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Weird Science (Blu-ray 4K)
[Blu-ray]
Blu-ray ALL - United Kingdom - Arrow Films Review written by and copyright: Paul Lewis (19th July 2023). |
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The Film
 Weird Science (John Hughes, 1985)  John Hughes’ films have come to define the landscape of American teen films of the 1980s, and Hughes’ work is often loudly praised by his fans for bringing a sympathetic lens to the lives of American teenagers. Where Hughes’ previous scripts – such as Sixteen Candles (1984) and The Breakfast Club (1985) – were, their moments of outrageous humour notwithstanding, fairly grounded in a sense of reality, Weird Science was the first and only of Hughes’ films to marry this examination of American teen life with paradigms from the genres of science-fiction / fantasy. There are fantastical elements in some of the later scripts that Hughes’ wrote, but Weird Science remains an anomaly in the career of this much-loved filmmaker.
Hughes’ film derived its title from the 1950s EC Comics publication Weird Science, and the film’s premise was based on a specific strip from that magazine: Al Feldstein’s “Made of the Future,” in which a lonely man named Alvin Blank journeys into the year 2150, where he acquires a “Construct-a-Wife.” (A similar premise underpins James Bird’s recent science-fiction film Wifelike [2022], a picture that is set in a near-future where lonely men can purchase synthetic “wives.”) A few years earlier, hotshot producer Joel Silver had acquired the screen rights to EC Comics’ publications; this led to the production of a number of Silver-backed television programmes and films based on EC Comics properties. Amongst these were the fondly-remembered Tales from the Crypt television series (1989-96), and of course John Hughes’ Weird Science. Weird Science focuses on rich kid Wyatt (Ilan Mitchell-Smith) and his less privileged friend Gary (familiar Hughes stand-in Anthony Michael Hall). Gary and Wyatt are interested in the world of sex, but are regarded as nerds and outcasts by their peers, including bullies Ian (Robert Downey Jr) and Max (Robert Rusler) – and Wyatt’s bully-boy military-school older brother Chet (the late, great Bill Paxton, in a particularly memorable role). When Wyatt’s parents leave town for a while, Gary and Wyatt housesit. Watching James Whale’s Frankenstein on late night television (at least, in the extended cut of the film; more on this in the “Video” section of this review) inspires the boys to use Wyatt’s computer to design their ideal woman. Hacking into government systems, the boys manage to source computing power from official networks, using the appliance of science to transmogrify a child’s doll into the glamorous Lisa (Kelly LeBrock). Gary and Wyatt soon realise that Lisa has powers that can only be described as magical; she is able to make objects appear and disappear at will. A series of events leads Lisa to realise that Gary and Wyatt lack confidence, and she engineers a huge party at Wyatt’s house. The party gets out of hand, particularly when Lisa conjures up an intimidating, party-crashing biker gang (led by Wez, played by Vernon Wells in his Mad Max 2 get-up, and also containing Michael Berryman), knowing that Gary and Wyatt will confront them and thus build their confidence. Gary and Wyatt soon become the heroes of the hour, attracting the romantic attentions of Hilly (Judie Aronson) and Deb (Suzanne Snyder), the put-upon girlfriends of Ian and Max. However, Gary and Wyatt are faced with the task of clearing up after the party has ended and before Wyatt’s parents return home; they are also confronted by the unpleasant Chet. Weird Science is a picture that is focalised through two randy teenage boys, and to a greater extent the film reflects this viewpoint and shares the fantasy of its protagonists whilst also attempting to deconstruct it. Once she has been created, Lisa outwardly admits that she is the “property” of Gary and Wyatt, only to quietly direct the lives of her two “creators” – in effect becoming dominant over them. The film flirts with the paradigms of horror, and its roots in Mary Shelley’s Frankenstein seem more overt than its connections with the EC Comics story on which Weird Science is ostensibly based. In the extended cut of the movie, left alone in Wyatt’s parent’s house Gary and Wyatt watch James Whale’s Frankenstein on a television; Wyatt dismisses the film as “campy,” and the boys talk about more recent films that have scared them – including I Spit on Your Grave and Dawn of the Dead. “I personally would have made a girl,” Gary says in reference to Frankenstein. Wyatt reminds him that “They did make a girl,” in The Bride of Frankenstein. “If they’d made her beautiful, she