PHANTASM IV: OBLIVION

In the Seventies one of horror's more eccentric and unique manifestations of our cultural fear of death and the funerary industry was created by fledging director Don Coscareli. The Tall Man spoke in horrible whispers of where the human being was headed, and spoke to audiences on both an archetypical and personal level. Whereas many genre bogeymen cease to be horrifying after they result in either the death or emotional destruction of characters, The Tall Man ushered us into the very palaces of death where the human body is treated exactly like the useless meat it is. Death in the Phantasm films doesn't end suffering, it begins it. This emphasis on the indignation and waste of death was surrounded by a delightfully malignant atmosphere, bizarre heroes you could relate to, and a story that teased audiences with its wonderful ambiguity. Coscareli has been careful to continue this fine habit of storytelling sadism, refusing to give away too much of his world's origins. Much is left to the imagination, and every time the director seems to attempt an explanation of either his villain or the world(s) he inhabits, more questions are raised than revealed. Depending on how important resolution is to you, this can be considered either a very fine or frustrating experience. This series reinvents itself by making the enigmatic mystery of its themes enticing enough to convince us to follow its winding plot turns. Phantasm (4): Oblivion is no exception, although it is one of the weaker titles of the series. While all the surreal and darkly fantastic elements are present, including some very cerebral suggestions about the nature of time and space, the very enigmatic nature that made this franchise so refreshing begins to feel routine. You're tempted to wonder if all the mystery surrounding The Tall Man and his relationship to the central characters is leading to a dramatically satisfying conclusion or if the writer is simply lost in his own maze, unable (or simply unwilling?) to scratch the narrative itch that he's evoked in four films.

The story, more labyrinthine than ever, is a surrealistic mish-mash of exposition and fragmented narrative, effective as a Dream Play if not as a coherent linear narrative. Oblivion begins immediately where Lord of the Dead left off, revisiting glimpses of past events for newbies. Series main character Mike (A. Michael Baldwin) wishes to confront the Tall Man alone, seeking to fathom his origins and sinister plan to humanity. Reggie (Reggie Bannister), not content to set this one out, is hot on his trail, struggling against more of the big guy's traps, including yet another unfortunate tryst with a sexy woman (when ya gonna learn?!). Now existing in spirit form (after being tampered with by The Tall Man), Jody is the wild card now, as it is unknown where his loyalty lies. Amidst a nightmarish journey through the sweltering desert, killer dwarfs, and bent time, this band of motley survivors grapple with a supernatural force that seems to have all the cards in his deck, resulting in a mad dream of shadowy misdirection and dark fantasy.

If Phantasm ushered in a new age in dread, creating not only a unique character but approach, then each successive sequel has suffered from repetition and the afore-mentioned refusal/inability to further describe the developing world of its characters. Who is The Tall Man? From whence did he come? What is Mike's relationship to him? What does he really want with bodies and how does he achieve his nefarious ends? Phantasm IV: Oblivion, by promising to examine these issues more than any other film in the series sets itself up to fail. Why? Well, for one thing Coscareli doesn't truly answer anything. A few glimpses of The Tall Man in the past and enticing if ultimately empty dialogue do too little too late to resolve the cosmic mysteries. This doesn't make it an unsuccessful movie. On the contrary, the story arc bravely veers away from the standard Reggie and gang fighting off dwarves (although that's here too!) and DOES explore other possibilities in the Phantasm universe. Despite leaving us in the lurch at movie's end, and forcing us to ponder even more frustrating character developments, the story is emotionally engaging, full of unnerving effects and intellectual asides that continue to emphasize the power of this individualistic marriage of horror and science fiction. While disappointed in the inability of the director to truly tie many of his images and ideas together (as was promised), I still stand in awe at the imaginative scope and bravery of this concept. After all, a film that can question or concepts of good and evil, reality and fantasy, is certainly better than many of the run-of-the-mill scare flicks that are simply content to show a naked woman being chased through some trees. A sumptuous feast of horrific images, archetypal themes, and an unapologetic expressionistic style, this fear-feast of untimely mortality and flying spheres continues to evoke meaningful fears of morality and the afterlife, staring into the procedure of dying, subsequent preservation of the corpse, and in this case, the subjective nature of identity itself.

Anchor Bay's treatment of Oblivion lives up to their usually high standard. Presented in anamorphic ally enhanced 1.78:1 widescreen, the picture quality is clean and clear, with sharply defined images. Colors are a rich explosion of fantasy-laden hues, lending to the surreal quality of landscape and creatures. Audio is featured in Dolby Surround Sound 5.1 and is sharp and clean, without outsider interference.

Extras aren't as informative as I would have liked but certainly worth spending time with. The most significant of the bunch is the Audio Commentary with Coscarelli, Reggie Bannister, and Angus Scrimm. The discussion is lively and friendly, and we're ushered through several scenes and developments in the film. Phantasm IV: Behind the Scenes is less endearing but a decent follow up, followed by the exciting Trailer.

Review by William Simmons