The Frighteners
Originally Written: August 2002
If Peter Jackson’s “The Frighteners” were to be released now, I have the feeling it would be far from neglected. Thanks to John Edward, whether you buy him or not, the idea of communing with those who have passed on is a hot topic in pop culture. And Peter Jackson- the co-writer (with wife Fran Walsh) and director of the film- is a little more famous as well. In the summer of 1996- when the film was released- Jackson was known mostly among cineastes as the creator of a few grisly low-budget horror inventions (“Meet the Feebles,” “Dead Alive”) and Oscar-nominated writer-director of a brilliant real life fantasy about two teenage girls (one played by “Titanic’s” Kate Winslet) whose affections for one another leads to murder (1994’s “Heavenly Creatures”). Now, Jackson is on the brink of being hailed as a new visionary to rival James Cameron and George Lucas, with his three-film adaptation of a little-known book called “Lord of the Rings.” To be sure, it’s a milestone production, now poised to become a box-office- and critical- smash after the first film- “The Fellowship of the Ring”- grossed $860 million worldwide and won four Academy Awards (out of 13 nominations). The second film- “The Two Towers”- is having the final touches put on it as we speak for a December 18 release. It’s one of the Fall’s most eagerly-awaited films.
“The Frighteners” would only hope to be so lucky. Made for a scant $30 million (1/9 of what the “Rings” trilogy is costing), with only half of that made back in theatres, it’s a wickedly sly black comedy about Frank Bannister (played with his usual intelligence by Michael J. Fox, who reminds one of Bill Murray’s classic smartass in “Ghostbusters” at times), a so-called “psychic investigator” who has gained the ability to commune with those who have passed on since his wife’s mysterious death years earlier. Mostly though, he goes around disposing of poltergeists haunting the residents of Fairwater…for a small fee of course. But there’s a catch- the haunting ghosts (Cyrus, Stuart, and The Judge (the latter designed by the great Rick Baker)) are in league with Frank. It’s a con. But when a series of mysterious deaths- along the lines of his wife’s (including a number appearing on the victim’s foreheads)- begin to occur, him and his otherworldly pals- along with a local doctor named Lucy Lynskey (Trini Alvarado), whose skeptical husband Ray (Peter Dobson) has just died mysteriously- have to figure what is causing it. Think “Ghostbusters” meets “Poltergeist” with a little “Ghost” thrown in and you have the idea of what Jackson and Walsh’s script is about.
No fair giving away any of the mechanics of the plot- that’s part of the fun. You’ll undoubtedly be ahead of the movie at times (in all honesty, it’s not THAT complicated), but the New Zealand-based Jackson (who filmed “The Frighteners”- like his other films- in his home country) has some devilishly clever tricks up his sleeve. Red herrings a plenty to the identity of the killer are thrown out- is it the mythical “Soul Collector,” visualized as a ghoul in a long cape (sort of a precursor to the Ringwraiths of Jackson’s “Fellowship”); is it Patricia Anne Bradley (Dee Wallace Stone, most decidedly not like her “E.T.” character), a troubled young woman with a violent past with executed murderer Johnny Bartlet (movie psycho extraordinaire Jake Busey adding another one to the collection); is it Patricia’s cryptic mother who insists on keeping her locked up at the old house (Julianna McCarthy); or what about Special Agent Milton Dammers, the odd, idiosyncratic FBI agent-played with scene-chewing gusto and sly wit by “Re-Animator’s” Peter Combs- who acts quite peculiarly himself?
You’ll want to find out if you can adjust to the film’s delicious blend of black comedy and wickedly gross visual effects, provided by Jackson’s own WETA Limited. Some of you may not; OK, I can buy that. Like Sam Raimi’s “Evil Dead” epics (an obvious influence of Jackson’s pre-“Rings” work) and Tim Burton’s more personal films (“The Nightmare Before Christmas,” “Edward Scissorhands,” “Beetlejuice”), odd camera angles and a slew of macabre situations- filmed by Alun Bollinger and John Blick- are the order of the day, including- but not limited to- a ghost’s face dematerializing after being sprayed with bugspray; a fresh, disgusting visualization of the Underworld; and some gruesome ghost wounds being opened up by the Judge’s six-shooter. It can all seem kind of cold, and the characters are kind of one-dimensional, but Jackson and Fox make sure not to lock out heart completely with the poignant vision of a lost wife and blossoming romance with Lucy, played with heart by Alvarado that somehow make themselves fit into the off-beat proceedings. Add to that a Danny Elfman score that’s classically Elfman-esque (no slick assembly-line “Spider-Man” or “MIB II” posturing here) and you have one wacky, wild venture into the realm of undead comedy.
“The Frighteners” is one of a series of horror films executive produced by Spielberg protege Robert Zemeckis over the past decade plus, a series that includes two “Tales From the Crypt” movies (inspired by his cult TV series), “The House on Haunted Hill,” last year’s “Thirteen Ghosts,” and this Halloween’s “Ghost Ship.” I haven’t seen most of these, but I’d have to say that “The Frighteners”- because it’s from such an individual vision such as Peter Jackson’s- is probably one of the best of the bunch. It’s also part of a very small subgenre known as the Special Effects Comedy. Ask most people for a top choice in this one, and you’d likely hear the ’80s classic “Ghostbusters” or 1997’s “Men in Black,” with those two’s inevitable sequels- and Ivan Reitman’s “Evolution”- lagging behind. To be fair, “Evolution”- and “Ghostbusters II” and “Men in Black II”- are not bad. Neither is “The Frighteners.” It is different, though. But then again, so were “Ghostbusters” and “Men in Black.” Here’s hoping people seek it out as a result to Jackson’s newfound credibility thanks to the epic with the Hobbits. The rest of the moviegoing audience is lagging behind in recognizing this talented visionary.