wouldn’t have gone out with the monster,” Gary complains, referring to Elsa Lanchester’s makeup in Bride. Ironically, in the same year that Weird Science was released, Franc Roddam made The Bride, in which Baron Frankenstein creates a new, glamorous creation: Eva, played by Jennifer Beals. Roddam’s film was universally panned by critics, with Beals’ performance singled out for much criticism (she was nominated for Worst Actress at that year’s Razzie awards), whereas Weird Science received a significantly warmer reception – though it’s worth noting that though Hughes’ film’s cult credentials seemed evident from the get-go, the picture didn’t receive unanimous praise. Both films seem to be straining to engage with issues of female agency, and would make for an interesting retrospective double-bill. In both pictures, a woman is literally the product of a male fantasy. Throughout The Bride, Frankenstein (played by Sting) endeavours to assert his control over the titular Bride, who we see struggling to assert her freedom from within the grip of the patriarchy. In Weird Science, Lisa happily pronounces to other characters that she is essentially Gary and Wyatt’s love slave, though in actuality the two boys are sops, and Lisa is very much in control and the agent of their destinies. She demonstrates this by engineering the house party and the intrusion by Vernon Wells’ biker gang, knowing that Gary and Wyatt will need to step up to the proverbial plate and assert themselves in order to end the disruption, and arranging the humbling of the bullying Chet.  The boys’ creation of Lisa is driven by their libidos. “Should we give her a brain?” Gary asks Wyatt after they have spent some time “designing” Lisa and focusing on the size of her breasts. “Sure. We can play chess with her,” Wyatt responds dryly. After Lisa has been “created,” she asks the boys what they would like to do first. Gary and Wyatt’s choice is obvious: they want to shower together. However, the boys stand nervously under the water whilst Lisa, completely at ease, washes herself in the shower; a cut reveals that Gary and Wyatt are still in their shorts. Lisa’s sense of confidence, and the ease with which she asserts herself, stands in contrast to the boys’ timidity. “You made me, you control me,” Lisa tells Gary and Wyatt, though as the film develops it seems that the boot is very much on the other foot.
The film’s sexual politics would possibly be quite unsettling to audiences encountering Weird Science for the first time today. Not only does the film toy with woman’s status as the object of male fantasies, but there is a noticeable age difference between Lisa and the boys who create her. It’s readily apparent that Lisa is an adult, and Gary and Wyatt are high school kids; the premise of teenage boys being initiated into sex by an adult woman is often the subject of juvenile humour (Better Off Dead’s “How to Pick Up Trashy Women” sequence, for example), but modern audiences are also increasingly cognisant that this is an example of abuse. So when Lisa kisses the boys and suggests to other characters that they are involved in what would today be called a “throuple,” revisiting the film through modern eyes it is difficult not to see this relationship as highly inappropriate. At one point, Lisa takes the boys to the Kandy Bar, a waterhole with a predominantly black clientele. When a man (John Kapelos) asks Lisa why she is with Gary, Lisa quips that their relationship is “purely sexual.” Later in the film, Lisa shops for clothes and thrusts a pair of near-transparent lacy panties under the nose of an elderly sales assistant; Lisa asks the woman, “If you were a 15 year old boy, would these turn you on?” Though the sexual politics of the film are given a light touch and played for laughs, the humour in the Kandy Bar sequence is much more challenging. Plied with bourbon, Gary becomes drunk; donning a pimp-style fedora and smoking a cigar, he mimics the mostly black patrons of the establishment, rambling in mockery of “jive” talk. The mimicking of black voices doesn’t seem intentionally cruel, but nevertheless if there is one specific sequence in the film that feels uncomfortable to watch, it’s this one. (The use of “faggot” as a slur within this scene is also a little wince-inducing; it’s repeated towards the end of the film too, when Gary refers to Wez’s “faggot friends.”) If all of this sounds like this writer is taking Weird Science too seriously and inappropriately framing this sequence through modern eyes, it’s worth noting that when I encountered Weird Science for the first time during the late 1980s, on video cassette, the Kandy Bar sequence felt out of place. Also startling, and tackily exploitative, is a visual gag in which a female pianist (former Playmate of