REVIEW: Gremlins & Gremlins 2: The New Batch

In a nutshell:

Gremlins: Teenager Billy Peltzer receives an unusual early Christmas present from his father; a small furry creature who he names Gizmo. However Billy fails to follow some basic rules and unwittingly allows Gizmo to spawn other creatures which turn into little demonic monsters.

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Each year, several Christmas films are released, and they usually fall into three main genres – horror, comedy and romance. It’s a popular setting for horror, as it’s the perfect juxtaposition to what’s supposed to be such a magical time of year. With comedy, there’s the potential to make fun of the pratfalls one can encounter over the period, visiting relatives, disastrous dinners etc. For romance, it usually involves the love of your life being in plain sight or some shit. One of the reasons Gremlins stands out from the pack, is the subversion of all those conventions, to create something unique. It’s grotesque,very funny and even manages moments of sweetness.

Whilst director Joe Dante is an assured hand at both comedy and horror, the old-fashioned charm has all the hallmarks of a Spielberg production.  Rand Peltzer is a hard working father trying to launch that big invention whilst looking to get his son a unique Christmas present. Billy is the awkward kid who fancies the girl next door and wants to be treated as an adult. There’s a lot going on in Gremlins, so it’s not surprising the romance subplot almost goes unnoticed. We’re here to see the little green creatures do the funny stuff – screw your small town love story!

Like fellow release Ghostbusters, it balances the horror and comedy elements seamlessly. Take the first scene of the gremlins big reveal – when the tension is at it’s highest. The ghoulish cocoons have opened and the monsters are loose in the house. Billy’s mum is attacked in her kitchen and suddenly the horror quickly turns into giggles as the gremlins are inventively dispatched via a variety of kitchen appliances.  

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Many will be quick to notice Gremlins is a spoof/satire on Christmas classic, It’s A Wonderful Life (1946, Frank Capra), right down to that pleasant little middle American town where everyone knows each other – Kingston Falls. Like that film, the friendly community are united against a greedy geriatric foe, Mrs Deagle. However, this time around, there’s a much worse threat – Billy Peltzer, I mean, the gremlins themselves.

Being a Spielberg production, the sharp edges of horror have been smoothed down for a more family friendly horror comedy. Apparently Chris Columbus’ original script was a much darker affair. Cute and cuddly Gizmo was intended to become the head villain, Spike. The horror was a lot more explicit with the gremlins being openly murderous, chopping off Billy’s mother’s head and offing the family dog!

Amongst all the laughs and scares are some playful jabs at the American Dream and consumerism. It’s not just the townsfolk under threat, but their wholesome traditional values too. Though it’s somewhat ironic that with all these jokes about consumerism, the amount of merchandising that came off the back of the film (hey it was the 80s, after all), with toy Gizmos and obligatory cereal tie ins.

For me, Gremlins is a great alternative to the usual schmaltz that is packaged with a Christmas film. It’s truly a unique feature, a classic of it’s decade and a lot of demented fun.

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In a nutshell:

Gremlins 2: The New Batch – Billy has moved to New York and is working at the conglomerate Clamp Towers. Through a coincidence, he and Gizmo are reunited and soon enough, a new batch of Gremlins are on the loose, causing havoc throughout the building.

Due to stresses of working with tricky puppets and temperamental animatronics, Joe Dante and his production team weren’t keen to rush into a sequel. It’s clear that following the success of the original, the studio were so keen, they gave Dante free reign on it’s direction. The belated sequel goes even further with the self-deprecating approach and runs riot with it. Instead of the kitsch American Dream, The New Batch takes aim at the excesses of 80’s yuppiedum and the growing culture of TV channel-hopping and emerging technology.


Like the antagonists themselves, Dante is happy to break the rules of the first film and have even more fun. The sequel gives us gremlins who are impervious to sunlight, turn into electricity and chatty ones who are up for a philosophical debate. The film is great example of post-modernism (nowadays the kids simply refer to it as “being meta”) directly referencing the original film, with a cameo from film critic Leonard Maltin who gives Gremlins a bad review (before he is attacked by the monsters). When things get too silly, the film literally stops – meaning another bizarre cameo has to get the film back on track. This time it’s legendary wrestler/ part time actor Hulk Hogan (who appears to be watching some arty porno) who uses his trademark gruff authority to intervene.

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Like Starship Troopers, The New Batch is a film ahead of it’s time. The Clamp Tower is a “smart building” – everything is connected and controlled by computers. Just think what damage the gremlins could do in current times? When the phrase, “What do you mean the wifi isn’t working?!” is enough to strike fear in even the calmest person? It would also be rude to not mention Daniel Clamp, a thinly veiled caricature of Donald Trump. John Glover brings an almost lovable energy to the gormless but well meaning Clamp. Here is a man, who sees opportunity in every crisis. Yes, his company may have been responsible for the outbreak, but he could be the saviour of New York! Think of the merchandising opportunities…. Part of me likes to think in a parallel world somewhere, Daniel Clamp is President.

Like many other films we cover at Retro Ramble, these films hold up due to some inventive special effects, a memorable score and some timeless black humour. Zack Galligan may not be the strongest leading man, but he brings a naive charm that the role requires. I think we can all agree the creatures are the real stars, so kudos must go to the teams and performers who bring Gizmo and company to life.

Rumours of a Gremlins sequel/reboot have been on the cards for many years now. Warners obviously still value their place in pop culture, most recently including them in The Lego Batman Movie (2017). If the mogwai and monsters are due to return any time soon, the filmmakers responsible need to remember to balance the jokies, violence, grotesqueness and old fashioned (Spielberg) charm.

