32-bits of Terror: Brainscan (1994)

When I originally came up with the idea of doing 32-bits of Terror, the first film that immediately came to mind was Brainscan. When Brainscan was released back in 1994, I absolutely loved it. I was around 17-years-old, and being a horror fan (as well as a teen heartthrob), I was easily swayed by a film whose central character reads Fango and has a bad-ass bedroom coated in horror paraphernalia. Brainscan was genetically tailor made for a kid such as myself at that age. But how does it stack up for the old man I would eventually grow up to be? Well, the 32-bits of Terror shall give us as good an answer as any…

Directed by John Flynn, Brainscan follows Michael (John Conner), a teenager obsessed with two things: his straight-bangin' next-door neighbor, Kimberly (Amy Hargreaves), and horror films. Much like most young horror fiends, Michael is obsessed with anything and everything horror related. When he learns about a video game called Brainscan, the most interactive and mind-bendingly realistic horror game ever created, Michael knows he has to check it out to see if it really lives up to the hype. 

As it turns out, Brainscan does deliver the goods, and Michael finds himself playing the ultimate first-person horror game; one where he is in full control of a sick and demented serial killer who is slicing and dicing his way through the neighborhood. Michael cannot believe just how intense and real this experience is at first. However, there's a pretty good reason why Brainscan is so immersive, and that's because Michael is actually committing these murders in the real world. Michael isn't doing it all alone, though, as he does receive some inspirational guidance from a character known as Trickster (T. Ryder Smith), a guy who... well, actually, I'm not actually sure what his purpose is outside of dancing around like a jerk-off and unsuccessfully pandering to a specific audience.

*cough-FreddyKruegerfans-cough*

Pardon me.

 Graphics: 7/10

There are, unfortunately, no actual video game graphics to be judged here, so I'm basing this score solely on special effects alone. Brainscan came along at a critical time when CGI had really started to become integrated into the world of special effects, and while the CGI is certainly laughable, it's kind of fun to look back on the form in its early stages. It's like watching Clash of the Titans; It looks ridiculously fake now, but it nostalgically shuttles you back to a certain time while showing that there is always room for innovation (and in the case of CGI, there always is).

Outside of the random acts of CGI, Brainscan mixes in a multitude of other visual tricks. Optical effects, reverse photography and the gold standard in the medium, practical make-up, are all on showcase in Brainscan. And quite frankly, it's cool to see all these tricks(ter) of the trade being used in one film, as that is essentially the best way SPFX can be utilized; using all of the tools in the toolbox, instead of simply relying on CGI alone.    

Sound: 7/10

Despite the fact that the OST does reflect the time period nicely, outside of Primus' "Welcome to this World" and White Zombie's "Thunder Kiss '65," I cannot say that I ever really dug much of the music in Brainscan. The reason I give the film's sound a good score is mostly due to the fact that I actually really enjoy its main theme, which was scored by George S. Clinton. Something about the piano and the brooding guitar just work for me. Though, it very much reminds me of something that you would hear from a Nightmare film, which is fitting considering Brainscan was a poor attempt at pandering to the Nightmare crowd. Regardless, it's an awesome song. 

Replay Value: 7/10

Brainscan is one of those movies I used to watch quite often back in my late teen years, so that automatically garners it some points in the replay value cata-gory. However, I am surprised that after seeing it again so many years later, and so many years matured, I feel as if I could easily toss this flick in at least a few more times within my lifespan.

Terrortainment: 6.5/10

Whether or not I enjoy Brainscan, I cannot say that it's necessarily all that entertaining. Furlong's performance and some of the dialogue notwithstanding, there is little that's worthy of a laugh. Worse yet, the so-called main antagonist, Trickster, is such a poorly conceived villain in every way, shape and form, providing very little in terms of actual "entertainment," which was the point of the character. Amiright?!

Overall, the kills are mediocre at best, and even if it's the basis for the film's story, the video game presence is basically limited to a countdown screen. With that said, I do enjoy the first kill, which is shot much like a first-person shooter. Actually, it would have been great had they kept that first-person style the standard for the rest of the film's death scenes, as it would have given the movie a proper video game feel. 

 The 32-Bit Rating: 6.875

Brainscan has totally been judged with a nostalgic curve. Actually, that might be the case for a great deal of the older films and/or segments that will grace the demented corridors of the 32-bits of Terror. It is what it is, and I make no bones about it; Brainscan is not a great film, but it certainly isn't a bad one, either. It was and is comfort food that tasted good because I could sort of relate to it, and it still has a nice flavor even now due to the great nostalgia it brings to the table. 