the Month Kym Malin) is shown with her clothes being gradually ripped from her body (by the vacuum created by the boys’ “experiment”) before being sucked up the fireplace and fired out of the chimney. This moment features no other characters in shot (though it cuts to onlookers, in a classic use of the Kuleshov effect) and in the manner in which it jars with the material arounds it, feels almost like a hardcore “insert” in a porno move. Given that the rest of the film (rated PG-13 in the US) is largely focused on nothing more explicit than Carry On-level smutty humour, the stripping of Malin in this scene feels tacky and unnecessary. Sometimes it’s easy for younger commentators to look at a film such as Weird Science and fall into the trap of suggesting that the broad racial stereotypes and casual use of homophobic slurs, for example, were commonly accepted during its era of production. But in truth, these things stood out at the time. When Weird Science came out, I was still at school; before I saw the movie myself, I remember a specific teacher singing the praises of the picture, stating that it was his favourite film. But this was also the teacher who I vividly remember challenging a student who used a (different) homophobic slur in the classroom. The (potential and unintentional) racism of the Kandy Bar sequence and the aggressive use of “faggot” in the dialogue stood out for us at the time, but was regarded as a quirk of Hollywood productions. Maybe it was more noticeable to us, viewing the film from outside the US, but nevertheless it seems even more evident now. I’ve written before about how difficult it was, as a young person growing up in a poor town in the UK, to connect with Hughes’ depiction of a very American type of adolescence around the time of the films’ original releases. However, as an adult and with the benefit of hindsight, I have a nostalgic affection for the films themselves – largely for their humanistic worldview, even acknowledging some of their more challenging aspects. And there’s much to enjoy in Weird Science: Kelly LeBrock’s performance, which anchors the movie; Bill Paxton’s brilliant turn as Chet; the interplay between Gary and Wyatt. The passage of time is a funny old thing. Hughes’ films have occasionally been criticised for being reactionary, but on the other hand they display an undeniable sense of humanity towards the young people on whom they are focused. It’s difficult to reconcile one with the other, but in Weird Science there is an exuberance and overall breeziness that enables the film to sail past this. Weird Science was adapted as a television series in the 1990s; the show ran for five seasons, with production ending in 1997 and the final six episodes remaining unaired. A remake of Weird Science was touted as being in preproduction during the early-2010s, with Michael Bacall (21 Jump Street and Scott Pilgrim Vs the World) attached as writer, but so far this project seems not to have come to fruition.
Video
 Arrow’s new 4k UHD release of Weird Science contains three cuts of the film: the theatrical cut (93:55); an extended cut (96:32); and the edited-for-TV version (94:06). (The latter cut is discussed in the “Extras” section of this review.)
The theatrical and extended cuts of Weird Science are presented in 4k (2160p), using the 1HEVC codec and in HDR10-compatible Dolby Vision. Both of these cuts of the film are presented in the film’s original aspect ratio of 1.85:1. The extended cut incorporates the two scenes that were originally missing from the theatrical cut but included in the version of the film prepared for US television. These scenes include the moment in which Gary and Wyatt watch Frankenstein before “creating” Lisa, and a scene in which Gary and Wyatt welcome some of their friends to the house party at Wyatt’s parent’s place. Arrow’s previous Blu-ray release of this film was excellent, but this 4k UHD release offers further improvement in the video department. The presentation is based on a new 4k scan of the original negative. Throughout the film, there is an excellent level of fine detail present, and the strong encode ensures that the presentation retains the grain structure of 35mm film. Blacks are rich and deep, and contrast is very pleasing: there is gradation from the midtones to both the toe and the shoulder, and highlights are preserved. No damage is present. Colours are naturalistic for the most part, with some bursts of primary colour (including memorable Mario Bava-esque use of red gels in one sequence). In sum, this is superb presentation of the film which easily eclipses previous home video releases, including Arrow’s already-impressive Blu-ray. NB. Screengrabs in this review are not from the new 4k release, and are for illustration purposes only.
