As an avid fan, I’ve read several of Michael J. Fox’s previous books over the years, in addition to of course growing up watching his films and shows. But I had a feeling that Future Boy – which fully chronicles landing the role of Marty McFly in Back tothe Future whilst juggling his already-established role of Alex P. Keaton on the hit sitcom Family Ties in the mid-’80s, would be one hell of a ride. (To this day the original remains one of my personal favorite films of all time)
From initial doubts and hesitations, to almost covertly becoming McFly while Actor Eric Stoltz was still more or less in the position of said lead role, to the ultimate aftermath/snowball effect the eventual decision to just go for it would ultimately have, there’s not a single moment of boredom to be found in between the front and back covers here.
The pace of that time frame in his life, zipping from a full day’s work at one set to another with little to no reprieve in between, is both commendable, and at times in many ways even relatable (my long lost days as a single father kept popping in my head while relieving some of Fox’s own struggles here).
Fox even narrows down several interesting thoughts about BTTF itself I had never considered before. For example – the ending of the original film, where Marty returns to his own time frame and finds his lackluster family now suddenly successful; is it truly a “happy ending,” knowing he now was not a part of any of the shared memories they all have together? (Deep stuff indeed)
To be given the type of insight on a specific moment of time that has had as huge of a cultural influence as Back to the Future has, truly feels like a gift here, and the tenacity that Fox has displayed – both then and now – deserves much respect. Thank you for sharing, Michael.
There were certain movies in the ’80s that just always seemed to be there (no matter where “there” might’ve been at the time). Back to the Future was one such film (along with the likes of Ghostbusters and The Karate Kid, among others), in a sub-genre of its own that I have since labeled “basement movies” (growing up in New Jersey at that time, it seemed like everyone had basements with TV’s/VCR’s in them, and many a movie were viewed in these for the first time via either cable or home video).
Originally released on July 3, 1985, Back to the Future was the brain child from Director Robert Zemeckis and Producer Bob Gale. The story was simple yet complex all at once; high school student Marty McFly (Michael J. Fox) travels back in time after an experiment with his scientist friend’s (Christopher Lloyd) time machine (built from a DeLoren, of course) goes haywire and sends Marty thirty years back in the past.
Once there he not only needs to get himself back to his original time frame, but ensure his parents (played by Crispin Glover and Lea Thompson) still meet and fall in love in time to not alter his existence, all the while dodging bullies (lead by Thomas F. Wilson in one of the best roles of its kind).
Originally the role of McFly went to Eric Stoltz, who began filming several scenes before Fox finally committed to the project, forcing him to take on double-duty while simultaneously still filming his hit show Family Ties. The decision was obviously the best for all those involved, and as a result, we were given one of the most flawless films in American history.
While it took four years, the film eventually spawned two sequels, beginning with 1989’s Back tothe Future Part II (my first time going to see one of them on the big screen, although I’m told I was there for the original as well, yet have no memory of this) and concluding with the western-themed Part III in 1990. There was even an animated TV show that ran from 1991-92 on CBS, theme park rides at Universal Studios, and various other video games and multimedia tie-ins, making it one of the most successful franchises of all time (the first film alone grossed nearly $400 million at the box office).
Back to the Future 40th Anniversary poster spotted at theater in Daytona Beach, FL on 9-10-25 (Photo by Jesse Striewski).
Of course, one cannot talk about Back to the Future without mentioning its music, which became equally popular thanks to the inclusion of Huey Lewis and the News’ “Power of Love” and “Back in Time” hits (Lewis himself makes a brief cameo at the start of the first film, and I was able to hear each of these tracks live in 2014 when the wife and I went to go see Lewis and company at none other than Universal Studios Orlando). Flea from Red Hot Chili Peppers fame has a small part in Parts II and III as “Needles,” and even ZZ Top appear as musicians in Part III, contributing the track “Double Back” to the film as well. Years later, I was able to photograph Flea onstage with the Chili Peppers in 2017 (see photo below), though ZZ Top have still alluded me all these years later.
