Mixing genres in movies is not an unheard of move when it comes to making original ideas. Of those blends, putting horror and comedy together has proven to work. A more recent example of this could be The Cabin in the Woods (2011). Or if looking further back, Gremlins (1984) is another feature that has confirmed such a concept can be profitable. Of course though, with every success comes those who don’t make out as well as they could have, for whatever reason. This feature has an interesting history since it was originally conceived by Fred Dekker, the poor filmmaker who ended up having what he wrote completely changed. Originally to be taken as a straight forward horror film, wound up being changed to contain horror and comedy. With that said, many could understand how that could upset others.
So now, the film that actually is available is about popular novelist Roger Cobb (William Katt) learning that his relative passed away in the house he grew up in. But the house has more than just a childhood history with Cobb. At one point, Cobb lived with his currently divorced wife Sandy (Kay Lenz) and son Jimmy. However, just like the house itself leaving an impression, so did Vietnam as Cobb was a war veteran who lost a partner Ben (Richard Moll) in combat. Doing these rewrites was Ethan Wiley in his first writing credit and it kind of shows maybe changing the original concept wasn’t the right decision. In short the technical aspects to this feature works pretty well, but the story is where it’s hit and miss. It’s unfortunate too because direction was handled by Steve Miner, who also headed Friday the 13th Part 2 (1981) and Part III (1982).
So why couldn’t competent direction amend some of the experience? It feels as though most of it sits on the star’s shoulders. William Katt as Roger Cobb is okay in his performance, but lacks the charm to really bring in the audience to feel the way the character does. Perhaps some of this alienation is on purpose because most civilians never understand the trauma of war. However, when adding elements of comedy into the mix it’s just confusing. Should the audience be laughing or should it be as awkward as presented in the film? The only character that delivers some comical lines is Harold (George Wendt), a neighbor who is pretty much clueless on every level. The other supporting characters very much play it that same way but don’t seem to make an impact. Surely the production wasn’t banking on Katt and Wendt to deliver all the laughs. Aside from comedic line reading, the acting is acceptable from all actors.
There’s even appearances from Mary Stavin playing another one of Cobb’s neighbors, Michael Ensign, better known as the hotel manager from Ghost Busters (1984), as well as Steven Williams and Alan Autry. Even with that to the film’s credit, this picture isn’t scary. It may frighten smaller viewers or those who just don’t watch horror films…but the scare factor has no kick to it since bad comedic elements were thrown in. The visuals to the feature favor pretty well though. Because of the decade it was produced, much of the visuals are practical effects which all look decently crafted. The final boss looks good too although the verbal mouthing does not completely match lines dubbed in post-production. It’s too bad since those creature scenes could have led to some rather gory deaths.
Cinematography was another professional looking component. Shot by Mac Ahlberg, there are number of imaginative ways the house twists and turns Cobb in different directions; changing from one setting to another. Ahlberg also worked on Re-Animator (1985), Deepstar Six (1989) and Robot Jox (1989). Lastly, the musical score was composed by Harry Manfredini. Best known for creating the iconic score to Friday the 13th (1980). Manfredini seems to keep some of those familiar themes for better or for worse. While it does sound like it could belong to another Friday film, there are moments unique to this feature alone because of how the track was composed. The album also is a bit shorter in material but it still gives the listener a good idea of what was wanted to be conveyed.
The technical parts to the film are very much on board, with solid camerawork, special effects and music. Sadly, the acting from the actors isn’t enough to keep the experience from feeling dull. There’s nothing horrific or funny about either aspect of the film, partly due to the lead’s lack of appeal. It’s average at best.
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