Audio
The theatrical cut is presented with two audio options: and English DTS-HD Master Audio 5.1 track, and an English DTS-HD Master Audio 2.0 stereo track. (The latter is the only audio option on the extended version.) Both tracks are very rich and deep, displaying superb range. They burst into life when Oingo Boingo’s main theme plays, and during the sound effects during the “birthing” sequence. Dialogue is audible throughout. Optional English subtitles for the Hard of Hearing are included, and these are easy to read and accurate in transcribing the film’s dialogue. It's perhaps worth mentioning that there is one moment of obvious overdubbing, when Max tells Gary and Wyatt “You let us have a crack at Lisa, and we’ll let you have Deb and Hilly.” This has been present in all home video versions of the film (and presumably theatrical prints too). It’s unclear what Max actually says, though I suspect the line was redubbed to eliminate something crude within Max’s reference to Deb and Hilly.
Extras
 The disc includes the following extra features:
- Edited-for-TV Version (94:06), with optional English HoH subtitles and an English DTS-HD Master Audio 2.0 track. This is the US television version of Weird Science, which includes some overdubbed lines and two additional scenes not found in the original theatrical version of the picture. (It also features some music substitutions, removing the Rocky theme and Van Halen’s “Pretty Woman” from their respective scenes, presumably owing to issues with the rights to these tracks.) It’s presented in 4:3 and 1080p, using the AVC codec. - Split Screen Comparison (18:16) of selected scenes from the TV version and the theatrical version. Viewing this, it becomes apparent that the TV version not only overdubbed obvious profanities (such as “shit”) but also some relatively tame language (“studs” becomes “stars,” for example). - “Casting Weird Science with Jackie Burch” (6:01). The film’s casting director recalls her work with Hughes. She had previously cast Sixteen Candles and The Breakfast Club for Hughes, and this would be the final film on which Burch and Hughes worked together. Burch reveals that Robin Wright was the first choice for Lisa, and when Wright became unavailable, the choice was down to Kelly LeBrock and Sharon Stone. Anthony Michael Hall, Ilan Mitchell-Smith, and Bill Paxton were quickly selected; and Robert Downey Jr was taken on as Ian when he impressed Burch and Hughes. Burch talks about Hughes’ warm rapport with his teenaged actors, and particularly with Anthony Michael Hall. She also reflects on Joel Silver’s involvement with the production, and her subsequent involvement in productions such as Commando and Die Hard. - “Dino the Greek with John Kapelos” (6:55). Kapelos, who had also appeared in Sixteen Candles and The Breakfast Club, talks about his small role as Dino in Weird Science. Kapelos reflects on how he became an actor in films, and says that Hughes wanted Kapelos to appear in Weird Science and wrote the bar scene with Kapelos in mind. Kapelos reveals that his mother became irate when she heard Kapelos use the Greek term “malakas” in the film. (“Malakas” essentially means “wanker.”) He talks about Kelly LeBrock’s performance in the film, which he describes as “very confident.” Kapelos also reflects on Hughes’ significance with Hollywood cinema of the 1980s, suggesting that Hughes “wanted to succeed but on his own terms,” and this is what caused Hughes to leave Hollywood and return to Chicago. - “Chet Happens with Craig Reardon” (19:38). Visual effects artist Craig Reardon discusses his work on the film, which includes the creation of the memorable Chet monster that appears towards the end of the picture. Reardon talks about his work in Hollywood, on pictures such as The Goonies, before reflecting on Weird Science specifically. - “Fantasy and Microchips with Chris Lebenzon” (10:44). The film’s editor reflects on his work on Weird Science. Lebenzon talks about his career to that point, and talks about collaborating with the other editors on Weird Science (Scott Wallace and Mark Warner). He discusses his relationship with John Hughes, who he describes as “a very kind man.” The