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 young girl travels to Cairo to visit her father, and becomes unwillingly involved with a bizarre sadomasochistic cult led by the charismatic Paul Chevalier, who is a descendant of the ... See full summary »
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 military commander stationed off planet during an interplanetary war travels through the devastated landscape to negotiate a peace treaty, but discovers that the primitive robots they built to kill enemy combatants have gained sentience.
The space shuttle Churchill is assigned to observe Halley's Comet under the command of Colonel 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 Colonel 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 Colonel Colin Caine trying to save mankind from the evil vampires from space.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The Cannon Group, Inc. and Golan-Globus Productions were renowned for making low-budget movies. This production, along with Superman IV: The Quest for Peace (1987) and Masters of the Universe (1987), were three of their most expensive. See more »
When the Space Girl gets off from the table and faces the man, on her reflection on the window behind her, she's wearing red underwear. See more »
Like several other reviewers here, I'm surprised to see many negative reviews on this film. Dan O'Bannon's previous effort was the groundbreaking 'Alien' of 1979. Because it and 'Star Wars' introduced the stylistic approach of 'Used' or 'Dirty Space' in art-direction for these kinds of features doesn't mean that this was the only way to produce them.
Rather than dismiss 'Lifeforce' out-of-hand as a sort of schlock and primitive exploitation feature, it's important to recognize that the film draws upon the 'esteemed' traditions of British horror and science-fiction - specifically Hammer and American International features like Quatermass (specifically 'Quatermass and the Pit', 1967), Doctor Who and 'The Day of the Triffids' (1963), if not the works of Gerry Anderson ('UFO', 'Space:1999' and 'Thunderbirds'). But none of these influences would be a surprise if other reviewers recognized writer O'Bannon's genre-scholarly appreciation for 'Queen of Blood'(1966) and 'It! The Terror from Beyond Space'(1958) - the immediate sources for 'Alien' (1979).
Granted this film has some 'legacy' elements, but perhaps it's worth comparing this film to its more immediate peers - 1981's 'An American Werewolf in London' and 'The Company of Wolves' (1984) - other 80's films that share a 'looking-back' while they adapt those stories to the 80's zeitgeist. All three films drew on earlier incarnations of the same, but substantially sexed-up their themes (because they could), and, at the same time they recognized the tongue-in-cheek, humorous aspects of their projects.
Neil Jordan's 'Wolves' played to many of the psychoanalytic memes floating around at the during the '80's, while 'American Werewolf' curdled its theme as a 'coming-of-age' film. It's called artistic license, and the adaptations of these three films are no less valid than the latter-day dramedy inherent in the 'Scream' franchise, 'I Know What You Did Last Summer' and 'Final Destination'. But these teen-targeted, films seem to be part of a box-office trend, whereas the 80's films like 'Lifeforce' belong a canon of British sci-fi - even if this one was written by an American.
In many ways this film holds up much better than latter-day disaster and alien-invasion flicks ('Independence Day', 'Armageddon', 'Deep Impact') in that the 'solutions' don't reside in gun-battles, weaponized payloads and testosterone. At the opposite end of the pole, it is unfortunate that Steven Soderbergh and James Cameron didn't examine Tarkowski and Lem more closely before they remade 'Solaris'...
The goal of this film was fun, not ponderousness or stupidity.
66 of 84 people found this review helpful.
Was this review helpful to you?
| Report this