The ‘80s–a decade in human history that’s become synonymous with vibrance, energy, and danger. Those 10 years witnessed waves of pain and celebration including the crack and AIDS epidemics, the start of the war on drugs, and the beginning of the fall of the Soviet Union. It was the era of hair metal and heavy metal; the era ofA-haandABBA,Eddie Money, andRicky Springfield–he’s a buddy of mine. As time sees all things change, cinema gradually changed too. The grindhouse ’70s birthed the video nasties of the next generation. Advancements in special effects, filming techniques, and film development crafted a period of breathtaking production design and visual splendor.
Horror saw a renaissance thanks to would-be masters of their craft likeDavid Cronenberg,James Cameron,John Carpenter,Stuart Gordon, andWes Craven. Slashers, monster movies, and sci-fi movies proliferated popular culture thanks to the combination of artists and the technology of their era. Sci-fi horror of the 1980s stood on the backs of those same men, though there are plenty of other artists whose works have stood the test of time and helped build the era into the monolith of explosions and practical effects that it is. For plenty of blood, boobs, explosions, and film grain, check out these old favorites and cult classic science fiction horror movies from the 1980s.
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The ‘80s is littered with action horror sci-fi fair, and no one contributed more to the subgenre than James Cameron. The man followed upThe Terminatorwith the long-awaited sequel toRidley Scott’sAlien, titled–you guessed it–Aliens.Sigourney Weaverreturned as Ripleyin this action skewing of Scott’s cabin fever sci-fi classic. Ripley tries desperately to save a squad of colonial marines sent in to investigate a possible Alien outbreak on a human colony established on LV. 426–the same planet Ripley and the crew of the USCS Nostromo visited inAlien. Cameron’s third turn in the director’s chair elevated this picture beyond a studio sequel into an iconic movie of the era.Alienswas nominated for seven Academy Awards–including best actress in a leading role, best film editing, and best original score–and won best sound effects and best visual effects. It’s mandatory viewing for any action, horror, or science fiction film fan, and expands the world of technological wonder and corporate greedAlienintroduced.
Remakes aren’t endemic to the 21st century, but the ‘80s saw a few remakes that surpassed their predecessors, includingThe Blob.The Blobis an updated and brutal version of the 1950s black and white classic about a swelling, gelatinous monster overtaking a small town. Astonishing effects work makesThe Blobthe star of the show as it slides around town gobbling up unsuspecting citizens. Arborville, California offers a bounty of bodies forThe Blobto dissolve as it slinks from sewers to ceilings in its quest to feed. It may be a basic premise, but the expert execution and genuine dread leading up to each pounce makeThe Blobone of the best horror movies of the 1980s.
It ain’t justGremlinswith an R-rating,Crittersis a different beast entirely. The Crites from space devour without discrimination as they bounce from planet to planet following the only real prime detective–feed. They’re chased to earth by a pair of shape-shifting bounty hunters from space with a reputation for collateral damage. The debut picture byStephen Herek(Bill&Ted’s Excellent Adventure,The Mighty Ducks) wears the heart of community and family on its sleeve like one ofSteven Spielberg’s sci-fi classics, but it openly pokes fun at them in a Crite’s showdown with an E.T. plushie. This creature feature is packed with humor and bursting with blood, andit spawned a franchisethat doesn’t cut as deep as the original.
Some movies on this list are Academy Award winners and nominees, some are cult classics, but only one hasClint Howardflying around chopping heads with a freaking sword.Evilspeakis a campy revenge horror film about a bullied boy at a military school–or university based on the ages–who uses a computer to transcribe a spell from a dead satanic sorcerer and invoke the dark powers to aid him in his pursuit of revenge. The pitiful Stanley Coopersmith (Howard) seems almost righteous in his revenge, and while there’s a tight pull of tension and discomfort through the picture, it’s all about the last 20 minutes. It’s not a perfect film–visible wiring rigging and some sloppy effects work–but patient viewers will be rewarded by a bloody conclusion to an interesting picture.
Cronenberg’s remake ofThe Flyis so good and so gross,it’s the movie everyone thinks of when the title is mentioned despite it being a remake.It’s one of Cronenberg’s last science fiction movies after an incredible run of heady sci-fi horror in the ‘80s.Jeff Goldblumdevolves in plain view going from a charming, attractive, genius scientist to a human-sized fly thanks to a teleportation experiment gone wrong. IfThe ThingorAliensdoesn’t hold the title for best special effects of the decade, it’s becauseThe Flybuzzed off with it. The movie took home the Academy Award for best makeup the same yearAlienstook home its two awards. The gut-wrenching gradual transformation from Seth Brundle (Goldblum) to Brundlefly is beyond repulsive, and Goldblum’s excited interest in the metamorphosis makes it so much worse. Cronenberg cemented his legacy as the king of body horror with his final sci-fi picture of the decade.
