The Funhouse () Review – AiPT!
The Funhouse comes across as a run-of-the-mill B-movie because it follows her end at the hands of the monster, the recurring image of the Hammer . a back story that involves a previous relationship between the carnival. You could call director Tobe Hooper a 'two hit wonder' after Texas Chainsaw Massacre and Poltergeist, but 's THE FUNHOUSE is a. Rated the # best film of Release date, 13 March . of action from entering the funhouse to hiding in it, the relationship between outside and offers her services to the sex-crazed man/ monster, but in the end back-stabs him.
Hot on the heels of his cult classic features The Texas Chainsaw Massacre and Eaten Alive, the director had been recognised by movie mogul Steven Spielberg and his name had become well respected in Hollywood circles.
Movie of the Month: The Funhouse () | Swampflix
With the weight of a major studio behind him, Hooper decided to invest his talents in the fashionable slasher genre, which on paper promised to provide a feature that would finally rival Carpenter's classic. Hooper makes no effort to disguise Funhouse's slasher heritage and he launches his entry with a scene that references two of the genre's heavyweights.
Whilst showering, our protagonist Amy is stalked via Carpenter-alike steady-cam in an opening that successfully sets the mood for the remaining runtime.
The carnival has arrived in town and Amy and three of her teenage friends have decided to go along for the opening night. Despite warnings from her parents, the youngster bows to the pier pressure from her boyfriend and the youngsters arrive to be entertained by the lights and attractions on display.
Ritchie has the ambitious idea to spend the night in the Funhouse, believing that the group can make-out and spend time alone without the intervention of their parents.
It soon turns out to be a fateful plan, when the teens witness the brutal slaughter of one of the workers. Alone and locked in the carnival until morning, the troupe are stalked by a maniacal assassin with no chance of escape. An endless amount has been written about Tobe Hopper's full from grace.
Much like a footballer that scored thirty goals in his first season and just one in the next, the downhill slope for the quality of his work was stark and unrelenting.
Movie of the Month: The Funhouse (1981)
The Spielberg collaboration on Poltergeist was supposed to launch Hooper as a Hollywood suspense maestro that would rival Hitchcock and Kubrick. Unfortunately the movie started a slope to mediocrity from which his career has never recovered. Generally movie fans look back on The Texas Chainsaw Massacre as the only truly outstanding feature in his catalogue. This record is somewhat inaccurate, because despite the inferiority of the majority of his later work, Funhouse is a decent feature that deserves further recognition.
Chainsaw Massacre's strengths were its excessive use of terrifying sound, a skill that Hooper successfully repeats in this follow up.
The final scene is an excellent juxtaposition of visual and audible horror and the suspense is harsh and unrelenting. Mixing bright flashes of light and the ear piercing chimes of steel cogs and chains, the director creates an atmosphere of unease that provides an outstanding backdrop to a tense showdown. The movie is helped no end by an excellent performance from the final girl, and the gore is kept minimal, which adds further credit to the director's artistic flair.
We humans are obsessed with our image, and Hooper makes an intelligent social commentary as the youngsters glare in amusement at the freaks on display at the carnival. Their brash attitudes are ruthlessly avenged when they realise that they are alone with something they had previously considered to be defenceless against their mockery. Revenge is dished out coldly as the protagonist emerges psychologically warped and drained like the creatures on display at the 'freak show'.
Buzz, Liz, and Richie each meet have their one-on-one time with the killer, which is the most popular way for a bad teenager to die in slasher flicks.
Now as for Amy being the final girl, I do think that she meets the criteria. Something about her exit from the funhouse just makes me think of her as badass heroine. Or do you think her presence was completely unnecessary? In my previous section, I mentioned the novel adaptation the film written by Dean Koontz; that book has its own separate Wikipedia page that outlines a more in-depth and, honestly, needlessly complicated plot that features a back story that involves a previous relationship between the carnival barker and Ellen, the religious alcoholic mother of Amy and Joey.
I guess I spoiled myself on this question, because the issues of faith and evil seem to be more present in the book and thus the original screenplay: Ellen and the barker were married and had an evil son, whom Ellen killed; she then had Amy and Joey, whom she religiously oppresses.
The religious overtones of the original story lead me to infer that this woman played a more significant role in the first draft and was largely cut.
Brandon, if you could add a different back story for the film or otherwise weave in additional plot elements, what would you add to make the film better? The Funhouse does well enough in establishing a surreal, nightmarish tone without relying on any explicitly supernatural element.
I appreciate that the movie keeps its terrors anchored in the real world. The bright colors, spooky lighting, and playful ambience of a funhouse already aims for a supernatural subversion of reality, one that could have justified some reality-bending trickery on-camera once the teens are being hunted down. I was kind of relieved that it took it in a more real direction. It was really interesting to me that a lot of the scariest parts were the behind-the-scenes inner-workings of the carnival.
Funhouses are generally not as exciting or as fun as the name implies. The clanking of chains and whirling of fans are disorienting and disconcerting.
The Funhouse Blu-ray review | Cine Outsider
The ghouls and ghosts that jump out while the thing is running are not as deadly or threatening as an angry fortune teller or carnival lackey. Even the monster wears a mask of another monster because the reality is more hideous.
I think the real world horror grounds this in a way that makes it fairly believable. The Funhouse does a good job at preying on that.
- The Funhouse
- The Funhouse (1981) Review
What could have worked in the supernatural direction is more rumors in the set-up, like kids talking about real skeletons of past victims being used or ghosts of dead carnies cursed to wander forever from town to town waiting to spook unsuspecting teens. That sort of ambiguity added to the real life fright could have upped the ambience. Still, there does seem to be an ineffable Final Girlness to her that belies her nonstandard status.
Joey is the absolute worst. Well, that and the fact that he lives with an alcoholic mother. Like Britnee, I mostly found Joey to be an insufferable little shit.