The Frighteners
1996 film by Peter Jackson From Wikipedia, the free encyclopedia
1996 film by Peter Jackson From Wikipedia, the free encyclopedia
The Frighteners is a 1996 supernatural comedy horror film directed by Peter Jackson and co-written with Fran Walsh. The film stars Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Dee Wallace Stone, Jeffrey Combs, R. Lee Ermey and Jake Busey. The Frighteners tells the story of Frank Bannister (Fox), an architect who develops psychic abilities allowing him to see, hear, and communicate with ghosts after his wife's murder. He initially uses his new abilities to befriend ghosts, whom he sends to haunt people so that he can charge them handsome fees for "exorcising" the ghosts. However, the spirit of a mass murderer appears posing as the Grim Reaper, able to attack the living and the dead, prompting Frank to investigate the supernatural presence.
| The Frighteners | |
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Theatrical release poster | |
| Directed by | Peter Jackson |
| Written by |
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| Produced by |
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| Starring | |
| Cinematography |
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| Edited by | Jamie Selkirk |
| Music by | Danny Elfman |
Production company | |
| Distributed by | Universal Pictures[1] |
Release date |
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Running time | 110 minutes[2] |
| Countries | |
| Language | English |
| Budget | $26 million[4] |
| Box office | $29.3 million |
Jackson and Walsh conceived the idea for The Frighteners during the script-writing phase of Heavenly Creatures. Executive producer Robert Zemeckis hired the duo to write the script, with the original intention of Zemeckis directing The Frighteners as a spin-off film of the television series, Tales from the Crypt. With Jackson and Walsh's first draft submitted in January 1994, Zemeckis believed the film would be better off directed by Jackson, produced by Zemeckis and funded/distributed by Universal Studios. The visual effects were created by Jackson's Weta Digital, which had only been in existence for three years. This, plus the fact that The Frighteners required more digital effects shots than almost any movie made until that time, resulted in the eighteen-month period for effects work by Weta Digital being largely stressed.
Despite a rushed post-production schedule, Universal was so impressed with Jackson's rough cut on The Frighteners, the studio moved the theatrical release date up by three months. The film was not a box office success, but received generally positive reviews from critics. The film gained a cult following and is considered a cult classic in Jackson's catalog.[5][6][7][8][9]
In 1964, in the town of Fairwater, California, orderly Johnny Bartlett is executed for killing 12 people at a sanatorium, driven by his ambition to become the most prolific serial killer. His teenage lover, Patricia Ann Bradley, is treated as an accomplice and sentenced to prison. Many years later, she is released into her mother's care and kept under strict house arrest.
In 1990, Frank Bannister, a successful architect, is a self-centered husband to his wife, Debra. During an argument, an inebriated Frank crashes his car, and police later find Debra dead nearby with the number '13' carved into her forehead. Frank has no memory of the event, but the trauma grants him the ability to see the spirit world. In the present, Frank lives in the unfinished remnants of the dream home he was building for Debra. Wracked with guilt over her death, Frank has become a cynical con man, using his abilities to "exorcise" hauntings staged by ghosts in his employ: street gangster Cyrus, nerdy Stuart, and The Judge, an Old West gunslinger.
While exorcising the home of physician Lucy Lynskey and her self-absorbed husband Ray, Frank notices the number "37" glowing on Ray's forehead. Ray later dies of what seems like a heart attack. As Frank helps Lucy communicate with Ray's ghost at a local restaurant, he witnesses a Grim Reaper-like entity crush the heart of a man marked "38". Panicked, Frank flees and follows a heavenly light to the museum, where he discovers the number 39 victim and the Reaper's next target, newspaper editor Magda Rees-Jones. Frank fails to save Magda from the Reaper, who also kills The Judge. Realizing the murders are pointing to him, Frank turns himself in to the police. He is investigated by Milton Dammers, an eccentric and unstable FBI agent traumatized by years of torture and sexual abuse while working undercover with Satanic cults. Dammers is convinced that Frank killed Debra and is responsible for the high number of unexplained heart attack deaths in the town.
