Tim Salmons

Among the many nature-strikes-back horror films of the 1970s released through American International Pictures, 1976’s Squirm was also Jeff Lieberman’s directorial debut, though he would go on to helm other cult favorites like Blue Sunshine, Just Before Dawn, Remote Control, and Satan’s Little Helper. Shot in and around Georgia and employing Rick Baker for the make-up effects, the film features Don Scardino as Mick, an average guy from New York City who’s visiting his Southern girlfriend Geri (Patricia Pearcy) and her family when an outbreak of electrified and deadly worms begin to pile up and devour the locals in succession.

The late 1970s and early 1980s seem to have no shortage of disco musicals, many of which were fueled by drugs (allegedly) and imagination. Sgt. Pepper’s Lonely Hearts Club Band, Thank God It’s Friday, Xanadu, The Apple... they all earned their fair share of criticisms, and in some cases, financial success, or a lack thereof. One of the oddest came in 1980, courtesy of stage producer-turned-film producer Alan Carr, who had had major success with Grease two years earlier. Directing was Nancy Walker, mostly known for acting roles in The Mary Tyler Moore Show and McMillan & Wife, but the disco-laden comedy extravaganza Can’t Stop the Music was her feature film directorial debut, for better or worse.

Long before Zack Snyder’s Justice League assembled, DC fans were treated to Saturday morning and syndicated adventures with some of their favorite DC superheroes and villains with the long-running Super Friends animated TV franchise, which consisted of seven shows over the course of twelve years, courtesy of Hanna-Barbera Productions. The line up of heroes would be altered over the time, sometimes including young sidekicks who weren’t from the original comics, or some of the lesser known characters in the DC canon. At the center always was Superman, Batman, Wonder Woman, and Aquaman, with Robin, the Flash, Cyborg, Firestorm, the Wonder Twins, Apache Chief, El Dorado, and Green Lantern, among others, coming and going over the various iterations of the show when it aired on ABC.

In many ways, So I Married an Axe Murderer is a transitional film for its star, Mike Myers. Post-Wayne’s World and prior to Austin Powers: International Man of Mystery (as well as the superior sequel, Wayne’s World 2), Myers was moving from more grounded material with satirical edge into full-on fantastical and blatantly over-the-top comedic territory. He soon became known more for his makeup-laden, costumed characters, crashing hard in 2008 with The Love Guru, but still managing to stay afloat thanks to success of the Shrek franchise. Axe was by no means a hit upon release, though it wasn’t a total bomb either. Critics were mixed on it or indifferent towards it altogether, but today fans of it can see the beginnings of where Mike Myers was going with his career, as there are elements in the film pushing him in that direction.

One of the crown jewels of the theatrically-released Agatha Christie adaptations, Sidney Lumet’s Murder on the Orient Express became a trend-setter for adapting her work. Although films before it had featured large casts, this seemed to be the first time that such a lavish production with impeccable art direction and cinematography, and a cast of highly regarded actors, would set the template for what would come later on, particularly in the Peter Ustinov era.

Though the series has lapsed in the wake of the 2010 remake, A Nightmare on Elm Street was one of the most popular horror franchises of its day, spawning multiple sequels, a TV series, books, comics, and an endless supply of various forms of merchandise the world over. The original 1984 film continues to stand today as one of the most original horror films ever mounted, untainted by everything that came in its wake.

Trick ‘r Treat not only became a beloved Halloween tradition for many a horror fan, but it also spurred on a number of other filmmakers to revive horror anthologies, creating a number of them in its wake. It was a slow start though as it was delayed for two years after screening at film festivals and receiving acclaim from critics and audiences. Rather stupidly, it was ported straight to home video in 2009, bypassing a wide theatrical release altogether. However, it did find its audience, and put director Michael Dougherty on the map after having mostly been known for animation, and writing projects for Bryan Singer.

Hellraiser began its life as one of the more popular and respectable horror films of its kind. Aficionados (and not necessarily critics) immediately recognized the film, which was released in 1987 by New World Pictures, as a bold and artistic genre achievement, unlike anything that had been seen before. It put its creator Clive Barker on the map as one of cinema’s and literature’s most distinguished visionaries, particularly with the help of a quote from Stephen King in the film’s ad campaign: “I have seen the future of horror, and his name is Clive Barker.” Its success led to a number of sequels, as well as a reboot, with diminishing returns. Most fans today agree that the first two sequels, Hellbound: Hellraiser II (1988) and Hellraiser III: Hell on Earth (1992), are the series’ best entries, with the fourth, Hellraiser: Bloodline (1996), gaining renewed interest.

Crawl was a return of sorts for director Alexandre Aja, who had previously helmed High Tension, The Hills Have Eyes, and Piranha 3D. It didn’t light up the box office upon its initial release, but it did manage to make its money back, catching the attention and appreciation of Quentin Tarantino, and finding a small audience for it that continues to grow.

1991’s The Addams Family was several things. A hit, a resurgent appreciation for the characters, a feather in the cap for its cast and crew, and a stylish update of a dormant intellectual property. However, it did have some detractors. For instance, many didn’t care for the M.C. Hammer Addams Groove tune that closes out the film. More importantly, some didn’t consider it a true Addams Family movie because Fester, for all intents and purposes, isn’t present as a character for the majority of the running time, which is fair to some degree. It also falls into the trap of being a 90s adaptation of an old TV show wherein an outsider attempts to sabotage our favorite characters in some way or another for their own nefarious purposes (see also: The Beverly Hillbillies and The Brady Bunch Movie, among others). It’s part and parcel as to why many feel that the sequel, 1993’s Addams Family Values, is the better of the two. It wasn’t as popular or as much of a financial success, but it managed to find its audience with the same darkly funny and quirky sensibilities.