"I take orders from the Octoboss."


July 12, 1985

Director Joe Dante came up in the world of Roger Corman – first cutting trailers, then directing PIRANHA – before his success with THE HOWLING (1981) brought him to the attention of Steven Spielberg, who produced TWILIGHT ZONE: THE MOVIE (1983) and GREMLINS (1984). So it’s notable that Dante’s Summer of ’85 entry EXPLORERS is another that (like D.A.R.Y.L. or especially COCOON) seems like it wouldn’t have existed without the influence of Spielberg’s films.

In an interview with Podcasting Them Softly, screenwriter Eric Luke confirms, “The thing that sold it, that Paramount thought, let’s make this was like the one sentence concept, because E.T. had just come out and been the biggest hit ever, so my answer to that was three boys build their own space ship and go into space and it all works, it’s not just a fantasy, there’s some scientific underpinning.”

And yes, the poster definitely says “E.T. had just come out and been the biggest hit ever.” It evokes the idea of EXPLORERS, but it’s closer to those early E.T. scenes of Elliott in his backyard at night meeting E.T. I can’t remember them riding bikes in EXPLORERS, and if they did, it sure wasn’t as prominent as it was in E.T. In E.T. it became a logo.

(I don’t think either movie has a skateboard. That was a bonus by the poster artist. Should’ve added a breakdancer too.)

The season’s other movie that EXPLORERS is most comparable to is definitely THE GOONIES, produced by Spielberg (and written by Dante’s GREMLINS writer Chris Columbus). Both are about a group of boys in their early teens sneaking out of their suburban homes and discovering an incredible adventure. It’s kind of counterintuitive that the one that captured everyone’s hearts in 1985 was the one about discovering pirate treasure, not the one about dreams of space flight and alien contact. But these things happen.

Ethan Hawke and River Phoenix made their film acting debuts, playing literal and figurative dreamer Ben and his computer genius best friend Wolfgang. Ben keeps having dreams about flying over a giant circuit board (TRON-like computer animation by Omnibus Computer Graphics Center before they bought out the company that did THE LAST STARFIGHTER), then waking up and trying to draw what he saw. He brings the drawings to Wolfgang, who somehow knows how to build them into what looks like a home-made iMac, to find out if they’ll do anything.

There’s a third friend who’s a little more passive in this adventure, but he’s my favorite character. Darren (Jason Presson, Wes Craven’s INVITATION TO HELL) is a kid who sees Ben getting beat up at school and decides to kick the bully (Bobby Fite, also in THE LEGEND OF BILLIE JEAN this summer). Ben starts following Darren around and trying to get him to come over to watch THIS ISLAND EARTH, which he has no interest in until he gets home and hears his dad fighting with a girlfriend. Going to hang out with the nerd seems more appealing than going inside.

The computer that Wolfgang builds turns out to produce a sort of force field bubble that they can control. After tinkering and testing they accidentally get Wolfgang stuck inside it and flying around town and through the ground. Afterwards he’s less terrified than he is excited about his observation that he was immune to inertia inside. Darren suggests that they could build something to sit in and fly it around in the bubble, and he brings them to a junkyard where they build a shitty space craft out of an old Tilt-a-Whirl seat, some TV screens and other odds and ends. They christen it with a bottle of beer stolen from Darren’s dad, and name it The Thunder Road. And before long they decide to try to fly into space and meet up with whoever’s sending Ben these dreams.

When they do there’s a major tonal shift. They land The Thunder Road inside a large alien spaceship, which they then explore with surprising casualness – they’re still eating their snacks! They encounter a giant stop motion spider robot, get frisked by robot hands, and finally meet two goofy looking aliens in the cartoonish tradition of that one part in Dante’s TWILIGHT ZONE segment. Wak (Robert Picardo) is male and Neek (Leslie Rickert) is female, which we know because she has long eyelashes and a tuft of green hair, like Dante’s later creation Greta Gremlin. It turns into a bizarre hangout movie – Wolfgang literally takes his shoes off and lays around flirting with Neek, being accused of “loungin’ around with some alien” by Ben. They sit and watch Wak stand in front of projections of earthling television, doing a disjointed comedy routine made up of a nonsensical mishmash of catch phrases and celebrity impersonations he’s picked up on from commercials and Mr. Ed reruns and shit.

Ben’s confusion and disappointment with all this is pretty funny, sort of a precursor to Logan Marshall-Green’s “I wanted to meet them, babe” in PROMETHEUS. When he makes first contact with extra-terrestrial life and it says, “Eh, what’s up, Doc?” he stares for a beat before asking “What?” Later he says, “I don’t understand – we came all this way and we haven’t learned anything!”

