by Sam Juliano
It’s time to take a ride on the nightmare merry-go-round
You’ll be dead on arrival from the likes of the killer klowns
…from outer space -The Dickies
Cult cinema has no discernible boundaries, and is primarily defined by the implications of its title. The films within this classification are far from uniform by way of quality or genre, and neither are they confined by reputation or the temper of the original reviews. Movies develop a cult following over time as a result of its adherent engaging in repeat viewings, quoting dialogue and even in some fortuidous circumstances the opportunity to engage in audience parroting of dialogue at events or festivals hosted by characters dressed in flayboyant garb. The term itself originated in the 70’s, labeled to provide some description for underground films and those gaining added exposuse on the midnight circuit. Cult films can be controversial, appeal to specific subcultures or pure camp and for many provide hours of guilty pleasure. Films like Plan Nine from Outer Space, She-Demons and The Attack of the Crab Monsters have often been framed as movies “so bad that they are good”, and many of their more enterprising adherents have gleefully taken in repeated viewings while under the influence.
In 1988 the three Chiodo brothers disavowed the slasher trend by paying homage to the alien invasion movies of the 50’s in creating Killer Klowns from Outer Space, a most curious hybrid purportedly shot in Santa Cruz to allow for an East coast suburban look- that can fit comfortably as science fiction, horror or comedy, but unfailingly overlaps just when things appear they may be staying the course. Of course any movie with such a cheesy title invariably brings groans from those just discovering it, even taking into account the amusing coordination of the letter ‘k.’ The film’s premise borrows from 1958’s The Blob, (teenagers as the central protagonists, who are unable to convince adults of the threat until it is too late) which was coincidentally given an inferior remake in the year Killer Klowns released, though the matter of these anything-but-benign aliens desiring humans for sustenance may best be remembered from a classic 1962 Twilight Zone episode titled “To Serve Man.” The same theme was explored in a satirical 1980 horror film Motel Hell, which featured a deranged farmer and his sister fattening up unsuspecting victims of staged car accidents so they can be processed into breakfast meats. The script the Chiodos have written never vacates its satirical underpinnings, but the real menace of these garishly-clad space buffoons infiltrates the most unlikely scenarios: Ball pits, puppet shows, animal balloons, candy valentines, pies-in-the-face would all seem to be innocuous enough, but each enactment of their amusement properties bring lethal results . Even popcorn via clown head transformation can bring about your demise, and cotton candy is the source material of alien mummification. To be sure these clowns can’t hold a candle to the spike-toothed Pennywise in the film adaptation of Stephen King’s It in menacing countenance, but their behavior is far off the beaten track without an ounce of mitigating philanthropic intent. Grand Guignol makes a jolting entrance when a juvenile clown literally “knocks the block” off a vicious motorcyclist who spitefully mangled his bicycle after the youngster hinted at a more restrained behavior. But Marla Frazee’s warm and affable picture book The Farmer and the Clown this is not, and even the kiddies have adapted the murderous ways of their parents.
Yet, the terrifying scenes in the film are undermined by the tongue-in-cheek humor, self-parody and the preposterous idea that aliens of any stripe are dressed like carnival show provocateurs, returning the role of the clown to its most darkest conscription as hideous manifestations of terror. They are over sized, sport bad sets of teeth and project a sinister air. The story opens in the town of Crescent Grove, California, where a farmer observes an object falling to Earth nearby. He comes upon a circus tent, but both he and his dog “pooh bear” are captured and turned into cotton candy cocoons after the farmer is stunned by an electrical shock received after vowing to “tear this thing down with my bear hands” in retaliation for the seeming abduction of his dog. Enter Mike Tobacco and his girlfriend Debbie Stone upon investigation of the same tent find the inside far more intricate than the unsuspecting predecessors. What they see is William Cameron Menzies in juvenile mode, a Tinker toy design partially inspired by Dr. Seuss, and they barely escape through a tunnel, being pursued by the popcorn kernels shot off by a bevy of clowns and are subsequently chased by a balloon animal dog that comes to life. The one striking set piece of the deep focus chamber paid homage to the one in the 50’s science fiction classic Forbidden Planet. The two teenagers race off to the police station to inform Dave Hanson, Debbie’s former boyfriend who is sheriff. But the older racist and misanthropic officer Curtis Mooney -played with irresistible self-parody by John Vernon (Dean Wormer in Animal House) – cynically and laughingly dismisses the tale of dangerous clowns from outer space as a pitiful hoax and demeans Hanson for even entertaining the tiniest possibility that they are speaking the truth.