Lucy visits Frank in jail and they bond over their shared losses. The Reaper attacks Lucy, the number 41 victim, and Cyrus and Stuart are killed defending her and Frank while they escape. Aware he cannot protect her from the Reaper as a human, Lucy induces a near-death experience in Frank using drugs to slow his heart. Dammers captures Lucy, intending to let Frank remain dead, but Frank's spirit rescues her and inflicts enough damage on the Reaper to destroy his disguise, revealing him as the spirit of Bartlett, who seeks to raise his murder count even higher after death. Though poised to finish Bartlett, Frank is resurrected before landing the final blow, allowing Bartlett to escape.
While Frank recovers following his revival, Lucy warns her patient, Patricia, of Bartlett's return. Patricia reveals she is still in love with Bartlett and summoned him from Hell to continue their murder spree. Patricia kills her mother, while Frank and Lucy trap Bartlett in his urn and flee to the abandoned sanitorium, intending to take his ashes to the chapel and banish him back to Hell. While Patricia and Dammers each pursue the pair through the sanitorium, Frank experiences visions of the 1964 massacre, showing Patricia was actively involved in the murders. This helps Frank recall that Bartlett's ghost killed Debra after the crash and Patricia carved the number into her forehead. Dammers manages to corner Frank in front of the chapel and takes the urn, unwittingly releasing Bartlett before being killed by Patricia.
Patricia fatally strangles Frank before moving on to a restrained Lucy, but as a spirit, he pulls her soul from her body and ascends to Heaven, dragging Patricia's spirit with him and forcing Bartlett to give chase. Although Bartlett frees Patricia and attempts to return to Earth, they are consumed by a demonic creature and taken to Hell. Frank arrives in Heaven where he is reunited with Cyrus, Stuart, and Debra, who sends him back to Earth, telling him to be happy.
Sometime later, Frank demolishes his incomplete house and starts a relationship with Lucy, who, following her own close encounter with death, can now see ghosts as well.
In addition, Peter Jackson cameos as a man with piercings, his son Billy is a baby in a bouncer, Melanie Lynskey cameos as the deputy who is briefly seen standing next to Lucy Lynskey, Byron McCrawerly plays Victim #38 and Angela Bloomfield plays Frank's deceased wife, Debra.
Peter Jackson and co-writer Fran Walsh conceived the idea for The Frighteners in 1992, during the script-writing phase of Heavenly Creatures.[13] Together, they wrote a three-page film treatment and sent it to their talent agent in Hollywood. Robert Zemeckis viewed their treatment with the intention of directing The Frighteners as a spin-off film of the television series, Tales from the Crypt (which he helped produce).[14][15] Zemeckis hired Jackson and Walsh to turn their treatment into a full-length screenplay in January 1993.[10] The husband and wife duo completed their first draft for The Frighteners in early-January 1994. Zemeckis was so impressed with their script, he decided The Frighteners would work better directed by Jackson, executive produced by Zemeckis and funded/distributed by Universal Pictures.[15] Universal green-lighted the film to commence pre-production on a $26 million budget in April 1994.[13][16] The studio also granted Jackson and Zemeckis total artistic control and the right of final cut privilege.[14]
Jackson decided to film The Frighteners entirely in New Zealand.[17] Zemeckis and Universal agreed on the condition that Jackson made New Zealand look similar to the Midwestern United States.[11] Principal photography began on May 14, 1995, and lasted until November 16, which is one of the longest shooting schedules ever approved by Universal Pictures. Six weeks into the shoot, cinematographer Alun Bollinger had a serious car accident. His replacement, John Blick, later alternated duties with Bollinger for much of the rest of the shoot.[18] Location shooting primarily included Wellington and three weeks spent in Lyttelton. Interior scenes were compiled at Camperdown Studios in Miramar.[11]
Jackson's Weta Digital created the visual effects, which included computer-generated imagery, as well as scale models (which were necessary to make Lyttelton look American),[10] prosthetic makeup and practical effects with help from Weta Workshop. Visual effects supervisor Richard Taylor explained that effects work on The Frighteners was complex due to Weta's inexperience with computer technology in the mid-1990s. Prior to this film, Weta worked largely with physical effects. With so many ghosts among its main cast, The Frighteners required more digital effects shots than almost any movie made up till that time. For a special effects company that had been in existence less than three years, the eighteen-month period for completing The Frighteners was largely stressful.[18] Some shots were handled by a small New Zealand company called Pixel Perfect, many of whose employees would eventually join Weta Digital.[10] Rick Baker was hired to design the prosthetic makeup for The Judge, portrayed by John Astin (the detachable jawbone was later added digitally). However, Baker was not able to apply Astin's five hours of makeup due to his commitment on The Nutty Professor.[18] Makeup artist Brian Penikas (Pirates of the Caribbean trilogy, Indiana Jones and the Kingdom of the Crystal Skull) fulfilled Baker's duties.[19]
