PopHorror Let's Get Scared
“Rock’s chosen warriors will rule the apocalypse!”
October 24, 2021, marks the the thirty-fifth anniversary of the release of veteran character actor Charles Martin Smith’s directorial debut, 1986’s heavy metal horror flick, Trick or Treat. (another PopHorror writer’s thoughts on the film). The film flashes its metal bona fides often, showing us posters and album covers from the likes of Judas Priest, Anthrax, Megadeth, Exciter, and Motley Crue. Ultimately, it lifts from other (better) films, but it’s silly fun, and while it may play to the old school headbangers in the audience, there’s plenty here that casual horror fans will enjoy.
Marc Price (aka Skippy from the beloved ’80s sitcom, Family Ties) is our lead as metalhead outcast high schooler Eddie. The target of constant bullying from popular jock Tim (Doug Savant: Teen Wolf 1985) and his crew, Eddie finds solace in his Walkman and record player. After a particularly humiliating episode where Eddie is forced out of the locker room while naked and then photographed by the girls’ gym class, Leslie (Lisa Orgolini: Paper Dolls 1982) takes pity on him. Considering Eddie has been admiring Leslie from afar for some time, this is a happy development.
However, the awkward rocker is still mourning the death of his hero, local boy turned metal god Sammi Curr (the late Tony Fields: Across the Moon 1994). Hounded by parents and conservative groups for his sexually suggestive and satanic lyrics, Curr died in a mysterious hotel fire after being denied the opportunity to play a concert at his alma mater, Eddie’s high school. Curr’s unreleased final work, “Songs in the Key of Death,” is gifted to Eddie by local radio DJ Nuke (Kiss’ own Gene Simmons). It turns out, though, that Curr’s vengeful spirit inhabits the album, and whenever Eddie plays the record backwards, Curr can speak to Eddie. Think of it like a Ouija board but with more screaming guitars and giant speakers. Once Curr’s leather clad ghost breaks free from his supernatural LP prison, Eddie realizes he’ll have to save the town from his undead hero’s wrath.
Supporting roles also belong to Glen Morgan (who would go on to write for The X-Files) as Eddie’s nerdy best friend and Elaine Joyce (Motel Hell 1980) as Eddie’s mom. Alice Nunn, better known as Large Marge from Pee-Wee’s Big Adventure (1985), and legendary Black Sabbath frontman Ozzy Osbourne have cameos.
Trick or Treat‘s script was written by Michael S Murphey (Sometimes They Come Back 1991), Joel Soisson (Piranha 3DD 2012), and Rhet Topham (976-EVIL 1988), with a story credit given to Topham. Morgan and James Wong (Final Destination 3 2006) are listed as uncredited contributors on IMDb, as well. It’s a pretty straightforward affair, offering little surprise in the structure department. However, the world created feels authentic, outside of the typical teenagers seeming more like twentysomethings trope. Angsty high school interactions ring true and the metal aesthetic makes the film feel unique, even if the basic story is one you’ve seen before. I do think that the plot could have been slightly expanded, as a few points are brought up that never receive a follow up, but it was probably wise to keep the story simple and as brisk as possible with a runtime of 98 minutes.
Performances are mostly fine for this type of film. Price is relatable as our disaffected hero. Fields, who would tragically pass away at the young age of 36 from cancer less than a decade after the film’s release, is decadently malevolent and appropriately charismatic. Simmons is surprisingly good, though admittedly his screen time is relatively short.
Trick or Treat isn’t exactly bloodless, but most of the violence is limited to teens getting offed by explosive supernatural electricity. The toilet electrocution is probably my favorite scene. The electrical effects look a little dated at this point, but that’s truly a minor nitpick. Action set pieces are nicely done, with the highlights being a possessed car sequence as well as a scene with a car careening off a bridge into waters below. There’s one creature effect and it’s cool, if a little goofy.
DP Robert Elswit (8MM 1999) captures teenage hijinks, rock video glamor, and supernatural hysteria with equal aplomb. It’s nothing flashy, but the visuals are uncomplicated and clean. Glam metal rockers Fastway (“Say what you will! You will!”) provide original songs for the soundtrack and Hellraiser (1987) composer Christopher Young compliments the righteous aesthetic with an unobtrusive but atmospheric score.
Charles Martin Smith’s Trick or Treat is a lot of fun, especially if you’re at all a fan of metal. It can be silly at times, and some parts were lifted wholesale from other films (*cough* Christine *cough* Carrie *cough*), but that’s also part of its charm. Smith has mostly spent his career as an actor (highlights for me include 1984’s Starman and 1987’s The Untouchables), but he’s directed sporadically over the decades. With the exception of a Buffy the Vampire Slayer episode, he’s never returned to the horror genre, which is a shame. With Trick or Treat, he demonstrated that he has an understanding of the genre, and his handling of the metal aesthetic is laudable. Recommended for fans of mullets, throwing up devil horns, and jumping off your bed while playing air guitar.
