I figli del fuoco

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.

I really wanted to love Spontaneous Combustion: I like the basic idea, Brad Dourif is a cool actor, Tobe Hooper is the legendary director responsible for my favourite horror film, and some of the flame effects are pretty intense (I repeat: 'some'). Hell, there's even a fun cameo from John Landis. The problem is that the film just doesn't make a lot of sense.

Dourif plays Sam, a young man who discovers that the anti-radiation experiment which caused his parents to spontaneously combust in the 1950s is now responsible for some equally strange side effects in his own body. As Sam tries to prevent himself turning into a small pile of smouldering ash, he realises that his whole life has been a lie perpetrated by sinister industrialist Lew Orlander (William Prince).

With some incomprehensible cobblers about an evangelist who preaches to Sam over the radio, a puzzling sub-plot involving a nuclear power station, a killer who inexplicably uses glowing green goop in a syringe to bump people off, and the never-adequately explained presence of a continually growing birthmark on Sam's hand, I lost the plot about half-way through and had to content myself with the occasionally impressive body burn stunts and a modicum of manky make-up effects.

The first movie made by Hooper after his unsuccessful three film deal with Cannon, Spontaneous Combustion unsurprisingly didn't set the box-office on fire either, and the director's career has failed to reignite ever since.

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.

I really don't understand why so many people hate this movie! I mean, I cry every time I see the end of it, I love the music that gets played over the end credits (the one I like to call the 'Sam & Lisa love theme',) I love the acting, and I love the *tragic* relationship between the two main characters.

Brad Dourif's always been one of my favourite actors, and I think it's really cool that he puts so much into his acting in 'Spontaneous Combustion' that he is actually sweating. (Remember that scene in the phone box when he's talking to Lisa and asking her 'what was in those pills you gave me?'

I think Tobe Hooper did really well making this one. (I'm looking forward to seeing his new film; 'Brew', which also stars Brad Dourif and Bill Moseley from 'House of 1000 Corpses.')

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.'