The kids in this movie are in the naturalistic, relatable tradition of the kids in E.T. and THE GOONIES. One difference is that those Spielberg productions grounded the kids in current pop culture: Dungeons & Dragons, STAR WARS toys, PURPLE RAIN t-shirts. Dante recognizably sets his in the present but gives the kids almost exclusively his own childhood interests: WAR OF THE WORLDS on TV, IT CAME FROM OUTER SPACE poster on the bedroom wall, Doc Savage books, a mouse named after Robert Heinlein. It’s of course possible that these kids would be into old shit, but Dante also uses a scene at the drive-in as an excuse to make his own retro Z-grade sci-fi movie called STAR KILLER. Even the popular kids can’t escape the preoccupations of the Famous Monsters generation.

I loved both THE GOONIES and EXPLORERS when I saw them in theaters in 1985. In adulthood I started to kind of hate GOONIES, and retain a nostalgic fondness for EXPLORERS, even if it seemed more flawed than it did to me back then. Watching them both on their 35th anniversaries I can say that THE GOONIES is a more consistent, better made movie (and with better production value), but EXPLORERS connects with me in a different way because it’s closer to my childhood experiences and interests. I didn’t have any computer genius friends like Wolfgang, but I definitely had friends like Darren. Like Ben, I would lay on my roof looking up at the stars (with a notebook in which I planned to draw the UFOs I hoped to spot). Like the Explorers, we would sneak out at night, we would go to the creek in the woods, and we snuck into closed junkyards (there were two different ones). We would build “forts” and dream of getting elaborate with them, using pieces of junk we salvaged from somewhere, sometimes painting them (many of my my friends were much more handy at this kind of stuff than I was).

Of course, our plans never got very far, but the absolute crappiness of The Thunder Road made a space ship built by kids out of spare parts seem like an obtainable dream. I remember trying to figure out what to build onto the top of the giant tractor tire in the park that would obviously have to be the body of my ship.

And then the alien encounter appealed to me in a different way because it was such a weird left turn, and even back then I liked shit to be weird. The idea of them speaking in gibberish from TV seemed like some kind of satirical point about the oversaturation of… I don’t know. I was an easy mark for that type of shit, I guess. It doesn’t really work for me anymore, but I do still get a kick out of those crazy creatures designed by comics artist Mike Ploog and built by Rob Bottin, both responsible for John Carpenter’s THE THING.

Of course this is quite a time capsule of young actors. In just the next three years Phoenix became Most Promising Child Actor with STAND BY ME and THE MOSQUITO COAST, teen hearthrob with A NIGHT IN THE LIFE OF JIMMY REARDON and LITTLE NIKITA, and Oscar nominee with RUNNING ON EMPTY. And that was only the beginning, even though he died at the tragically young age of 23.

Hawke took a little more time, not even having a second movie until 1989, but that was DEAD POETS SOCIETY. REALITY BITES (1994) made him into sort of a Gen-X poster boy, his many collaborations with Richard Linklater made him an indie film superstar, TRAINING DAY (2001) got him an Oscar nomination, I’d say DAYBREAKERS (2009) kicked off his period as an earnest star of interesting genre movies (SINISTER, THE PURGE, PREDESTINATION), and as recently as 2017’s FIRST REFORMED you could argue he was still peaking. So it’s definitely novel to see him here at around 14 years old doing his babyfaced, squeaky voiced versions of mannerisms that have become very familiar. He was already able to convey the overwhelming sincerity that makes him still interesting to watch today. His character is the “dreamer” just like Sean Astin’s Mikey in THE GOONIES, but part of what makes him more tolerable to me is that I’ve come to love that persona in grown up Ethan Hawke. He gets wide eyed and says “It feels like a dream doesn’t it? It’s just so perfect,” and in another part he says “We should trust the dream, right?” I can picture him saying those lines in BOYHOOD. He actually does say something similar in BEFORE SUNRISE:

That Hawke sincerity gets some good laughs, like when he convinces more practical Wolfgang to leave the exterior lights on during the launch because “It’ll be cool!” As relentlessly optimistic as he seems, there’s also a scene where he secretly writes a “last will and testament” in his bedroom before the flight. His mom comes in and talks to him and when he says goodbye to her it’s with the belief that he might never see her again. I think that adds something interesting to what mostly comes off as a fluffy fantasy.