Flea of the Red Hot Chili Peppers, who played “Needles” in Back to the Future Part II and III, on stage introducing the opening acting at the then-Amway Center in Orlando, FL on 4/26/17 (Photo by Jesse Striewski).
Then in 2023, I was even able to interview an actor from the series for the first time for Rewind It. Courtney Gains, who is seen at the dance scene cutting in with George and Loraine near the end of the first film, lent me some insight into his role as “Dixon;” “To be associated with that franchise in any way is a pretty mind-blowing, amazing thing. My character had already been dropped one time, and if you’re doing a movie they can only drop you one time, and if they bring you back, they can’t drop you again. So they had already dropped me once in the middle of all the chaos of re-shooting everything after dropping Eric Stolz in the lead role and replacing him with Michael J. Fox. Still to this day, one of the best residual checks I get is from Back to the Future, so it’s been a financial blessing in my life.”
The film has indeed blessed many, in many different ways, over the years, and on this “Back to the Future Day” (that passes annually every October 21), I’d certainly hate to ever see a world that doesn’t have Back to the Future in it in some form.
Many moons ago, long before Facebook had taken over as the social media giants they would soon become, there was this little site people connected on called Myspace. At the time, I was new to navigating it, and just starting to feel my way around the world of journalism. Looking to score my first interview piece for the magazine I was writing for at the same time, one of the first celebrities I ever followed and reached out to was one I had always been a fan of growing up; Courtney Gains of The‘Burbs and Children of the Corn fame.
I cannot recall if I ever did hear back regarding my interview inquiry back then or not, but for whatever reason, the moment was simply not meant to be. Fast forward to 2023, where after a solid fifteen years of writing about entertainment for various media outlets has lead to a number of interview opportunities actually presenting themselves to my desktop on nearly a daily basis. One of those recently being none other than Gains, who admittedly I did not realize until fairly recently was also an accomplished musician with a new studio release on the way at the time (in addition to still being a talented actor).
So I jumped at the chance to finally speak with Gains one-on-one, and after finally settling on a mutual day and time, sat down for a phone conversation with him. With a body of work in film that stretches all the way back to the early ’80s, I decided to start off with his music endeavors first, and asked just how long he had been playing for, and what instrument he originally started off with. He told me; “I started taking (guitar) lessons when I was thirteen years old. I’ve been in bands in LA for a number of years, probably from about the time I was eighteen. So it’s always been my side hustle/hobby; it wasn’t how I was making a living (back then), but I was always pursuing it. But this time around I’m really doing my own project as opposed to being in ‘a band.’ The last project that I had before this current one was a band called Ripple Street, and the last album we put out was just a straight break-up record. I played guitar and sang with them, but in this band I really wanted a better guitar player, so I actually play bass and sing, which has been an interesting process for me.”
I decided to dive right into his new EP, Safe Haven, which he had just started officially promoting the week prior to our conversation. Regarding it he informed me; “It’s a six-song EP, all rock ‘n roll and blues, and all things I want to talk about that I think are a little whacked out. For example, I have a song called “The Healer” that’s the point of view of an egotistical plastic surgeon (Laughs). Then there’s songs like “Bills in Space” about the billionaire space race, stuff like that.”
He continued his point regarding the latter song; “I think it’s funny some of the ‘greater minds’ spend all this money so they can go out into space…how about solve some of the problems right here first? (Laughs). What I’ve learned though is you just never know the impact something’s going to have on someone. By talking about/promoting this and getting it out there, there might be at least one person that it effects. If you just put yourself out there, you just never know the impact it’s going to make.”
I wanted to know if he had a personal favorite track from the record, to which he said; “Someone else recently asked me a similar question, and I had to go with “Good Times;” I’ve been playing that song for over twenty years. Three of the songs on the record are songs I’ve had around for awhile, and they all appeared in a movie called Benny Bliss and the Disciples of Greatness from 2009 that I produced and starred in that had an anti-technology message, so there’s definitely a theme there of things that I’m not too keen on (Laughs). But that song has been around forever and is the type of song that just gets people up on their feet, so it’s good to finally get that one out there.”