After they drop off Debbie, Mike and Dave investigate only to find the ship is gone. At first Dave tells Mike that Mooney was right to question the tall tale, but soon enough is back believing when they find the previously make-out spot covered in a cotton candy-like substance. The clowns meanwhile are capturing townspeople in cocoons with the aid of their toy-like ray guns. In a drug store a terrified elder employee watches as a clown wrecks havoc on the displays, while a teenage girl is terrorized in her home after a clown possesses an electronic nozzle. Mike and Dave encounter one of the clowns using a shadow puppet to shrink a crowd of unsuspecting people into the palm of his hand before feeding it to a bag full of its offspring, but it eludes capture. Back at the police station Mooney takes solace in liquor while continuing to ignore the non-stop calls from people requesting police assistance to combat the clowns. A towering clown wearing a smirk then enters, and Mooney boats in triumph that he came to just the right place. After he is squirted in the face he orders the clown to turn around so he can be hand cuffed. Mooney is temporarily unnerved when his prisoner impossibly twists his hands, but escorts him to a jail cell only to be knocked out a sudden thrust of the clown’s snaky arm. Dave returns to the police station to see that Mooney is being used as a puppet, prior to his brutal murder.
The film then amusingly segues into a series of events that eventually unveil the manor in which to stop the clowns – shoot them square in their big noses. Finally the ship is destroyed after some timely diversions, but the film ens on a humorous note when a few characters are pelted with pies to the laughter of the clowns.
The 80’s titular theme song by the punk band The Dickies splendidly underscores the film’s circus elements, while simultaneously accentuating the comic aspects of the story.
Here’s one born every minute, don’t you know
Some make us laugh, some make us cry
These clowns only gonna make you die
Everybody’s running when the circus comes into their towns
Everyone is running from the likes of the killer klowns
from outer space
killer klowns from outer space
jocko !
Ringmaster shouts let the show begin
Send in the klowns, then let them do you in
See a rubber nose on a painted face
Bringing genocide to the human race
It’s time to take a ride on the nightmare merry-go-round
You’ll be dead on arrival from the likes of the killer klowns
from outer space
killer klowns from outer space
Theres cotton candy in their hands
Says a polka-dotted man with a stalk of jacaranda
They’re all diabolical bozos
Oh look around what do you see
tell me what’s become of humanity
from California shores to New York Times Square
Barnum and Bailey everywhere
If you’ve ever wondered why the population’s going down
blame it on the plunder from the likes of the killer klowns
from outer space
killer klowns from outer space
The Chiodos are presently preparing a sequel to the film, Return of the Killer Klowns from Outer Space in 3D. Grant Cramer (Mike) will play a town drunk who tried to convince the townspeople of the past and future danger of the clowns, ultimately to no avail. Still, he will serve as a mentor for young street performers who are menaced by the new invasion. In press releases Cramer describes his character as “somewhere between the energy of Kris Kristofferson’s character in Blade and Christopher Lloyd’s character in Back to the Future.” Again Stephen Chiodo is set to direct, with brother Charles to serve as producer.
I know some will appraise this with the guilty pleasure tag, and I can fully understand that. But what comes clear in this tour de force review is that the film for all its cheesy execution is a creative spirit – the kind that comes up very early in a writer’s career. I am surprised it took the brothers this long to plan a sequel, but I’ll be there the first week. Love that cult cinema introduction Sam. The song is a hoot.
Thanks for the perceptive observations and very kind words Peter. I too can’t figure why a sequel after 28 years.
The sustained cult following has apparently paved the way for the sequel, even if it took many years to actually materialize. There are people who will go for nostalgic reasons alone.
Peter, there can little dout about what you have concluded here.
Sam, I’d love to see a countdown or a least a list or discussion about one’s most memorable guilty pleasures. I know a good number would come from the 50’s for many.
Peter, we have actually discussed that possibility in some of our threads, and it may still happen. I just placed an order for a blu ray of one of those trash classics/guilty pleasure from my childhood which delighted and surprised me with its upcoming release:
Mine would be the Roger Corman “The Attack of the Crab Monsters” which had many of us getting high on as teenagers. The dialogue is hysterical.
Tim, I must tell you that I was mildly disappointed the CRAB MONSTERS didnt sneak into this mix. I would have had a blast review it!
While camp and guilty pleasures are surely personal and acquired tastes, I—as a fan of cinema who rates the greatest camp amongst the greatest films ever made—find this film to be a rather boorish piece of intentionally made schlock. The great shlock comes from truly outré sources; people with sensibilities that are counter to mainstream acceptance but who nevertheless think they are within normal grounds. Films like Killer Klowns, Snakes on a Plane, and all the damn stupid Sharknado’s are made to be campy, and therefore aren’t. They’re ironic when the real camp is sincere; alarmist when the authentic is straight, pedestrian where the real is poetic.