Darren’s sad scenes come from his circumstances rather than his choices. When a prickish teacher admonishes him for another D- he mutters “Just stupid I guess” to himself. Interestingly I think Presson, who was in LADY IN WHITE and SATURDAY THE 14TH STRIKES BACK but hasn’t acted since an episode of In the Heat of the Night in 1991, steals the movie from those other two. He has this kind of resigned sadness to him, reluctantly telling Ben about his troubled home life, but playing it down (for example saying that his dad is “okay” since he learned to outrun him). He generally maintains a positive attitude about things, but speaks at a slower rhythm and lower energy level than standard child actor style, a welcome counterbalance to Ben’s more GOONIES-like excitability. And he has a very unique comic sensibility for things like complimenting “the suspension” on their spaceship or looking freaked out by Wolfgang’s hectic household. He seems like he would grow into a very laidback, agreeable stoner.

Wolfgang Petersen was attached to direct first, which may or may not explain the NEVERENDING STORY-esque opening credits with our point of view (and then Ben) flying through the clouds. Petersen quit when they wouldn’t let him film in Germany, and Dante turned down BATMAN so he could take it. Paramount convinced him to do it right away even though he wasn’t happy with the third act. (BATMAN had the same problem when Tim Burton directed it four years later.)

Dante has said that Luke’s original script had the kids landing on an alien planet and playing baseball. Luke described it in the aforementioned interview as “more of a boy’s adventure movie and there was more at stake, there were more bad aliens and good aliens and the kids are caught in the middle and they were trying to get a crystal that had all the secrets of Martian civilization.” He helped rewrite it to Dante’s idea of “pulling out the rug under people’s expectations… to say no, actually the big reveal is they are kids like you – and they watch TV, they watch monster just like you, they love science fiction just like you.”

That is, in fact, the twist ending, so I thought it was funny that my precious July 1995 Cinefantastique has a one-column sidebar story that opens with this sentence: “EXPLORERS is about teenage aliens who steal their dad’s spaceship and fly to Earth for a series of adventures.” Both a spoiler and setting viewers up for a huge disappointment! But I’m sure they hadn’t seen the movie to realize that.

At the box office, EXPLORERS didn’t have much luck. BACK TO THE FUTURE was still on top, followed by THUNDERDOME, then COCOON then RAMBO then EXPLORERS. Two weeks later it was gone, having made back less than half its budget, while THE GOONIES was still lingering.

But I would say it was more overlooked than rejected. It actually got pretty good reviews. In the New York Times, for example, Janet Maslin wrote that, “Of all the Spielberg-inspired fantasy films afoot at the moment, Joe Dante’s EXPLORERS is by far the most eccentric. It’s charmingly odd at some moments, just plain goofy at others.” She says it “frequently shows off Mr. Dante’s sense of humor to good advantage” and “also marks a new triumph for Industrial Light and Magic, the special-effects outfit that has devised yet another way to show space travel, and makes the flight sequences really soar.”

I’m actually surprised she like it that much. EXPLORERS holds up as a respectable summer movie, though: far from the best of its year, but unusual enough in several different respects to still be interesting to watch. I don’t love it, but it’s pretty cool.


Summer of 1985 connections:

Ben drawing the circuit boards from his dreams and then having them built is similar to how Doc Brown conceives of and creates the flux capacitor in BACK TO THE FUTURE.

Like THE GOONIES and MAD MAX BEYOND THUNDERDOME, there’s a part where kids go down a big slide. This time it’s inside a spaceship instead of underground, and it’s a wide, windy amusement park style instead of round waterslide style. Still, it counts as part of the Slide-mania that was sweeping through Hollywood.

We have another peeper! In COCOON, Steve Guttenberg discovered aliens by watching a lady undress through a peephole. In BACK TO THE FUTURE George McFly climbed up a tree to try to watch Lorraine in her bedroom. In this one Ben stops to peer at Lori (Amanda Peterson, CAN’T BUY ME LOVE) through her window and says, “If I could see in her room just once…” When they discover the floating bubble he uses it to hover outside of Lori’s window and spy on her. He doesn’t see anything dirty, but what else would he be after? Darren comments, “She won’t be undressing this early.”

The alien Wak does a lip sync performance of “All Around the World” by Little Richard, not unlike Marty McFly’s Chuck Berry cover in BACK TO THE FUTURE.

This is Jerry Goldsmith’s second score of the summer, after RAMBO: FIRST BLOOD PART II.

This was Industrial Light and Magic’s fourth and final Summer of 1985 movie (after THE GOONIES, COCOON and BACK TO THE FUTURE).

