In this remake of the classic 50s SF tale, a boy tries to stop an invasion of his town by aliens who take over the the minds of his parents, his least-liked schoolteacher and other ... See full summary »
A psychotic redneck who owns a dilapidated hotel in rural East Texas kills various people who upset him or his business, and he feeds their bodies to a large crocodile that he keeps as a pet in the swamp beside his hotel.
A group of scientists have developed the Resonator, a machine which allows whoever is within range to see beyond normal perceptible reality. But when the experiment succeeds, they are immediately attacked by terrible life forms.
A delicious, mysterious goo that oozes from the earth is marketed as the newest dessert sensation. But the tasty treat rots more than teeth when zombie-like snackers who only want to consume more of the strange substance at any cost begin infesting the world.
The space shuttle Churchill is assigned to observe the Halley's Comet under the command of Col. Tom Carlsen. They see a strange form attached to the comet and Carlsen goes with a team to investigate. They find three humanoid life forms in caskets and they bring them to the Churchill. However, Earth loses contact with the shuttle and the Space Research Center sends another spacecraft to search the Churchill. They find the crew dead and the shuttle burnt and one rescue pod missing. They bring the humanoids to Earth and soon Dr. Hans Fallada and his team discover that the Space Girl is a sort of vampire and drains the life force from people transforming them into zombies. When the authorities find that Col. Tom Carlsen has survived, they summon him to explain what happened in the Churchill. Carlsen tells an incredible story about the three aliens and he teams up with Col. Colin Caine trying to save mankind from the evil vampires from the space. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Col. Caine was supposed to be in the SAS, yet his troops were dressed as members of the Parachute Regiment. Also they were incorrectly armed with Steyr AUG assault rifles, never used in the British Army and should have had the SLR L1A1 variant of the FN FAL rifle or Sterling L2A3 Sub machine gun. See more »
Glorious, demented, insane, has to be seen to be believed. Humankind's greatest achievement?
Did director Tobe Hooper, writers Dan O'Bannon ("Alien", "Return of the Living Dead") and Don Jakoby ("Blue Thunder"), in addition to some uncredited writers who presumably did rewrites of the original script, or any of the cast actually think they were making a good movie during the production of "Lifeforce"? The movie gets progressively wackier, more disturbingly bizarre, hilarious, over-the-top, and greater by the minute. When you think that the movie couldn't possibly become more demented, that it was already as nutty as anything could possibly be it outdoes itself. I really don't know if this was at any point supposed to be tongue-in-cheek, if anybody involved thought it was genuinely creepy or effective, or if they were just too distracted by Mathilda May's exquisite breasts and rear end to care, but the end result is quite simply one of the greatest films ever made.
Here are some reasons why "Lifeforce" is perhaps humankind's greatest achievement to date (and probably impossible to surpass):
Mathilda May is nude for the entirety of the film, and she is "the
most overwhelmingly feminine presence" you will ever see. Yes, that is a quote from the film.
Steve Railsback gives one of the most gloriously, hilariously
over-the-top performances in the history of film.
It is, to quote a fellow IMDb member, 'the greatest naked space
vampire zombies from Halley's Comet running amok in London end-of-the-world movie ever made'. Yes, that is actually the plot.
Frank Finlay, Peter Firth, and Patrick Stewart embarrass themselves.
Special effects and design that are actually good, adding to the
suggestion that someone somewhere actually took this thing seriously, which is quite a disturbing thought.
Unbelievably stilted delivery of some of the finest dialogue known to
man, examples of which include:
"She looks perfect. I've been in space six months and she looks perfect to me."
""Don't worry, a naked woman is not going to get out of this complex."
"Despite appearances this woman is a masochist, an extreme masochist."
"He too needs feeding."
"She's totally alien to this planet and our life form... and totally dangerous."
"I'm Colonel Cane." "From the SAS?"
"It was two hours ago that the guard was attacked. I wouldn't be at all surprised if we're seeing a pattern here."
"Colonel, take it from the beginning. Assume we know nothing... which is understating the matter."
Colonel Cane looks at a shriveled corpse, then asks: "and this was murder, you say? "
"Lifeforce" is not merely another 'so bad it's good' movie. It is not an example of a film made by individuals with ambition far beyond their reach. No, it is quite simply THE most audacious, spectacular, hilarious, absurd, insane, riotous, crazy, deliriously demented science fiction film of all time. I cannot fully articulate why it is deserving of being one spot ahead of Samuel Fuller's "Pickup on South Street" on my list of favorite films, but I do know that it is. "Lifeforce" elevates craziness to an art form. Quite possibly the most entertaining film known to man, and perhaps our greatest achievement as a species.
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