Though I could be wrong on some of the particulars, I think it was the late 1970’s and early 1980’s that saw the Horror industry grow suddenly interested in building its own reputable franchises.
While the Universal Monsters Universe certainly dabbled in that realm in the 1930’s and 1940’s, it wasn’t until the entries like 1973’s The Exorcist, 1976’s The Omen, 1978’s Halloween, and – inevitably – 1980’s Friday The 13th that true studio heavyweights recognized that there was an audience both willing and able to endure such frights on a regular basis. As the audiences grew from the transition from Horror being a niche experience to more of a mainstream carnival-style attraction, studios were all too happy to invest more, and why wouldn’t they be? At that time, sequels were basically little more than a copy of the original – with modest modifications, if any – so it wasn’t as if reinvention was ever ‘on the table.’ Though there were some rare entries that sought to build a wider mythology upon which to explore that which goes bump in the night, the central thrust remained ‘get it shot, then get it in theaters,’ and viewers were all too happy to show.
The video boom of the late 1970’s and early 1980’s also opened the door to damn near anyone with a camera to step up to the plate and deliver low-budget productions in the hopes of box office glory. Once Beta and VHS players gave every Tom, Dick, and Harry the chance to watch and repeat such escapism in the comfort and privacy of his own home, it truly was off to races for every conceivable genre … but I’d argue that Horror benefitted the most. Such entries could be shot on a shoestring budget (as compared to larger studio fare), so the real trick was finding a means to distribute this schlock in a timely fashion. As such prospects grew, so did independent studios … and one of the best of record from the 1980’s was Charles Band’s Empire International Pictures.
Lasting only a slim few years (officially from 1983 through 1988), Empire – under Band and his merry ‘band’ of yarn spinners – crafted some of the slickest secondary fare to see the light of the silver screen. Trafficking chiefly in Science Fiction, Fantasy, and Horror, the studio truly revolutionized what was possible outside of Hollywood by utilizing Band’s knack for knowing a good idea when he saw it, selling such ideas to hungry investors, and then – simply – getting it done. Though chiefly remembered for visionary tales like Re-Animator (1985) and From Beyond (1986), Empire did far more in that short time than some outfits accomplish in decades. While quality varies, the enthusiasm to do more rarely did; and folks like me are still hungry to discover a title or two that’s had little modern exposure.
All of this brings me to Ghoulies II (1987), the follow-up to Empire’s 1984 Horror/Comedy Ghoulies. The flick enjoyed its U.S. theatrical premiere in Las Vegas, Nevada on July 31, 1987; and it turned up on U.S. home video about one year later.
While the Universal Monsters Universe certainly dabbled in that realm in the 1930’s and 1940’s, it wasn’t until the entries like 1973’s The Exorcist, 1976’s The Omen, 1978’s Halloween, and – inevitably – 1980’s Friday The 13th that true studio heavyweights recognized that there was an audience both willing and able to endure such frights on a regular basis. As the audiences grew from the transition from Horror being a niche experience to more of a mainstream carnival-style attraction, studios were all too happy to invest more, and why wouldn’t they be? At that time, sequels were basically little more than a copy of the original – with modest modifications, if any – so it wasn’t as if reinvention was ever ‘on the table.’ Though there were some rare entries that sought to build a wider mythology upon which to explore that which goes bump in the night, the central thrust remained ‘get it shot, then get it in theaters,’ and viewers were all too happy to show.
The video boom of the late 1970’s and early 1980’s also opened the door to damn near anyone with a camera to step up to the plate and deliver low-budget productions in the hopes of box office glory. Once Beta and VHS players gave every Tom, Dick, and Harry the chance to watch and repeat such escapism in the comfort and privacy of his own home, it truly was off to races for every conceivable genre … but I’d argue that Horror benefitted the most. Such entries could be shot on a shoestring budget (as compared to larger studio fare), so the real trick was finding a means to distribute this schlock in a timely fashion. As such prospects grew, so did independent studios … and one of the best of record from the 1980’s was Charles Band’s Empire International Pictures.
