Tag Archives: Kieffer Sutherland

Halloween’s Greatest Films #11 The Lost Boys

“You never grow old. You never die. But you must feed.”

A true horror classic is an appellation that can be applied to just about every movie in the the Top 9 of this list, so I it could be argued I don’t need to say it with this one, but I will. The Lost Boys is a classic film of Halloween.

Again is this was from a day when vampires would rip your throat out as soon as look at you. And they have fun doing it. No qualms, no remorse, no brooding…just vicious destruction. This is the movie that originally introduced us to Kiefer Sutherland being a badass (although I think we’ll all agree Bauer was far more deadly).

We know the story. Biker teenage vampires lure an unsuspecting teenager into their lair and begin to turn him in an opening gambit to turn his entire family. Meanwhile his younger brother teams up with two socially dysfunctional wannabe vampire hunters who don’t know that you never invite a vampire into your house (which is one of those rules that everyone is supposed to know).

The movie plays, somewhat poorly I’ll admit, with a comparison between vampirism and teenage rebellion (the problem is that one is a phase and the other is by definition eternal), but the destructive, self-centered at the costs of others, you don’t know what I’m going through angles do hold. And it does hold the teenage desire and delusion to be young forever and never responsible for your actions.

It had been a few years since I had last seen this movie, so I had forgotten how bloody (very bloody) killing vampires was in this films, but it works.

As with a lot of the other movies I’ve discussed on this list we see the immortals heightened fear of death, and the overcoming of fear by our heroes…but this also offers us the fear of character Michael as he changes into the vampire and desperately tries to hold onto his humanity. It is this fear that the movie focuses on the most, and arguably tries to tie to that vampire/teenage rebellion theme.

The movie is unsteady at times but makes up for it with the fact that it keeps you guessing as to where the real power of the villains lies. Red herrings, subtle clues, and distractions all leading up to the final reveal by the vampire works for a nice surprise. Of course that leads into its own problems. If this movie has a single great flaw, it’s the random deus ex machina save at the end. If you’ve seen the movie, you know what I’m talking about, if not no need to spoil the ending. It was just a little too convenient.

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Best movies for Halloween #25 Flatliners

Flatliners“Philosophy failed. Religion failed. Now it’s up to the physical sciences.”

Like most scientists in horror films the characters of Flatliners think that science can reveal everything, damn the consequences…
…and be it a sci fi or horror movie that always works really well.

The movie posters had the rather cheesy catch phrase “Some lines shouldn’t be crossed.” (Terrible pun). But this goes to the heart of an the issue of should science have boundaries. And as so many horror stories came out of the Romantic era it will always be tied to the Romantic’s distrust of the arrogance of science to find all answers. And they’re not entirely wrong. The history of science, while a great story of the progress and advancement of the human race, has these dark side notes of human experimentation and only considering the consequence of one’s actions only after the fact (Oppenheimer…”I am become death…”). We see it in Frankenstein. We saw it in The Island of Dr. Moreau. We saw it throughout the X-files, Fringe, Outer Limits, Fringe, and the Twilight Zone and a dozen other stories, movies and TV shows. They’re cautionary tales to remind people that science has always been and always will be a double edged sword that when misused or misunderstood can do far more damage than good. And the idea of killing yourself to scientifically see what’s on the other side of death does seem to be one of those lines science shouldn’t be so eager to go past.

In this case how would you like all of your worst sins and things your regret come back not just as memories but as tangible, physical things to torment and torture. I assume for many of us this would be a nightmare…more so for the highly flawed characters of this movie.

Now, somewhere between being a cool vampire and being the most deadly force in the history of counter-terrorism, Kieffer Sutherland played the rather arrogant and guilt-ridden character of Nelson. This character was the driving force behind these experiments of Flatliners, Nelson, is also the one most tied to death. He claims he has no fear of what is on the other side and it is just pure curiosity on his part, but he is also suffering from the buried guilt of having killed someone in his youth. In fact you find that the only other character so interested in the experiments is Julia Robert’s character, who also lost someone to death, shows that their desire to know about death isn’t curiosity, it is very much the fear of not knowing what death it.

The fear of death is often tied to the fear of being judged for your actions (it’s sad people have such a limited view of God they think he is so willing to damn you). And that is what ties each of the characters of Flatliners together. Whether what happened was their fault or not, whether it was major or minor, they felt guilty about it and in this film their guilt became a physical manifestation. Now I don’t know if the writers were intentionally going for this or it’s just an interesting parallel, but this does partially match up to the idea that when you die you review your life and you the parts that you review in most detail are the ones that you are most emotionally tied to…and there are few emotions stronger than guilt. It also seems to parallel the Buddhist idea that in the afterlife one of the things you will face is the karmic consequences of your actions and if you can’t move past these (move past the guilt) then you will be forced to live through the karmic consequences of those actions in your next life (but this may be reading too much into the screenwriter’s intent).

Whatever the actual purpose the writer and director were attempting to bring out about the nature of the afterlife, they do have a fairly clear point that the way out is not death but forgiveness.

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