Gains informed me; “We’ve been really gigging for the last eight or nine months, and it’s all been gearing up for hitting the road next year to really promote the record, that’s what this has all been really heading towards. It also ties in with Children of the Corn’s 40th anniversary next year, so it will definitely be a big convention year for me in 2024. I’ve been doing horror conventions for fifteen years or so now, and it’s been a good run. But I’m getting kind of tired of the traveling and jumping on plans and all that, so I think I’m going to call it and go out on a big note.”
Gains continued; “But it’s good timing-wise, because I can also promote the music during this same run. We’re even talking about doing some 35mm print screenings of the film with some Q&A’s and the band playing.” And as far as if this might make it to Florida, he told me; “We’re going to start coordinating all that soon. I don’t know for sure if there’s any art houses or places in Florida that want to screen it yet, but if they do, we’ll show up!”
As far as landing the role of Malachai in Children… all those years ago, Gains enlightened me of the process; “I had to audition, which I still often do. There was this casting director named Linda Francis who had seen me in a showcase, which were just starting to happen in LA. They would invite agents and casting directors down and you’d present a scene, and if they liked you they might take your picture or whatever. And she took a liking to me and was really the first person to become a ‘fan.’ She cast me in this one film that ended up not happening, but she was the one that kept pushing for me, and really made a big difference in my life.”
He continued further; “But the famous story goes that in the first reading for Children…, I pulled a fake knife on the reader, who didn’t know that it was fake and about wet himself! He’s since gone on to be a huge casting director, and to this day will use that moment as an example at his lectures and tell people to never do that…which I agree, but at the time I was just young and hungry, although that’s a good way to never get called back again (Laughs)! Then the second audition was with John Franklin who played Issac, and I was grabbing/lifting him up by his lapels, and he said I was by far the scariest one in the room, and the rest is history! That was both his and mine’s first film, and we’re still tight and do conventions together to this day.”
I was also curious if Gains had been a Stephen King fan prior to appearing in a film based off of the writer’s work. He told me; “I didn’t really realize how big he was (or was going to be) at the time, but thank God for that, we’ve been riding Stephen King’s coat tails for almost forty years now (Laughs).” And as far as the numerous entries in the franchise that have come since? Gains told me; I saw the sixth one which John (Franklin) returned for, and I did see the Sy Fy reboot that the producer of the original one, Don Borchers, also returned for – and that was alright. I was supposed to actually do a cameo for that, but I wasn’t able to do it because I was actually at a con in Florida at the time, and the weather didn’t permit, so it didn’t end up happening.”
I asked about his follow up to Children…, the 1984 sex comedy Hardbodies, and what that was like filming, and Gains joked; “It was terrible! I got to hang out on the beach all day with hot girls, so it was just absolutely brutal! (Laughs). But I got that part because I would go to this class that the director (Mark Griffiths) would have on Sunday nights, and he took a real liking to me. So when he got greenlit to do that film, he more or less tailored made that role for me, which was basically mine to not blow.”
As far as that sweet checkered hat he wore in the film and hanging out with the all-female rock group Vixen at the time, he informed me; “I put that whole outfit together, and remember actually getting in a fight with the wardrobe lady (Laughs). She was living closer to the south beach areas and what was going on with the kids down there, but I was going for more of a skateboarder vibe. I’d say a good seventy percent of that wardrobe was all stuff of mine, and I had that checkered hat for a number of years afterwards, but I’m not sure whatever happened to it. I do remember the first day driving in Malibu like that though and people were just laughing. But hey, it was already getting a reaction, so I must’ve been on to something! (Laughs).”
And when it came to seeing a pre-famous Vixen on the set; “I was walking from a trailer down this alleyway in Venice Beach, and I heard them as they were actually in the garage rehearsing (just like the scene they appear in the movie), and I thought they’re pretty cool! Then I remember a few years later seeing their poster up somewhere and being blown away by how huge they had become. I thought they were just a band they had put together for the movie (Laughs).”