Lasting only a slim few years (officially from 1983 through 1988), Empire – under Band and his merry ‘band’ of yarn spinners – crafted some of the slickest secondary fare to see the light of the silver screen. Trafficking chiefly in Science Fiction, Fantasy, and Horror, the studio truly revolutionized what was possible outside of Hollywood by utilizing Band’s knack for knowing a good idea when he saw it, selling such ideas to hungry investors, and then – simply – getting it done. Though chiefly remembered for visionary tales like Re-Animator (1985) and From Beyond (1986), Empire did far more in that short time than some outfits accomplish in decades. While quality varies, the enthusiasm to do more rarely did; and folks like me are still hungry to discover a title or two that’s had little modern exposure.
All of this brings me to Ghoulies II (1987), the follow-up to Empire’s 1984 Horror/Comedy Ghoulies. The flick enjoyed its U.S. theatrical premiere in Las Vegas, Nevada on July 31, 1987; and it turned up on U.S. home video about one year later.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The Ghoulies wreak havoc at an amusement park, disposing of those who mistake them for mere fairground attractions.”
For those of you unaware, Ghoulies is arguably a theatrical variation (of a sort) on the same kind of madcap zaniness Steven Spielberg accomplished when he produced Gremlins (1984). This is not to suggest – in any way – that one is ripping off the other; rather, it’s only a observation on how the two properties are foundationally. Basically, you have this set of small critters whose sole purpose in life is to wreak havoc on mankind; and that’s the sum total of their existence. We and they come together, antics ensue, and – ahem – we’re the ones lucky to get out alive.
In Ghoulies II, these gruesome little beasts are about to be destroyed by some fundamentalist preacher when Fate intervenes: a semi-truck pulls into a gas station in the dead of night, giving the monsters a means of escape they never predicted. They stowaway in the truck’s trailer securely tucked away amongst the props and paraphernalia of “Satan’s Den,” the Horror house attraction for a failing travelling carnival. Before Larry (played by Damon Martin) and Uncle Ned (Royal Dano) discover them in residence, the Ghoulies will have amassed a small pile of bodies and are intent on delivering a few more.
To the film’s benefit, Ghoulies II does make a broader effort at storytelling than just instilling fear with some comic undertones.
From the film’s IMDB.com page citation:
“The Ghoulies wreak havoc at an amusement park, disposing of those who mistake them for mere fairground attractions.”
For those of you unaware, Ghoulies is arguably a theatrical variation (of a sort) on the same kind of madcap zaniness Steven Spielberg accomplished when he produced Gremlins (1984). This is not to suggest – in any way – that one is ripping off the other; rather, it’s only a observation on how the two properties are foundationally. Basically, you have this set of small critters whose sole purpose in life is to wreak havoc on mankind; and that’s the sum total of their existence. We and they come together, antics ensue, and – ahem – we’re the ones lucky to get out alive.
In Ghoulies II, these gruesome little beasts are about to be destroyed by some fundamentalist preacher when Fate intervenes: a semi-truck pulls into a gas station in the dead of night, giving the monsters a means of escape they never predicted. They stowaway in the truck’s trailer securely tucked away amongst the props and paraphernalia of “Satan’s Den,” the Horror house attraction for a failing travelling carnival. Before Larry (played by Damon Martin) and Uncle Ned (Royal Dano) discover them in residence, the Ghoulies will have amassed a small pile of bodies and are intent on delivering a few more.
To the film’s benefit, Ghoulies II does make a broader effort at storytelling than just instilling fear with some comic undertones.
The film’s set-up involving the preacher and what looks to be some religious cult members quickly disappears after its expense, leaving the way free and clear for what follows. Financially, the Hardin Carnival is in dire straits, a reality that forces company accountant P. Hardin (J. Downing) to show up with hopes of whipping the enterprise into fiscal shape. As men in power happen to do, the strapping well-dressed P. sets his sights on romancing one of the midway’s lovely ladies – the belly dancing Nicole (Kerry Remsen) – whose heart seemingly already belongs to Larry, forcing the development of a modest love triangle. It seems Uncle Ned has actually dabbled in some of the black arts, a plot development that ultimately sets up how these carnies can possibly best the Ghoulies in the last reel. And all of it is held together around Sir Nigel Penneyweight (Phil Fondacaro), the good-hearted little man who’ll stop at nothing to keep his carnival family together.
