A young boy living in 1950s suburbia suspects his parents are cannibalistic murderers.

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1 win & 2 nominations. See more awards »

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Cast

Complete credited cast:
...
...
Lily Laemle
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Millie Dew
Bryan Madorsky ...
London Juno ...
Sheila Zellner (as Juno Mills-Cockell)
Kathryn Grody ...
Miss Baxter
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Mrs. Zellner
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Mr. Zellner
Helen Carscallen ...
Grandmother
Warren Van Evera ...
Grandfather
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Lab Attendant
Uriel Byfield ...
Little Boy
Mariah Balaban ...
Little Girl
Larry Palef ...
Announcer
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Storyline

Michael Laemie (played by Brian Madorsky) is a young boy living in a typical 1950's suburbanite home... except for his bizarre and horrific nightmares, and continued unease around his parents. Especially his father, Nick Laemie (played by Randy Quaid). Young Michael begins to suspect his parents are cooking more than just hamburgers on the grill outside, but has trouble explaining his fears to his new-found friend Sheila, or the school's social worker. Written by Jeff Mercer <riffer@afn.org>

Plot Summary | Add Synopsis

Taglines:

There's A New Name For Terror...

Genres:

Comedy | Horror | Mystery

Certificate:

R | See all certifications »

Parents Guide:

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Details

Country:

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Language:

Release Date:

27 January 1989 (USA)  »

Also Known As:

Goneis  »

Filming Locations:


Box Office

Budget:

$3,000,000 (estimated)

Gross:

$870,532 (USA)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The character Millie Dew, played by Sandy Dennis: "Millie Dew" was a play on the word "mildew", which means moldy, musty or damp. See more »

Goofs

Sixteen minutes into the movie, Michael comes home early from school, surprising his father who comes up from the basement with a bottle of wine. He announces that the wine is a Chateau Margaux, which must breathe. Clearly the bottle is not from Bordeaux but has the sloped shoulders of a Burgundy wine. Later, the wine label is seen on the dinner table where the word "Beaujolais" can be clearly read. See more »

Quotes

Nick Laemle: Michael, are you ready to behave? I thought I tell you a little story. Want to hear a story. I tell you a little story and I want you to shut up until I'm finished.
Michael Laemle: [Tied to a chair by his father] You eat people.
Nick Laemle: I've been watching you, Michael. You're an outsider, you're not like them. You're like us.
Michael Laemle: I don't love you any more.
Lily Laemle: Yes you do.
Nick Laemle: We're bound for life, no matter how much you hate us.
Nick Laemle: [as he slowly unties Michael] I'm untying, and when you're free. You can sit down with us an eat, or ...
[...]
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Connections

Referenced in The Cinema Snob: Caddyshack II (2014) See more »

Soundtracks

Robert Hall
Commercial courtesy of Increase Records
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User Reviews

 
The Other Side of Childhood
26 February 2003 | by (Dublin, Ireland) – See all my reviews

Just a few points on this movie as it happens to be one of my all time favourites (thank you Mr Balaban and Mr Hawthorne).

There is an aspect to childhood that is too often (and in the case of Hollywood almost always) forgotten and that is the dark side. The world for a child does not always appear as a bright, shining place of wonder and joy; more often than not the world is strange, forbidding and completely out of our control. That appearance is not deceptive; what is deceptive is the web of fictions we build up over time to help us deal with this. For me part of the thrill of horror (real horror, not simply the slash and stack variety), is the remembrance of that childhood chill, the memory of what Lovecraft termed cosmic horror and Freud called the Uncanny. Regardless of who those people are, parents as the symbol of unimpeachable, unquestioned authority whom we have to trust regardless of their real motives, are a potent representation of this chaotic universe, a universe that could crush us at any moment if it wanted to, but which we're stuck with. "Parents" the movie, evokes this side of childhood in a way unlike almost any other movie I know.

It is not coincidental then that the movie should also be a satire on 50's America and indeed America of any age since. The dependence of a people on its leaders - leaders who have secrets they cannot reveal for the public's good - is analogous to the childhood state and the child's dependence on those mysterious authority figures at the dinner table. In this respect, "Parents" follows on in an honourable tradition of American weird fiction, with antecedents in the works of Ambrose Bierce (read "Oil of Dog") and Shirley Jackson (read "The Summer People"). For both these writers, both the state and conventional society were to be distrusted rather than accepted blindly as unquestionably good. "Parents" shows the limitations of those we put our faith in, pointing out their potential for evil and for weakness. Indeed if ever a country needed a biting critique of lying, cannibalistic authority figures, the America of George W. Bush is that country.

Of course, the movie also follows on in the grand fairy-tale tradition of the Brothers Grimm, who populate much of their fiction with deceitful parents and cannibalistic feasts. Children's fiction is rarely afraid to show the monsters under the bed, nor does it try to fool kids into thinking they're not there. Hollywood should learn from this lesson instead of hypocritically loading their fare with ludicrous violence and simplistic visions of the world. By the way, I am talking about their adult fare; adaptations of Dahl's stories and other so-called children's fare are already more mature than most of Hollywood's "adult movies".

It's a real shame more films like "Parents" are not made as it is on a par with the high standards set by the best of European cinema (the most obvious parallel here being the delirious "Delicatessen" which also features cannibalistic parents in a stylised setting). Made in 1989, I cannot remember too many movies to come out of the 90's with the bite of this wonderful feature. Make no mistake this is a MASTERPIECE and should be seen.


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