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TerrorVision

TerrorVision is a 1986 American directed by , in which a suburban family's experimental inadvertently intercepts a transmission from an alien world, allowing a grotesque, sludge-like monster to emerge through their and wreak havoc. The film was produced by Empire Pictures, a company founded by , with Albert Band serving as producer and Charles Band contributing to the story alongside screenwriter . Key cast members include as the family's teenage daughter Suzy, and as her eccentric parents, Chad Allen as her younger brother , and as Suzy's boyfriend O.D., a wannabe. Shot on a modest budget typical of mid-1980s , TerrorVision blends elements of , family dysfunction satire, and 1980s pop culture references, including parodies of invasion tropes and late-night TV hosting. Upon its release, the film received mixed to negative reviews from critics, earning a 10% approval rating on based on a small sample of contemporary assessments that praised its zany energy but criticized its uneven execution. Despite this, it has developed a over the years for its over-the-top humor, practical effects, and nostalgic portrayal of suburban life invaded by sci-fi absurdity, often highlighted in retrospectives on genre cinema from the . The movie runs 83 minutes and is for its comedic violence, gore, and suggestive content.

Synopsis

Plot

In the opening sequence, a humanoid on a distant attempts to dispose of hazardous by converting it into energy and beaming it into space via a satellite transmission. Unbeknownst to the , the waste has mutated into a grotesque, carnivorous creature known as the Hungry Beast—a slimy, multi-eyed monster with tentacles and the ability to shape-shift by mimicking the appearances and voices of its victims, as well as regurgitating acidic vomit to dissolve and consume them. On Earth, Stanley Putterman installs a massive, experimental in the backyard of his suburban home to improve his family's reception, eager to keep up with the latest . The Putterman household is a chaotic blend of 1980s dysfunction: Stanley and his wife Raquel are enthusiastic obsessed with hedonistic parties; their teenage daughter Suzy embodies youthful , preparing for a date while clashing with her parents' lifestyle; young son Sherman, fascinated by survival gear and drills, spends time with their paranoid grandfather, a reclusive veteran who hoards supplies in the basement fallout shelter and dotes on his pet lizards while watching horror movies on TV. The installation succeeds dramatically when a storm surge activates the dish, inadvertently intercepting the alien signal and channeling the Hungry Beast directly into the family's system. As the family settles in for an evening of viewing, interrupted by MTV-style music video segments featuring Suzy's boyfriend O.D. performing in a rock band, the creature begins to manifest. It first emerges in the , where it attacks and devours Grandpa by crushing his head and dissolving his with bile, then shape-shifts into his form to lure . The boy escapes but struggles to convince his family of the danger amid their distractions—Raquel and Stanley host a rendezvous with neighbors Cherry and Spiro in the "Pleasure Vision" bedroom. The rampages through the house, vomiting on the adults during their escapades, consuming them one by one, and mimicking their to trap others. O.D. arrives for his date with Suzy, blasting from his van, and briefly attempts to "tame" the creature by feeding it and playing guitar, only to meet a gruesome end as it dissolves him. Sherman and Suzy, now aware of the threat, call a local station for help, connecting with , a flamboyant horror hostess who arrives at the house in her signature low-cut gown. Accompanied by a bumbling repairman, joins the siblings in confronting the Beast, which has grown larger from its feasts and continues its to pick off intruders, including a responding . The creature's form—pulsing with veins, multiple eyes, and dripping —contrasts with the film's comedic tone, amplified by absurd interruptions like O.D.'s rock videos and the family's hedonistic antics. As the rampage escalates, rigs explosives from household items and Grandpa's survival stash to combat the monster. In the climax, the original Plutonian alien teleports to to rectify the mistake, warning the survivors via TV that must be eradicated to prevent global catastrophe. However, mistakenly blasts the benevolent alien with a ray gun, allowing the unchecked creature to dissolve her, , and Suzy in a burst of acid. The film ends on a darkly ironic note as a shape-shifted version of —now in disguise—hijacks a car and heads to the TV station, poised to spread terror through the airwaves.