From Beyond
Only a year afterRe-Animatorbrought Lovecraft into the 1980s, the director, Steward Gordon, co-writerDennis Paoli, and two of the leading actors–Jeffrey CombsandBarbara Cramptonre-teamed to adapt H.P. Lovecraft’s short storyFrom Beyond. Combs and Crampton are joined byKen Foree(Dawn of the Dead) as Bubba Brownlee, and the three prove a less goofy trio thanRe-Animator. The movie follows a scientist (Combs) seeking help following a series of discoveries concerning mankind’s physiology and the nature of reality. Gordon demonstrates his mastery of presenting the macabre in dressed-down yet nauseating displays of horror. ButFrom Beyondkeeps a tighter cast and more consistent tone than his feature film debut. In fact, a lot of the campy fun ofRe-Animatoris replaced with suspense and atmosphere. Viewers looking for a cinematic Lovecraft adaptation should look back to the ‘80s for this amalgamation of lighting, effects, and madness.
The Hidden
Aliens, guns, explosions, sex, mystery, vintage heavy metal, and grit,The Hiddenhas it all. LikeThe Terminator, the movie is more than the buzzwords associated with the genre; it’s beautifully lit, expertly shot, and bolsters some awesome special effects and stunt work. The scintillating score byMichael Convertinoaccentuates the tone of each scene, adding to the pulse-pounding action and dread compounded by the unfolding mystery. It feels at home among Cronenberg’s orDavid Lynch’s stable of sci-fithanks to its use of color, framing, and comedy. While some plot points seem redone a time or two, the central mystery surrounding the spontaneous and maniacal crime sprees of otherwise normal citizens pushes the plot forward through the first half. It doesn’t hide the alien angle, and the early look at the repugnant parasite is enough to hold the viewer over for the remainder of the picture. Here’s hopingThe Hiddendoesn’t stay in the shadows of other more popular sci-fi 80s fare.
Humanoids From the Deep
Humanoids From the Deepis campy creature feature fun. It’s horrific, violent, and it has something to say, but it also doubles as a schlocky monster movie. The film is surprisingly layered with commentary knifing at corporate greed, racial injustice, and human hubris. It’s also host to slimy creatures, gratuitous nudity, and blood by the gallon. The political and racial divides in the town of Noyo drive the secondary conflicts of the narrative.Humanoids From the Deephas a grindhouse feel to it, and that’s no fluke. DirectorBarbara Peetersbuilt a career directing exploitation flicks in the ‘70s, and she brought some of that sleaze into the new decade. Cool creature effects and an all-out final act push the picture from fine to fun, but sensitive viewers beware as there’s an extreme amount of animal and sexual violence littered throughout this horror show.
Action-horror had a moment in the sun in the late 1970s and 1980s, and thank goodness they did becausewe live in a world wherePredatorexists as it does.Predatoris perfect. It’s action-sci-fi-horror starringArnold Schwarzenegger,Carl Weathers,Jesse“The Body”Ventura,Bill Duke,Shane Black, and more as a team of commandos trapped venturing through a Central-American jungle. They are hunted for sport by a humanoid alien with awesome weapons and technology. The chemistry between the leading men brings an actual heart to an over-the-top action film. Exploding with guns and muscles,Predatorsqueezes as much sweat and blood out of its characters as it can. It’s endlessly quotable with respect to the actors’ line deliveries and quippy one-liners. The costume and creature design for the Predator itself is fan-freaking-tastic.Predatormay lean more action than horror, but it’s a brutal good time either way, and it’s a nice starting point into the subgenre for the uninitiated.
Prince of Darkness
Zombies, religious fiction, messages from the future;Prince of Darknessis nuts. John Carpenter goes Lovecraftian as he re-teams with cast members from his career includingDonald Pleasence(Halloween) andVictor Wong(Big Trouble in Little China Town). InThe Prince of Darkness, the antichrist is trapped in a jar in the form of a green liquid, and he’s slowly seeping out into the world, preparing the way for his father. A priest burdened with the secret the Catholic Church chose to hide in a basement consults with a theoretical physicist and his graduate department on how to analyze and react to the antichrist’s new-found directive–and that’s when even stranger things start.Prince of Darknessis the middle act of Carpenter’s doom trilogy, book ended byThe ThingandIn the Mouth of Madness–which unfortunately doesn’t count for this list due to its ‘90s release.PoDis weighty and theological, but also creepy and wondrous. It would pair well with Stewart Gordon’sRe-Animator; speak of the devil.