Like some of the best that came from Empire Pictures, Ghoulies II moves along briskly, never giving the audience too much down time to stop and reflect on any of its inadequacies or lesser performances. One body is really only a precursor for the next, and these demented little monsters – rather obvious puppets at every showing except for a few stop-motion bits – occupy only as much screen time as is absolutely necessary. After all, this is meant to be the purest form of escapism – light on the brain and sugary to the taste – so thinking about how easily the local law authorities might take up arms on behalf of P. Hardin’s simple wishes would throw a veritable monkey wrench into the roller coaster. Thus, director Albert Band keeps everything moving crisply from one grim laugh to the next. If nothing else, the picture is about as lean as 89 minutes can be; and that definitely helps make it all go down easily.
Sadly, these Ghoulies really aren’t up to the brand of frenetic schtick delivered by Spielberg and director Joe Dante’s Gremlins. In fact, I’d argue that they’re a pretty distant second. If I wasn’t so much a fan of practical effects, then I might even rate this one a bit lower than I did then and still do today. Gremlins delivers a big crowd-pleasing flourish in its showdown, but … here? Well, you get some cheap laughs as the Ghoulies kinda/sorta try to ruin this small town’s night at the carnival. It’s probably the best that could be accomplished on this budget.
Also, the script’s heroes don’t really get to be heroes in last reel. Oh, yes, Larry and Nicole get to ride off (via Volkswagen) into the sunset; but they don’t get to save the day in dispatching the Ghoulies. Black magic does – curiously in the shape of a man-sized Ghoulie, at that, a development that never gets explained, either – and then they have to clean up their mess by toppling that late-breaking addition to the script. Granted, they’re ultimately successful, and yet I can’t dismiss that nagging feeling that Larry was somehow robbed of being the knight in shining armor the script could’ve, would’ve, and should’ve had him become.
Call me old-fashioned, if you will, but those things still matter in my corner of the universe.
Ghoulies II (1987) was produced by Empire Pictures, Taryn Productions, and Empire Studios Rome. DVD distribution (for this particular release) has been coordinated by the fine folks at MVD Visual Entertainment (under their MVD Rewind Collection). As for the technical specifications? While I’m no trained video expert, I honestly found the provided sights-and-sounds to this 4K Ultra HD Blu-ray to be damned exquisite! Seriously, this flick looks and sounds incredible for its age, and I’ve no doubt that the fans of Band’s work will want the upgrade for their own collections.
Like some of the best that came from Empire Pictures, Ghoulies II moves along briskly, never giving the audience too much down time to stop and reflect on any of its inadequacies or lesser performances. One body is really only a precursor for the next, and these demented little monsters – rather obvious puppets at every showing except for a few stop-motion bits – occupy only as much screen time as is absolutely necessary. After all, this is meant to be the purest form of escapism – light on the brain and sugary to the taste – so thinking about how easily the local law authorities might take up arms on behalf of P. Hardin’s simple wishes would throw a veritable monkey wrench into the roller coaster. Thus, director Albert Band keeps everything moving crisply from one grim laugh to the next. If nothing else, the picture is about as lean as 89 minutes can be; and that definitely helps make it all go down easily.
Sadly, these Ghoulies really aren’t up to the brand of frenetic schtick delivered by Spielberg and director Joe Dante’s Gremlins. In fact, I’d argue that they’re a pretty distant second. If I wasn’t so much a fan of practical effects, then I might even rate this one a bit lower than I did then and still do today. Gremlins delivers a big crowd-pleasing flourish in its showdown, but … here? Well, you get some cheap laughs as the Ghoulies kinda/sorta try to ruin this small town’s night at the carnival. It’s probably the best that could be accomplished on this budget.