The extended shooting schedule owed much to the fact that scenes where ghosts and human characters interacted had to be filmed twice; once with human characters acting on set, and then with the ghost characters acting against a blue screen. The two elements would later be digitally composited into one shot with the use of split screen photography. Such sequences required precise timing from the cast as they traded dialogue with characters who were merely blank air.[18] The hardest challenge for the digital animators at Weta was creating the Grim Reaper, which went through many transformations before finding physical form.[19] "We set out with the intention of doing the Reaper as a rod puppet, maybe shooting it in a water tank," Jackson commented. "We even thought of filming someone, dressed in costume, at different camera speeds."[18] Test footage was shot with puppets and a man in a Reaper suit, but in the end, it was decided that using computer animation would be the easiest task. Another entirely computerized character called "the Gatekeeper", a winged cherub who helps guard the cemetery, was deleted from the final cut.[20]
With digital effects work running behind schedule, Zemeckis convinced Wes Takahashi, an animation supervisor from visual effects company Industrial Light & Magic, to help work on The Frighteners.[20] "The shots Zemeckis showed me were pretty remarkable," Takahashi reflected, "but there were still about 400 shots to do, and everyone was kind of worried."[4] Takahashi was quickly drafted as a visual effects supervisor, and began looking at the schedule, trying to work out whether The Frighteners could be finished in time. "There was no way we'd make the deadline. I figured out a concerted plan involving Jackson and Zemeckis to convince Universal it was worthy of asking for more money."[4] The executives at Universal proposed splitting some of the shots to visual effects companies in the United States, but Jackson, for whom the film was a chance to show New Zealand filmmaking could stand alongside Hollywood, convinced Universal otherwise.[4] Instead, The Frighteners received an accelerated release date, four months earlier than planned, and an additional $6 million in financing, with fifteen digital animators and computer workstations (some were borrowed from Universal and other effects companies in the US).[21]
The film score was written and composed by Danny Elfman. It was released in 1996 on cassette and compact disc by MCA Records and Universal Records.[22] The closing credits play a cover of Blue Öyster Cult's "(Don't Fear) The Reaper" performed by New Zealand alternative rock band The Mutton Birds.[23][24] The Mutton Birds version of the song had been previously released as a B-side to their single "She's Been Talking" released in 1996.[25] The credits also feature "Superstar", written by Bonnie Bramlett + Leon Russell and performed by Sonic Youth.
The intended release date was October 1996, but after Universal studio executives viewed a rough cut of The Frighteners, they were impressed enough to move the release date to their "summer blockbuster slot" on July 19, 1996.[26] In addition, Universal offered the filmmaker the opportunity to make King Kong, which was not released until 2005.[27] Jackson often disputed the Motion Picture Association of America (MPAA)'s decision on the film's rating. Aware that he was meant to be delivering Universal a PG-13 rated film, Jackson tried his best to omit graphic violence as much as possible, but the MPAA still believed The Frighteners deserved an R rating.[28]
The Frighteners was released in the United States in 1,675 theaters, and opened at #5, earning $5,565,495 during its opening weekend, averaging $3,335 per theater. The film eventually grossed a worldwide total of $29,359,216.[29] The Frighteners ended up being a box office disappointment, mostly due to competition from Independence Day;[30] in interviews conducted years after The Frighteners' release, Jackson commented he was disappointed by Universal's ubiquitous marketing campaign, including a poster which "didn't tell you anything about the picture",[10] which he believed was the primary reason the film was not a financial success.[16] Additionally, the film opened on the same day the Atlanta Summer Olympics began; when Jackson realized this and told the studio, they answered "'We don't think so; our research indicates that's not the case...' And I just thought how the hell do they know? There had only ever been three Olympic Games held in the United States in one hundred years!" Jackson acknowledged The Frighteners' tone made it hard to pigeon-hole and sell, and his experience on the film made him understand the importance of marketing.[10]
