Everyone of a certain age has VHS memories. You know the ones I'm talking about - those hazy, barely remembered evenings of mediocre pizza and even more mediocre straight-to-video horror films. Films that you simply couldn't resist as they stared at you from the shelf with their box-art that promised more than the cassette inside could ever hope to deliver. Ghost in the Machine is one of my hazier VHS memories.I know I saw it when it made its way to video stores in the early 90's, but the details had long faded, like an old newspaper, or Eddie Murphy's career. I couldn't remember much of it, though one image had stayed with me - the bodies of a murdered family sitting together on a couch. After re-watching the film for the first time in almost twenty-three years, it's hard to see why that moment stuck with me - it's not really spectacular, or particularly gruesome - but it's NOT hard to tell why the rest of Ghost in the Machine didn't stay with me at all.That's not to say there's isn't fun to be had with this sci-fi supernatural thriller, but the proceedings do have an unshakeable cheap, straight-to-video flavor. Rachel Talalay - director of the most wretched of the Nightmare on Elm Street sequels, Freddy's Dead - is responsible for this one. This was her sophomore effort, and it came only a couple of years before she obliterated her big screen career with the epic box-office bomb Tank Girl. She was then banished to directing random episodes of Ally McBeal for the next couple of decades. It seems she's found a groove in TV direction lately though, working on Doctor Who and Sherlock... but I digress. Let's get back to the movie at hand.Ghost in the Machine was almost certainly green lit when hungry, drooling executives noticed The Lawnmower Man scraping in those Pierce Brosnan bucks and decided they wanted a piece of the early 90's tech-thriller pie. The plot centers around an individual known as the "address book killer" (yes, seriously). He crashes his car during a police chase and dies on the operating table. Since this happens in the middle of a lightning storm, naturally his consciousness inserts itself into nearby electrical equipment, leaving him free to continue murdering with the help of his newly acquired powers to jump into computers and dishwashers and stuff.Ghost in the Machine was made in an era when the public at large was still unaware of the impending societal paradigm shift that would come later in the decade. I'm talking about the rise of the internet, of course. As a result, the script is filled with hilarious talk of hackers, and nonsensical computer discussions that would make even the most tech-illiterate grandma of today giggle.What it does manage surprisingly well, is to tackle themes of technological fear. The personal computer was still a relatively new thing, and the idea of bringing something with so much unknown power into the home is a very real concern. We do it all the time now in the form of new cell phones and the social networks they connect us to, but there is always that worry we're messing with something we shouldn't be. It also played on the fear of the online stranger - the catfish - before it became the tangible boogeyman it is now. There are scenes where the young protagonist receives threatening messages from the killer, and in some ways these themes make the film more relevant now than it was upon release. Bargain bin fodder like Ghost in the Machine usually ages for the worse in all aspects, so kudos to the writers for making something so forgettable somewhat prescient... I guess.There are also some interesting special effects on display. Sure, much of it is terrible 90's CGI, probably stolen from The Lawnmower Man's cutting room floor, but there are a few moments of cool practical work. The camera zooms in and out of machines on a microscopic level as the villain causes mayhem, and a ridiculous scene involving a microwave is impressively gruesome.That's where the good stuff ends. The cast aren't given much to work with. Karen Allen plays the concerned mother with a Dana Scully haircut, Rick Ducommun appears as a nerdy goofball, and Chris Mulkey is a knight in shining armor that's as boring as a budget airplane meal.It's all very bland, and I guess that's why it's gone mostly forgotten. The 90's-isms are embarrassing rather than charming, the story had already been done in other similar films, and it never really goes far enough. One thing I do wonder though, is if this film had any influence on the Final Destination series? Lists of people dying accident-like deaths at the mercy of an unseen supernatural force? There are enough similarities for me to believe it. But similarities to marginally better films aside, it's unremarkable at best. Maybe I should have left it as a VHS memory... like that dead family on the couch.