Also, the script’s heroes don’t really get to be heroes in last reel. Oh, yes, Larry and Nicole get to ride off (via Volkswagen) into the sunset; but they don’t get to save the day in dispatching the Ghoulies. Black magic does – curiously in the shape of a man-sized Ghoulie, at that, a development that never gets explained, either – and then they have to clean up their mess by toppling that late-breaking addition to the script. Granted, they’re ultimately successful, and yet I can’t dismiss that nagging feeling that Larry was somehow robbed of being the knight in shining armor the script could’ve, would’ve, and should’ve had him become.
Call me old-fashioned, if you will, but those things still matter in my corner of the universe.
Ghoulies II (1987) was produced by Empire Pictures, Taryn Productions, and Empire Studios Rome. DVD distribution (for this particular release) has been coordinated by the fine folks at MVD Visual Entertainment (under their MVD Rewind Collection). As for the technical specifications? While I’m no trained video expert, I honestly found the provided sights-and-sounds to this 4K Ultra HD Blu-ray to be damned exquisite! Seriously, this flick looks and sounds incredible for its age, and I’ve no doubt that the fans of Band’s work will want the upgrade for their own collections.
Lastly, if you’re looking for special features? On that front, I’m doing the reliable copy-and-paste as provided by MVD’s press release previously published on Blu-ray.com:
Special Features and Technical Specs:
Sigh. It’s a small thing to many, I realize, but I’m at that point in my life that I prefer audio commentaries over the usual produced featurettes. Everything in those feels a bit obligatory: you might get a nice story here or there, but nothing replaces a grand commentary. Sad that there isn’t any in sight for this release … but it is what it is.
Recommended.
In the catalog of Charles Band films, I’d argue that Ghoulies II (1987) is still one of his better efforts. It has a narrative slickness that never slows down too much for any unnecessary weight to attach. Oh, it might not answer all of the questions some of the audience wanted – such as where and why the imps came from and whatnot – but the story delivered adequately stakes out new territory, new characters, and new circumstances quickly enough that others may not notice, much less care. As a PG-13 rated flick, it hits most of the right notes – never getting too bloody or too gruesome for the youngest-at-heart – but still showcases solid creature effects for fans of practical work. A tighter finish would’ve made the happy ending even a bit happier, but that’s the risk you take when you gamble on the big attraction of any carnival … real or theatrical.
In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Visual Entertainment provided me with a complimentary 4K Ultra HD Blu-ray of Ghoulies II (1987) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Special Features and Technical Specs:
- 2K RESTORATION OF THE FILM PREPARED ON BEHALF OF MGM
- Introduction by Screenwriter Dennis Paoli (HD, 1:15)
- More Toilets, More Terror: The Making of Ghoulies 2 (HD, 16:50)
- Under A Magic Moon: Interview with Dennis Paoli (HD, 33:36)
- Deleted Scenes (HD, 2:43)
- Photo Gallery
- Theatrical Trailer (HD, 1:23)
- 2-Sided Artwork
- Collectible Mini-Poster
- Limited Edition Slipcover (First Pressing Only)
- Optional English, French and Spanish Subtitles for the main feature
Sigh. It’s a small thing to many, I realize, but I’m at that point in my life that I prefer audio commentaries over the usual produced featurettes. Everything in those feels a bit obligatory: you might get a nice story here or there, but nothing replaces a grand commentary. Sad that there isn’t any in sight for this release … but it is what it is.
Recommended.
In the catalog of Charles Band films, I’d argue that Ghoulies II (1987) is still one of his better efforts. It has a narrative slickness that never slows down too much for any unnecessary weight to attach. Oh, it might not answer all of the questions some of the audience wanted – such as where and why the imps came from and whatnot – but the story delivered adequately stakes out new territory, new characters, and new circumstances quickly enough that others may not notice, much less care. As a PG-13 rated flick, it hits most of the right notes – never getting too bloody or too gruesome for the youngest-at-heart – but still showcases solid creature effects for fans of practical work. A tighter finish would’ve made the happy ending even a bit happier, but that’s the risk you take when you gamble on the big attraction of any carnival … real or theatrical.
In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Visual Entertainment provided me with a complimentary 4K Ultra HD Blu-ray of Ghoulies II (1987) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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