opening and closing scenes, set in the school gymnasium, were reshot during postproduction and after the film had been previewed. (The film’s “coda,” in which Lisa appears as the school’s new gym teacher, was not in the original edit of the picture.) Lebenzon cut the Kandy Bar scene, which he reveals was questioned by the studio despite the scene being loved by preview audiences. Hughes was very “hands off” during the editing process: Lebenzon says that Hughes was very much a “‘you do it; I’ll react to it’ kind of guy.” - “Ira Newborn Makes the Score” (13:43). Composer Ira Newborn reflects on writing the score for Weird Science, discussing working with Hughes. - “It’s Alive! Resurrecting Weird Science” (16:38). This featurette was produced for inclusion on Weird Science’s 2008 DVD release. It looks at the film from the perspective of those involved in its production, along with some of its high profile fans such as filmmakers Diablo Cody and Amy Heckerling, journalists Owen Gleiberman and Hank Stuever, and academic Jeffrey Sconce. Anthony Michael Hall discusses how Hughes approached him with Weird Science on the set of The Breakfast Club. John Kapelson highlights how unusual Weird Science sits within Hughes’ body of work. Marilyn Scance, the costume designer on the film, reflects on her work on the picture, stating that Hughes’ scripts were particularly detailed in terms of outlining the appearances of the characters. The participants discuss the position of Weird Science in the filmography of John Hughes, and consider the way in which the film depicts computers. Glieberman suggests that Weird Science anticipates the use of the Internet for pornographic purposes. The participants reflect on Bill Paxton’s role in the film, and the oft-repeated claim that in Hughes’ first three films, Anthony Michael Hall’s characters represent a stand-in for the director himself. - Theatrical Teaser (2:37) - Theatrical Trailer (1:34) - TV Spots (1:01) - Radio Spots (4:50) - Image Galleries: Shooting Script; Production Stills (115 images); Poster & Video Art (21 images)
Overall
 Weird Science is, well, a weird film. It stands out within Hughes’ filmography, and it has some moments that are cringeworthy. (As noted above, the Kandy Bar sequence is hugely out of place, and felt uncomfortable when I first encountered the movie as a teenager in the late-80s.) However, the film itself is so breezy, and its depiction of Wyatt and Gary (creeps as they are: today they’d be labelled “incels”) so warm, that it’s difficult to take offense. As a movie about randy teenage boys, Weird Science invites comparisons with Risky Business. (As an aside, I recently rewatched that picture and found it to be much darker – on a narrative level – than I recalled.) However, it’s real thematic partner-in-crime is perhaps Franc Roddam’s The Bride, released in the same year. Both films, as noted above, reference the Frankenstein story in order to examine female agency during the 1980s.
Aside from Oingo Boingo’s exceptionally memorable main theme (reused in the later television series), the beating heart of the film is Kelly LeBrock. She is great here, stealing every scene in which she appears with her confidence and poise. LeBrock was apparently the second or third choice for the role; but it’s difficult to imagine anyone else playing Lisa with the same sense of chutzpah. Bill Paxton is equally superb as Chet, though he’s given far less to do. Towards the end of the film, Lisa transforms Chet into… something. Perhaps it’s a steaming pile of dung; it's difficult to tell exactly. Here, Craig Reardon’s visual effects push the film towards the boundaries of the then-popular “body horror” subgenre. It’s this playfulness with genre, and the pastiche of elements from horror, sci-fi, and fantasy that enable Weird Science to “work.” Arrow’s new 4k UHD release of the film is enormously pleasing. The superb presentation of the main feature is accompanied by some excellent extra features, including a host of new interviews with members of the cast and crew. Fans of Weird Science will find this new release to be an essential purchase.
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