LIFEFORCE

When you pop in a movie based on a book called THE SPACE VAMPIRES, you expect certain things. Lack of quality to be the first thing. Especially when you see that it’s made by the Cannon Group which graced us with such magnificent titles like THE HAPPY HOOKER GOES HOLLYWOOD and BREAKIN’ 2: ELECTRIC BOOGALOO.

But life is full of curveballs, and THE SPACE VAMPIRES is an actually good novel and LIFEFORCE is actually a really good movie. Directed by Tobe Hooper after the success of POLTERGEIST, LIFEFORCE is a reinterpretation of the vampire mythos with a space shuttle discovering a trio of humanoids in suspended animation. They bring them back to Earth and realize they have powers and motivations similar to the bloodsuckers of yore.

Almost everything in LIFEFORCE is fascinating: the lead actor, Steve Railsback always carries an unpredictability to him that looks like he’s either going to jump off a cliff or rob a liquor store; John Dykstra’s opening visuals are top-notch; the wilted/hollowed-out effect of the vampire victims are terrifying, especially when they explode into dust; Mathilda May is stunning as the lead vampire, walking around naked as a jay-bird the majority of the picture, but holding a presence of power with no vulnerability.

In many ways, LIFEFORCE is a parallel story to Bram Stoker’s DRACULA. Both have ships carry the vampire to British Shores with a dead crew aboard; the vampire takes up residence on once sacred ground; the vampire shares a psychic bond with a lover that seems to go way beyond a parasite/victim relationship.

I wonder what would’ve happened if Cannon had found success with LIFEFORCE. It would’ve been nice to have seen other films benefit, like an actual budget in play for SUPERMAN IV: THE QUEST FOR PEACE and MASTERS OF THE UNIVERSE, instead of the cost-cutting atrocities we’re left with now.