Extraños invasores

Seems that the foremost reason why this movie isn't much appreciated is because most people don't seem to understand that this movie is being an homage to the science-fiction movies from the '50's. As an homage this movie is really a quite good one, surprisingly. So, all of those silly and sloppy moments, that weak story and unusual camera handling and editing was all intentional. The creators did a good job at recreate the same sort of style and atmosphere but at the same time also manage to place it in the modern world and time of 1983. I liked some of the subtle and nice touches in the movie, that were a nod and throwback to the '50's genre movies. Those who are a bit familiar with that period of genre movies will most likely be able to appreciate this movie. But a good homage of course doesn't make a great movie as well. No, in the end this movie will certainly not make any of my favorite lists but the movie remains a good enough one to watch. The movie fails to make a lasting impression, also because it's an obvious low budget one, so it's lacking in any big spectacular moments. Also the story isn't' that much special and basically is like a whole bunch of other science-fiction movies thrown together but then again, also those movies from the '50's never really featured a great or original script and to be fair, they weren't always that much good as movies. So in that regard this movie also pays perfectly homage to that and I don't think it ever was the film-makers goal and aim to make a spectacular and classic genre movie. They just wanted to have fun, paying homage to the movies they love and with this movie they also give the viewers, that understand this, some good fun to watch as well. 7/10

A clever plot -- aliens take over a small town in rural America -- is almost done in by a plodding pace and the weakest leading man to ever appear in a sci-fi movie, Paul LeMat. Nevertheless, the movie has a strange charm, as LeMat travels to this podunkville to find his ex-wife, who inexplicably vanishes while visiting the town. The ending holds a couple of surprises, but by then you'll probably be glad the damn thing's over. The main reason to watch this sort-of cult classic is to see how closely a film made in 1983 succeeds in paying homage to all those cheeseball sci-fi flicks of the 1950s, when commies were the biggest threat, often showing up in sci-fi movies disguised as invading aliens. I have no doubt that as low-budget as this production was, it had its influence on ABC's classic sci-fi show, THE INVADERS. Also, keep an eye out for several familiar faces dotting the landscape, including Ken Tobey, star of Howard Hawks' 1951 commie threat epic, THE THING FROM Another WORLD.

The decidedly miscast Paul LeMat here plays Charles Bigelow, a Columbia University entomology professor who tracks his odd-duck ex-wife Margaret (Diana Scarwid) to her old hometown, which is typical Smalltown, U.S.A. (She'd left their daughter (Lulu Sylbert) with him and then disappeared.) Not only does he find it to be a strange environment (it seems to be stuck in the 50s), but the locals aren't exactly welcoming. A couple of WTF experiences later and he realizes that, in fact, the aliens have landed, and have kept this town in this state for a quarter century. He teams up with a tabloid journalist, Betty Walker (ever lovely and appealing Nancy Allen), and a supposed nut case (the excellent Michael Lerner) to take on the "strange invaders".

This film was fashioned by director Michael Laughlin ("Dead Kids") and his co-writer, Bill Condon (a future director, himself) as both a loving tribute to and parody of vintage science-fiction. In that respect, it gets its look and feel just right. It's often amusing, has its heart in the right place, and in this viewers' humble opinion, actually has a fairly decent pace. The script isn't perfect; it does have some holes, but overall Laughlin and Condon did a nice job here. Having partly shot their film in Canada, it does have a delightful scenic quality, which is only enhanced by the widescreen photography. It also features some wonderfully icky and gross makeup and creature effects that are certain to have some more squeamish viewers going, "Ewww." Best of all is the score by John Addison, which does a fine job of truly evoking the era.

As part of their presentation, Laughlin and Condon cast the film with some supporting roles and cameo appearances for performers from old time sci-fi: June Lockhart and Mark Goddard from 'Lost in Space', Kenneth Tobey ("The Thing from Another World", etc.). Cinemas' original grumpy old man, Charles Lane, co-stars along with Louise Fletcher (playing a not-quite-on-the-level government agent), Fiona Lewis, a too briefly seen Wallace Shawn, character actor Jack Kehler (in his film debut), singer Bobby "Boris" Pickett, and Dan Shor & Dey Young, the young stars of "Dead Kids". LeMat is a rather bland hero, but Allen is luminous, and Lerner pretty much delivers the best performance in the thing. Condon has an uncredited cameo as a guy listening in a doorway.

Perhaps the most value lies in trivia revealed by Laughlin on his audio commentary: at the time, he was young Sylberts' stepdad; her real dad was the legendary Hollywood production designer Richard Sylbert, and her mom is Susanna Moore, the production & costume designer on this film; Laughlin was involved with Moore when this film was made.

Pay close attention during an early scene to hear what may have been the first use of an R.E.M. song in a movie.

Seven out of 10.

In the 1950's, aliens landed on Earth and blended in with our society. Now, they're ship is back, and they will do anything to silence the few who know they're real identity. "Strange invaders" has a good cast, top-notch visual effects, some really creative creature effects, a decent plot, and a fairly adept (If not rather routine) script. The cast includes: Paul Le Mat, June Lockhart, and Wallace Shawn. Recommended.

I reviewed this clever tribute to low-budget 1950s sci=fi flicks (most notably "Invaders From Mars") some years ago. Having just watched it again, I felt compelled to write it up one more time. The people who put this charming cult classic together definitely knew what they were doing: A big city college teacher (LeMat) goes searching for his missing ex-wife in a rural Midwest town, only to discover the town is populated by what appear to be very hostile aliens (for one thing, they love blowing up cars). The professor learns the aliens took over the town in the late 1950s, with our government's permission. One of the great gags in this delightful movie is that, 25 years later, nothing has changed in the occupied town. It's still full of hayseeds and sock hops and hideous American-made monster mobiles. A tabloid journalist (Allen) joins the professor in his search, and all hell breaks loose as the aliens attempt to keep their identity a secret. The supporting cast is populated by award-winning actors like Louise Fletcher, doing a variation on her legendary Nurse Wratchet (around the same time, she also appeared in a spoofy remake of "Invaders From Mars"), and Michael Lerner, whose woebegone character has lost his wife and kids to the aliens and has been locked away in the funny farm. The movie was clearly shot on a shoestring, with poor sound quality and way too many single takes (watch the little boy at the end put his right arm around his dad for a split second before dropping it and staring off-camera at what probably was one of his real-life parents). But the film also exhibits a unique charm and features some truly unnerving moments (dig the "Evil Dead" bit when the professor's dog, now a captive of the aliens, appears to rush back and forth past the professor on a lonely road, unseen but definitely there via incredible sound effects and unusual camera work. Also, some of the other effects are extremely satisfying in their crude way, such as a series of glowing orbs that hold the captive humans and the aliens' spaceship. Plus, the story's pace never slackens. There's something going on every second of this movie; there ain't no padding. The ending is utter hokum, but intentionally so, I suspect.