The Exterminator Blu-ray Review

• 14th Nov 2011

Here we have a shiny new Blu-ray release of one of the early 80’s slightly forgotten violent action flix: James Glickenhaus’s – The Exterminator.

Note: It is with definite intention that I avoided using the phrase ‘forgotten gem’ as I really don’t think the movie quite merits it, but that’s not to say it’s without it’s plus points, far from it in fact.

The Exterminator kind of gets lost amid some of the higher profile ultra-violent ‘video nasty’ films of the time. It’s entirely likely that the movie made it on to a Mary Whitehouse ban list at one time or another, but that wasn’t difficult. Misleading poster/video jacket and tenuous ‘nasty’ credentials notwithstanding; the film was notable for its sometimes unashamedly grisly SFX and glorified vigilanteism, somewhat in the mould of ‘Death Wish’ et al. Widespread lasting impact was perhaps limited though, but the movie became an instant cult classic on video (which is where i first discovered it). Strangely enough, I always wondered if James Cameron’s Terminator in 1984 kinda helped the older movie’s long term anonymity along a bit, simply by dint of the similarity of title. Who knows?

Mentioning James Cameron just now is funny, as the movie’s principle star was a certain Robert Ginty who to my eyes now, bears more than a passing resemblance to the director. Anyway, Ginty stars as John Eastland, a damaged, but mild mannered and likeable New York warehouse worker and Vietnam vet who exacts terrible revenge on a gang of hateful miscreants who viciously attack and paralyse his best bud and (until the attack) more combat capable fellow ‘nam veteran Mike Jefferson (played by the late great Steve James).

The film follows Ginty’s journey further into violent vigilanteism, not only avenging Jefferson, but becoming a dealer of drumhead justice wherever he finds it. He doesn’t have to look far. We then see the consequence of those actions as he begins to make waves and be noticed both by the police and the mob, until an inevitable climax.

I won’t spoil it for anyone who’s never seen the movie (and even though it’s over 30 years old, I’m guessing a lot of folks haven’t), by revealing too much more about the plot. Suffice to say that in some ways a modern audience will wonder what the fuss was all about (regarding the violence). I think the movie still has some power though, but overall is tame by today’s standards and doesn’t really live up to its original hyperbole.

Lovers of gore effects are treated early in the film to a Stan Winston set-up so effective that when I first saw the movie on video as a young teenager, we just had to rewind, and watch again, rewind and watch again ad infinitum. It was the most vivid of a small handful of vivid indelible images I took away from the film back then. Watching it again now so many years (and gore flix) later, I found myself once again watching that Stan Winston effect a few times over, and it’s still disturbingly well presented. No CG here, oh no.

You’ll notice I haven’t told you what the scene is. That’s deliberate on my part. Better to discover it for yourself if you buy or rent the movie. Suffice to say it’s a brave, graphic death scene so confidently staged, they shot it in slow motion. My only issue with it now, is that it comes so early on in the movie, and is never topped for graphic grisliness in the rest of the film. In terms of today’s Final Destination generation, it’s a bit arse about face. These days you would expect the kills throughout a movie to get ever more bloody and gruesome as you progress. Not here. You kind of watch the whole of the movie quite hung up on that first gruesome kill. It sets the bar, and you watch the remainder waiting for a scene to come along to top it, but it never really happens.

The film suffers from those typical traits; common in this type of movie, and that’s dubious line readings, dubious lines, superfluous characters and bad editing. Not to mention some of the most obvious ‘camera crew reflected in a car door’ moments I’ve ever seen as well. However, we do warm to both Eastland, and Jefferson, and believe in their bond. Ginty’s natural bouffant haired softness and slightly pudgy faced, boyish good looks makes his role as firm but fair judge, jury and executioner so much more interesting. I also feel the film actually treads a tidier line through the accusations of over glorifying vigilantism than perhaps it was given credit for.

So it’s a Blu-ray release this, which is interesting. Many of the old ‘out of print’ action and horror movies from this era (if they are re-released at all), get re-released on standard DVD, not too many bother with Blu-ray hi-def. I would put this down to a combination of the often low cost/quality film stock originally used not being capable of producing a worthwhile hi-def result without serious restoration investment (although this doesn’t stop some truly awful quality Blu releases appearing ‘War of the Worlds’ I’m thinking of you!). Another reason could be the higher retail price of Blu discs over standard DVD not making sense for certain types of niche releases. Who knows?

The Exterminator narrowly justifies its Blu status. The picture quality at the top of the movie (a flashback scene in Vietnam), was so borderline I did have to double check the disc I’d been sent actually was a Blu. Further into the movie (once we’re in New York), the picture becomes a lot more detailed and tight, and doesn’t look too bad at all. It’s not Blade Runner, but it’s clean and dense and considering the age and budget, does well to look as good as it does.

Of course this was not a mega low budget film like say Halloween. According to Glickenhaus, the pot was around $2 million, and it made money at the box office. It also spawned a sequel or two. That being said, a lot of that budget was apparently eaten up by the opening ‘nam scene, which may help to explain why the film as a whole still has a pervading low budget feel. Although the grimy seedy NY locations probably don’t help.

I’m glad these movies are finding new homes and new audiences through companies like Arrow. The Exterminator may not quite be a Gem, but it’s no longer forgotten either, which is a good thing.

Also on the disc:

As has become common with Arrow’s classic releases, we get some extras with this film. They’re not lavish, or extensive but definitely welcome.

There’s a short ‘making of’ hosted by director Glickenhaus (plus a needlessly separate introduction from him too). He’s quite engaging and refreshingly candid and free of bullshit. I was left wanting more though.

We also get a short documentary ’42 Street: Then & Now’ which acts as a tour of some of the key locations used in the movie. It’s not very long (about 15 minutes), and is quite interesting and informative. The doc is hosted by director Frank Henenlotter. Finally we get an audio commentary. It’s a shame it’s not with Glickenhaus himself, but producer Mark Bluntzman (who wrote and directed the sequel). Bluntzman is a fine substitute, but it’s shame so many of the principle cast are no longer with us.

Ben Pegley