Shocker (1989) review

Dir. Wes Craven

By: Steve Pulaski

Rating: ★★½

Last year around Halloween, I wrote extensively about Wes Craven’s Deadly Friend, and commented how the Master of Horror always seemed to have intense conflict with indecisive studio execs regarding the vision for his films. In the case of Deadly Friend, he wanted to pivot into a story that could connect with young adults. However, Warner Bros. wanted blood and guts, so what we got was a compelling-if-not-entirely-successful hybrid of a coming-of-age story crossed with gruesome violence.

In the case of Shocker, Craven’s fight wasn’t with Universal, but with the typically rigid Motion Picture Association of America (MPAA). They wanted to brand the film with an “X” rating (NC-17 would not be “invented” until 1990, one year later), forcing Craven to lobotomize his work in order to receive an “R” rating. An uncut version of Shocker that included a more graphic electrocution of its antagonist and additional limbs being severed has been rumored, but still has not seen the light of day. It likely never will.

As satisfying as it would be to see Craven’s uncorrupted vision of Shocker see the light of day, unless an alternate version had some additional scenes explaining the “whys” behind its killer’s shape-shifting, it would probably fall just short of being a good movie, as is the case with the widely accessible version of the picture.

Shocker revolves around Jonathan Parker (Peter Berg), a college football player who sees visions of a deranged serial killer named Horace Pinker (Mitch Pileggi, The X-Files) following a concussion. His visions prove prophetic as he leaves the safety of Alison (Camille Cooper), a colleague who takes him in following his injury, to return home to find Pinker murdering his adoptive mother and sister. Despite the fact that Jonathan’s adoptive father is a police lieutenant (Michael Murphy), that doesn’t mean much when Pinker makes a deal with the Devil during his incarceration. During his time on the electric chair, Pinker becomes something of a wayward electrical current himself, with the ability to possess others. Eventually, he zaps himself into the television sets of unsuspecting victims, but he keeps his vengeance on Jonathan top-of-mind.

Don’t let Shocker‘s unabashedly goofy premise and occasional brushes with comedy fool you. This is a film that retains its brutality and aggressive meanness, even during a late-third act sequence involving Jonathan and Pinker exchanging blows against a backdrop of Leave it to Beaver reruns and an evening newscast. Pileggi plays Pinker with a nasty menace, and embodies all the ruthlessness of a cold-blooded killer. The scene in which Jonathan discovers Alison’s body, floating in a bloody bathtub with blood splattered all over the once-white walls, is legitimately horrifying, and the anguish with which Jonathan grapples because of Pinker is deeply felt, proving the strength of Craven’s talents even when he’s exhibiting a more playful side.

Peter Berg’s portrayal of Jonathan is one that exudes sympathy yet great wherewithal. He’s one of those rare horror movie characters that operates sensibly and thoughtfully. Berg would later go on to be one of Hollywood’s most trusted blockbuster directors; he was the man behind Lone Survivor, Deepwater Horizon, and Patriots Day.

What Shocker could’ve used was more explanation in the extent of Pinker’s abilities post-electrocution. Pinker is able to transport his soul into anyone, although the justification for this is never explained. Furthermore, there is a late third act revelation by Jonathan that allows him to control Pinker in such a way that warrants any kind of explanation we’re not given either. Jonathan recruits the football team to help him cause a massive television/electrical power outage in order to stop Pinker, but it’s unclear how/why the killer wouldn’t reemerge once the grid is restored.

The special effects rescue Shocker when exposition comes up short. The film has a Videodrome quality to it in its manipulation of analog television, electricity, and currents, resulting in some fairly riveting sequences involving Pinker emerging from television sets. For the time, the integration of Pinker and Jonathan into classic television is rather seamless; a feat made even more remarkable given a near-catastrophe in production.

If Shocker ever does see an extended cut get released (looking at you, Shout! Factory), here’s hoping there’s more than gore to be offered. As it stands, however, this is a film that shouldn’t work given its narrative sloppiness, but somehow finds its brilliance in remaining devoted to its sinister concept as well as Pileggi’s commitment to being a truly contemptible killer.

Starring: Peter Berg, Mitch Pileggi, Michael Murphy, Camille Cooper, Richard Brooks, and Sam Scarber. Directed by: Wes Craven.