Cast

The principal cast of TerrorVision (1986) includes several character actors known for their work in 1980s cult films, blending , , and elements. portrays Suzy, the rebellious teenage daughter of the Putterman family who navigates family chaos while pursuing her interests. Franklin, who rose to prominence in early teen comedies, had previously starred as the object of affection in (1982) and as the French exchange student in Better Off Dead (1985), roles that established her as a staple in coming-of-age stories before transitioning to genre fare like TerrorVision. Gerrit Graham plays Stanley Putterman, the enthusiastic father fixated on the family's new technology. Graham, a veteran of satirical comedies, brought his experience from Brian De Palma's (1974), where he played the flamboyant Swan, and the ensemble comedy (1980), to infuse Stanley with over-the-top energy typical of his character roles. Mary Woronov depicts Raquel Putterman, the self-absorbed aerobics-obsessed mother. A fixture in independent and B-movies, Woronov had recently appeared in the black comedy (1982) and the post-apocalyptic horror (1984), showcasing her deadpan delivery in eccentric, genre-bending parts that aligned well with TerrorVision's tone. Chad Allen stars as Sherman, the curious young son of the family. As a child actor in the mid-1980s, Allen had gained visibility through the family sitcom Our House (1986–1988), marking his early foray into horror with TerrorVision alongside more mainstream television work. Jon Gries (credited as Jonathan Gries) appears as O.D., Suzy's sleazy heavy metal musician boyfriend. Gries, fresh from supporting roles in comedies like Real Genius (1985) as the eccentric Lazlo Hollyfeld, brought a comedic edge to O.D. that echoed his knack for quirky sidekicks in 1980s films. Bert Remsen rounds out the family as Gramps, the paranoid grandfather living in the basement. A prolific with over 100 credits spanning decades, Remsen had notable turns in Robert Altman's (1980) and westerns like The Buffalo Soldiers (1977), providing grounded, grizzled authenticity to the film's more fantastical elements.
ActorRoleNotes on Contribution
SuzyPunk rocker teen leading family dynamics.
Gerrit GrahamStanley PuttermanTech-obsessed patriarch.
Mary WoronovRaquel PuttermanVain, fitness-focused matriarch.
Chad AllenShermanInnocent younger brother.
Jon GriesO.D.Suzy's rocker boyfriend.
GrampsSuspicious grandfather in the basement.

Production

Development

The script for TerrorVision was written by Ted Nicolaou, who drew inspiration from the 1980s satellite TV boom and contemporary horror comedies such as Ghoulies, envisioning an alien invasion transmitted through household media as a satirical take on emerging broadcast technologies. The film was produced by Albert Band and Charles Band under their company, Empire Pictures, a studio renowned for specializing in low-budget horror and science fiction productions during the mid-1980s. Empire Pictures had established itself as a key player in the genre, leveraging cost-effective international facilities to produce films like Ghoulies and Re-Animator. Ted , serving as both writer and director, brought his experience as a longtime collaborator with , having edited several of the producer's early projects including (1979), which honed his skills in fast-paced, effects-driven genre filmmaking. The Bands' involvement marked a continuation of their focus on economical ventures, with TerrorVision conceived to blend elements with broad , poking fun at the excesses of family sitcoms and MTV-era through a dysfunctional suburban household disrupted by extraterrestrial signals. This conceptual approach emphasized visual absurdity and within tight constraints, reflecting Nicolaou's aim for a nightmarish, expressionistic tone reminiscent of childhood influences like Invaders from Mars (1953). Development took place in 1985, with pre-production benefiting from Empire Pictures' established Italian operations to manage costs on a budget estimated at around $1 million. Filming was planned for Rome to capitalize on lower production expenses and access to soundstages formerly used by the studio, allowing the team to construct elaborate practical effects like the film's central creature despite financial limitations. This strategic choice underscored Empire's model of outsourcing to Europe for genre films, enabling ambitious set pieces within a modest scope.

Filming

Principal photography for TerrorVision took place in the summer of 1985 and wrapped later that year, with post-production handled in the United States. The production took place primarily at De Paolis Studios in Rome, Italy, where the crew constructed suburban house sets to evoke an American domestic environment despite the international location. The production was shot back-to-back with Empire Pictures' Troll (1986), sharing many crew members and facilities to optimize costs.) The cast and crew were housed at a beachfront hotel in the nearby town of Tivan, allowing for weekend excursions into Rome for sightseeing and shopping amid the intense shooting schedule. Cinematographer Romano Albani captured the film's vibrant, satirical visuals, employing dynamic to blend the mundane household setting with escalating chaos from the alien intrusion. Practical effects for the central , known as , were designed and supervised by of Mechanical and Makeup Imageries, utilizing and to achieve the monster's grotesque, asymmetrical movements—featuring mismatched eyes, tentacles, and pincers—while maintaining a moist, glistening surface through constant application of industrial lubricant. The low-budget production faced several on-set challenges, including a tight schedule that limited takes to essentials like master shots, medium shots, and close-ups, often no more than two to four per setup. Summer heat in the un-air-conditioned soundstage exacerbated difficulties, causing the to sweat its gooey filling and creating slippery puddles that complicated movements. The film's blend of and demanded precise timing for gags, leading to multiple retakes as actors, including and , struggled to suppress laughter during over-the-top scenes. Scheduling around young performers like Chad Allen, who portrayed Sherman Putterman, required adherence to child labor regulations, further compressing the workflow during the tight shooting schedule.

