Lifeforce at 40: A Movie That Only Cannon Could Have Created

      Four decades after its release, Tom Jolliffe reflects on a pivotal moment in the legacy of Cannon Films…

      What’s the most outrageous film you've ever watched? There have certainly been many peculiar films out there. The allure of cinema lies in its diversity. I’ve previously discussed a more critically acclaimed work from Cannon titled Runaway Train, which I proposed might be Cannon’s peak achievement. It’s undeniably a remarkable film that received a level of praise not typically associated with Cannon (unlike the film I’m about to address).

      Cannon has a dedicated and cult-like fanbase. Depending on which faction of Cannon fandom you engage with, certain titles in their catalog are frequently lauded as the best. This could range from Masters of The Universe enthusiasts to supporters of Runaway Train, Ninja III: The Domination, and several other favorites that often find themselves at the top. Then there’s another title... it involves space vampires. It embodies the good, bad, ugly, and infamous qualities you’d connect with the height of Cannon's filmmaking.

      During their heyday, Cannon had the unique ability to make films that appeared simultaneously low-budget and high-production. Lifeforce likely stands as their most visually impressive offering. It includes numerous visual effects shots, a range of outstanding old-school effects, sets, miniatures, prosthetics, and more. Overall, most of the visual effects in Lifeforce have aged relatively well. Cannon was an anomaly in the industry, starting with ultra-low-budget exploitation films before investing more heavily in larger productions while also mastering distribution. Yet, they always retained an essence of their exploitative origins.

      I’ve noted before that by the mid-80s, Cannon had developed a knack for attracting prominent talent. This attraction extended beyond just actors (like Stallone, who made a few films, as did Chuck Norris and Charles Bronson) to directors and other crew members. They weren't hesitant to hire talented cinematographers, effects teams, composers, and other essential personnel.

      For instance, Lifeforce features a cinematographer recognized for several Bond films and Return of the Jedi, while score composition is by Henry Mancini (The Pink Panther). Many of these individuals were perhaps veterans experiencing a downturn in their careers, but Cannon seized the opportunity. The makeup and visual effects teams had worked on projects ranging from Star Wars to various horror classics (like Bob Keen, a legend in the genre). This collaboration, under the direction of horror legend Tobe Hooper, results in a visually stunning film.

      From the opening sequences in space, featuring a crew exploring an alien ship hidden behind a comet, to the subsequent scenes (culminating in a spectacular finale), the film appears as grand as many iconic high-budget films from that time. The astronauts discover various artifacts from the alien craft, including three humanoids, seemingly lifeless or in a coma (two men and one woman). After the ship's crew is found decimated due to a fire, the unscathed humanoids are brought back to Earth. The space vampires then escape—starting with the woman—and begin draining people's life forces.

      One name that is sure to make a Cannon aficionado blush and potentially require a quick cold shower is Mathilda May. As a Cannon fan myself, I return now to how Cannon makes this film so distinctly theirs. May, a French actress at just 19, spends most of the film nude. She portrays a space vampire who lures men to their doom by enchanting them and draining their life force.

      This is definitely a film that would not receive a green light in 2022, especially not at this budget level. Amid all the stunning cinematography and visual artistry, the sleazy and trashy elements that helped propel Cannon to prominence are undeniably present. That said, it does contain some commentary, as the men who drool over the sight of a naked 19-year-old woman, viewed more as a humanoid than a human, ultimately face their demise.

      In the end, the character who manages to de-sexualize her and isn’t fixated on her physicality (played by Oscar nominee Peter Firth, with a touch of bemusement) is the one who can defeat the space vampires—at least until he reaches a point of inaction and requires someone else's self-sacrifice to save the day. The balance of exploitation against feminist commentary definitely leans heavily toward exploitation.

      Nevertheless, even at their most misogynistic, jingoistic, xenophobic, or outright silly, Cannon Films always possessed a certain cheeky charm (which felt quintessentially 80s), largely due to their unabashed silliness. Lifeforce bounces from scene to scene, constantly altering the rules of its space vampire premise, never fully committing to a clear understanding of who, what, how, and why. “She’s switched bodies…” Oh, alright… sure, I’ll roll with that…

      The film is absurd, but it's entertainingly absurd. There’s a moment when