Clive Barker’s Nightbreed: A Wildly Creative yet Frustrating ’90s Horror Classic

Everyone has the potential for an outstanding concept. Yet, what truly defines talent is not just coming up with ideas, but bringing them to life effectively. Clive Barker, renowned for his genius, achieved cult success with “Hellraiser” in 1987. Eager to capitalize on this victory, he quickly moved on to his next project, “Nightbreed,” released in 1990. During this journey, he demonstrated himself as a daring creative visionary, yet one who was not adept at creating an exceptional film.

In a creative fusion of folklore, punk rock, classic horror, and BDSM elements – all favorites in Barker’s artistic expression – Nightbreed attempted to establish itself as the epic saga of horror films, akin to ‘Star Wars’ or ‘Lord of the Rings’. However, despite its innovative approach, it ultimately fell short of achieving that status. Now, three and a half decades later, it remains one of the most inventive and daring movies from the 1990s, but also one of the most exasperating due to its unfulfilled potential as a storyteller, under the direction of Barker.

Nightbreed Has a Wildly Inventive Plot

Barker’s Film Subverts Horror

The movie Nightbreed starts with a terrifying dream. Aaron Boone (Craig Sheffer), a good-looking man, dreams of an undercity named Midian, with captivating yet mysterious inhabitants. Finding himself drawn to this place, his girlfriend Lori (Anne Bobby) proposes they take a short vacation away from town. Unbeknownst to Boone, his psychiatrist Dr. Phillip Decker (David Cronenberg), also has an eerie side, as he is actually a serial killer, planning to pin the crimes on Boone.

In a turn of events, Decker poisonously targets Boone, leading him to be hospitalized. While recuperating, he encounters another individual named Narcisse (played by Hugh Ross), who reveals the existence of Midian to him. Later, Boone manages to flee to a cemetery, where he is attacked by various monstrous creatures, only to have them leave him wounded but alive. Subsequently, Boone finds himself in the morgue, undergoing a transformation into a Nightbreed – a nocturnal, shape-shifting creature. He subsequently returns to Midian, where his newfound fellow Nightbreed accept him as their citizen, and they explain that they derive their unique powers from an ancient pagan deity known as Baphomet. Each Nightbreed’s abilities manifest differently, with some assuming more beastly forms, others resembling the undead, some developing heavily tattooed skin, and some maintaining a human appearance while being able to morph into animals.

In this revised version, Lori discovers that Boone seems to have returned from the dead after visiting the morgue. Eager to find him, she journeys to Midian accompanied by Dr. Decker. As Decker acknowledges the existence of the Nightbreed, he kidnaps Lori as bait for Boone’s return. This plan succeeds, causing the Nightbreed to exile Boone permanently out of fear of exposure. Boone eventually frees Lori from Decker and they hide in a motel to strategize. Decker then calls the police to track down Boone. The authorities apprehend him and transfer him to a detention cell. In this confined space, he encounters Father Ashbury (Malcolm Smith), a tipsy priest willing to aid Boone. However, Decker connives with Ashbury to annihilate the Nightbreed residing in Midian. This opening setup is captivating and robust, but the film’s quality deteriorates rapidly.

Nightbreed Has a Haphazard Structure

Barker Aims for Epic Horror But Falls Short

In my perspective as a movie critic:

I, standing at the precipice of cinematic critique, delve into the gripping narrative that unfolds in “Midian.” Police led by Ashbury and Decker invade Midian, only to find it vacated by its peculiar inhabitants. Meanwhile, Narcisse and others manage to free Boone from confinement. In a chilling turn of events, Boone slays Decker and implores Baphomet for guidance. The deity materializes, bestowing upon Boone the duty to safeguard the Nightbreed and find them a new sanctuary. With a band of survivors in tow, they make their daring escape to a nearby barn as Midian crumbles.

In an unexpected twist, Ashbury, who had stormed Midian with the police, undergoes a transformation upon discovering Baphomet’s altar. Now one of them, he swears vengeance against Boone, promising to chase him across continents. Heartbroken by her plight, Lori contemplates suicide. In an act of selflessness and hope, Boone bites her, resurrecting her as a Nightbreed. As the film draws to its climax, the surviving Nightbreed ponder the destiny of Lori and Boone, foreseeing them as visionary leaders guiding their kin into a new era.