Night of the Demons 2010: Party Foul

Adam Gierasch's 2010 remake of Night of the Demons takes the basis for what was done in the original film and applies it to the end destination, with a few minor tweaks added to the journey. Instead of following a small group of teens to an intimate party where everything literally goes to hell, this incarnation populates its shindig with a full staff of party animals. Once again, Angela is throwing the dopest Halloween party in town and everyone is E-vited. As the party rages on and the drugs finally show up (thanks to a tubby Eddie Furlong playing the role that would define his personal life), the cops come in and shut it down. Shortly after the house is cleared out and everyone has left, a handful of stragglers straggle their way back onto the property, only to somehow get locked in. As far as major problems go, being stuck in a house with a handful of good-looking people, tons of alcohol and plenty of music, one really cannot complain. However, toss in a few demons and, well, I suppose the word demon kind of says it all.

I generally don't like to compare remakes to their influences; however, there are a select few that garner the comparison, and I think Night of the Demons is one of those films. One of the things that this new version does that I enjoy is the main idea is in place, but the situations unfold very differently for the characters. You get something new without losing the basis for what make Night of the Demons Night of the Demons. Though, it's not to say that what's new is refreshing cinematically, just new from what has been seen previously.

In fact, I think it's safe to say that Night of the Demons lacks even the slightest hint of originality, and that comes from all aspects of the film. The characters are masterfully stereotypical, the unnecessary backstory added to the movie is as pointless as it is uncreative, and it would be impossible not to know exactly where the film will go next. On a technical level, well, it's not too bad overall, but there are some serious issues strewn throughout. Specifically, the super sped up camerawork that makes its way through the film's opening party setting, only to slow down and focus on something in a motion much slower than normal (like a sexy girl dancing or someone puking). And of course, this is accompanied by a ridiculous swooooosh sound that's supposed to convey… actually, I don't even know what it's supposed to convey. Awesome party, maybe?

Bobbie Sue (Dead Box) Luther in a role that perfectly plays to her natural talents

Another issue that this remake suffers from is the fact that the Angela character (this time around played by Shannon Elizabeth) has very little to her in terms of generating any sort of interest. She's completely one-dimensional and more of a coincidental character, wherein the original she was, in a way, the star, or at least a major aspect of the movie. Here Angela plays back-up singer to the character of Maddie (Monica Keena, who looks somewhat less malformed than normal), who is clearly the heroin when the viewer is introduced to her wicked hot friends, both of whom have massive tits and wear skimpy Halloween costumes.

Now, I may sound like I am hitting Night of the Demons with a lot of negativity so far and I sort of am, but that really doesn't reflect my actual enjoyment of the film as a whole. In fact, I actually quite enjoyed it - for what it is. Let's face it, as much love as I have for Kevin Tenney's film, it sure is far from perfect, and I think it would be safe to say that it has almost as many problems, collectively, as the 2010 remake. 

The '88 film starts off awfully slow, and the only thing that it has going for it in the first 45 minutes to an hour is Linnea Quigley's introduction (which makes for a great cameo in the remake, it should be said) and some of the laughable performances and hysterical characters. It's entertaining in a very cheesy way, but that's about all until the film finally takes off in the final 30 or so minutes. The remake does a better job of moving things along at a faster pace, however, it does cause for some latter moments where things do begin to drag on.

As for the demon action itself, the original still takes the funfetti over the remake. Regardless, I do like the look of the demons as well as how they interact with each other (demonic orgies are h-o-t HOT!). The approach of the demons, as well as the film itself, is a little more tongue in cheek than the original. Gierasch and co. certainly had a specific vision for Night of the Demons, and that was to make a fun film that can play for a modern audience, while being mostly faithful in spirit to the original. And I believe they were successful, for the most part.

The movie is a fun watch, plain and simple. It's even almost as fun as the 1988 Night of the Demons; however, it isn't quite as memorable. Of course, Tenney's film has the unfair advantage of nostalgia going for it, but it also has a better presence with how the horror is effectively delivered. Now, the '88 Night of the Demons isn't the most frightening film ever made, but it does have a genuinely spooky atmosphere about it as well as a few creepy moments. Specific scenes that come immediately to mind are the Quigley lipstick trick and Angela's Stigmata Martyr dance.

As strange as the lipstick in the tit scene is, there is something about how Quigley does it, something about the dead serious and completely crazed look on her face that has always stuck with me. The scene is recreated (with a slight twist) in the remake in a way that is certainly entertaining, but it doesn't have nearly the same effect. What is even less effective though, is Angela's dance sequence in the remake. What was truly a frightfully seductive and hypnotic highlight in the 1988 Night of the Demons is not even remotely worth mentioning in the remake. In fact, it's kind of pathetic in comparison.

I have my criticisms of the film (and they are definitely warranted) but as I said, I found myself enjoying Night of the Demons 2010. It's certainly no classic, and it's debatable as to whether or not it's even any good, but it does capture the essence of the original film without being an exact replica of it. Despite suffering from some typical, modern-day cinema shortcomings, it feels as if it fits in with the world of Night of the Demons, and, most importantly, I had a good time watching it. Quite frankly, that is really all one should expect.