The Omen: Films (1976-06)

The Omen: Films (1976-06)

Dirs. Various

01. The film that single-handedly caused kids named Damien to get targeted by bullies at school throughout the 80s (and beyond?), The Omen (1976 / Dir. Richard Donner) is a 1970s suspense / horror film that relies on mood and pace to elicit a progressive sense of dread in the viewer.

Gregory Peck is utterly believable as the American Senator with an evil little shit for a son (Harvey Stephens). Throw in some horror convention, a creepy nanny, a house that lacks life, and a biblical poem and you have a classic that looks dated but still manages to shock and entertain.

In lesser roles are David Warner, Billie Whitelaw, and Patrick Troughton, all of whom are equally great. Prolific composer Jerry Goldsmith's musical score adds an extra layer of palpable eeriness.

Blackstar (1981)

Blackstar (1981)

13 episodes, approx 22 mins each.

It's well-known among the Masters of the Universe fanbase that some of the toy-line's action figures were repurposed assets from Mattel's own Big Jim franchise, but what's mentioned much less often is that Filmation's animated MotU TV series did some blatant borrowing of its own, from their short-lived Blackstar (1981) TV series, which came out two years before MotU and is in many respects a kind of precursor to the format that MotU settled on.

John Blackstar's origin is entirely different to He-Man's, and he doesn't have a secret dual identity, but the similarities in other areas are numerous and undoubtedly more than mere coincidence.

The show's opening credits provide backstory, which I'll transcribe below, for anyone who's interested:

K-9 and Company: A Girl's Best Friend (1981)

K-9 and Company:
A Girl's Best Friend (1981)

Dir. John Black | 50 mins approx.

The fourth Doctor's (Tom Baker) robotic pooch K9 (Mark III) got itself a pilot episode for an offshoot TV series that didn't get green-lit. It's similar to the parent show, but there are no aliens or reckless jaunts through time. That doesn't mean all is rosy and safe, however. Instead, it has a coven of Hecate worshippers that are planning something nefarious in the pastoral English countryside.

Despite not having her name in the title, the real star of the show is Elisabeth Sladen as the forthright, journalistic-minded Sarah Jane Smith.

The title implies that K-9 would've been constant, but would the 'company' have been changeable? Were more cameos planed for future episodes?

I don't know, but I know that it wasn't the final TV offshoot for either of the two main protagonists.

Kinvig (1981)

Kinvig (1981)

Dir. Les Chatfield | 7 episodes, approx 25 mins each.

I expected more from Kinvig, given that it's written by Nigel Kneale, the creator and author of the Quatermass films, but, sadly, it's a weak sci-fi comedy with mostly forgettable characters.

The titular Kinvig (Tony Haygarth) is owner of a corner repair shop in a typical British town. A man with a self-proclaimed "flair" for fixing things, he is in fact a lazy and largely useless sod who wings it most of the time. His life is unstimulating and routine, and because his shop doesn't generate much income he struggles to pay the rates.

Kinvig's best friend is Jim Piper (Colin Jeavons), a man with an unhealthy interest in aliens and unexplained phenomena. If Jim dropped his toast and it landed butter side up, he'd probably think it was the work of extra-terrestrials. But in Kinvig's life Jim is the foremost authority on such things.

Sapphire and Steel (1979-82)

Sapphire and Steel (1979-82)

Dirs. Shaun O'Riordan (Assignments 1, 3, 5)  /  David Foster (Assignments 2, 4, 6)
34 episodes, approx 25 minutes each.

"All irregularities will be handled by the forces controlling each dimension. Transuranic heavy elements may not be used where there is life. Medium atomic weights are available: Gold, Lead, Copper, Jet, Diamond, Radium, Sapphire, Silver and Steel. Sapphire and Steel have been assigned."

I saw Sapphire and Steel first when I was a kid. I don't remember what age exactly, but it blew my young mind. I saw some of it again in my twenties. It blew my mind once more. You can guess where this is going... yup, and again in my thirties: mind blown.

In all that time I've not encountered anything else quite like it, so in my experience it's unique. It's so unique that I could easily skip the introduction (and indeed the middle section) and go direct to the recommendation, but I won't. Instead, I'll try to give an overview of just what the hell it's all about.

Mad Max Trilogy (1979-85)

Mad Max (1979)

Dir. George Miller

As enjoyable as the first Mad Max film is on its own, in hindsight it works better if you look upon it as an extended prologue to the more entertaining sequel, The Road Warrior (1981), where the world is no longer on the verge of going to shit, as it is here, but has actually tipped over and fell face-first into it.

It has the feel of a B-Movie, but the on-the-road carnage is much better than what you'd normally get in that kind of commercial venture, and it's not without some black humour to keep it from sinking under the weight of its own gloomy subject matter.

The crew is to be applauded for making the scenario believable. Max (Mel Gibson), however, is kind of boring as a family man/highway interceptor. It's not until he gets his 'mad' on that he becomes interesting.

George's Marvellous Medicine (1981)

George's Marvellous Medicine (1981)

Author: Roald Dahl  |  Illustrator: Quentin Blake  |  Page Count: 96

'She had pale brown teeth and a small puckered-up mouth like a dog's bottom.'

More than two decades of insomnia has hammered my brain so much that some days I can barely remember what I did the previous afternoon, which makes it all the more amazing that I can still recall easily the first time I read about George Kranky's Marvellous Medicine; Roald Dahl's storytelling has that kind of power.