You know it when you see it; Gordon’s From Beyond is true sci-fi camp beauty, KKiller Klowns is a cheap knockoff of the real thing with all the bells and whistles blaring, trying to fool you into thinking otherwise. Then there’s the additional gut punch of the countdown polling process: this lands above On the Silver Globe and Until the End of the World for the simple fact that USA’s Up! All Night with Ronda Shearer (god bless the bimbo, she was important to me at 12) thought everyone needed to see it all the time for half a decade. Same as the stuff I mentioned earlier, there is no doubt that more people have seen Sharknado than your average Zulawski. Or hell, in the camp sensibility, Sins of the Fleshapoids. Real camp is relegated to the obscure bins because, well, it actually is niche and divides audiences drastically.
That being said, the Dickies are great (as is Sam’s piece here). The first two records are essential to the rock canon.
While camp and guilty pleasures are surely personal and acquired tastes, I—as a fan of cinema who rates the greatest camp amongst the greatest films ever made.
Jamie that makes quite a lot of sense, and I’d have to agree with you in the end. KILLER KLOWNS is a polarizing film to be sure. I spoke to Allan yesterday on it and he was to be sure not remotely as polite as you – he called it irredeamable shite. 🙂 I guess the reason why I took this assignment was to somehow connect with the way I thought of the film when it released (I was 34). I subsequently remember acquired a high priced OOP laser disc when the film was all the rage in that format, but in retrospect was a imbecile for paying that $250.00, a sum I did not come close to recopuing when I sold it after DVDs took over. I never really considered this film scary, and the sci-fi elements aren’t as dominating as the comedy, some of which is admittedly cornball stuff. When I watched the film again on blu ray last week to prepare for this review I will admit it didnt work as well as it seemingly had in the past. So I will not by any stretch being going to the mat for it.
I do well understand your increduality over the film finishing ahead of the Wenders and Zulawski, and over several others that have appeared. Yes the Dickies did contribute a great song, and I know well that it was the debut of Cliff Martinez of the Red Hot Chili Peppers, who has gone on to write a few outstanding film scores. Thanks for mentioning the Dickies’ first two records being essential to the rock canon. I must reaquaint myself to those.
Thanks so much for the great comment and very kind words my friend!
Killer Klowns in a fun film, but not so sure it should be counted as a great “science fiction” film. I know you labored at length to discuss the elements as they worked with the horror and comedy, but it seems to me the sci-fi is the weakest classification for this film.
John Vernon had some of the best lines. The girl being terrorized in the bathroom and the scene where the young clown beheads the motorcycle bully with a single punch are my favorite scenes.
Kudos on a terrific write-up, you had me prisoner from the first sentence.
Mark, your point is very well taken. I do agree without reservation. Yes, Vernon was such a despicable character that you find yourself laughing at his over the top insults. Good choices for favorite scenes. Many thanks!!
Sam, I think your essay is better than the film you are review, lol. Actually it has always been a guilty pleasure for me, and I once saw it at the Chelsea Cinemas circa 2002 when it was hosted by the guy in drag. The audience was lively that night. Enough of the film is just too silly to count it as outstanding, but I’ve seen a lot worse. The Terenzi Brothers though had me shaking my head.
Well Frank, that is an ultimate compliment, though it makes me feel a bit red-faced for making a strong a case as I did. Still that Chelsea Cinemas screening had to be great stuff! I imagine you are speaking of “Hedda Lettuce” there? The Terrenzi’s weren’t exactly my favorite characters in the film, that’s for sure. Many thanks for the kind words my friend!
I’ve been a fan of the Dickies since they debuted. The song they wrote for Killer Klowns is a riot, as is the film. I have my doubts if the sequel will work after all these years, but the proof will be in the pudding. Great review!
Frank, I hear ya on the matter of the sequel. Thanks for the kind words and for stopping by! Great to hear another big fan of the Dickies!
As Frank said, your essay is a whole lot better, Sam, than the movie that’s its subject. I’m also surprised, for roughly Jamie’s reasons, to find Killer Klowns so high on the countdown; this is more of a landmark of SF cinema than Dr. Jekyll & Mr. Hyde (1931/2)? Even Gravity (2006), which as you know is not my cup of tea, would seem to have a better claim. Still, chacun a son gout.
Sometime in the 1990s I got about two-thirds the way through Killer Klowns and realized the dishes were in desperate need of washing.
