They Came, They Saw, They Kicked Ass: The Unbeatable Brilliance of Ghostbusters

On Saturday, 26th of December 1987 the UK terrestrial premiere of Ivan Reitman’s 1984 blockbuster Ghostbusters was very much a big deal.

I won’t lie, it blew my six-year old mind. My main memories of that first viewing are mostly of scenes in the second half, especially the spectacular, mad climax where, among other wild and fantastic occurrences, a gigantic marshmallow man was accidentally willed into existence and started stomping on New York City. I mean, what was this film? I wanted in. From that point onwards, it was Ghostbusters, Ghostbusters, Ghostbusters. I wanted the toys (oh, how I wanted the fire station so much), I wanted the comics, I wanted the Panini sticker album […]

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Dead Heat (1988)

As genre crossovers go, Dead Heat is about as bold and as ridiculous as they come.

By the late 1980s, buddy cop movies were ten to the penny, and for the most part you knew exactly what to expect. Of course, this was a large part of their charm. Movie’s such as the Shane Black penned Lethal Weapon would take the sub-genre to new and still unchallenged heights, a formula that was aped to varying degrees by movies with various production values. This was a genre that gave us Riggs and Murtaugh, Double Team’s Jean Claude Van Damme and Dennis Rodman and Samurai Cop’s Marshall and Washington, which should provide a microcosm of the scope in quality we’re dealing with […]

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Memoirs of An Invisible Man (1992)

In the early 90s, John Carpenter, after a break from filmmaking following the commercial ambivalence indie productions Prince of Darkness and They Live were met with in cinemas, decided to take a punt on directing a studio flick again.

The film, Carpenter’s first studio effort since the mid-eighties, was a mainstream Hollywood movie, produced by Chevy Chase, which the actor was using to springboard into drama. Chase wanted the film to have a solemn flavour. So he brought in gun-for-hire John Carpenter to direct, who was hired in the wake of Ivan Reitman, who reportedly disagreed with Chase on what the tone of the film should be […]

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