Release

Theatrical Release

premiered in the United States on February 14, 1986, distributed by Empire Pictures as part of a limited theatrical run typical for B-movies of the era. The film was produced on a modest of approximately $1 million by Empire Pictures, which constrained its wide distribution and marketing efforts. Marketing for the film positioned it as a horror-comedy blending creature effects with on 1980s technology and , with promotional materials emphasizing the monster's emergence from a . Posters prominently featured the grotesque creature bursting from a screen, highlighting the film's central premise of a unleashing terror into a suburban . TV spots and the official trailer similarly focused on the creature's rampage and the film's over-the-top effects, targeting audiences interested in low-budget sci-fi . At the domestic , TerrorVision grossed about $320,256, reflecting its limited screen count and the competitive landscape of 1986 major releases such as Aliens, which overshadowed smaller films like this one. Internationally, saw limited through Pictures' network, primarily in Europe, with theatrical releases in on April 23, 1987, on May 15, 1987, on October 23, 1987, and on December 9, 1987.

Home Media

Following its modest box office earnings of approximately $320,256 domestically, TerrorVision became available on home video starting with a VHS release from Empire Pictures in 1986. A LaserDisc edition followed in 1987, issued in Japan by Vestron Video in pan-and-scan format with analog audio. The film received a notable television reissue in 2007, airing in widescreen on Showtime Beyond as part of its late-night programming schedule. In 2013, Shout! Factory's Scream Factory imprint released the first high-definition edition as a double feature Blu-ray/DVD combo pack paired with The Video Dead, featuring a new HD transfer from the original film elements. This edition includes English subtitles, DTS-HD Master Audio 5.1 surround and 2.0 stereo tracks, and preserves the original 1.85:1 aspect ratio. Special features comprise an audio commentary with director Ted Nicolaou moderated by Tim Sullivan, interviews with cast members Diane Franklin and Gerrit Graham, a vintage making-of featurette, and the original theatrical trailer. No major physical reissues have occurred since , though the 2017 release of the expanded original motion picture soundtrack on CD by Intrada has renewed interest among collectors. As of 2025, the film is available for streaming on in select regions including and .

Soundtrack

Score

The original score for TerrorVision was composed by , a prolific scorer for Empire Pictures productions in the 1980s, including films like Re-Animator (1985) and Ghoulies (1985). Band's work on the film drew from his experience crafting atmospheric electronic soundtracks for low-budget horror, emphasizing synthesizers to evoke a blend of retro sci-fi whimsy and tension. The score features a synth-heavy style characteristic of 1980s cinema, conceived as a late-1960s -inspired sound updated with an electronic twist, incorporating groovy, electrifying synth lines alongside eerie minimalism and experimental flourishes. Key musical elements include the ominous main theme in the "Prelude" track, built on pulsating synthesizers to heighten suspense during sequences, and upbeat, rock-inflected percussion-driven cues that accompany the film's comedic dynamics. Specific motifs, such as the alien transmission cues in the sequences, use layered electronic tones to underscore the threat, while whimsical, disjointed arrangements reflect the movie's satirical tone. Band integrated the score seamlessly with the narrative, employing heavy electronic elements and percussion to amplify creature attacks by the alien and the film's media satire, creating an oddball adventure atmosphere that enhances the sci-fi horror-comedy blend more effectively within the context of the scenes than in isolation. The composition avoids simplistic beeps, instead delivering sophisticated writing that balances fun, flashy energy with suspenseful soundscapes. Recording took place in December 1985, shortly after , at Hughes Avenue Studios in , engineered by Christopher Stone, to allow for efficient on the low-budget project. Band utilized analog and digital synthesizers including a CS70, twin ARP 2800s, a , and DX5 and DX7 keyboards, enabling cost-effective creation of the film's diverse electronic palette without a full .

