The Galaxy Invader (1985 Video)
7/10
Sweet shot of regional science fiction lunacy from the inspired Don Dohler
20 December 2010
Appearing like a stranger from a strange land, The Galaxy Invader must have thrown people for a loop back in '85. At a time when slashers were all the rage, the PG level thrills and cracked sci-fi spills are about the last thing you could expect, but lowbrow legend Don Dohler pulls it off and then some. The key to it all is commitment, there's a fair amount of overlap between cast and crew and many of both cast and crew cut their teeth on previous Dohler pictures, which he had been making for a while. It all adds up to confidence, to actors pinging off each other with dramatic result, bold use of shaky effects, competent framing, poignant message, this is a film where all the lunacy can't overpower the fact that these people weren't screwing around. There's effort here and it shines. The plot wraps around an alien crash-landing in redneck backwoods territory espied by a couple of mean spirited idiots, Joe Montague and Frank Custor (can you smell the sweat?) who elect to catch and sell it. Meanwhile, a sky watching professor and his student are on the hunt for the being, and Joe's wife and daughter are just trying to get away safe from him. The film wrong-foots the viewer pretty early on, man is the aggressor here, man the wild beast. The title is a misnomer, the alien isn't any kind of an invader and is actually kinda sympathetic, also it has the look of a novelty store riff on the Creature from the Black Lagoon. At times it almost feels like a red herring in its own film, such is the focus on the nefarious Joe. With a lesser actor this wouldn't have worked at all, but Richard Ruxton brings a tour de force to the table, with a perpetual scowl plastered on his face and twitchy, violently irate demeanour he blows gusts of derangement through his every moment of screen time, a remarkable gonzoid villain. Don Leifert is slightly lower key but nonetheless palpably loathsome as Frank, while various Dohler relatives and local types bulk out the cast. There are a few shootings, cool shonky mini explosion effects and powerful spurts of tension, this undoubtedly aided by driving synths from Norman Noplock (sadly this is his only credit), like I said up top this one is committed and so when it strikes, it strikes hard. Things move at a smart clip and the short runtime feels like a breeze, by the time the ending locks in it's a breathless ride and the ending itself is a terrific capper. Now I wouldn't possibly recommend this to "regular" cinema fans, but as a devotee of low budget science fiction lunacy I thought this a really great time. If you're still reading this, you might to. Check it out say I, 7/10.
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