Movies
Celebrate Tobe Hooper’s Birthday by Watching His Most Underrated Horror Classic, ‘Lifeforce’
Were he still alive, it would have been Tobe Hooper’s 81st birthday today, and I’d like to take time on this birthday to shine a light on one of Hooper’s cult classics to celebrate that occasion. Most horror movie lovers will carry with them vivid memories of seeing Texas Chainsaw Massacre or Poltergeist for the first time, but it’s Hooper’s most underrated classic you should be checking out and making some new memories with today: Lifeforce.
Filmmaking without limits sounds like a pipedream for many. It’s lofty, it’s incredibly expensive, and it feels borderline impossible without the world’s most massive windfall of good luck. But one of horror’s favorite directors, Tobe Hooper, got a chance to do just that back in 1985. And he did it with a film that most people outside of the horror sphere have forgotten. Were he still alive, it would have been Tobe Hooper’s 81st birthday today, and I’d like to take time on this birthday to shine a light on one of Hooper’s cult classics to celebrate that occasion. Most horror movie lovers will carry with them vivid memories of seeing Texas Chainsaw Massacre or Poltergeist for the first time, but it’s Hooper’s most underrated classic you should be checking out and making some new memories with today: Lifeforce.
The Plot of Lifeforce
While the British-American space shuttle called the Churchill approaches Halley’s comet to study it, it ends up running afoul of a bizarre construct: a hundred and fifty-mile long spire, made out of an unidentifiable organic material. What the crew finds inside is the corpse of a massive, strange bat creature, and three crystal coffins, one containing an enchantingly beautiful woman. And what the Churchill brings back to Earth kickstarts a vampiric alien invasion, and puts not just the lives of the astronauts at risk—it’s the lifeforce of the entire world in the balance.
For the moviegoers of 1985, the film Lifeforce was just another odd b-movie filled with weird visual effects and a pale, nude French woman walking around and sucking out people’s souls. Like most weird science fiction, the initial test audiences didn’t get it, and when it went to theatres public audiences and critics REALLY didn’t get it (outside of star Mathilda May’s sex appeal, which everyone gets). But Lifeforce isn’t just a misunderstood sci-fi horror movie about energy vampires; it’s a testament to Hooper’s creative spirit more than any of his other works. And that’s partly to do with the studio that produced it, who gave Hooper free reign over the set.
A Studio That Let Directors Run Wild
I sometimes wonder if we’ll ever get another movie studio like Cannon, mainly because The Cannon Group was the closest thing to a “free-spirited” film company I’ve ever seen. Under the control of partners Menahem Golan and Yoram Globus, the studio was notorious for not only their prolific output and the number of productions it had running simultaneously, but also for their hands-off approach to producing these movies. They largely left their directors to make whatever they wanted and picked up the finished product when it was ready to distribute.
So, when Hooper was approached to direct a science fiction film after many years of working on horror movies like The Texas Chain Saw Massacre and The Return of the Living Dead, he took the opportunity. What he got was a lofty and loose script, an adaptation of the British sci-fi novel The Space Vampires, a title which was quickly reworked into Lifeforce.
What he made was completely unexpected.
On-Set Chaos and Hooper’s Legendary Energy
A madcap production ensued that really sculpted a legendary image of the director among the cast and crew. Those who worked on the set of Lifeforce described the energy Hooper brought to the set as something like “a demonic dwarf” scurrying around and “sprinkling gunpowder on everything”. According to them, he was a man filled with energy, running about with a cigar in one hand and a Dr. Pepper in the other. Watching Lifeforce now, that energy definitely shows; it feels a lot less like a director getting a simple blank check, and more like an artist getting the funds and manpower of a small nation to do a classic 60’s science fiction film; Hooper cited Quatermass and The Pit as major inspirations for the style and tone of Lifeforce.
He lovingly smithed the movie, piece by piece until it was exactly what he wanted, and each piece that was forged together seemed more complicated than the last. Lifeforce’s early sequences in space are a bombshell launched by an art department of a different caliber; the kind of talent that could make unbelievably realistic matte paintings of the vampire’s ship exteriors, and also carve a soundstage of the same quality out of real-life materials to represent its guts.
On Earth, the miniatures are just as grand, giving us a bird’s eye view of London in chaos as explosions and rioting rock the city; this all culminates at the final showdown, running through the flaming streets of London to St. Paul’s Cathedral, a set that could fool anyone into thinking it’s the real thing. Everything is ablaze, a perfect reflection of the atmosphere that Hooper has conducted, a symphony of kinetic energy and Lovecraftian madness.
