Fire Syndrome

Eccentric but interesting thriller. Brad Dourif puts a lot into his portrayal of the lead character, a school teacher who discovers he can start fires, and the performance is one of the main things thats lifts the film out of the rut.

With its evocation of a strange little town dominated a large nuclear plant the film recalled for me "Strange Behavior" (1981) (AKA "Dead Kids"). The films show an odd mix of architecture, clothing fashion and interior decoration from different eras that makes placing and dating the film difficult. Overall its look and generally offbeat characters gives the film an effective unreal sort of quality. Also similar to "Strange Behavior" is the murky, complex, slowly unfolding story and the sinister scientist who is controlling everything. Also Dey Young is a cast member of both films, sadly underused here.

Not as bad, as it's credited to being (Hooper's done far worse)… more so disappointing for me. Such an imaginative concept, which is never really tapped in to by Hooper with his economical direction and even less so in the smoky (excuse the pun) writing. It goes so sinister and over-the-top in a dead serious tone, becoming ridiculous and unfocused letting the whole pessimistic mystery / conspiracy-laced narrative being easily telegraphed to end on something completely abrupt. Because of that, the pacing goes on to be rather sluggish and Brad Dourif (cool to see him in a leading role) seems to struggle with an off-balanced performance, despite etching out a bemusedly quirky intensity to his off-colour character. Even though it's cheaply done, there's a competent technical attitude to it. However it doesn't seem to go anywhere out of the ordinary with its idea and wants to plaster in nasty jolts (which some do work) and strikingly steaming special effects (flames, flames everywhere) instead. Hooper does display some stylishly frenetic imagery (more so towards the latter end), and the camera-work is swiftly manoeuvred and the beaming score is titillating. The performances are bit all over the shop with the appearances of William Prince, Cynthia Bain, Dey Young, Jon Cypher and Melinda Dillon. Also Geroge Buck Flower and John Landis have small, but amusing cameos… especially Landis. Nothing surprises, but it's passably engaging.

Righty right. Here's a bit about SPONTANEOUS COMBUSTION: the government is trying to engineer the perfect weapon for war. It fails, and the project is supposedly buried. Years later, however, a young college student by the name of David (Sam), is finding out slowly that he is something more than human. So, he intends to find out just what he is, and a path of destruction and fire is left in his wake. Now, I can see why this has been called Tobe Hooper's only failure at a movie, but it is a gem. But, the only reason why this is a good flick is because of the presence of Brad Dourif. As always, he's excellent. Rent this flick, that is if you can find it. The beginning is slow, but it is very entertaining.

God i love those transparent, glowing phones and radios that chick has.

Anyway, not as bad as many people say it is. I'm actually a fan of Tobe Hooper's later work (well, some of it). I think people expect far too much of him based on the cultural impact of TCM and its just not fair. Tobe Hooper's films have always been rather fun and campy, while simultaneously making (sometimes rather heavy handed) sociocultural critiques. As others have noted, Spontaneous Combustion has underlying themes relating to the way that the 50's atomic bomb influenced and informed the culture of the 80's. A lot of biting references to the 'nuclear family' and its place in society as well as how both the presence and absence can affect us as we grow up and become adults. I honestly have no idea why most people say this started his downward slide cause its actually pretty good- a lot better than his remake of Invaders, that's for sure.

With fleetingly fare exception, the best computer-generated imagery that anyone could ever offer will age rapidly, and will look worse the more we see of it. Older post-production visuals seen in science fiction, fantasy, and horror fare of the 70s, 80s, and 90s continues to hold up superbly not despite but precisely because it's less than seamless, and no one is pretending otherwise. The most modest practical effects and tangible creations will always, always be preferred over digital falsehood, and gratifyingly, celebrated director Tobe Hooper fills 'Spontaneous combustion' with the physical. Sure, we get touches of those additions made in post - some tasteful embellishments, and the electricity that also plays a part here is much harder to safely represent on-screen using props and effects on-set - but the bulk of the sights to greet us are the delightful result of chemical processes executed in real life and captured on film. From fire and explosions, to blood and special makeup, to set pieces and environmental effects, the visuals in these ninety-seven minutes are very predominantly real and dangerous, achieved through stunts and expertise, and I could hardly be happier with how good they all look.

This flick is surely worth watching for those effects alone, and that it happens to also star a young Brad Dourif is a swell bonus. The story of pyrokinesis, of a man learning of his unique capabilities and his family history, and of the impact all this has on himself and those around him, is rich with potential for cinematic storytelling. The specifics of what Hooper put together with co-writer Howard Goldberg, well, those are more variable. All the ideas are there, and they are worthy: a tableau of experimentation, secrets, conspiracy, and burgeoning, incomprehensible power. It comes across, however, that Hooper and Goldberg had difficulty shaping these notions into a cogent, cohesive form, as the plot and its development feel clunky and forced the more that it delves into those behind the scenes who have molded or monitored the protagonist's life. Some odds and ends are nearly incoherent as they are woven in. That difficulty is further echoed in Hooper's direction, and David Kern's sequencing, leading to some scenes of acting, character interactions, and/or plot development that are either limp or overwrought, or otherwise unconvincing, at least as often as all the pieces fit and work together. 'Spontaneous combustion' is enjoyable, but it is unmistakably troubled.

Still, while the conjuration and execution are distinctly flawed - affecting even Dourif's performance, let alone those of his co-stars - the story is compelling and engaging, and in fits and starts the acting is quite fine. In my mind there's no questioning that the feature is at its best in all ways where it is directly dealing with the effects and the protagonist's abilities, but in other regards, too, this is splendidly well made, including excellent, detailed, often creative production design and art direction. Composer extraordinaire Graeme Revell provides a terrific, moody score that lends to the increasingly dark mood, lending in the last act especially to stunning, grim fancifulness as Hooper's imagination is allowed to run amok without worrying so much about the nuts and bolts. And that's rather the key, as the vision is simply grand, and it's the framework that's devised to support that vision that is the problem. When all is said and done the movie is a good time, and it is worth watching on its own merits. It's just unfortunate that the grisly whimsy is restrained, and diminished, as Hooper and Goldberg struggled to weave it into a screenplay that's far less vibrant. Be well aware of these issues, and that might be the best way to get the most out of 'Spontaneous combustion.'