This 4K Ultra HD release from Synapse Films is available for purchase on March 11th (a separate Blu-ray only version is also available on the same date).
Occasionally, films from the past get caught in a kind of limbo. They sometimes appear on VHS, only to vanish from sight for extended periods of time. This can be due to ownership issues with the title, or various clearances of some sort that only applied to the initial release, making subsequent editions of a title hard to distribute. One of those films is the heavy-metal cult horror title Trick or Treat. Rumors suggest that the music clearances were the major roadblock, with the various song rights from the artists featured in the film causing considerable problems in getting the picture back out there.
When the movie was originally released, it was a modest success and appeared on VHS the following year, but didn’t receive a DVD release until 2002. I owned this version, truth be told, it looked more like a bootleg than an official release. The disc was absolutely terrible, with a washed-out, pan-and-scan transfer and poor sound.
Synapse Films has been working for some time on properly rereleasing the picture. After several years, they have succeeded. Trick or Treat is finally available for purchase as either a 4K Ultra HD title or on Blu-ray. The 4K image restoration is from the original camera negative and was supervised by director of photography and Oscar-winner Robert Elswit (who would later go on to shoot Tomorrow Never Dies, Bound, Magnolia, Punch-Drunk Love, There Will Be Blood and Nightcrawler among many others). As it turns out, the movie was beautifully shot and horror fans can now finally see it properly presented for the first time since its theatrical release. Everything about the release is remarkable, and, for anyone who fondly remembers the movie or appreciates horror movies with a musical backdrop, this is a must-buy.
Back in the early and mid-1980s, right-leaning politicians and religious figures took aim at popular music, stating that the messages contained in modern songs, particularly heavy metal music, was satanic. This caused a minor panic in conservative America and this film plays with the notion of musicians having ties with the supernatural.
For teen Eddie “Ragman” Weinbauer (Marc Price), high school life is nothing short of horrible. The heavy metal fan is an outcast at school, frequently bullied and tormented by jock Tim Hainey (Doug Savant), and other classmates, with one exception being Leslie Graham (Lisa Orgolini), who feels sympathy for his plight. Eddie’s only pal is Roger (Glen Morgan), and when his buddy isn’t around, the lead escapes into the world of heavy metal music.
When news arrives that his favorite musician, who grew up in the area, Sammi Curr (Tony Fields) has died in a fire, the stunned teen visits local DJ Nuke (Gene Simmons). Nuke warns Eddie that Curr wasn’t the nicest fellow, but knowing how much the teen loved his music, gives him the last known recording from the artist. The student plays the LP on his turntable and decides to search for hidden messages through backwashing, the act of spinning a record backwards. Sure enough, this raises Curr from the dead. While the musician initially helps the teen deal with bullies, the scarred, undead Curr turns violent and becomes a threat to everyone. Eddie must stop Curr and destroy all copies of the recording before all is lost.
It has been a long time since I originally saw the movie, but what really struck me as I revisited it is how good the performances are and how humorous the movie is despite its subject matter. Director Charles Martin Smith and lead Marc Price really do an exceptional job of making Eddie a relatable outcast. Viewers see a nice character arc as he moves from an alienated teen to rage-filled reactionary, eventually realizing the errors of his ways and the threat of Curr, finally trying to save everyone, including his personal enemies. Price was about 17 at the time of filming, and is authentic and compelling in the role.
Another exceptional choice is the casting of Glen Morgan as Eddie’s best pal, Roger. Morgan was not an actor and was a punch-up writer for the feature with James Wong (the pair would later work on The X-Files together, as well as the movies Final Destination and Willard), but you wouldn’t know it based on his performance. His general temperament and reactions to the outrageous supernatural events are hysterical (a shot involving his character cleaning up his house after a messy encounter with Curr may be the movie’s funniest moment). The feature also does a great job of humorously attacking the absurd, conservative views of metal music critics during this era. Ozzy Osbourne has a hilarious cameo as a preacher who appears on TV to denounce rock and he’s hilarious to watch.
And the villainous Sammi Curr character is sinisterly charismatic as well. The attack scenes involving the musician are creative and darkly amusing. This isn’t a particularly gory movie, with the villain often electrocuting victims and turning them to dust and ash. Yet there are strikingly memorable moments in which anti-metal figureheads are pulled out of a television set and the character uses a guitar to fire at and literally blow-up victims. It’s actually very entertaining to witness.
The movie is full of 80s metal from Irish band Fastway and several of the tunes are memorable. It’s certainly a product of its era, but Trick or Treat is a fun movie that stands above many other titles of its ilk, thanks to its unique voice, well-drawn young characters, driving music and enjoyment in making fun of those attacking metal music during this era.
As mentioned, the image quality on display is fantastic. There is a bit of natural grain here and there in some of the dark, smokier scenes, but the image is, in general, very sharp and there are vibrant colors throughout. A lot of the film pops, particularly during scenes with Curr. The film looks better here than it ever has before.