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Episode 10 – Gremlins Special

In this Christmas Special episode, Charlie and George break all the rules as they navigate the crazy chaos of cult classics Gremlins and Gremlins 2: The New Batch. There’s drinking, bad behaviour and swearing and that’s just the hosts! Their post midnight ramble covers everything from the Spielberg touch, the perils of using monkeys as a special effect, Hulk Hogan and double breasted dressing gowns.

Whether its the comedy-horror-satire of the first film or the highly acclaimed post-modern sequel, these are two films that have stood the test of time and are definitely worth a revisit.

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REVIEW: Ghostbusters (1984)

Who you gonna call? George McGhee delves into what makes Ghostbusters such a beloved horror comedy classic.

In a nutshell

Three New York college professors develop their own ghost capturing technology and attempt to catch ghosts for money. Along the way they encounter a woman whose apartment building may be the gateway to another dimension, which could unleash evil forces worldwide. Scares and laughter ensues.

We all have that one film that terrified us as kids – well, other than Jaws. For me that was Ghostbusters. I was so terrified on the first watch, I completely missed the fact it was a comedy. Nevertheless, I was quickly hooked and became obsessed with all things Ghostbusters. From the cartoon, The Real Ghostbusters, the toys (I was very happy with my proton pack) and books.

“If there’s a steady paycheck in it, I’ll believe anything you say.”

What makes Ghostbusters so appealing? Well, it’s an original concept, with a bunch of geeks (plus Winston) using science to capture ghosts, deftly balancing comedy with the supernatural. It obviously helps when the laughs are delivered by the leading comic talent of the time – Bill Murray, Dan Ackroyd and Rick Moranis, steered by assured comedy filmmakers, Harold Ramis (Caddyshack) and Ivan Reitman (Stripes, Meatballs).

Dan Ackroyd is the man to responsible for getting it to the big screen. He always had an interest in the paranormal and following the success of Blues Brothers (1980) was looking for another project for him and Saturday Night Live alumni, John Belushi to star in. With Belushi’s unexpected death and an overly ambitious initial concept (including time travel and parallel dimensions), story and script had to be tweaked and stripped down. Director and producer Reitman brought in Ramis to help bring the story into something more manageable and fellow SNL member cast Murray in the role intended for Belushi.

The film has a good sense of pace, with the rise of the Ghostbusters (ending with a textbook 80’s montage) and spooky goings on at Dana’s apartment at the same time. The three main Ghostbusters (poor Ernie Hudson gets short shrift) fill out their roles dutifully – the naive and  earnest Ray (Ackroyd), the deadpan logic of Egon (Ramis) and the roguish charm of Venkman (Murray). Despite being an ensemble, writers Ackroyd and Ramis humbly give the best lines and most screen time to Murray – which cuts through all the science mumbo jumbo.

“If the ionization-rate is constant for all ectoplasmic entities, we can really bust some heads… in a spiritual sense, of course.”

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Ackroyd, Moranis and director Reitman on set

Along with Groundhog Day (1993 directed by Ramis) it’s a defining film of Murray’s career.Special mention must go to Rick Moranis, as nervous neighbour Louis Tully, who shines in every role he’s in. The highlight being the one take scene at his drinks party where he introduces his guests (all clients, so it’s tax deductible), whilst casually sharing their financial situation. The ever reliable Sigourney Weaver probably gets the best character arc as Dana. She gets to join in on the jokes, whilst skilfully veering from terrified damsel to slutting it up as the possessed Gate Keeper.

The horror comedy genre is a tricky balance. Too much in either direction and you risk alienating some of the audience. Ghostbusters seems to be the right amount for a family audience. The experienced cast ensures all the laughs hit home and decent special effects (for the time) bring the various ghouls to life, without being overly gruesome. The soundtrack adds to this balance. Ray Parker Jnr’s infectious title track is on repeat along with some other Eighties pop which add to the fun. Meanwhile, the legendary Elmer Bernstein’s orchestral score enhances the scenes of fear and dread when required, whilst offering some playful melodies for the lighter moments.

“We’ve been going about this all wrong. This Mr. Stay Puft’s okay! He’s a sailor, he’s in New York; we get this guy laid, we won’t have any trouble!”

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There are moments where the the film veers into more mature territory that is quite typical for a comedy at that time. Despite being pitched as a family film, it’s got a generous amount of swearing, sexual innuendo and enough chain-smoking to give Samuel L Jackson in Jurassic Park a heart attack.

Why has it endured for so long? The film has a nice underlying message that anyone can save the day, the Ghostbusters are not muscular heroes, they rise to the task because no one else can, using smarts and bravery. It’s a great snapshot of the Eighties, whilst being a love letter to the city of New York, with the majority of scenes filmed on location. Whilst the main characters don’t manage to escape their archetypes, there’s so many thrills, laughs and character, you don’t really notice.

The film was so successful it launched a franchise with varying success includes cartoons, games and controversial reboots. For me, it’s all about the original, great laughs, good scares and a cracking cast who have great chemistry.

“We came, we saw, we kicked its ass!”

MVP: This is Bill Murray’s film but the real unsung hero is Rick Moranis – it’s a minor role but he steals every scene he’s in.

Coulda Woulda Shoulda

The role of Winston was written for Eddie Murphy. When he declined as he had his own star project – Beverly Hills Cop, the role was scaled down.

Christopher Walken, Jeff Goldblum, John Lithgow and Christopher Lloyd were all considered for the role of Egon Spengler. However, after Harold Ramis finished writing the script, he felt close to the character and figured he could act the part.

Alternate Title: The Chain Smoking Radioactive Ghost Catchers