Album Releases

The original soundtrack for TerrorVision was released in 1986 on vinyl by Restless Records, compiling select score cues composed by Richard Band alongside songs performed by The Fibonaccis, including "Terror Vision" (3:40), "The Friends Of Crime" (2:47), "Sack Of Suit Suite" (2:58), "Advice To A Mutant" (2:43), and "He Can't Stop Laughing" (2:50). The LP featured approximately 10 tracks across two sides, with Side A focusing on the Fibonaccis' new wave tracks and Side B presenting Band's instrumental score highlights like "The Monster Materializes" (2:36), "Gramps Bites The Big One" (2:39), and the end credits cue "Good Morning All" (0:37). In 2017, Intrada Records issued an expanded limited-edition CD (catalog ISC 393, restricted to 500 copies) that significantly broadened the original release, presenting 26 tracks with newly mastered audio from the original sessions, including unreleased score variations, bonus demos, and comprehensive liner notes detailing the composition process. This edition expanded on Band's work by incorporating cues such as "TerrorVision Main Title" (titled "Prelude" at 1:21), "Monster" (1:43), and additional Fibonaccis songs like "Advice To A Mutant" (2:43), alongside the end credits track. Following the reissue, the soundtrack became digitally available on streaming platforms including Spotify, facilitating broader accessibility. In , WRWTFWW Records released a limited-edition 180g colored (electric blue) reissue of the , featuring a remastered with 15 tracks, including "Prelude" (1:21), "Satellite to " (1:27), and " Dang Burglar" (4:44), emphasizing Band's electronic score. The 1986 release saw limited commercial sales, mirroring the film's modest domestic gross of approximately $320,000 amid its initial obscurity as a low-budget Empire Pictures production. Conversely, the 2017 Intrada reissue and 2020 capitalized on the film's emerging cult status in horror revival circles, driving renewed collector interest and sales within niche markets.

Reception

Critical Response

Upon its release in 1986, TerrorVision received mixed reviews from critics, who often highlighted its ambitious blend of comedy and horror while pointing out its budgetary limitations. The New York Times described the film as adopting a "smugly stupid" style, criticizing its noisy campiness, unflattering cinematography, and overly disgusting special effects, such as gushing green fluid, which rendered it appealing mainly to pre-adolescents despite its R rating. In contrast, the Los Angeles Times found it fitfully funny, praising the creative premise of a dysfunctional family confronting an alien monster via satellite dish, though it noted the satire on consumer culture came across as clumsy and underdeveloped. Some critics praised the film's zany humor. The satirical take on television obsession and family dynamics was also noted as a clever hook, with the monster's emergence through media signals providing amusing commentary on media saturation. However, common criticisms focused on uneven pacing, with scenes dragging without effective , and cheap that undermined the elements. The film's reliance on formulaic creature feature tropes, such as the invading blob, was seen as predictable and lacking originality. Aggregate scores reflect this divided response; reports a 10% approval based on 10 critic reviews, with no contemporary equivalent to available. Despite its limited theatrical success, grossing just $320,256 domestically, the film was occasionally viewed in early accounts as an entertaining B-movie curiosity.

Legacy

TerrorVision developed a dedicated in the era, particularly through rentals and purchases in the late and , where it earned a reputation as a quintessential "so bad it's good" entry in low-budget . The film's over-the-top practical effects, satirical take on suburban excess, and campy premise resonated with fans of schlocky sci-fi, positioning it alongside similar Pictures productions in horror retrospectives on B-movies. The 2013 Blu-ray double-feature release by Shout! Factory's Scream Factory imprint significantly boosted the film's visibility among modern audiences, introducing high-definition visuals and new supplements that highlighted its enduring appeal as a garish artifact of 1980s . In the 2020s, TerrorVision has been referenced in discussions of 1980s nostalgia within , often cited in histories of low-budget for its prescient critique of saturation and consumer greed via satellite television invasion themes. No major remakes or reboots have materialized, but the film continues to influence analyses of early home video-era , with its chaotic tone echoed in later comedies like . By the mid-2020s, has seen occasional revivals on streaming platforms, maintaining accessibility for new viewers amid renewed interest in practical effects horror. Fan-driven coverage persists through podcasts, such as episodes dedicated to dissecting its satirical elements and cult charm, though no new official home media releases for have occurred since the Blu-ray, while the saw a vinyl LP edition in 2020. themes of intrusion through broadcast media have also been viewed as forward-looking in contemporary conversations about digital streaming and content overload.

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