The extras on this release are also stellar. There are three commentary tracks. The first is with director Charles Martin Smith, who goes over his early career as an actor (in films like American Graffiti, Never Cry Wolf and Starman), what drew him to directing and how he approached this project. He notes that he was always curious about the filmmaking process and pestered most of the directors he worked with, including Geroge Lucas and John Carpenter. On Never Cry Wolf, he spent so much time in post-production with director Carol Ballard (The Black Stallion) that he felt comfortable trying to direct. He shot some commercials, and when he heard that the producers of Trick or Treat were searching for a director, met with them.
Smith talks about the casting process and his ability to get the best out of actors (having been one himself). There is some discussion about backmasking and how he was aware of it from back in the days of The Beatles. It becomes clear that Smith focused on the characters to help make the somewhat silly story believable and really wanted to make Eddie a relatable lead.
Smith mentions having difficulty casting Roger and how Glen Morgan ended up in the role, as well as working with Gene Simmons and Ozzy Osbourne. In particular, he notes how amused Osbourne was by his experience. Apparently, huge crowds appeared to get a glimpse of the famous musician when he came to the set. No one recognized Osbourne because of his costuming as a reverend and he found it hilarious.
Smith also talks about not casting a rock star in the role of Sammi Curr. He felt that it was an important part with many facets and that, while having stage presence, most rock stars weren’t trained thespians and might have trouble with the part. Smith found dancer/actor Fields to have a strong cinematic presence and it certainly shows in the finished product.
The director talks about the difficulties he had on the set, shooting fourteen-hour, six-day weeks in order to get the film completed on a budget of $3 million dollars. He also notes that he did want to focus on comedy and do something a little different with the genre, since bloody slashers had become a little stale by the time they were in production. The filmmaker tells plenty of great stories and is fun to listen to.
The same goes for the interview commentary track featuring separate discussions with writer/producer Michael S. Murphey, and writer Rhet Topham. Murphey was a young producer at the time who had found success with A Nightmare on Elm Street 2: Freddy’s Revenge. Dino De Laurentiis called him in for a meeting, stating that he had a title, Trick or Treat, and that he and his partner could do whatever they wanted if they could produce the film for $3 million dollars. Stories about the famed Italian are very funny, and he also mentions how the concept was developed, how they settled on Charles Martin Smith as director and their role as producers.
Meanwhile, Topham talks about his work on the script, how much of it came from his own experiences and offers insight into the script. This commentary is another fantastic and informative track
Additionally, there is a third audio commentary with Paul Corupe and Allison Lang, authors of Satanic Panic: Pop-Cultural Paranoia in the 1980s. The pair go over the history of backmasking, and those involved in trying to censor music, calling it a satanic force for evil. It’s also very informative, as the pair note some of the main figures involved during the 1980s. Many of the most famous leaders of the movement were simply opportunists trying to capitalize, monetize and get themselves publicity by appearing on shows and screaming about the horrors of metal music.
There is also an all-new retrospective documentary on the movie featuring cast and crew, including actors Marc Price, Glen Morgan, Elise Richards, and Larry Sprinkle, writer/producer Joel Soisson, costume designer Jill Ohanneson, assistant set costumer Francine Decoursey, construction foreman Tom Jones, Jr., special make-up effects artist Everett Burrell, music executive producer Stephen E. Smith, composer Christopher Young, along with a special appearance by Gene Simmons.
The documentary tells lots of remarkable stories about the production and clears up some questions that many fans have had about the movie. One involves a still featuring a Conan the Barbarian-esque fantasy scene that never made it into the finished film, as well as an elaborate shot early in the film that director Charles Martin Smith regrets removing from the final cut.
You’ll also learn about the demon featured in the back seat of a car during a memorable sequence, the reason for its inclusion (DeLaurentiis insisted on a bit of nudity in the picture), while cast member Elise Richards talks about the scene. It seems as though she was more comfortable with her nakedness than the crew, as she had a nudist in her immediate family and enjoyed her time on set. The doc also suggests that the film probably wasn’t as successful at theaters as hoped for because it was lighter and funnier in tone than many horror fans anticipated, leaving many confused.
Another extra is a tribute to Tony Fields, featuring interviews with the late actor’s family and friends. It’s really sweet and gives more details about the actor’s life and career, as well as how much he is missed and appreciated by all in his hometown of Davis, California.
The disc contains a look at the filming locations in Wilmington, North Carolina back in 1985, comparing them to how they look today. There is also a music video from the movie included, as well as promo materials including trailers, TV spots and radio ads, along with a still gallery featuring an optional audio interview with the movie’s still photographer. The vintage electronic press kit is also included on the disc.
And, of course, the packaging is impressive as well, with reversible cover artwork and a nifty cardboard sleeve.
Since I was a relatively young boy when I first saw Trick or Treat, the film made a definite impression on me. Revisiting it has been a great experience. It’s a nice departure from many genre flicks of the era and holds up quite well. This is a strong 80s horror/comedy with lots of visual panache and characters you do care about. It’s clear that the makers of the movie cared about making the best film they could, and that Synapse Films has done an incredible job and gloriously restored it.
This release is a truly wonderful blast from the past and comes highly recommended.