Makeup and Practical Effects: Bringing Hooper’s Vision to Life
And on the ground, up close, a team of makeup artists led by ILM champion and Academy Award winner John Dykstra brought to life the film’s various fiends: incredible instantly decaying energy zombies, people exploding into dust, giant alien bat creatures, and ethereal flying light effects painstakingly etched into the film frame by frame (not including the massive, actual 10,000-lumen bulb they had flying through the set on a wire).
Hundreds of extras moving in concert, pyrotechnics exploding on a macro and miniature scale, controlled burns and swarms of people all inside of Hooper’s sweeping and apocalyptic camera work. It is an incredible and grandiose finale that serves as a crescendo to the film’s narrative, one that makes a sci-fi of planetary proportions really feel that massive. It just all comes together to feel so much bigger than the sum of its parts.
Lifeforce: A Tribute to Hooper’s Boldness
Lifeforce is a tribute to Tobe Hooper’s boldness as a filmmaker, and his love of the craft; it was a once-in-a-lifetime opportunity to create, as he described it in the documentary Cannon Fodder, anything he wanted to make. He seized that chance and used it to its fullest, and what resulted is a love letter to the art of making movies with no boundaries and no restrictions. And on his birthday, I can’t think of a better way to honor his work than to see what he could do when the gloves were off, and he could hit you with some serious bare-knuckle cinematography.
Best of all you can find the movie free to stream on Tubi, so you have even less of an excuse to not check it out now. So as always, happy watching horror fans!
‘Tis February, and because of 2025’s Heart Eyes, we now celebrate Valentine’s Day. While many outlets are going to list romantic horror movies as the ultimate horror couples, we’re doing something different at Horror Press. We’re highlighting horror movie red flags. That way, you don’t waste your time this Hallmark season with duds who watch crap. These movies are grounds for automatic swipes to the left and leaving messages on read. Read this list to see the ultimate film filter to help you focus on more sustainable hookups, dates, and cuffing season partners.
8 Horror Movies That Are Dating Red Flags
A Serbian Film (2010)
An old pornstar agrees to do an art film only to discover it’s a snuff film. A Serbian Film is possibly the reddest of the red flags. The pedophilia and necrophilia make it a hard watch, so anyone who revisits it often should probably raise all your alarms. We try not to judge people, but this is definitely a title that will get you some bombastic side eye if you try to bring it to movie night. Would definitely not recommend spending the night after being shown this hellish title.
Any Eli Roth Movie
They’re all the same, and that’s why Eli Roth movies are the free space on this red flag bingo board. Whether it’s taking place in a cabin, a hostel, or during Thanksgiving, there is something inherently gross about a Roth film. I need a shower whenever some guy tries to convince me Roth has made any movies of note. Only people who want to be ghosted are suggesting these movies, and you should respect their wishes this February.
Alone in the Dark (2005)
A paranormal investigator looks into mysterious events that connect to his past. There is nothing nice to say about this Uwe Boll movie. It’s actually one of the few movies where I can’t even count on the design team when searching for compliments. While Christian Slater, Tara Reid, and Stephen Dorff have the misfortune of being the faces we associate with this shit fest, I’m not even letting the colorist and craft service off for their parts in this dud. When we talk about how we all love an occasional bad movie, no one means this one. This makes Alone in the Dark a red flag and alerts you that someone might not have taste.
Fear Street: Prom Queen (2025)
A 1988 prom queen race turns deadly when a killer begins slaying the candidates. Fear Street: Prom Queen is another huge red flag because it has no redeeming qualities. People who like this movie are being contrarians and should immediately lose the right to recommend movies. From the lack of energy to the unserious kills, there is no reason to swipe right on anyone pretending this movie is good. Save yourself some time and probably more ridiculously bad watches and shut it down immediately.
I’ll Always Know What You Did Last Summer (2006)
When a Fourth of July Prank goes wrong, someone dies, and their friend circle finds themselves stalked by a mysterious figure. No matter what we think of any other installment/iteration of this story, this one is the worst. This is not my franchise, but this steep decline in quality is not like the others. Anyone who likes this movie is a walking red flag and possibly the most chaotic individual you have ever met.
Men (2022)
A woman heads to the English countryside to work through trauma and discovers more horrors are awaiting her. Men should have been my last straw with Alex Garland. However, I am a damn fool and suffered through Civil War, too. Which is why I can confidently say most Garland films are a red flag for me, but Men specifically underscores all of my problems with his work. If someone likes this movie, I will need them to explain it to me like I am five years old.
Skinamarink (2022)
Two kids wake up in the middle of the night and find that all of their doors and windows are gone. Skinamarink is the embodiment of “Girl, What?” The grainy footage gives many people headaches, and too much time is dedicated to the ceiling. Listening to people suggest watching it in closets, under blankets, with headphones to fully “get it” is weird and extremely unsexy. Which is why the movie and the people forcing the mood onto it are all red flags. I don’t want to kink shame but if someone is that into ceilings then maybe we’re not a good match.