John, I can’t deny that this film finishing ahead of DR. JEKYLL and the films Jamie mentioned is rather an embarrassment for this countdown, especially since the primary appeal of KILLER KLOWNS in my estimation is comedic. Having said that I know that with many it doesn’t work on that front either. But yes, as you subsequently say there, some room has to be provided for taste even if in this case it can be seriously questioned. 🙂
I love that final sentence. hahaha! Thanks for the very kind words!
To clarify, it’s not the comedy that bothers me — Sleeper is very funny, but also a fine piece of SF. You could say the same for The Hitchhiker’s Guide to the Galaxy and others . . .
Hm. Talking of The Hitchhiker’s Guide to the Galaxy, I’ve just realized something.
John I hear and completely understand where you are coming from. You like comedy but “better” comedy than what is on display in KILLER KLOWNS. 🙂 I never thought of HITCHHIKER’S GUIDe for this, but I wasn’t a big fan of that one myself. Still, fair enough.
I never thought of HITCHHIKER’S GUIDe for this, but I wasn’t a big fan of that one myself. Still, fair enough.
I loved the original six-part radio series; if you ever get the chance to listen to it, grab it; it’s probably around on the intertubes for streaming somewhere. The books are okay, and likewise the TV series. For me it’s a bit of a tossup between the movie and the TV series; probably I prefer the movie. So it’s not great, but I think it does deserve some recognition for being a one-of-a-kind and as an example of written SF being quite ably transferred to the screen (which, as you know, it often isn’t). Other examples of the latter might be Who? (1973) and The Lathe of Heaven (1980 TVM) — whether they’re great movies is a separate issue, but I’d argue they succeed in putting the strengths of their written originals up there in front of us.
John, I’d certainly give a listen to that radio series if the opportunity availed itself!
I’d assumed it’d be somewhere online, but a quick look around suggests that it’s not. (There’s a fake “radio version” on YouTube that presumably uses the original scripts but has little life to it.) Annoyingly, I used to have the whole of the first series on cassette, recorded orft my tranny (as we called radios in those days!), and would happily have lent the set to you, but alas the things are long-lost.
I’ll persue some research on it now.
You might be able to get the CDs through your local library.
i will check the inter-library loan database! Thank you.
I think Killer Klowns isn’t worth anyone’s time, but I’d still take it over Gravity, because you know, ‘serious’ films whose themes are contained in sentences under 10 words are never worth the same as smutty garbage. It’s a near cinema truism; sort of like ‘always bet on black’ in Roulette. It’s just something you learn from living life.
But the rest? Yeah, this doesn’t deserve it.
I completely agree that KILLER KLOWNS for all its flaws is decisively better than GRAVITY.
I’d still take it over Gravity, because you know, ‘serious’ films whose themes are contained in sentences under 10 words
Who said Gravity is a serious movie? As far as I’m concerned it’s just entertainment.
As an aside, I do think your suggestion that “films whose themes are contained in sentences under 10 words” are necessarily crap could be a bit misdirected. Sometimes great screen offerings can come from incredibly simple premises. In an ideal world, I’d now reel off a whole scad of examples, but it’s Friday evening, I’ve knocked off work for the night, and the first beer’s inside me . . .
As an aside, I do think your suggestion that “films whose themes are contained in sentences under 10 words” are necessarily crap could be a bit misdirected.
Yes, when I’m misquoted, it will be ‘misdirected. Gravity moves with a tone that purports it to have (pun intended) the gravity of a meditative movie on several serious themes. That all it is, as you say, ‘entertainment’ is why I have no problem with dreck like Killer Klowns placing over it.
Gravity moves with a tone that purports it to have (pun intended) the gravity of a meditative movie on several serious themes.
It does? That aspect of it went right past me . . . 🙂
Well, I’m attempting to not be anecdotal; your and I’s singular opinion on Gravity means little to how the film was presented and received by the culture at large.
But we can move on. It’s fruitless to my overall point(s).
I don’t think this film would have ever been on my radar. It looks more like a cult classic than anything else for sure. I don’t think it would appeal to me though. Sorry Sam.
Jon, I did indeed lay out the grounds for it in my lengthy first paragraph as a cult film. I couldn’t say whether it would appeal to you or not, and I understand it all comes down to whether or not the viewer buys into this brand of humor.
I think the dumb nature of this film is what works in it’s favor, even if it seems a bit of an odd choice for a science-fiction countdown. Sam, your review is so outstanding that you have at least me thinking there’s even more than I saw myself when seeing it years ago. That Dickies theme song is infectious and who doesn’t love John Vernon? Those clowns are spooky.
You make some excellent points there Tim! And I share your appreciation of course for the Dickies and John Vernon. Thanks so much my friend!