Horror legends, John Carpenter ('Halloween' (1978), 'The Thing' (1982)) and Tobe Hooper ('The Texas Chainsaw Massacre' (1974), 'Poltergeist' (1982)), team up to bring us this fun, cheesy 80's-style horror anthology presented in the morgue by the creepy and ever-so-slightly deranged Coroner (John Carpenter).
In the first of three ghoulish tales, we learn that a serial killer is stalking the town of Haddonfield (déjà vu anyone?) and while dismembered corpses are being found by the roadside, Anne (Alex Datcher), a psychology student, is working the nightshift at a gas station where she has just begun employment. A fun and eerie way to kickstart this frightfest, this first segment (entitled 'The Gas Station') displays the directorial flair that helped make John Carpenter a household name. While not bearing much resemblance in terms of presentation to his earlier slasher-masterpiece, 'Halloween', this segment does provide the viewer with a few of the thrills and chills that made many of his earlier films so endearing. Despite the time constraints, there is a noticeable build up of tension and Carpenter utilises both camera and character-based trickery to unsettle the viewer, all the while retaining the exuberance and merriment of the overall movie. The segment is predictable but that does little to detract from the overall enjoyability and 'The Gas Station' is a reasonably agreeable way to start this horror anthology.
Unfortunately, the second segment, simply entitled 'Hair', is a huge letdown and feels almost entirely out-of-place in this movie. Veteran actor Stacy Keach stars as the balding Richard who distraught by his ever-thinning hair seeks help from Dr Lock (David Warner), a new-in-town doctor who claims to have a miracle hair-regeneration treatment. The remedy appears to work, but naturally, there are unforeseen complications for Richard. The premise of the segment, although far from original, is one that does possess potential if used to the greatest extent. Unfortunately, the segment is quite flat and far too slow in developing which leaves the already dubious conclusion as a laughably short series of ludicrous plot-twists. Still, one has to commend Stacy Keach on his portrayal of his undeniably feebly-written character.
The third and final segment auspiciously returns the movie back into the almost forgotten realms of enjoyability. In 'Eye' we meet Brent Matthews (screen legend, Mark Hamill), a lower-league baseball player, destined for the MLB who is involved in a horrific car crash which causes him to lose sight in one eye. Desperately depressed, Brent agrees to undergo an experimental eye-transplant which may well solve all his problems. Despite the rather slow and tepid beginning, 'Eye' eventually becomes the most entertaining segment of the entire film. One can easily draw parallels between this quick story and the modern Asian masterpiece that is 'The Eye' (directed by Oxide Pang Chung and Danny Pang), although the latter film is far superior. 'Eye' succeeds by introducing an element of psychological horror, which is fitting as this is the segment directed by Tobe Hooper who made it big in horror with the psychological horror tour de force that is 'The Texas Chain Saw Massacre' (1974). Hooper showcases for the viewer elements that many of his post-TCM films have gravely lacked such as characterisation and atmosphere. If not for the TV-movie presentation, this short segment could easily have become a dark and chilling horror effort, and Tobe Hooper appears to realize this. He tortures the viewer with nigh-on harrowing imagery that just stops short of being extreme. The violent hallucinations are presented in a nightmarishly realistic way and bear resemblance to sections of the similar imagery from movies like 'Henry: Portrait of a Serial Killer' (1986) and 'Candyman' (1992). Unfortunately, due to time constraints and other factors, Hooper could only hint at what he was directorially capable of which is also kind of fitting and ironic as he has been doing the exact same since TCM. 'Eye' is easily the most accomplished segment of the movie.
So, all-in-all, we have a watchable, often enjoyable, piece of early 90's campy horror with an 80's presentation. A notable offering from the two horror auteurs which, despite flaws, is possibly one of the better films either of these two have produced recently. In some ways, the first two segments of 'Body Bags' could be described as an unintentional commentary on the works of John Carpenter. After a bright start, making creepy, suspense-based horror, he changed his style to lose the suspense and incorporate nonsensical story lines with bizarre and often disadvantageous plot-twists. It is mainly because of the second segment that the film suffers and may encourage people to give up on it. The first segment, kooky as it may be, is enjoyable enough to keep the viewers attention but 'Hair' almost destroys the film and does inflict irreparable damage on the film overall. It may only be a short segment, but as it accounts for almost a third of the total running length, it is hard to pass over. My overall rating for 'Body Bags' - 6½/10.