Pop culture:

About the only cultural reference not leftover from Dante’s childhood is “Thunder Road,” the Bruce Springsteen song Darren suggests naming the spaceship after – that’s from Luke’s childhood. But Ben has an Official Handbook of the Marvel Universe in his room. That was current.

Ben puts on a gas mask and swings a flashlight like a lightsaber, so that’s another STAR WARS reference, like RAMBO (Cameron draft), COCOON and BACK TO THE FUTURE.

There are some very Dante in-joke/easter eggs – they attend Charles M. Jones Middle School (as in the animation legend Chuck Jones), the Rosebud sled from CITIZEN KANE sits unnoticed in the junkyard.


Just a novelization by George Gipe, the co-screenwriter of DEAD MEN DON’T WEAR PLAID and THE MAN WITH TWO BRAINS, who also made books out of GREMLINS and BACK TO THE FUTURE. (Sadly he died that September from an allergic reaction to a bee sting.)


In addition to Phoenix and Hawke, James Cromwell (who plays Wolfang’s dad) went on to become an Oscar nominee. Luke became a script doctor for Paramount, then followed Michael Eisner to Disney, where he wrote and directed two sequels to the TV movie NOT QUITE HUMAN. Most of his screenwriting credits are for cartoons: Tales from the Cryptkeeper, Gargoyles, Extreme Dinosaurs, the 2003 incarnation of Teenage Mutant Ninja Turtles. Dante followed EXPLORERS with INNERSPACE, which did a little better thanks to the worldwide box office, though none of his subsequent movies (THE ‘BURBS, GREMLINS 2, MATINEE, SMALL SOLDIERS) have made him hot shit again like GREMLINS did. Now he’s kind of better known for running Trailers From Hell and being a lovable grump sidekick on their podcast The Movies That Made Me.

NOTE: SILVERADO also came out this week, on Wednesday along with BEYOND THUNDERDOME. You can read my review of that here.

This entry was posted on Monday, July 13th, 2020 at 10:04 am and is filed under Family, Reviews, Science Fiction and Space Shit. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

11 Responses to “Explorers”

  1. I haven’t kept up with the 1985 summer movie series, but is there an overarching goal to the reviews? I liked how you made connections to other films. Is there something about the summer of ’85 aside from the nostalgia you are tapping into?

    I grew up with Explorers too. I was born two years before it came out, so I caught it on cable TV. And it really spoke to me. The “dreams” that the kids try to understand. I loved how cool Ben’s mom was about his dream of chasing the stars. I loved how supportive the helicopter pilot was, my first introduction to the wonderful Dick Miller. Joe Dante didn’t have the heart to make him a “bad guy”. In fact, he just wanted to know more because he was really curious, like the kids were. Seeing the spaceship tapped into that part of his heart. Small things like this elevate the movie in a big way for me.

    I LOVE the ending. Like you I appreciated the left turn even when I was young. I implicitly understood what Dante was doing with the aliens behaving as kids. Ben’s disappointment with them is great — it should match the viewers’ disappointment. But I was on that ride the whole way. And then when it’s time to say goodbye, there’s a real sadness to it. When they stand on that hill, asking themselves if they will ever be called back again (which I understand was slightly re-cut in the edit, originally the scene had different meaning but I can’t remember now what it was for). To me that ending is about disappointment and learning that it is part of life. These kids got a huge education.

    The score by Goldsmith, my God. I revisit it frequently, just to listen to how exquisitely arranged it all is…his work with Dante produced a goldmine. The ‘Burbs is right up there with Explorers.

    Thank you for addressing Darren’s character. He always went pretty under the radar but you’re absolutely right – that kid’s energy levels, while a few notches lower than the others, also feels very real to me in a way that say, the cast of the Goonies feel like caricatures. Perhaps it’s why I am not fond of The Goonies like I used to be.

  2. I always preferred this to Goonies. Just how it looked and felt and the space stuff. Still do prefer it (the Goldsmith score is in constant rotation on my work playlist) but have come back around to Goonies charms.

    Still, Explorers, Daryl, Goonies, Back to the Future, Weird Science, & Real Genius made this a great summer for a sci-fi amblin kid of an impressionable age.

  3. I’m pretty sure I remember Dante saying that this movie is literally unfinished. There was a new studio head or something who didn’t give a shit about the movie so he pulled the plug and sent it out to get slaughtered by the competition, likely to stick it to his predecessor, which is something the toddlers who tell our stories for us tend to do with some regularity, it seems. Despite that, possibly because of Dante’s editing background, it hangs together pretty well for what it is: a children’s movie with a deliberately unsatisfying bait-and-switch cooked into it. That’s a hard thing to overcome, and I don’t think the movie ever really pulls it off, but the good parts are so good (and even the not-so-good parts are elaborate and weird and worth seeing) that the movie ends up a winner.

