speaking. She tells me; “Well, when you’re called, you have to answer that call! That’s the best way I can put it. Really when I look back on my entire life, it’s all lead up to this. I used to get messages when I was a little girl – which a lot of kids do. Then later in life when I met Christopher (Stone, Dee’s late husband), he and I got involved in a philosophy called conceptology, and we studied that for a couple of years. Cut to later in life; when he died, I basically dropped to my knees and said, ‘I don’t want to be a victim or angry.’ And the first message I got literally within seconds was to ‘use the light within you to heal yourself.'”
She continues; “So I’ve kind of been expanding on that ever since. I had the largest acting studio in LA at the time, and I would start getting downloads about stuff, and they were always right-on. So then families began wanting to work with me once they saw my students lives’ were changing, and now here I am 30 years later with clients all over the world. I’m quite an oxymoron, actually; half my life I do horror films, the other half I try to teach people how to deal with fear (laughs)! But it’s pretty empowering work, I can tell you that. It’s definitely changed my life!” Dee also hosts a worldwide radio call-in show discussing many of these subjects, which airs online every Sunday at 9am PST.
By now I felt like it was as good a time as any to finally segue into her film career, and I wanted to know if the horror genre was something Wallace had pursued personally, or if it had more or less ‘found’ her. She tells me; “It definitely found me! That genre is one of the easier ones to get started in when you’re beginning your acting career. Ironically, the first film I ever did was a religious one called Allthe King’s Men – and then I booked The Hills Have Eyes – which again, it sort of explains the dichotomy of Dee, here! (laughs). But I love doing emotional work, and the horror genre gives you the opportunity to do that better than many others. It found me, and then I found out that I loved it!”
I was curious what it was like stepping back into the Critters film series last year when Dee appeared in the fifth entry, Critters Attack! (her first time returning since the 1986 original). She informs me; “It was a lot of fun. My first question for them was ‘are you doing the Critters CGI?,’ because if they were I wouldn’t have done it, and I think the fans would have been disappointed. But I read the script and met with the director, and I got to go to Cape Town, South Africa, so how bad could it be?!” (Laughs). I was also curious if Dee had kept up much with the various other sequels in the series, as well as the other long-standing horror franchise she had kicked off the original with (The Howling). She says; “Yeah, I was kind of like, been there, done that (laughs). Especially with The Howling series, they just had a different quality that didn’t really fit with who I am.”
I also wondered if it was odd for her at all to step into the role of a villain for the 1996 film The Frighteners. She says; “Oh God, I had so much fun doing that! I love to explore all of the different sides of me, and the psyche, and I just loved that arc of going from the little victim, to becoming the killer towards the end!”
Dee has also done a number of films with director Rob Zombie (who, coincidentally, I had also interviewed when I first got into journalism), and I always wondered how that relationship had originally developed. She explains; Well, “Rob loves to work with older, established, actors. He came after me for Halloween, and then he wrote the part of Sonny for me in Lords of Salem. And more recently he wanted to know if I would do this tough gal-type for 3 From Hell. He just always brings me interesting things, and doesn’t lock me into the same cubby holes a lot of people want to put me in.”
Knowing by now Wallace has probably been asked every question under the sun about her legendary role in E.T., I wanted to ask her something that perhaps she hadn’t heard before. So, I simply inquired what it was like to re-visit such a classic film all these years later. She tells me honestly; “I still cry, I still laugh. As we all know it’s just a magical movie, and has become a part of our consciousness. I never get tired of it, or talking about it – and I can’t say that about all of my movies (laughs). It opens hearts and reminds people of what’s really important, and we just need a lot more of that these days.”
And lastly, with Halloween just around the corner, I wanted to know if Dee considered E.T. a ‘Halloween’ movie. She replied; “It’s an everyday movie! It crosses all of the years, and all of the holidays, no matter what time of year it is!” Oh, and as far as that movie Dee was setting off to film? She leaves us with a cliffhanger; “I wish I could tell you what it is, but I can say it’s part of a franchise that hasn’t been visited in awhile, and I think fans are going to be very excited!” I can however say to check out the short film Stay Home, which Dee produced during the quarantine (check it out on BloodyDisgusting‘s website today!).