Reviews
[REVIEW] ‘The Entity’ (1982) Is Real
The Entity follows Carla Moran (Barbara Hershey), a single mother with three kids, doing everything she can to make her way. As soon as she clocks out of her secretary position, she heads to a local university for typing school–Carla wants to give her children the best life possible. Her son Billy (David Labiosa) is a gruff and hardworking kid and is there for her through thick and thin. One fateful night, Carla is viciously sexually assaulted by an unseen force. These attacks grow in force and pain as the nights go on, eventually leading to Billy finding himself with a broken wrist (arm in real life). Carla scours the supernatural shelves at a bookstore and overhears two paranormal investigators discussing a case. After speaking with these two men, they vow to get to the bottom of the entity ruining her life.
One of the most credible and fascinating cases of supernatural activity is the case of Doris Bither. Whether you believe in the supernatural or not, many aspects of this case are hard to discredit. I first became aware of this case when Art Bell raved about a TV movie he had watched called The Entity. Art would go on, a few months later, to bring Dr. Barry Taff onto his show to discuss the real story that inspired the film. While Dr. Taff states that the film was Hollywood-ified, the story’s base elements, moral questions, and overall gist were correct. The physical book is difficult (EXPENSIVE) to get at this point, so my basis on the accuracy of this life-to-screen adaptation is based on Dr. Taff’s words, some articles, and a few other bits and bobs.
Carla Moran’s Struggle in The Entity
The Entity follows Carla Moran (Barbara Hershey), a single mother with three kids, doing everything she can to make her way. As soon as she clocks out of her secretary position, she heads to a local university for typing school–Carla wants to give her children the best life possible. Her son Billy (David Labiosa) is a gruff and hardworking kid and is there for her through thick and thin. One fateful night, Carla is viciously sexually assaulted by an unseen force. These attacks grow in force and pain as the nights go on, eventually leading to Billy finding himself with a broken wrist (arm in real life). Carla scours the supernatural shelves at a bookstore and overhears two paranormal investigators discussing a case. After speaking with these two men, they vow to get to the bottom of the entity ruining her life.
Director Sidney J. Furie and writer Frank De Felitta (based on De Felitta’s novel of the same name) is an astounding feature that breaks many molds, poses intense questions, and puts the answer in the hands of the audience. With a total of 11 split diopter shots and enough Dutch angles to make a 6’ 1” blond hair blue eyed person blush, The Entity is a film that sits with you for a long time. As the violence ramps up, cinematographer Stephen H. Burum gets bolder. Shot composition goes from “normal” to awkwardly framed to give viewers a sense that something sinister is lurking beneath the surface; a subconscious sucker punch of filmmaking magic.
Barbara Hershey Shines Amid Terrifying Scenes
Barbara Hershey provides a brilliant performance that nauseates viewers with a tang of too much authenticity. But it’s the men in the film that are the rubber bands Hershey bounces her performances off of. Dr. Phil Sneiderman (Ron Silver) is the grounding force of Carla’s relationships. You’d think it’s her son Billy who is her rock, but there’s this strange will they/won’t they that was thankfully [mostly] cut out of the film. Dr. Sneiderman tries to go against the plethora of doctors who attempt to chalk Carla’s experiences to childhood sexual trauma. Once Dr. Sneiderman breaks that bond he built with Carla, their entire relationship flips on its head. Sneiderman’s character flip comes when Dr. Webb (George Coe) chalks all of this up to a mass delusion, and he is the one who tells Sneiderman [basically] to disregard Carla’s assumptions and to get her to believe that all Carla wants to do is masturbate and forget about her sexual frustrations.
The Role of Parapsychologists and Supporting Characters in The Entity
On the other hand, you have parapsychologists Gene Kraft (Richard Brestoff) and Joe Mehan (Raymond Singer), who attempt to use Carla’s pain to prove what they think is correct. Even though Gene and Joe seem to have Carla’s best interests in mind, they, along with their boss Dr. Elizabeth Cooley (Jacqueline Brookes), see this as an opportunity to further their academic careers–they go so far as to put Carla in danger time and time again.
Thirdly, you have Carla’s constantly out-of-town boyfriend Jerry Anderson (Alex Rocco). Jerry seemingly loves Carla with his heart and soul, but at the core of Carla’s story, he can’t get past his own holdups. Once he sees his girlfriend, who he was moments before saying he wanted to move in with, get sexually assaulted by a ghost right before his eyes, he calls it quits. All of the men in Carla’s life have their own ulterior motives. This goes hand in hand with the men in Carla’s life who have taken advantage of her in more ways than one.
The Horror of the Assaults and Special Effects
The scenes of Carla’s assaults are very difficult to watch. At no point do you see an awful-looking 80s attempt at rotoscoping a ghostly figure into the sexual assaults, rather, you watch Carla become overtaken by an invisible force. This truly creates a connection between Carla and the viewers. You are also witnessing this assault happen, and you cannot figure out what is doing it. Even though there are no 80s VFX ghosts, we do get some great Stan Winston effects. One particular gnarly-looking effect is one when an invisible hand harshly squeezes Carla’s bare breasts.