As of December 11, 2021[update], 67% of the 42 reviewers selected by review aggregator Rotten Tomatoes gave The Frighteners a positive review, and the average score is 6.2/10. The website's critical consensus states, "Boasting top-notch special effects and exuberant direction from Peter Jackson, The Frighteners is visually striking but tonally uneven."[31] Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.[32]
Kenneth Turan of the Los Angeles Times stated "Director Peter Jackson, at home with all kinds of excess in New Zealand, keeps everything spinning nicely, not even losing a step when the mood turns increasingly disturbing."[33] Janet Maslin from The New York Times enjoyed The Frighteners, but "walked out the theater with mixed emotions," she commented that "Peter Jackson deserves more enthusiasm for expert, imaginative effects than for his live actors anyhow. These lively touches would leave The Frighteners looking more like a more frantic Beetlejuice if Jackson's film weren't so wearyingly overcrowded. The Frighteners is not immune to overkill, even though most of its characters are already dead."[34] Jeff Vice of the Deseret News praised the acting in the film, with the performances of Fox and Alvarado in particular, but said that there were also "bits that push the taste barrier too far and which grind things to a screeching halt", and that if "Jackson had used the restraint he showed in Heavenly Creatures, the movie could have "been the best of its kind".[35] Critic Christopher Null praised the film, as he described it as a mixture between Ghostbusters and Twin Peaks.[36] Michael Drucker of IGN said that although the film would not make Jackson's top five of movies, it "is a harmless and fun dark comedy that you'll enjoy casually watching from time to time".[37] The Frighteners received mixed reviews from critics from Jackson's native country, New Zealand.[28]
Conversely, Todd McCarthy of Variety thought that the film should have remained an episode of Tales from the Crypt.[38] Critic James Berardinelli believed that although The Frighteners wasn't "a bad film", it was "a disappointment, following Jackson's powerful, true-life matricide tale, Heavenly Creatures", and because of that "The Frighteners fell short of expectations by being just one of many in the long line of 1996 summer movies."[39] Chicago Sun-Times' Roger Ebert gave the film one star out of four, and felt that Jackson was more interested in prosthetic makeup designs, computer animation, and special effects than writing a cohesive storyline.[40] Ebert and critic Gene Siskel gave it a "two thumbs down" rating on their TV show At the Movies with Gene Siskel and Roger Ebert.[41] Chicago Reader critic Jonathan Rosenbaum, described the film's special effects as "ugly, aggressive" and "proliferating", saying that "trying to keep interested in [the special effects] was like trying to remain interested in a loudmouth shouting in [his] ear".[42] Edward Guthmann of the San Francisco Chronicle stated that "instead of moving the horror genre in new directions, The Frighteners simply falls apart from its barrage of visual effects and the overmixed onslaught of Danny Elfman's music score".[43] The Austin Chronicle's Joey O'Brien, said that although the screenplay was "practically loaded with wild ideas, knowingly campy dialogue and offbeat characterizations", it "switched gears" too fast and too frequently that "the audience is left struggling to catch up as [The Frighteners] twists and turns its way unmercifully towards a literally out-of-this-world finale".[44]
At the 23rd Saturn Awards, the Academy of Science Fiction, Fantasy and Horror Films honored Jackson with nominations for Best Director and Best Writing, the latter he shared with wife Fran Walsh. The Frighteners also was nominated for Best Horror Film, and for its Special Effects, Make-up (Rick Baker) and Music (Danny Elfman). Michael J. Fox and Jeffrey Combs were also nominated for their work.[45]
"The Frighteners" was released on Laserdisc in 1996 in a standard release with Dolby surround on both Digital and Analog channels.
In 1998 Universal Home Video as part of the Signature Series collection released a special edition. This includes the first release of the 12 minute longer "Directors Cut" plus the following extras: Feature commentary by director Peter Jackson 4 hour documentary 'The Making Of The Frighteners' directed by Peter Jackson featuring cast interviews, rehearsals, storyboarding, miniatures and special effects Deleted scenes Theatrical trailer
The later DVD was a re-release of this with inferior audio.
The Frighteners was first released on DVD in August 1998, but included no special features.[46]
To coincide with the release of Jackson's King Kong,[37] Universal Studios Home Entertainment issued a double-sided director's cut DVD of the film in November 2005,[47] which featured a version of The Frighteners that was 12 minutes longer.[36] The other side includes a documentary prepared by Jackson and WingNut Films originally for the Laserdisc release.[47] The theatrical and director's cut were also made available in HD DVD in 2007 and Blu-ray in 2011.[48][49]
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