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Nightbreed (1990)

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A troubled young man is drawn to a mythical place called Midian where a variety of friendly monsters are hiding from humanity. Meanwhile, a sadistic serial killer is looking for a patsy.

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Writers:

(novel), (screenplay)
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7 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Aaron Boone / Cabal
... Lori Winston
... Dr. Philip K. Decker
... Captain Eigerman
... Detective Joyce
... Narcisse
... Dirk Lylesberg
... Rachel
Malcolm Smith ... Ashberry
Bob Sessions ... Pettine
... Peloquin
Debora Weston ... Sheryl Ann
... Kinski
... Ohnaka
Kim Robertson ... Babette
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Storyline

A community of mutant outcasts of varying types and abilities attempts to escape the attention of a psychotic serial killer and redneck vigilantes with the help of a brooding young man who discovers them. Based on the novel "Cabal" by Clive Barker. Written by Keith Loh <loh@sfu.ca>

Plot Summary | Plot Synopsis

Taglines:

Lori thought she knew everything about her boyfriend... Lori was wrong! See more »

Genres:

Action | Fantasy | Horror

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Official site

Country:

Language:

Release Date:

16 February 1990 (USA)  »

Also Known As:

Clive Barker's Nightbreed  »

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Box Office

Budget:

$11,000,000 (estimated)

Opening Weekend USA:

$3,708,918, 19 February 1990, Wide Release

Gross USA:

$8,862,354
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

| (The Cabal Cut) | (The Director's Cut)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Though promised a cleaned up version of the extended VHS work-print dubbed "The Cabal Cut" in July, 2014 Scream Factory announced to the shock and thrill of fans that original film was found, restored at 4K and the entire film was re-cut under Barker's supervision finally ending a 24 year long plea for the "Directors Cut" to be released in two packages in Oct. 2014. See more »

Goofs

When the camera slowly pulls away, over Boone's dead body in the field in front of Midian, you can see him blink after several seconds. See more »

Quotes

Boone: You don't understand! I've killed people.
Peloquin: Who told you that?
Boone: What do you mean?
Peloquin: He lied, Asshole!
See more »

Connections

Referenced in Tesis (1996) See more »

Soundtracks

Johnny Get Angry
(uncredited)
Music by Sherman Edwards and Donald Meyer
Lyrics by Hal David
Performed by Anne Bobby
(Director's Cut only)
See more »

Frequently Asked Questions

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User Reviews

Absolutely Fascinating
26 August 1999 | by See all my reviews

Fascinating is an excellent word to describe NIGHTBREED: it doesn't necessarily mean it is good or bad, just interesting. Indeed, Im still not sure whether or not this film is good or bad.

On the credits side, the sets, costumes, make-up, special effects, even the matte paintings are gorgeous, grotesque, perfect for what is required. I was amazed that such fantastic production values could be found in a movie that on the surface seems so schlocky. There is such a wealth of imagination here that one can hardly take time out to think about the flaws. I was so amazed by the knock-out apocalyptic finale that I could barely think about how silly the context is (a bunch of redneck Canadians blow-torching a cemetary.)

he film's biggest flaw is it's sheer magnitude- there are SO many characters, plots, subtexts, overlays, and so on, that no really coherent or involving center emerges. It can be interpreted as: a story about how love conquers the supernatural (a la Dead Again), a Silence-of-the-lambs-like psychodrama about a serial killer; a dreamy horror flick reminiscent of Nightmare on Elm Street and especially Little Monsters; a Gilliam-inspired fantasy (the teeming underworld city is strongly reminiscent of Brazil and the Fortress of Ultimate Darkness in Time Bandits, while other parts are reminiscent of The Adventures of Baron Munchausen); a symbolic tale of racial tolerance; and on and on. So much happens, so many characters are involved, so many subtexts present themselves, its hard to know what is going on at all.

Still, one really does have to see the film to believe it. The underworld city is stunning, its atmosphere created perfectly by both the production design and a series of bizarre tableaux of its residents. It is a mark of Barker's screenwriting talent (so often evident in his other films if you can look beneath the shlock) that all the characters, even monsters seen only briefly, ring true in some strange way. The many stories are actually touching. Also, the ending is cleverly conceived; it doesnt go out of its way to leave the door open for a sequel, rather the open door is integral to the plot. I would love to see a follow-up just to know how Barker carries through the mythical aspects he introduces in this film's last part.

Perhaps the film could have been more focused, with fewer subsidiary characters; perhaps the completely inappropriate (but obviously intentional) humor could have been dropped; perhaps the entire serial-killer sub-plot could have been excised completely. In any case, this film is a knock-out.


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