The assaults get more and more rough as they go on. And while they are tough to watch, they’re difficult to listen to. Yes, hearing Carla scream for help and having her son helplessly watch his mother get assaulted is hard to watch. It’s Charles Bernstein’s score that adds a new level of terror. From silence to a deafening guitar lick, undercut by hammering drum strikes, and angelic-sounding piano chords. The second that sound comes through, you know Carla is in trouble.
Comparing The Entity to Modern Horror
One of the interesting things I thought during this film was that Insidious is just a watered-down version of The Entity. Plus Barbara Hershey is in both films. In real life, Doris moved houses and the entity followed her no matter where she went. The film ends with a “where are they now” update, and the film also confirms that the entity followed Carla as she moved. Like The Entity, Insidious has a story where “it’s not the house that’s haunted…it’s Dalton.” Also, you have the parapsychologists who are completely mirrored in Specs (Leigh Whannell) and Tucker (Angus Sampson). Gene is the nerdy-looking investigator with glasses, and Joe is the one with the receding hairline and bearded face. Plus, both teams are run by an old white lady.
Funnily enough, James Wan’s production company Atomic Monster has completed a script for a remake of The Entity.
Accuracy and Real-Life Details
There aren’t many inaccuracies between the real-life story and the film. Dr. Barry Taff states, as I mentioned earlier, that there were a few exaggerated ideas, but the heart of the story is there, and that’s what matters. That being said, the film’s finale puts Carla in a controlled environment–she’s basically a lab rat. Dr. Taff noted that he had pitched that idea, but it was just way too expensive. So the whole liquid hydrogen freezing the ghost subplot did not happen. However, the team extensively studied Doris.
Why The Entity Remains a Must-Watch
If you haven’t seen The Entity, then you are missing out. This film was incredibly powerful and captures Doris’s story in a way that feels proper and authentic to its source material. The Entity is truly frightening and stands the test of time. Even if you aren’t scared of paranormal stories, The Entity will keep you on the edge of your seat. While the film’s subject matter may be challenging to watch and sit with, I know I will be revisiting this film many times.
I was browsing the Arrow Video table at Brooklyn Horror Film Festival in 2024, spending way too much money. (Nearly $400!) One film really caught my eye. Its cover was unassuming but spoke loudly: two red-lit people in space suits on the top left, while a (what seemed to be) missile silo took up the rest of the cover. The cover was enough to sell me, and I threw it in my car. Little did I know that The Andromeda Strain was going to be one of the most fascinating films I have ever watched. And the book was just as spectacular.
What is The Andromeda Strain About?
Piedmont, New Mexico, is quickly thrust into chaos when a government satellite crashes into the town of 68 people. Doctors Jeremy Stone (Arthur Hill), Charles Dutton (David Wayne), Mark Hull (James Olson), and Ruth Leavitt (Kate Reid) are activated to investigate this local extinction event. But they don’t find themselves inside a normal science lab; the four doctors are sent to Wildfire, a deep underground military base (D.U.M.B.). This 5-level-deep base is our nation’s frontline defense against this cataclysmic incident, but should it escape, then all hell would break loose.
Adapting Michael Crichton’s Novel
Based on the Michael Crichton novel of the same name, The Andromeda Strain is a wonderfully contained film that’s as pulse-pounding as it is fascinating. As someone who isn’t very smart, a film (and book) like this one makes me feel educated. Sci-Fi films find themselves constantly tiptoeing a tightrope of understanding. Hell, science is in its name. Should a writer make the science aspects too dumb, either no one will believe it, or people will be bored. If a writer makes it too smart, you alienate audiences like me, whose eyes quickly gloss over.
Nelson Gidding’s script, which is fairly accurate to Crichton’s novel, does an incredible job of bringing Crichton’s fascinating novel to life. Gidding trims out some fat where needed, turning this story into an incredibly lean two-hour 10-minute self-contained epic. With stylistic assistance from director Robert Wise, Gidding keeps the near-epistolary feel of the novel. But it’s the pacing and stylization of the film that bring it to a new level.
Robert Wise’s Direction and the Film’s Unique Sci-Fi Style
Robert Wise and cinematographer Richard H. Kline bring forced monotony in the most engaging way. I love how the decontamination chapters are handled in the novel, though it could be worrying to question how that could be transcribed over to film. But it’s how the decontamination scenes are handled that adds substance to the style. These scenes are slow, tiring, and should bring the pacing to a complete stop. At this point, we’ve seen what this satellite did to the town, and we’re amped to get more context. These scenes seem to go on and on, and it’s the tedium that comes with them that humanizes the entire process. I’m sure these doctors want to get to the heart of why they’re here, and as viewers, we’re forced alongside them to sit and wait for each second to tick by through the cleaning process on EACH level.