Not bad techno-thriller is reasonably slick and well paced, and delivers some okay thrills for not particularly demanding viewers. Granted, it requires one to completely suspend their disbelief, but that hardly makes it unique for this kind of thing. If you can buy into it for entertainments' sake, you may find it to your liking.The story deals with a sick, sadistic psycho killer who robs address books from people and then murders everybody in the books. (One would think this would keep him pretty damn busy.) His name is Karl Hochman (Ted Marcoux), and he works as a technician at a computer store. While on his way to murder his latest victim, single mom Terry Munroe (Karen Allen, appealing as always) he gets impatient and gets into a horrible car accident. While his body is being scanned at a hospital, his "imprint" or "soul" or whatever is sucked into a computer mainframe thanks to a power surge. In this form he can then continue to stalk Terry, ruining her credit and depleting her bank account, while going about slaughtering those in *her* address book. His ingenious methods have him utilizing various electrical devices. Two delicious set pieces involve a hot air blower in a washroom and a microwave oven. You have to see these to believe them. Director Rachel Talalay rebounds somewhat from her fumbled, lame debut of "Freddy's Dead" in the "Nightmare on Elm Street" franchise by keeping this moving well enough no matter how much the script, by William Osborne and William Davies, may have us shaking our heads. Allen is great, although her characters' cluelessness may frustrate some in the audience. The film also gives a nice co-starring role to veteran supporting and character actor Chris Mulkey, as the outlaw hacker turned respectable employee who becomes the hero of the piece. Marcoux is a hoot as the very unsubtle villain (he actually *sniffs* Terry's address book, for Gods' sake!). Wil Horneff is decent as Terry's rebellious son, and Jessica Walter ("Play Misty for Me", 'Arrested Development') is on hand as Terry's mom. The supporting players include such familiar faces as Brandon Quintin Adams (the lead of another horror film, Wes Cravens' "The People Under the Stairs"), Rick Ducommun, Nancy Fish, Carl Gabriel Yorke, Chris Ellis, and 'The West Wing' cast member Richard Schiff in a bit; Schiffs' brother Paul was the films' producer. Super sexy Shevonne Durkin provides appreciable eye candy as the babysitter. The various computer generated special effects are well done, and overall this is diverting stuff for anybody ready to turn off their brains for an hour and a half. One thing you have to enjoy is the image of the killers' creative way of staging a family night at home.Seven out of 10.

Ghost in the Machine, 1993 Imagine if you took Lawnmowerman 2 and made a crappy version, then splice it with a lame serial killer thriller. Wait, you think Lawnmowerman 2 is already a crappy movie? Boy, are you in for a treat. This is actually worse.This monstrosity revolves around a serial killer who's known as the "Address Book Killer." See, he steals an address book, then goes and kills everybody in it. No sh*t. And yet, his kill count isn't even up to 20… Kinda makes you wonder about the lifeless shut-ins he's stealing these things from. At any rate, on he's also a tech whiz because that apparently makes perfect sense (to the filmmakers at least) when he's rocketed into being a creature made entirely out of electrical current. Oh yeah, that's right. Just like in Lawnmowerman 2, this guy is reduced to being electrical impulses who kills people via their various electronics devices. Except here, he enters the electrical world by being, apparently, swallowed up by an X-Ray machine in a hospital during a thunderstorm. So, anyway, he starts stalking this woman and her kid and her address book inhabitants in bizarre and nonsensical ways. He shows up to terrorize the kid while he's playing a Virtual Reality video game. For no reason whatsoever, the kid's face appears on his VR counterpart, and while there aren't details of any sort in the images or game, somehow the ability to blast off an arm exists. Trust me when I say that VR games from circa 1993 were no where near this accurate. Actually, they also really lacked anything even remotely fun. Eventually, the kid and his Mom and some computer hacker genius (not kidding) pull the super-electro-killer out of the world of copper cables and into our world. He looks like a Jobe from the first Lawnmowerman in one of his all-CG forms… That is, if he was crappily crafted and animated by a blind man in a high school equipment closet. Of course, bullets don't hurt him, but magnets sure f*ck him up.This film really has no good merits, pretty much at all. Not since the ridiculousness of Wes Craven's "Shocker" has the world of science and technology been so thoroughly eviscerated and replaced by malevolent ignorance and fantasy. And this makes "Shocker" look competent. The endless early 90's Rap music doesn't help things, either. Of course, the inept script and mindless direction aside, the film also suffers with room-temperature acting, substandard atmosphere, and near endless stupidity. The violence and gore are decent enough. But, it's best to just avoid this one.2/10

One of the dumbest movies I ever had to struggle through AND an ideal example to illustrate just how worthless the horror genre was during the early 90's. Really everything about this movie is horrid, starting with the nonsensical idea of a serial killer without personality who continues his murderous habits after he died, and this through computers, dishwashers and other electrical household items! The guy got killed in a car accident but his "soul" was transferred to cyberspace so he can cheerfully go on with his modus operandi of slaughtering everybody who's in Karen Allen's address book. Considering the premise of this film is so ridiculous, you'd expect that the cast -and crew members themselves wouldn't take their jobs very seriously, right? Well hell no! There's absolutely no sense of humor in the script and every 'actor' devotedly produces his/her lines like as if they are part of some eminent Hitchcock production. The overuse of visual, headache-provoking effects is very annoying and also pretty pointless, since no one really knows how a soul floating around in cyberspace must be portrayed. So all they do is showing some wild and colorful images that look like irritating screen-savers. There's no suspense (or what else did you expect) and the gore – although plenty – is not at all convincing. The only element worth mentioning (childish of me as well, I know) is the supportive role of a young and ambitious actress called Shevonne Durkin. This cute and cherubic girl appears as the babysitter who shows some beautiful cleavage before getting her butt electrocuted. My generous rating 2 out of 10 therefore entirely belongs to her.