Jason F.C. Clarke

I can’t recall whether I saw The Monster Squad (1987) in the theater, but something makes me think I did. Even as a kid I thought of it then as a sort of store brand Goonies, albeit a very fun, entertaining, and surprisingly violent one. Except for the infamous “Wolf Man’s got nards” line, I more or less forgot about the film until I saw it in 2004 while visiting a friend (thanks, Scott—always the classy host!).

That Gillman suit rocks.

The Monster Squad is basically a kid’s horror film featuring what are traditionally thought of as the Universal Monsters: Dracula, Frankenstein’s Monster, the Wolfman, the Mummy, and the Gillman (a.k.a. the Creature from the Black Lagoon). However, unlike other monster mashes like the recent Van Helsing, The Monster Squad wasn’t a Universal film; Universal only owns the trademarks to the character names (meaning you can’t call your movie just “Dracula”). In the case of Dracula and the Monster, the novels are long out of copyright; while the Mummy, the Wolfman and the Gillman are just generic monsters (though I do think they’re on shaky ground with the Gillman, given how much he resembles the Black Lagoon creature).
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From the 1930s through the 1950s, Universal Studios had a run of horror film hits featuring what we now think of as the classic Universal Monsters, including Dracula, Frankenstein, The Invisible Man, The Wolf Man, and The Mummy. As immensely popular as these films were (and still are), Universal has yet to really try and capitalize on them via remakes. Sure, there’s The Mummy, which wasn’t bad (though The Mummy Returns was); and then there was the travesty that was Van Helsing. But if we can get an everything-and-the-kitchen-sink remake of King Kong, why not Frankenstein or Dracula?

Michael Douglas in a rare shower scene.

You might point to Mary Shelley’s Frankenstein or Bram Stoker’s Dracula in answer. Neither of these films was released by Universal, who own the trademark on the titles (for film purposes) but not, obviously, the copyright to the stories. The reason the author’s names were added to the titles of those films was to differentiate them from the Universal trademarks. More importantly, the plots of the Universal films are modified (often significantly) from the storylines of the novels. The Bride of Frankenstein is quite different from Shelley’s novel, yet it’s a classic in its own right.
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NOTE: Again, this was one of the first reviews I wrote for this thing, and I forgot to get screencaps. Please forgive me.

About two-thirds of the way through Deep Rising, I turned to DG and, referring to the role of protagonist Treat Williams, said, “I think Kurt Russell would have been good in this.” In fact, the role seemed so much like Russell’s roles in movies like The Thing, Escape from New York and Big Trouble in Little China that I went looking on the Web to see whether Russell had been offered the role and if John Carpenter had ever been attached to direct. I found no evidence for either theory, though apparently Harrison Ford was offered the Williams role (and presumably said, “Wait, is this a rip-off of Aliens or Speed 2? Either way, not interested”). The film was directed by Stephen Sommers, who handled the enjoyable Mummy, the slightly less enjoyable Mummy Returns, and the not-so-enjoyable Van Helsing.

A stupid CGI monster-thing. Evs.

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