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| Best Buds |
An animated smiley-face button and an undead teenager. It's one of the most bizarre buddy team ever, but one of the most endearing. Each other's conscience, advisor and pal, Ernie and Smiley are inseparable.
Just the ramblings, observations, opinions, memories, and memorabilia of a Gen X Horror Geek.
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| Oakland Tribune - October 6, 1988 |
The film was produced by Gale Anne Hurd (1984's The Terminator, 1986's Aliens) and Richard Kobritz (1979's Salem's Lot, 1983's Christine), two people whose past productions I both enjoyed and admired. Something similar could be said for the director, Graham Baker, who had made The Final Conflict (1981) and a wonderful little disaster thriller called Impulse (1984).
Then there was screenwriter Rockne S. O'Bannon, a name I recognized from a short story titled Slippage, which I had read and enjoyed in the pages of The Twilight Zone Magazine. I also knew that James Cameron had done some polishing of the script, to pump up the film's action content. Which is why I walked into a matinee screening of Alien Nation certain I was about to see a polished little cinematic gem.
Well... Alien Nation turned out to be not all that great. While the film was not all that bad, it was neither all that good. It was just a pedestrian buddy cop movie that, for whatever reason, never rose above the level of modest entertainment.
The biggest thrill, the first time I saw it, was spotting character actor Peter Jason, who I recognized from Prince of Darkness (1987), in a small role as bigoted asshat of a cop.
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| Sacred and Profane |
While I have read various Lady Death and Purgatori comic books, Evil Ernie is one I have yet to give a try. So it goes.
Although most of the score used in the film was composed by Wannberg, Wilkins did compose the underscore for the film's unnerving seance sequence.
"We needed a scary score," says Wannberg in Randall Larson's liner notes. "But not one that was pure scary." Wannberg and Wilkins achieved this by excising the trumpets and trombones from the orchestra, which created a somewhat off-kilter tonality within the music. The overall effect of their score is both soft and unnerving. The eschewing of aggressive jolts and jump scare stingers makes for a listening experience that is equal parts pleasant and spooky.
I consider the soundtrack for The Changeling to be one of the highpoints of my collection.
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| San Francisco Examiner & Chronicle - October 1, 1972 |
This was an adaptation of a Fritz Leiber story and directed by John Badham, who helmed the far superior second season segment Camera Obscura.