In the first of three ghoulish tales, we learn that a serial killer is stalking the town of Haddonfield (déjà vu anyone?) and while dismembered corpses are being found by the roadside, Anne (Alex Datcher), a psychology student, is working the nightshift at a gas station where she has just begun employment. A fun and eerie way to kickstart this frightfest, this first segment (entitled 'The Gas Station') displays the directorial flair that helped make John Carpenter a household name. While not bearing much resemblance in terms of presentation to his earlier slasher-masterpiece, 'Halloween', this segment does provide the viewer with a few of the thrills and chills that made many of his earlier films so endearing. Despite the time constraints, there is a noticeable build up of tension and Carpenter utilises both camera and character-based trickery to unsettle the viewer, all the while retaining the exuberance and merriment of the overall movie. The segment is predictable but that does little to detract from the overall enjoyability and 'The Gas Station' is a reasonably agreeable way to start this horror anthology.
Unfortunately, the second segment, simply entitled 'Hair', is a huge letdown and feels almost entirely out-of-place in this movie. Veteran actor Stacy Keach stars as the balding Richard who distraught by his ever-thinning hair seeks help from Dr Lock (David Warner), a new-in-town doctor who claims to have a miracle hair-regeneration treatment. The remedy appears to work, but naturally, there are unforeseen complications for Richard. The premise of the segment, although far from original, is one that does possess potential if used to the greatest extent. Unfortunately, the segment is quite flat and far too slow in developing which leaves the already dubious conclusion as a laughably short series of ludicrous plot-twists. Still, one has to commend Stacy Keach on his portrayal of his undeniably feebly-written character.
The third and final segment auspiciously returns the movie back into the almost forgotten realms of enjoyability. In 'Eye' we meet Brent Matthews (screen legend, Mark Hamill), a lower-league baseball player, destined for the MLB who is involved in a horrific car crash which causes him to lose sight in one eye. Desperately depressed, Brent agrees to undergo an experimental eye-transplant which may well solve all his problems. Despite the rather slow and tepid beginning, 'Eye' eventually becomes the most entertaining segment of the entire film. One can easily draw parallels between this quick story and the modern Asian masterpiece that is 'The Eye' (directed by Oxide Pang Chung and Danny Pang), although the latter film is far superior. 'Eye' succeeds by introducing an element of psychological horror, which is fitting as this is the segment directed by Tobe Hooper who made it big in horror with the psychological horror tour de force that is 'The Texas Chain Saw Massacre' (1974). Hooper showcases for the viewer elements that many of his post-TCM films have gravely lacked such as characterisation and atmosphere. If not for the TV-movie presentation, this short segment could easily have become a dark and chilling horror effort, and Tobe Hooper appears to realize this. He tortures the viewer with nigh-on harrowing imagery that just stops short of being extreme. The violent hallucinations are presented in a nightmarishly realistic way and bear resemblance to sections of the similar imagery from movies like 'Henry: Portrait of a Serial Killer' (1986) and 'Candyman' (1992). Unfortunately, due to time constraints and other factors, Hooper could only hint at what he was directorially capable of which is also kind of fitting and ironic as he has been doing the exact same since TCM. 'Eye' is easily the most accomplished segment of the movie.
So, all-in-all, we have a watchable, often enjoyable, piece of early 90's campy horror with an 80's presentation. A notable offering from the two horror auteurs which, despite flaws, is possibly one of the better films either of these two have produced recently. In some ways, the first two segments of 'Body Bags' could be described as an unintentional commentary on the works of John Carpenter. After a bright start, making creepy, suspense-based horror, he changed his style to lose the suspense and incorporate nonsensical story lines with bizarre and often disadvantageous plot-twists. It is mainly because of the second segment that the film suffers and may encourage people to give up on it. The first segment, kooky as it may be, is enjoyable enough to keep the viewers attention but 'Hair' almost destroys the film and does inflict irreparable damage on the film overall. It may only be a short segment, but as it accounts for almost a third of the total running length, it is hard to pass over. My overall rating for 'Body Bags' - 6½/10.