    I also think that ending serves as a prime example of one of the major motifs of 80s cinema: peace and understanding between wildly disparate peoples/aliens through the shared embrace of American pop culture. From E.T. eating Reese’s Pieces and drawing inspiration from old Hollywood romances to Bill & Ted literally uniting the entire world with their sweet hair metal licks, this theme was EVERYWHERE in the 80s. Think of how many movies, particularly comedies, where an old fuddy dude suddenly starts getting down to that New Wave beat, or a robot learns to be human by watching TV, or a primitive tribesman puts on a pair of Oakleys, or a Commie bastard decides to defect because he loves rock & roll. This was a decade where America’s confidence was running high. We fully believed that all the rest of the universe needed to do to achieve peace in our time was to stop fighting and allow themselves to be assimilated.

    Of course, Dante is too cynical to buy that malarkey, so he paints the aliens’ adoption of American culture as disappointing. Any other director would have had the kids dilute the otherness of the aliens by sharing their music, toys, and slang. I wonder if Dante, an out-and-proud liberal from way back, was making a point about how America absorbing the rest of the world into its monoculture and erasing centuries of tradition in exchange for McDonalds and MTV is not necessarily a good thing. What’s the point of going on an adventure if everybody you meet is already just like you?

  4. I remember catching this on television as a kid and being with the movie up until the reveal of the aliens. While as an adult I can appreciate what Dante and company was trying to do, the kid-me didn’t need to know that there’s no escape from asshole parents even in outer space.

  5. Mr Majestyk- Have to say Dante’s sceptical eye went over my head the one time I saw this (when I was 10). I just thought “ha ha this alien said “What’s Up Doc?”, he’s speaking my language!”

  6. Richard – There’s not an overarching theme to this series unless I happen to discover one along the way. The main goal is to re-experience an interesting movie summer of the past at a time when circumstances have prevented a current one.

  7. Apologies if I this has been linked in one of the reviews and I forgot, but here’s an interesting contemporary overview of the films of the summer from teenagers at the time (posting here as EXPLORERS fares surprisingly well)

    I’m not sure how representative they are of the general public c.1985 though, as at least one of them can name John Boorman, which is more than the number of them who expressed any interest in seeing RAMBO (BACK TO THE FUTURE not mentioned oddly).

    I like how 15 year old Matt casually drops how he went to see THE CARE BEARS MOVIE but walked out. I wonder what his expectations were vs what he got?


    What movies are teen-agers likely to spend their money on this summer?

  8. Pacman – that’s great, thanks for sharing that! And it has one guy mistaking EXPLORERS for a Spielberg movie (wish it was COCOON, to support my theory).

  9. Really enjoying the summer recaps. If you ever do it again, may I suggest 1986 which is an INSANE year for summer movies of such a wide variety (atlthough I think you already did most of them anyway). To go from the Fox trifecta of Aliens, Big Trouble in Little China and The Fly, to big budget sleaze like Maximum Overdrive, Texas Chainsaw Massacre 2, and Cobra…then all of these movies that don’t fit typical summer like Blue Velvet and Stand by Me and She’s Gotta Have it. And you STILL have Psycho 3 (excellent as hell), Karate Kid 3 (cartoonish trash), Labyrinth, Howard the Duck, Invaders from Mars (A Tobe Twofer!), Top Gun, Ruthless People, Flight of the Navigator.

    I mean and there’s still more. What an insane variety of movies, truly something for everyone. Man, I hate to be one of those “movies were better back then” because clearly a lot of these were not good, but this feels like a time when studios were actually doing interesting shit.

  10. Vern- You’re welcome. I found it in a Mental Floss article I stumbled across on the Summer of 85.

    The same article also mentions this Siskel and Ebert retrospective from the end the Summer of 85 where they pan the summer for providing a “juvenile and homogenized” slate of films. I wonder what they’d have thought of the Summer slates of the 2010s? You could certainly argue that the average quality was higher, but could anyone really argue they were less homogenous?

  11. The seasonal movies of every year provide a time capsule of what was going on that year. Even the outliers speak to what a studio or filmmaker got wrong about their era.

    Summer movies, award season movies, really the whole year of movies. Lord knows they VOD movies of 2020 will encapsulate a very different picture for the 10th anniversary of COVID summer.

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