The following year Gains appeared in the film that would kick off one of the biggest trilogies of all time, 1985’s Back to the Future. Although his role was brief, I asked how it felt to be a part of such a blockbuster series. He explained; “To be associated with that franchise in anyway is a pretty mind-blowing, amazing thing. My character had already been dropped one time, and if you’re doing a movie they can only drop you one time, and if they bring you back they can’t drop you again. So they had already dropped me once in the middle of all the chaos of re-shooting everything after dropping Eric Stoltz in the lead role and replacing him with Michael J. Fox. Still to this day, one of the top residual checks I get is from Back to the Future, so it’s been a financial blessing in my life.”
Ironically Gains would go on to co-star with Stoltz after all in the somewhat forgotten classic, 1990’s Memphis Belle. I asked his thoughts on the film today; “The timing was bad because it came out right when the first Iraqi war broke out, and no one wanted to go see a war movie at the time. But still a very good film with some top-notch people involved with it.”
Of course one cannot forget his role as the nerdy best friend to Patrick Dempsey in 1987’s Can’tBuy Me Love. Regarding the film he stated; “Well, it’s definitely had an impact. It was a just the second film for this little indie company called Apollo Pictures which I had already done another movie for. It was originally this low budget film called Boy Meets Girl, and then Disney picked it up with their new division called Touchstone Pictures, and they dumped some more money into it to do some re-shoots and take all of the bad jokes out of it (Laughs). And then they bought the rights to (The Beatles song) “Can’t Buy Me Love” – which was not cheap – and then they made that the title, which really took it to the next level. But that movie was like the the number three movie that summer, and really launched Patrick Dempsey’s career.”
But perhaps the most memorable role of Gains’ career to this day (aside from Malachai) will always be Hans Klopek, creepy neighbor to Tom Hanks in 1989’s The ‘Burbs. Gains stated; “That’s the one that I think is really the most underrated. While we were shooting it, Big had just come out, which was just a huge hit for Tom Hanks. Comparatively they were disappointed, but thanks to home video and all that it really kept getting out there, and it wasn’t until I started doing conventions years later that I realized that there was a whole like dedicated, underground, ‘Burbs community out there (Laughs). There’s people that tell me stories that this was the movie they used to watch with their parents, and now watch with their own kids. It seems to be the movie the whole family agrees on, and I even had a guy tell me it’s the movie his mom watches when she gets depressed! You can never underestimate the impact that a movie can have on people. It’s pretty cool.”
He continued his thoughts on the film; “I had a good time working on it, though. Joe Dante was a nice guy to work for, and Tom Hanks was the most down-to-Earth A-lister you’re ever going to meet. I was (and still am) a huge Bruce Dern fan, so for him to recognize my work at all meant the world to me (and still does). And ironically there was a writer’s strike going on at the time (which we have one going on right now), and it was just us and Fletch Lives shooting on the entire Universal lot, and we got those movies in right before the strike.”
Bruce Dern puts Gains in a chokehold in a still shot from The ‘Burbs (1989).
He then briefly stayed on the topic of the current writer’s strike; “I’ve been seeing the writing on the wall for this coming for a long time now. I was very aware that the residual checks had been becoming less and less and the industry was getting worse for awhile. That’s why I moved out to the southeast, it’s more live-able and also opened me up to the whole east market including, New York. Last year I did a movie in New Jersey called The Wrath of Becky, and that was a great role, and I’m pretty happy with it.”
With Halloween just around the corner, I also wanted to know Gains’ thoughts on his cameo appearance in Rob Zombie’s 2007 version of Halloween. He stated; “It’s pretty crazy how many times they’ve re-booted the movies at this point! But I think that Rob knows his horror, and does try to make a point to bring people from the genre into his films, so I was happy to be a part of that. I had a friend of mine who had worked with Rob before that gave me a really great piece of advice, which was to be prepared that Rob might just completely go off script if he doesn’t like the way something is going. And that turned out to be the greatest advice, because what Rob’s trying to find is the truth of a scene, and I really appreciate that. A lot of times directors get so caught up in the process of moving things along, they don’t stay in the process and try to make something good out of it.”
