Roses Have Thoughts

Waxwork (1988), directed by Anthony Hickox, is a gleefully macabre mashup of horror genres, mixing classic monsters, dark humour, and a sense of nostalgia for the old-school horror films of yesteryear. It’s a film that knows exactly what it is, a campy romp through a wax museum where the exhibits come alive, and it revels in its own absurdity. While it may not be a masterpiece of the genre, Waxwork has enough charm, creativity, and sheer fun to earn a respectable 3.5 out of 5 stars.

The film’s plot is simple and engaging: a group of college students, led by the clean-cut Mark (Zach Galligan) and his love interest Sarah (Deborah Foreman), are invited to a mysterious late-night showing at a wax museum run by the sinister Mr. Lincoln (David Warner). Once inside, they quickly discover that the wax exhibits elaborate scenes featuring famous horror monsters like Dracula, the Wolfman, and a sadistic Marquis de Sade aren’t just displays, but doorways to alternate realities. Anyone who steps into the exhibit is transported into the world of that monster, where they must fight for their lives.

Hickox’s direction keeps the action moving at a brisk pace, and the film is never boring. There’s an underlying sense of gleeful playfulness to Waxwork, the kind of horror movie that winks at its audience while still delivering enough blood and guts to satisfy gore-hounds. The concept of being literally pulled into classic horror stories is irresistible, and Hickox mines it for all it’s worth, treating each monster’s world like a mini-movie within the larger narrative.

The film works best when it leans into its anthology-style structure, allowing each monster to have its moment in the spotlight. The sequences inside the wax exhibits are where Waxwork truly shines. These scenes are lovingly crafted with attention to detail, transporting us into gothic castles, foggy forests, and torture chambers straight out of an 18th-century nightmare. There’s a nostalgic quality to these horror homages, reminiscent of the Universal monster films and Hammer horror productions. Hickox clearly has an affection for the genre, and his enthusiasm is contagious.

However, Waxwork is not without its flaws. The tone wobbles between horror and comedy, and while that balance is often delightful, there are moments where it veers too far into slapstick territory, undermining the tension. Some of the performances are uneven, particularly from the supporting cast, who seem more at home in a teen comedy than a horror film. The script, while inventive, lacks depth, and the characters are little more than archetypes meant to move the plot along. But in a film as playful as Waxwork, it’s hard to hold these shortcomings against it for too long.

Special mention must be made of David Warner’s performance as Mr. Lincoln. He brings a sense of gravitas and menace to the role, grounding the more fantastical elements of the film with his commanding presence. His portrayal of the villain feels right at home in this house of horrors, giving the film a much-needed anchor.

Ultimately, Waxwork succeeds because it’s a celebration of the genre. It doesn’t take itself too seriously, but it also doesn’t shy away from the blood and horror that fans of the genre crave. Hickox’s enthusiasm for classic monsters and genre tropes is infectious, and while the film has its rough edges, it’s hard not to be charmed by its sheer audacity. For fans of 80s horror, Waxwork is a nostalgic trip that’s well worth taking, flaws and all.

In conclusion, Waxwork is an imperfect yet enjoyable ride through horror history that manages to entertain even when it stumbles. It’s not high art, but it’s a lot of fun, and sometimes, that’s all a horror film needs to be.

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