At the outset of Nightbreed, Barker’s visual prowess is undeniably showcased. The Nightbreed characters in Boone’s dream are distinctively designed and vibrant, thanks to exceptional makeup effects by Bob Keen and Geoffrey Portass. However, these initial scenes hint at one of the main issues with the movie. Although Barker encourages his actors to express themselves through exaggerated movements for the camera, these visuals fail to materialize into substantial scenes. A scene necessitates development; a moment that propels characters and the narrative forward. While under Barker’s direction, the sequences appear visually impressive with much movement, they lack genuine action or structure.

In the movie, there are other pivotal scenes that share this issue of illogical development. For instance, the hospital scene, where Boone encounters Narcisse, leaves viewers bewildered due to a lack of explanation for the coincidence of their meeting. Additionally, it’s confusing as to why Narcisse begins mutilating his face or why he leaves Boone behind, considering they could have fled together if Narcisse was seeking him out. If Narcisse is already a Nightbreed and appears human, why isn’t this explained? Unfortunately, these questions are left unanswered by Barker, making the plot line difficult to understand.

Nightbreed Features Awesome Visuals

Nightbreed Does Not, However Always Play Logically

It’s clear that Nightbreed is missing essential elements needed for a solid movie plot, particularly in terms of setup and payoff. For instance, the character Ashbury enters the film rather abruptly without much build-up. Since Ashbury plays a significant role in the storyline and appears to be positioned as a main antagonist, it would be more effective to introduce or hint at him earlier. This would allow viewers to better comprehend his character and his place within the narrative, making for a smoother and more engaging viewing experience.

In the same production, Barker appears to stumble with the development of other characters. It seems he aimed for each Nightbreed to possess unique histories and traits, but only a select few truly take shape. For instance, Peloquin, who sports glowing eyes and dreadlocks made of flesh, exhibits an inconsistent attitude towards Boone – switching between hatred and affection based on the needs of the storyline. His motivations often seem unclear. The same can be said for Nicholas Vance’s character, Kinski, who alternates between tormenting and welcoming Boone in the cemetery, only to later welcome him into Nightbreed society. Characters like Dr. Decker and Ashbury also display a puzzling fascination with the Nightbreed, followed by an intent to eliminate them. The original script, penned by Barker, may have provided clarity for these character arcs; however, in the final version, their development appears muddled.

It’s not beneficial that neither Bobby nor Sheffer seem to possess captivating screen presence, making them appear like characters drawn in a comic book. The movie “Nightbreed” seems to suggest that Clive Barker chose his actors based on their looks to create a visually pleasing aesthetic. However, a movie demands much more than just visual artistry. Sheffer, specifically, finds it challenging to portray the ambiguities and complexities of his character. Furthermore, there’s no evident chemistry between Bobby and Sheffer, which makes it difficult for viewers, even those who appreciate the film for its qualities, to engage with their narrative.

Nightbreed, Despite Its Flaws, Has Buried Treasure

The Real Horror is Homophobia

Without a doubt, Nightbreed, despite its obvious imperfections, offers plenty to appreciate. Its makeup and enchanting visual style blend elements from classic monster flicks and storybook lore. The characters in the film appear genuine, which is yet another testament to Barker’s creative prowess. Danny Elfman delivers an unforgettable score – arguably his finest work on the Batman films and The Nightmare Before Christmas.

As a cinephile, I must say that amidst Barker’s sprawling cast, it’s David Cronenberg who truly stands out. Surprisingly, Cronenberg – yes, the same director known for his unsettling, thought-provoking works – delivers an exceptional performance here. His portrayal of a psychotic doctor is chilling and eerily convincing, sending shivers down my spine each time he appears on screen. Even the mask he dons when in disguise exudes a subtle terror that seems to have left its mark on the Batman villain, the Scarecrow, inspiring subsequent portrayals of the character.

Nightbreed’s enigmatic nature or perhaps its very strangeness makes it most captivating due to its underlying themes. Barker, who identifies as gay, infuses a profoundly noticeable undercurrent of queer narrative into the story. The characters in Nightbreed seem distinct and alienated. They reside in their secret underground world, governed by their unique norms. The religious aspects within the movie, such as Ashbury’s character and the recurring imagery of stake burnings in flashbacks, mirror the experiences faced by the LGBTQ+ community. In the film’s perspective, being a Nightbreed comes with its risks, but it is also inherently extraordinary.

To anyone familiar with queer culture from the ’80s, ’90s, and today, Midian seems strikingly similar to an LGBTQ community setting. The half-naked residents, androgynous characters, and shared adherence to magical hedonism make it feel like stepping into a queer space. It’s not hard to spot the resemblance between Nightbreed society and certain subcultures, as they both exhibit a fetishistic quality. Many Nightbreed characters sport intricate tattoos, piercings often seen in gothic circles, and some even wear leather attire that could easily be found in a BDSM setting.