He went into greater detail; “So what was supposed to be one day’s worth of work turned into another because we kept working it and adding stuff to it. It was such a nasty, disturbing scene though that nobody wanted to hang around the monitor to watch it, and I’ve never seen that before. But I like the way Rob works, and he has a great sense of the vibe and design of a scene. He knows what he likes and what his audience likes, and has a very great sense of all that.
This very weekend (which happens to kick off with a Friday the 13th!) is primed to be a busy one for Gains, as he informed me; “There’s a haunted house out in the woods in North Carolina called the Haunted Pyramids, and my band will be playing two nights there on the 14th and 15th. So we’ll be playing for a bunch of horror fans out there. All the rest of the bands are going to be metal except ours, but we’re going to go out there and rock their asses off anyway! (Laughs).”
And with Halloween just around the corner, the last thing I wanted to know was whether or not Gains had any sort of personal annual traditions for the holiday at all (it should be noted, in addition to all of the films previously mentioned, Gains has also appeared in the likes of more recent seasonal films such as 2015’s The Funhouse Massacre and 2019’s Candy Corn). He told me; “I’m the worst (laughs), because like, what do I do for a living? I get dressed up in costumes! And I’m usually doing conventions around this time, so Halloween is usually my day off! (Laughs).”
What really constitutes a ‘classic’ Christmas movie? Is the term limited strictly to the holiday specials of yesteryear, like Rudolph the Red Nosed Reindeer, Frosty the Snowman, or Santa Clausis Coming to Town? Or does it refer only to the same films played to death on cable television every year, such as A Christmas Story, Home Alone, and National Lampoon’s Christmas Vacation?
Over the years, there’s been many a film with Christmas either on the side or in the background all together, some more obvious than others, some more off-the-cuff. I tried to find twenty-five movies (for December 25th) for those with “alternative” tastes that prefer something slightly less than typical, and once and for all end the debate what exactly classifies as a Christmas movie (and of course, once and for all declare that Die Hard IS in fact a Christmas movie!).
It was not easy narrowing it down; as much as I wanted to include the likes of Maniac Cop 2, Reindeer Games, or Jaws: The Revenge, there were simply others that better fit the mold. Other films that also came to mind that deserve an honorable mention include Mean Girls (pictured above), Fast Times at Ridgemont High, Can’tBuy Me Love, Vice Versa, and even the original Karate Kid, all featured some Christmas in them, but not quite enough to make the list. And as tempting as it was to include some horror films like Black Christmas or Silent Night, Deadly Night, they indeed still fall under the Christmas banner in their own demented ways. So, compiled here for you now, I present the ultimate misfits guide of not-so-obvious Christmas movies…
25. Running Scared (1986): What better way to start things off than with an over-the-top, mid-’80s action/comedy starring Billy Crystal and Gregory Hines? The two portray Chicago police officers dreaming of retiring in sunny Florida, who first have to take down a drug dealer (played by Jimmy Smits), and take down they do as the bad guy eventually meets his demise in a pile of Christmas presents. A recent re-watch proved the film still has its own charm, and if you like a good dose of violence with your holiday cheer, than this one’s for you.
24. Night of the Comet (1984): Okay, I know I just said I was not going to include horror on this list, but I’ll make an exception for Night of the Comet since this mid-80s flick starring Catherine Mary Stewart and Kelli Maroney is not only more of a Sci Fi/comedy feature, but there’s no killer Santa in sight. Instead, the main protagonists here are zombies after a comet hits the Earth just days before Christmas.
23. Trapped in Paradise (1994): Nicholas Cage, Jon Lovitz, and Dana Carvey star as three bumbling brothers who rob a small town bank. The plot is predictable, and the jokes few and far between, but the winter scenery is on point and enough to put anyone in the holiday spirit.
