Cameron Lansing was born with a strong telekinetic gift. Like any good father, Owen Lansing hopes to exploit his sons abilities, in favor of tapping into a darker side of life and mind. But Cameron’s abilities are stronger than Owen suspects, and the experiments he’s been subjecting his son too have unleashed a hell that no one could have properly prepared for. Before Owen and his scientific sidekick Ben Majors can regain control of the situation, bodies begin piling up. First it’s Owen, then it’s Cameron’s would-be stepfather Bob, and soon it’s apparent that anyone who enters Cameron’s world, and closet in specific, is placing themselves in grave danger.
Gary Brandner’s story is really an unorganized, sloppy tale that’s too descript when it shouldn’t be, and completely inexhaustive when it should be particularly descript… it’s a mess. But I’ll be damned if it’s not a truckload of fun! Scott Curtis turns in a haunting performance that speaks of far more experience than his age would even permit; It’s a performance that lingers with you a bit. There’s a few quality supporting characters in the fold, but the real magic is the goofiness of the script, fused with the brilliance of Scott Curtis’ surprising performance. It’s an unorthodox coupling, but it works well.
This paranormal monster tale is one of the few of it’s kind (there really aren’t all that many to begin with, that I know of) that has managed to stand the test of time. More than 20 years after it’s release the picture enjoys a (still) growing cult following. Given it’s 2004 DVD release and recent cable network resurgence (including a stint on Fearnet On Demand) CAMERON’S CLOSET is as popular as ever. And really, it’s hard to imagine why it wouldn’t be; kids with powers – check, cool decapitations – check, cheesy 80’s monsters – check. Come on, what more can you really ask for?
Wait a minute, there is more one could ask for: bonus features dammnit! That’s my big beef (I’m hood – remember that, and expect ebonics to work their way deeper into my future writings) with this DVD. No commentary of any form, no deleted scenes, blooper reels, picture galleries, exclusive interviews – nada. No draw beyond the film itself, which is unfortunately featured in full screen transfer. If there’s a widescreen release floating, I have yet to spot it.
OVERALL SUMMARY
While there’s plenty to critique here, there is a campy quality that draws viewers back, despite how goofy things tend to get. Do yourself a favor and try to ignore the outrageous improbabilities.