Combine this with the nocturnal lifestyle of the Nightbreeds and the actual subterranean lair they inhabit. Barker takes it a step further, making Midian an extremely damp location, filled with steam, fog, and perspiration. The atmosphere of Midian is intensely sensual and suggestive. As Lori explores below ground in search of Boone, she resembles a virginal wanderer amidst a sex club, both repulsed and intrigued by the residents’ flirtatious behavior – perhaps even a little aroused herself. Nightbreed could only have originated from someone who has experienced a brothel-like establishment.

As a passionate film enthusiast, I’d like to highlight an intriguing aspect of Nightbreed – it boldly ventures into territories seldom explored by mainstream cinema. It invites heterosexual audiences to delve into the realm of underground BDSM and queer culture, a move that few films dare to make. This courageous approach adds a unique flavor to the movie, setting Nightbreed apart from its peers.

Moreover, Clive Barker, the director, has a distinct knack for portraying male sexuality in a way that’s seldom seen on screen. While many directors often linger on their leading ladies or find pretexts to show them in various states of undress, Barker chooses to appreciate the physiques of his male actors, particularly Sheffer.

Intriguingly, some early scenes between Sheffer and Cronenberg carry a subtle homoerotic undertone. A conversation between Decker and Boone late at night, where Decker insists “I need to see you,” could easily fit into a narrative about clandestine gay lovers, just as it does in this film.

Despite Nightbreed primarily being categorized as a horror film, it leans more towards dark fantasy, with one significant deviation. The underlying queer subtext of the movie is most vividly demonstrated in a truly terrifying scene that leaves viewers shaken.

Throughout the first half of the film, Clive Barker portrays Ohnaka (Simon Bamford), a member of the Nightbreed, as a kind and delicate character. Although the movie doesn’t make it explicit, Ohnaka is intended to be gay, as evidenced by his attire (shirtless with a skirt) and demeanor. The film’s most horrifying moment occurs when police officers brutally attack him. They manhandle him, rip off his body piercings, and hurl abusive language at him as he pleads for mercy. Tragically, Ohnaka dies after being forced into the sunlight by the police.

In a more relaxed and conversational tone, here’s how we could rephrase the given text:

Barker intends this scene to convey an atmosphere of hate crimes or, considering Nightbreed’s broader theme of ‘otherness’, a gay bashing. Depending on individual experiences, viewers might interpret it as a lynching, an anti-Semitic attack, sexual harassment, or any other form of violence fueled by prejudice. Essentially, this scene encapsulates the core message of Nightbreed: being different, whether in appearance or lifestyle, does not make someone a monster. Hate does; the true monsters in Nightbreed are those who hunt the breed.

The fact that the most unsettling scene calls for peace and tolerance speaks volumes about human nature as well as Barker’s personal beliefs.

Nightbreed Has Wild Imagination, and Wild Flaws

Nightbreed Frustrates Like Few Films Can

Nightbreed may seem flawed at first glance due to its limited resources and technical shortcomings, giving an impression of being largely filmed in a confined studio setting. Clive Barker’s decision to prioritize makeup for minor characters and extravagant special effects that don’t significantly contribute to the plot can appear questionable. However, despite its numerous faults, Nightbreed showcases an incredible level of creativity and daringness, making it tempting for viewers to categorize it as remarkable based on that aspect alone.

The truth, as one might say, lies somewhere in the balance between its flaws and its merits. Nightbreed straddles the line between being too flawed to praise outright, yet showing enough creativity to avoid being completely written off. It seems like a production that could have been so much more, particularly given Barker’s initial statement that it would kickstart a trilogy—a trilogy that remains unfulfilled. The film industry often gravitates towards remakes, and the popularity of dark fantasy series (Game of Thrones, Lord of the Rings), horror (Scream) and sci-fi epics (Dune) demonstrates that there is an eager audience yearning for a fresh tale like Nightbreed.

As a die-hard movie enthusiast, I’ve always felt that Nightbreed is a film ripe for a fresh take. With the right casting, scripting, and direction, this gem could easily stand shoulder-to-shoulder with legendary fantasy films of our time. For now, though, the immense potential of Nightbreed remains untapped, captivating yet fraught with flaws – like a colossal beast caught in a slumber.

2025-06-02 07:08

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