22. Invasion U.S.A. (1985): Die Hard was far from the first action film to incorporate yuletide carnage in it. This mid-’80s Chuck Norris romp features plenty of exploding Christmas trees as Norris tears his way through shopping malls (among numerous other suburban settings).
21. Screwed (2000): When chauffeur Willard (Norm Macdonald) gets a lousy pair of cuff links from his boss for Christmas, he snaps and devises a plan with his friend Rusty (Dave Chappelle) to kidnap her dog and hold it for ransom. Everything that can go wrong, does, as the two bumbling anti-heroes scramble to keep their heads above water.
Dave Chappelle (left) and Norm Macdonald enjoying some holiday cocktails in Screwed (2000).
20. Light of Day (1987): Michael J. Fox and Joan Jett star as brother and sister and bandmates in a struggling Ohio rock group trying to “make it.” Sure, the actual Christmas side of things are few and far between, but the amount of white snow seen throughout is enough of a holiday reminder, despite the dreary atmosphere.
19: Diner (1982): This early ’80s buddy film who center around a group of friends (played by Steve Guttenberg, Kevin Bacon, and Mickey Rourke, among others) hanging out and experiencing adulthood for the first time in late 1950’s Maryland. Almost every frame is dark and filled with frigid cold, often with Christmas decorations appearing.
18. Paul Blart: Mall Cop (2009): Paul Blart (Kevin James) is a harmless New Jersey mall security officer who must rise to the occasion when thieves disguised as Santa’s Village employees attempt to heist the mall on Black Friday. The majority of the film takes place within the mall itself, something once as synonymous with Christmas as mistletoe.
17. Less Than Zero (1987): Andrew McCarthy, Jami Gertz, and Robert Downy, Jr. play rich kids lost in the decadence of 1980’s Los Angeles. Scenes of Christmas parties include plenty of “snow” despite the film’s often bleak, western setting.
16. Robocop 3 (1993): Often getting the worst rap of all the Robocop films (and rightfully so), Robocop 3 will always hold a special place in my heart for personal reasons (I have fond memories of going to see it on opening day with my mother and late Aunt Roberta) despite its many flaws. Aimed more at family audiences than the previous two entries, it features a Christmas backdrop throughout, with the donut shop scene towards the beginning displaying some of the most festive sites, as well as one of Jeff Garlin’s earliest roles.
15. Daddy’s Home 2 (2017): The two co-dads (Mark Wahlberg, Will Ferrell) from the original Daddy’s Home take their respective families to a ski resort for Christmas vacation, with their own fathers (Mel Gibson, John Lithgow) in tow as well. One mishap after the other leads to a few memorable moments, with the film even culminating complete with an epic sing-a-long of “Do They Know It’s Christmas?.”
14. Grumpy Old Man (1993): Walter Matthau and Jack Lemon play two bickering old neighbors in Minnesota. Snow covers nearly everything the eye can see in exterior shots (many centering around the two men ice fishing), while interior settings center around the holidays when family comes to visit.
13. Down and Out in Beverly Hills (1986): Long before there was “The Dude,” there was Nick Nolte’s brilliant portrayal of a homeless man who is reluctantly taken in by Beverly Hills elitists (Richard Dreyfus, Bette Midler) during the holiday season. Things eventually get so out of hand, even Little Richard shows up at the family’s Christmas party.
12. Eyes Wide Shut (1999): Stanley Kubrick’s odd masterpiece of cults and cheating spouses starring Tom Cruise and Nicole Kidman immediately starts off at a Christmas party in New York. The film maintains a cold, dark tone throughout, with the Christmas elements contrasting the material perfectly.
11. Better Off Dead (1985): High school dances, ski competitions, and hamburgers singing Van Halen are just a few of the highlights in this John Cusack vehicle directed by Savage Steve Holland. It’s absurd and over-the-top in every way imaginable, but contains just enough Christmas to earn your mom’s approval during the holiday season (I know this firsthand).
Curtis Armstrong, Amanda Wyss, and John Cusack prepare to hit the slopes in 1985’s Better Off Dead.