It was a long time ago. I was aged ten. Four separate classes in the school that I attended (and loved) were gathered together in one room for an important presentation. As usual, I positioned myself next to the bookcase. It was there that I spied the book. After checking to make sure that I wasn't under scrutiny by anyone important, I borrowed it from the shelf.

John Carpenter: Films: Part II (1980-84)

The Fog (1980)

Dir. John Carpenter

The fictional Antonio Bay is the setting for what's basically a traditional ghost story that's been granted a John Carpenter twist.

The plot is pretty simple: as the townspeople prepare to celebrate the centenary of the Bay, a scary fog with an accompanying green light rolls slowly but menacingly in from the sea, bringing with it something aged and angry. It's the atmosphere, the suspense and the overall eerie vibe that raise it above its B-Movie origins.

Trivia fans might like to know that two of the stars, Janet Leigh and Jamie Lee Curtis, are real life mother and daughter, both of whom starred in classic horror/suspense films previously. Janet was in Hitchcock's Psycho (1960). Jamie Lee was in Carpenter's Halloween (1978).

Scanners Trilogy (1981-92)

Scanners (1981)

Dir. David Cronenberg

The eponymous individuals are able to kill with just a thought, and the film wastes no time in showing us one of them in action.

When a powerful corporation that wishes to control the Scanners no longer can, they need the help of a Scanner to stop the others. Yay for dramatic irony! It's kind of like needing your glasses to find your glasses, with the added danger that your glasses can telepathically kill you any time they like.

Patrick McGoohan is excellent as the fatherly psychopharmacist; Michael Ironside is unquestionably good as a menace; but, I'm sorry to say, while Stephen Lack did okay as a lost soul, he didn't have the acting experience at the time to make the inner conflict of the lead role hit as hard as it needed to.

If you're familiar with Cronenberg's early works, such as Stereo (1969) and Crimes of the Future (1970), you'll recognise trace elements of their structure in the film's settings and concerns, helped along by a budget that frees the production from being tied to an institute environment.

The Evil Dead Trilogy (1981-92)

The Evil Dead (1981)

Dir. Sam Raimi

I'll never tire of watching The Evil Dead. It wasn't the first film to use the isolated cabin in the woods scenario, but it remains one of the most successful in the horror genre.

Raimi doesn't waste time with a traditional slow build-up. He goes straight to horror town with the use of low, rushing camera movements. The way it interacts with the environment, even knocking parts of it over, places us as viewers directly into the action.

The point of view shots showing the same scene from different angles, pursuer and pursued, accompanied by subjective audio was a genius idea. It shows that both subjects (or objects) are in the same location but suggests they’re slightly out of sync, like the real and reflected or the breaking of a different kind of fourth wall from the wrong side.

Into The Labyrinth (1981-82)

Into The Labyrinth (1981-82)

Dir. Peter Graham Scott

21 episodes (07 Eps x 03 Series), approx 26 mins each.

Regrettably, I lost the torn out notepad page that I'd taken notes on while watching, so I'm going to have to work solely from memory as best I can. I feel bad about that because my memory is often unreliable and the show deserves a proper, detailed write up.

Three youths, Phil, Helen and Terry (in order pictured) shelter in a nearby cave when a freak storm breaks out. It's there that they find Rothgo, a formidable but weakened soul with the kind of powers we'd normally associate with sorcerers of bygone eras. Rothgo enlists the children's help to retrieve an ancient and powerful artefact.

To attain the Nidas, as it's known, the kids must venture into the Labyrinth, a gateway to other times. It's a perilous journey and like all good children's TV shows it has an antagonist that's truly memorable, but I'll get to her eventually.

Halloween: Films (1978-2002)

Halloween (1978)
Dir. John Carpenter

Halloween is more than just another cheap, independent slasher flick. It's a master class on how to create, pace and sustain tension when working with a limited budget.

The unease and sense of foreboding that permeates every crucial scene is in large part due to Carpenter's use of music. Like Hermann's score on Psycho (1960) it has a stabbing, piercing, onomatopoeic quality that keeps your nerves on a knife edge.

The faceless, unstoppable force that is Michael Myers taps into a very human, deep-rooted fear of what's hidden behind the mask we all wear, but Michael's inner evil is so powerful that even blankness can't hide it.

DUNE: The Original Novels (1965-85)

Dune (1965)

Author: Frank Herbert  |  Page Count: 562 (605 inc. Appendices)

"What do you despise? By this are you truly known."

-From 'Manual of Muad’Dib' by the Princess Irulan

Frank Herbert's Dune Saga is the story of the planet Arrakis, also known as Dune, upon which is found a rare and valuable resource that every Great House in existence depends upon. Without it interstellar trade would end. Even the Emperor of the Known Universe would be rendered mostly powerless in all but name. Whosoever controls the retrieval and distribution of that specific resource will be a formidable foe in a never-ending and far-reaching power struggle.

The first book concentrates on the rise of a reluctant messianic figure from not-quite-humble beginnings towards something he never expected to be.

The two things are connected but are each only a small part of what the novel contains. There's a staggering amount of depth beneath the surface, exploring everything from petty feuds and familial concerns to the basic needs of evolution, ecology, society and the intersection of religion, politics and power.