This movie was not made for 80s audiences but for future audiences to relive the vibes of the 80s. As a 1980s hyperreal fetish object it is superb. It's why a lot of b-movies from the time have become treasured, but even among a lot of them, the DTVs, the slashers, the Empire films, this is a step up. You start with that Gothic will work no matter what. Every time it cuts from mall settings to the phantom, you are getting cinema. Crawling through air ducts, piecing things through security cameras, these are all details in Gothic noir. Even better that Pauly Shore is there. In recreating a 1980s fetish object directors would certainly put him in their movie, not to say anything of his artistic significance, it is just like palm trees in California.
The camera cannot be cheated. It is a strange facet of cinema that you can go to the ends of the earth, to strain on screen, but then just, mall, gothic, Pauly Shore, the film exists in the simplest way, and works nicely. If I am underselling it to say lower your standards, it is more to have no standards at all and look at it more like an audio-visual National Geographic exhibit of the "mall". I read both essays in the package of the Arrow Video set, and both are focused more on the death of the mall, rather than the film itself, and this concept of the mall, yes it is extremely nostalgic and packed with emotion for an audience. I take more for why this works, the Phantom of the Opera, the Gothic shorthand. Of course it will end with gore, people on fire, the entire mall exploding in glorious fashion. But with the death of the mall, it takes on a double meaning. Gothic always knew the pain the suburbanite, of the 80s/90s kids, our nostalgia, loss and sorrow in great economic change. Gothic knew. This is just one of the films that made a very intellectual association in combining these subject, as we age to become haunted Gothic figures ourselves.