Red Christmas (2016)
A family Christmas Eve gathering is interrupted by a killer seeking revenge. I cannot think of a bigger red flag than an anti-choice Christmas movie. I like my horror to be on the correct side of feminism, and this mess feels gross from a distance. That’s why this Dee Wallace title is a huge red flag and a festive horror mood killer. I know people like to talk about the great kills in this movie, but I insist on not hooking up with guys who like this one. If for no other reason, it probably tells you where they land on Roe v. Wade and we do not have time for that.
So these are some horror red flags from our team to your group chats. Now you can’t say no one warned you about the Eli Roth filmbros, or A Serbian Film fanatics.
Happy hookups and potential dating now that you know what to be on the lookout for! Never forget that it’s okay to swipe left, force close the app, and watch better horror movies than the ones listed above.
It’s still too cold to seriously consider going outside, so I am still in my couch potato era. Cozy, comfort, and Netflix are the three words people will hear me chanting under my breath this month. I also recently finished a group rewatch of Slasher: Solstice and have been looking at the other TV shows currently living on Netflix. Which is why I am looking for the warmth of my next quick binge. That’s right! I’m here with a few shows that could be taken down in one frosty February weekend. Most of them have been on my radar forever, and one of them I want to revisit because it screams lazy Stephen King Sunday. However, what I find most appealing about each of them is that I am guaranteed to lose at least a whole day if it’s a match made in hell.
Without further ado, here are the five titles I have my evil eye on this month. Check out my five Netflix picks for this February below! Happy binging to all my fellow couch potatoes!
The Best Movies to Stream on Netflix This Month
Archive 81 (2022)
An archivist finds himself reconstructing the work of a filmmaker and her investigation into a dangerous cult. I missed Archive 81, but have only heard good things about it. Which is why it’s weird it was cancelled after only one season, consisting of eight episodes. The popular show was created by Rebecca Sonnenshine and starred talent like Mamoudou Athie and Matt McGorry. So, I’m long overdue for this Netflix watch and am excited to finally see what all of the fuss is about.
Castle Rock (2018 – 2019)
A series set in the town of Castle Rock and inhabited by characters from some of Stephen King’s most infamous works. This is the only show on this streaming guide that I have already seen. However, it’s very cozy, and I want to go back in. While this divisive series wasn’t for everyone, it scratched my King itch better than most of his adaptations. Also, this cast was ridiculously stacked. Where else can you see André Holland, Melanie Lynskey, Bill Skarsgård, Jane Levy, Sissy Spacek, and Lizzy Caplan all play together? I will definitely be revisiting these twenty episodes that make up these two seasons of what the fuckery.
NOS4A2 (2019-2020)
An immortal who feeds on children is threatened by a young woman with a mysterious gift. This show has circled my list forever, and it’s high time I cross it off my list. I also need to know what Zachary Quinto and Ebon Moss-Bachrach were doing during this era of genre TV for research. I’m ready to run through these twenty episodes and report back on my findings. More importantly, I love to see a show with big “fuck them kids” energy. So, fingers crossed, he eats a few kids to keep me leaned in. I need this to be good for so many reasons.
Peaky Blinders (2013 – 2022)
A mob family in 1900s England sews razor blades in their caps and causes a ruckus. I am so ready to find out how this alleged crime drama collected so many horror fans. Is it just because it stars Cillian Murphy? Or is it very bloody and violent due to the razor blades being a key factor? Whatever the case, I’m excited to see all six seasons on Netflix. I plan to take these thirty-six episodes down like it is my job. I also cannot get over how lucky I have been to avoid all spoilers for the show, and I need to jump on it before someone ruins it for me already.
Reality Z (2020)
When a zombie apocalypse breaks out, a TV studio becomes a shelter for a small band of survivors in Rio de Janeiro. Because of the pandemic, I missed this Brazilian horror show. However, this seems like the kind of international gory zombie situation that I would like to make my new personality. I’m looking forward to seeing if these 10 episodes are one of the few reasons to keep talking to Netflix this year. Fingers crossed it is a scary good time, because we deserve some scares this February.
So, that’s where you can find me this February. Under a weighted blanket, in front of a TV, and eagerly taking advantage of the shows Netflix has collected. Let me know if any of these titles on my list will be your excuse to stay in this winter, too. Although, I am sure many of you will be revisiting your favorite Mike Flanagan Netflix Originals. Meanwhile, I am trying to get into some new (to me) stuff because the winter of our discontent is upon us. I plan to beat the winter of our discontent by being unreasonably comfortable and drowning in genre shows. I advise you to do the same because the weather outside is frightful and we have no place to go.
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