Most of the characters are fodder for dialogue and plot advancements, but it’s the characters of Dr. Hall and Dr. Leavitt who are the most complex. Dr. Hall is trusted with the key that would detonate a nuclear bomb inside this D.U.M.B., due to what is described as the odd-man hypothesis. (This basically means, should the crap really hit the fan, a single man with no children would have the least amount of issues making a tough decision in a life-or-death scenario.) And Dr. Leavitt’s character is maddeningly deep. She suffers from a medical issue that goes undisclosed–this is due to her deep love for her work, and she would not be able to do what she does based on this issue.
The Underground Base and Production Design
But what really sells me on this film is how it all takes place in a gorgeously constructed underground military base. The set design is beyond immaculate and well-crafted. It truly feels like an authentic underground base. And it’s fascinating that I stumbled on this film at the same time I had been doing deep research into Valiant Thor, Raven Rock, and the Greada Treaty. Though that is neither here nor there.
Why The Andromeda Strain Is Essential Sci-Fi Viewing
The Andromeda Strain is a grounded, but still incredibly smart, Sci-Fact film that brings light to an oft-not-spoken-about aspect of the United States Government. It excels at telling a brilliant, life-changing story while making it palatable for all audiences. This is a film that should be shown over the course of three Fridays in a lazy teacher’s science class. Action, anxiety, and fear abound in The Andromeda Strain. It’s a film that should be on any film viewer’s watchlist.
There are countless subgenres within subgenres for horror, and one that feels underutilized is workplace horror. Unless you’re one of the lucky few, most people wake up at some point during the day, go to work, and then come home. It’s one of the few things in life that’s nearly unavoidable. While there are countless real-life examples of workplace violence, seeing exaggerated forms of it in film can still be fun. When I pitched covering The Belko Experiment for this month, I actually thought I was pitching Joe Lynch’s Mayhem. I soon found out how incorrect I had been, but figured I’d go along with it anyway.
Mike Milch (John Gallagher Jr.) and 79 of his coworkers are locked inside the towering building they come to work in every day in Bogotá, Colombia. They’re given simple instructions: murder two coworkers within the next half hour. When they fail that task, coworkers’ heads start blowing up left and right. When they’re given the next task, kill 30 people in two hours, they take it…a little more seriously.
The Belko Experiment’s Brutal Premise Sets Up High Stakes
Written by James Gunn and directed by Wolf Creek creator Greg McLean, The Belko Experiment is a painfully by-the-numbers film that offers little more than a handful of entertaining kills. Its futile attempts at commentary regarding work/life balance or just how bad “faceless” upper management is fall so flat it’s comical. Nothing like multi-millionaire James Gunn telling me how awful it is to have to work a real job for a living. Great work. And its one-dimensional characters do little more than create a slight sigh of relief when they’re dispatched without regard.
A singular attempt at cleverness is broached from the beginning when we see a colony of ants in an ant farm on someone’s desk. Oh, look at that, these workers are nothing more than mindless ants! But any attempt at following that slightly clever idea is quickly thrown away. At one point, Barry Norris (Tony Goldwyn), the big boss in the office, attempts to group up who should and shouldn’t be killed; who has the most value outside of work. Gunn had the perfect opportunity to make Barry a deep and more sinister antagonist. If Barry had grouped people into sets from most to least profitable for the company, we would have something. It would show that Barry is a forward-thinking villain who is trying to suck up to the people who get paid even MORE than him!
Missed Opportunities for a Smarter Corporate Villain
I’ll do you one better. After all of that, what if the bad guys that Barry recruited to help him cull his subordinates realized they were just pawns in the game of Big Business? So then they attempt to repent by killing Barry in the hopes that they can find a common means of escape from this hell? Why is there zero attempt at making an interesting story other than this shitty, watered-down Battle Royale with people we don’t give a shit about? Instead of anything interesting, we’re just given a group of baddies who try to get into the security office’s gun safe. The only reason we’re slightly scared of the “bad guys” is because they’re bad guys.
The only slightly interesting performances we get are from David Dastmalchian and Adria Arjona, even if it might be a fluke. As someone who is a fan of Greg McLean and the Wolf Creek series, something just felt disconnected about nearly every aspect of The Belko Experiment. I’ve brought it up before that sometimes it’s okay to have a film that doesn’t tell a great story as long as the kills can carry some of the weight. But to say this film has a story is laughable, and that carries over to how flat this film looks.
Skip The Belko Experiment and Watch Mayhem Instead
It’s weird how sour this film left me. When I was watching it, I found myself grimacing at some of the kills. And I didn’t vehemently dislike it as much as this review would suggest. But as I sat there and thought longer, I just couldn’t wrap my head around what anyone sees in this. Mayhem is an all-around better film that tackles this same subject but in a much better way. So if you ever decide to sit down and watch The Belko Experiment, maybe go watch Mayhem on Shudder instead.
