Tag: lance henriksen

Damien: Omen II (1978, dir. Don Taylor [and Mike Hodges])

The now-adolescent Damien Thorn discovers who he is: and so do others. The others, inevitably, die. More of the same, though with conspiracy and related angles added, if not altogether cohesively integrated. Still, there’s a death every few minutes, and a great Jerry Goldsmith score. The Final Conflict soon followed.

Here’s the trailer.

Big Legend (2018, dir. Justin Lee)

A bereaved veteran returns to the woods to hunt and kill the creature that killed his fiancé. Straightforward but solid low-budget Bigfoot feature, maximising decent locations and effective though sparse gore effects. A third act drawing on Predator and some fun cameos make this a decent, unpretentious flick.

Here’s the trailer.

Close Encounters of the Third Kind (1977, dir. Steven Spielberg)

A suburban dad is drawn to a Wyoming mountain after a close encounter with an unidentified flying object. Still hugely-effective blend of heart and smarts: perhaps Spielberg’s most complete film, mixing technical excellence with quest narratives, hard SF and senses of innocence and wonder.

Here’s the trailer.

Alien vs. Predator [AKA AvP: Alien vs. Predator] (2004, dir. Paul WS Anderson)

A mysterious Antarctic pyramid structure is linked to ancient alien hunting rites. Comic book-style franchise mashup with the focus on action and startling images rather than on SF horror. Not for purists, but well-resourced entertainment nevertheless with a stirring lead and great casting in depth.

Here’s the trailer.

Phantom (2013, dir. Todd Robinson)

A veteran Soviet submarine commander is sent on a final classified mission to test new technology. Okay Cold War flick that does nothing new, but which revels in the subgenre (!) to pleasing one-ping-only effect. Makes maximum use of an old Russian vessel for its principal location.

Mom and Dad (2017, dir. Brian Taylor)

An electronic virus drives parents to kill their children; one family home becomes a battleground. Brisk bad taste horror-comedy that gets in and out fast. Everyone is on fine form, and there’s the best use ever of a Erasure song in the movies.

Hard Target (1993, dir. John Woo)

A homeless sailor disrupts a scheme where rich hunters prey on down-and-out Vietnam veterans. This take on The Most Dangerous Game is a B-movie joy: superb stylised action, swaggering villainy, and a glimmer of social conscience.

Aliens (1986, dir. James Cameron)

57 years later, Ellen Ripley faces the xenomorphs again. Superlative sequel, balancing the body horror shocks of the original with military action, suspense, and a then-voguish Vietnam War aftermath aesthetic.