10. Hook (1991): This early ’90s take on the classic animated Disney film Peter Pan (which contained Christmas itself) starring the late Robin Williams only featured Christmas in the beginning and ending of the film, but contains enough magic to qualify here. Williams would appear in another similar fantasy film just a few years later in Jumanji (1995), which also featured some Christmas scenes in it.
9. First Blood (1982): The true O.G. of the Christmas action film, Sylvester Stallone’s first time portraying John Rambo contains more festive cheer than one might realize at first glance. From the sheriff’s office in the beginning, to the big in town shoot up ending, there’s plenty of Christmas decor to spot throughout.
8. Ghostbusters II (1989): From ghostbusting in Santa hats on the streets of New York, to an outdoor sing-a-long on New Year’s Eve, this 1989 sequel to the original Ghostbusters no doubt contained the Christmas spirit.
7. Rocky IV (1985): Going back to the 1976 original, the Rocky films were no strangers to holiday atmosphere. But by the time the Italian Stallion (Sylvester Stallone) got to the fourth entry, it was full-on, with the film’s final fight taking place on Christmas day in Russia. The trend would continue further five years later with Rocky V (1990), which also featured plenty of Christmas, but lacked much of the heart.
6. Edward Scissorhands (1990): Tim Burton was hitting his stride as a director by the time he reached Edward Scissorhands in the early ’90s. Johnny Depp stars as the Frankenstein-like titular character trying to fit in in a pristine suburbia, and Winnoa Ryder appears as his love interest. Again, the Christmas season doesn’t appear until near the end of the film, but the snowy flurries from Edward’s ice sculpting throughout the film adds to the seasonal feel.
5. Batman Returns (1992): In this entry, Batman (Michael Keaton) takes on the sleazy Penguin (Danny Devito) and slinky Catwoman (Michelle Pfeiffer) in sub zero temperatures. Children are kidnapped, and Christmas parties are crashed in this final Batman entry with Keaton and directed by Tim Burton.
Mel Gibson gets more than he bargained for while shopping for a Christmas tree in Lethal Weapon (1987).
4. Lethal Weapon (1987): One of the greatest of its kind, the original Lethal Weapon with Mel Gibson and Danny Glover blended fast-paced action over a Christmas backdrop flawlessly. Perhaps the most memorable festive moment comes when a bullet goes through Tom Atkins’ torso into a glass of egg nog (I was thoroughly pleased to see Atkins actually had stills of this to sign when I met him this past October). It’s great to see Lethal Weapon is finally getting the recognition it deserves as a Christmas classic.
3. Trading Places (1983): Dan Aykroyd and Eddie Murphy brilliantly portray an upper class broker and a small time street hustler whose lives are swapped at the whim of two millionaires making a bet. Much of the film takes place in the frigid temps of winter in Philadelphia with Christmas decor in aubundance. Very few on screen Santa’s before or since have compared to Aykroyd’s boozed-up, show-stopping performance.
2. Die Hard (1988) and Die Hard 2 (1990): Yes, the original Bruce Willis blockbuster Die Hard, which takes place at a high rise holiday party on Christmas Eve, is absolutely a Christmas film. But its first 1990 follow up, which includes terrorists taking over an airport on Christmas Eve, is often overlooked as an equal Christmas film. Of course, nothing will ever top Hans Gruber falling off the Nakatomi Plaza in the original, but each deserves their own holiday viewing.
1. Gremlins (1984): Marketed as a horror/comedy upon its initial release, the original Gremlins has since become a staple Christmas time classic. When teenaged Billy (Zach Galligan) gets a cute and fury, foreign creature as a Christmas present, it turns out to be too good to be true when it multiples, and the rest turn into hideous little monsters who wreak havoc on the small town. From start to finish, Christmas is everywhere in Gremlins, which has been a go-to in my household since I first received it as a gift (for Christmas) on VHS when I was a kid in the ’80s.
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 author with actor David Naughton at Screamfest in Orlando, FL in 2007.
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.”
Original 1996 ticket stub from the author’s personal collection
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.
