Horror 365 Movie(s) 41: Rat Movie Round-Up

I had the original Willard on while writing the Fade To Black review, partly for background, partly because I hadn’t seen it in a while, and partly for fact-checking. It also reminded me that I love rats.


Especially in movies. Maila Nurmi reading poetry with a rat on her shoulder is one of the few non-Vampira scenes I can think of.

Naturally this idea gnawed at me (surely you saw that coming–just gettin’ warmed up) until I could no longer resist the thought of revisiting a few of my favorite rat reels.

Willard (based on Ratman’s Notebooks, Stephen Gilbert)


Poor, downtrodden Willard (Bruce Davison). I love this movie despite the things I hate about it. Specifically I hate Ernest Borgnine in just about anything, and I really hate the killing of Willard’s white rat, Socrates.


What’s important about Willard is that it paves the way in part for several later movies, not the least of which arguably being Carrie (I’m willing to bet Stephen King was familiar with Willard). There’s also Kiss Of The Tarantula, both involving young people with secret powers they use to wreak havoc on the vicious rat bastards who make their lives miserable.




The poster doesn’t lie. The 1972 sequel to Willard really does pick up immediately where Willard leaves off. The police arrive at Willard’s house and start piecing together what happened. The focus of the movie is not only the obvious Ben but also Danny, a little boy who befriends him. Danny is a young loner, sickly (some unspecified heart problem), and a little annoying, but he and Ben have each other.

The highlight of the movie is when some kid starts bullying Danny only to have Ben’s pack rush to his defense by biting the little thug’s legs. Kinda thing always warms my otherwise cold, dark, godless heart, it does. Anyway, despite the ending, I always think of this movie as sad. Not like Old Yeller sad, but still. After all, like almost anyone, Ben just wants to be loved.


Of Unknown Origin (based on The Visitor, Chauncey G. Parker III)


The thing about this movie is that the rat is supposed to be the bad guy. The problem is, with one notable exception forthcoming, I’m always on the rats’ side. In this case, it doesn’t help that the rat making Peter Weller’s life hell is kind of adorable.

One downside to this movie is that it’s 70 minutes of Peter Weller losing his shit and only about 20 minutes of rat. Another downside is needless cat death. Still, Cosmatos (Leviathan and Tombstone among others) rat-chets up and sustains tension nicely and handles the source material well. I suspect Parker put a mountain of research into his novel because, it turns out, the rat behavior is pretty spot-on.




With the exception of another unnecessary cat death, this 2003 remake ain’t bad. It’s got three things going for it. First, Crispin Glover. He’s already strange as hell anyway and does an even better job than Bruce Davison of being rat-like. Second, R. Lee Ermey is ir-rat-ating as hell, and it’s as much fun watching him get wiped out by rats as Ernest Borgnine. But best of all is Ben. He’s supposed to be bigger and smarter than the other rats, so in this version, they used a Gambian pouched rat.

rat2 rat

Another key difference is the original Willard was socially inept and mildly unlikeable. Glover’s Willard is meanspirited and downright cruel. This is especially clear in his preferential treatment of Socrates over Ben who, like his original counterpart, just wants some love and attention. The remake may also be somewhat more in line with the novel. Clever nods as well to The Shining and Psycho.


Rats (based on Rats: Observations On The History & Habitat Of The City’s Most Unwanted Inhabitants, Robert Sullivan)


Morgan Spurlock’s shockumentary works better as a horror movie than many a horror movie. This is the notable exception I mentioned earlier. I’m not on Team Rat for this one, and for several days after, I wanted to find a way to live in space or underwater. Even then, as Spurlock would suggest, the little fuckers would probably find a way to smuggle themselves along.

There is nothing comforting about this film. Exterminator Ed Sheehan strongly implies that the only reason rats tolerate our presence at all is that we provide them with a constant supply of food. Be on the lookout for some very Kubrick/The Shining-like combinations of segment titles, sound design, and aerial shots, most notably in the Cheltenham, England segment. An excellent pairing if you really want to freak yourself out would be a Rats/Of Unknown Origin double feature.


So there’s my cu-rat-ed list. Call me ir-rat-ional, but I’m still full of love and ado-rat-tion for rats. I’m confident there’s one in my future.

Be-rat-ed, if you will.

Horror 365 Movie 25: Fade To Black

fade2For a somewhat obscure, criminally underappreciated bit of slasher fare, you could do far worse than Fade To Black. Now, I’ll be the first to admit it’s not the most awesomest slasher flick ever made, but in its defense, Fade To Black also suffered from some timing and, I’d speculate, financial issues.

Right between Carrie in 1976 and Halloween in 1978 was, obviously, 1977. What happened in 1977? I’ll tell you. Star Wars. Gah.

Everybody saw it. Most everybody loved it. But how many of us caught The Incredible Melting Man that same year?

Yeah, thought so. That’s what happens when the $250,000 budget runs up against $11-13 million.

Jump ahead to 1980, and something similar happens. Fade To Black runs smack up against movies trying to capitalize on the likes of Carrie and Michael Meyers, movies like Prom Night and Friday The 13th. Okay, there’s a little irony to be had. Friday The 13th had a budget anywhere from $550,000 to $700,000. It also thoroughly trounced the million+ budgeted Prom Night.

Both presented stiff competition for the quieter and in some ways more clever Fade To Black (which has become such a distant memory, I can’t even find its budget). All of which is a shame. As I said, not the greatest of its genre, but the acting is fine, and the beleaguered Eric Binford (Dennis Christopher, the bike-riding kid from Breaking Away) starts out as your stereotypically pathetic, likeable schlep. You feel sorry for him.

Of course.

You also know revenge is coming, and this is why it’s a shame Fade To Black got lost in the slasher shuffle. It has much less in common with the masked knife-wavers and much more in common with two much earlier movies, , Peeping Tom (1960) and Willard (1971).

Both Peeping Tom and Fade To Black are steeped in the cinema itself. Mark (Carl Boehm/Karlheinz Böhm) is part of a film crew and plans to be a filmmaker in his own right. Eric works in a film warehouse and is a devoted if not slightly obsessed cinephile.

Like Willard Stiles (Bruce “Senator Robert Kelly” Davison), Eric is reclusive and socially inept. Their lives are almost interchangeable. Both reach their tipping points because of domineering but physically frail maternal figures. They’re both bullied by boorish, insufferable bosses. Both their fates are tied to the very things that allow them to take revenge. I have to wonder how accidental it is that they even look similar.

fade willard

The MO of each character intertwined with his killing method. Mark uses a camera tripod modified to house a concealed blade. Willard uses his rats. Under the guises of his favorite characters, Eric uses his extensive movie knowledge to stage his kills like scenes from their movies, specifically Dracula, the Mummy, Hopalong Cassidy, and Cody Jarrett.

This is what keeps Fade To Black from being some formulaic knockoff as do several points where things take some unexpectedly dark turns. When Eric, made up as Dracula, kills a prostitute, he actually drinks some of her blood. There’s also a cringey scene involving a Marilyn Monroe poster.

That said, plenty of schlock to be had, including a silly, hamfisted attempt to parody Psycho and a fleeing victim who, despite adrenaline and utter panic, is incapable of mustering a stride longer than a foot and a half. Eric also does a number of impressions, most notably Cagney, that are frequent and awful.

So, 1980s, I’ll see your endless parade of Halloween knockoffs (some of the worst of which being its own sequels), and I’ll raise you Anguish, Psycho II, Sleepaway Camp, and Fade To Black.


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