Curry first caught the bug for performing in his university days, eventually joining a swing band before graduating in English and drama. During these early years, Curry ensured that his devotion to drama would not die on his academic certificate as he swiftly booked a role in the London musical “Hair” (1968), where he happened to meet future collaborator Richard O’Brien. Amidst these sophomore years, Curry continued to blossom under the bright lights in productions such as “Life of Galileo” (1971) and “Cinderella” (1972), earning a stellar reputation along the way.

As Curry was earning his acclaimed Broadway status, he put himself forward for O’Brien’s upcoming stage play, “The Rocky Horror Show” (1973-), and was eventually cast in the lead role. The show was a bustling success, with Curry’s performance as the enigmatic Dr Frank-N-Furter eventually leading him to reprise his role in the show’s cinematic adaptation. This would be Curry’s first role in a movie, but it would certainly not be his last, the artist featuring in over forty films over the next five decades.

Being able to transform into a character, to become immersed in the role so much that the barrier between screen and reality is ripped away, is a rarely attainable talent. In celebration of Curry’s commendable work over the years, The Film Magazine has curated this evaluation of Tim Curry’s three career-defining performances.

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1. The Rocky Horror Picture Show (1975)

The Rocky Horror Picture Show Review

The Rocky Horror Picture Show has become so entwined with its lavish visuals, energetic musical numbers, and the zany storyline, that it has become both a cultural phenomenon and one of, if not the most, career-defining performance of Tim Curry’s lengthy career. When questioned about what reminds people of Tim Curry, many will recall him bound in a black-jewelled corset, ripped fishnet stockings, bright red lipstick, and a mop of curly hair. His portrayal of the infamous Dr Frank-N-Furter is an iconic look that has helped coin the glorious madness cult cinema is known for.

Curry’s staple role in this wacky extravaganza is a testament to how crucial actors are to the success of a film. Whilst the staging, costumes, and soundtrack are all achievements in their own rights, without Curry’s uncontainable zest as the utterly unhinged ‘mad scientist’, the film indeed would not contain that heap of gusto that makes The Rocky Horror Picture Show just as contagious now as it was back in 1975. The narrative structure represents a fever dream that requires equally vibrant characters willing to break free of social constraints. Whilst every character shines, Curry fully embellishes this vibrancy, creating a trippy, wild ride of a film.

Throughout The Rocky Horror Picture Show, Curry exercises a unique air of naturalness, with his years of portraying the character on Broadway lending its hand to his smashing performance. As the film unravels, this sense of authenticity and expertise is furthered by Curry’s many vocal numbers. The movie set was his stage, and everyone else was just his audience, with his deep baritone pipes making for some exceptionally entertaining and catchy tunes.

2. Clue (1985)

Based on the famous board game Cluedo, this Johnathan Lynn-directed film stars Tim Curry in one of his most comical roles. Clue is peak 1980s humour, with plenty of irreverent jokes and lude quick-witted characters, including Curry’s astute Wadsworth.

Wadsworth, the secretive butler, acts as the film’s resident unreliable narrator, as many of the film’s rocky events are explained through his lengthy monologues. Clue’s co-writer John Landis (An American Werewolf in London) created the idea of a triple ending, rotating which endings were sent to theatres, urging cinema-goers to make multiple trips to the movies. Wadsworth plays a large part in each of these endings, with all of the finales falling upon Curry’s character and relying upon his gift of repartee.

Furthering the dry humour and suspense that Curry infuses amidst all the murder mystery and mayhem is his winning charm that runs across every one of his performances. Films including Home Alone 2: Lost in New York (1992), Congo (1995), and Muppet Treasure Island (1996) capture that ‘Wadsworth’ magic, utilising Curry’s fun, attention-commanding aura to create irreverent, wholesome entertainment.

Clue solidified Curry’s future acting portfolio, with many of his following roles capturing his witty and sarcastic tone.

3. It (1990)

Disclaimer: this ABC miniseries (released on television in two parts) was released in some territories as a feature film.

Pennywise the Dancing Clown has become the godfather of recent horror icons thanks to Andy Muschietti’s 2017 adaption of the classic Stephen King novel. However, while Bill Skarsgård did a fantastic job playing the evil clown, the lore and success of everyone’s favourite clown is owed to Curry’s original portrayal.

It is brimming with nightmare fuel. One particularly memorable scene showcases Pennywise standing in a half-dug grave, wielding his infamous grin whilst giggling at the thought of his maniacal plans, all-but singlehandedly ensuring that every viewer develops a lifelong mistrust of clowns. The mere thought of such imagery is enough to send shivers down one’s spine, and whilst storytelling is a major factor in fashioning effective scares, It owes most of its superb execution to Curry’s performance. It plays out like one large urban legend, one that is told around campfires to scare youngsters and create thrilling but chilling atmospheres. Capturing this nostalgia-driven narrative is Curry’s playful attitude that he lends to Pennywise, luring his victims in with the promise of ‘fun’, only to brutally murder them.

Despite not being the studio’s first choice for Pennywise, director Tommy Lee Wallace was eager to secure Curry for the role, with the actor’s innate ability to fully absorb himself into a character’s psyche and ultimately transform being a critical factor in Wallace’s determinations. After beating the likes of Alice Cooper and Malcolm McDowell (A Clockwork Orange) to the gig, Curry eventually settled in as Pennywise and assured his place as one of the scariest movie villains in horror history.

Each time Pennywise appears on screen, the atmosphere darkens, and tension looms as he spouts the most unsettling threats in a thick Bronx accent, glaring with bulbous and piercing eyes. Nothing is more startling or skin-crawling than witnessing Curry transform into this horrifying beast. Many viewers would have seen It years ago, or many new watchers would have been subjected to modern horror’s much more gruesome and graphic films, but It manages to be scarier than many of today’s must-sees. Curry’s performance has created a legacy, with his unique ability to tiptoe between being cheery and bright to utterly sinister and twisted becoming one of the film’s most essential factors in its thirty-plus years of success.

Recommended for you: Marilyn Monroe: 3 Career-Defining Performances

Though now largely withdrawn from the public eye, Tim Curry remains an instantly recognisable and beloved artist. His work on the stage, in music, and on the screen, have ensured a legacy that is bound to make anyone smile.

The Rocky Horror Picture Show (1975)
Director: Jim Sharman
Screenwriters: Richard O’Brien, Jim Sharman
Starring: Tim Curry, Susan Sarandon, Barry Bostwick, Richard O’Brien, Patricia Quinn, Little Nell Campbell, Jonathan Adams, Peter Hinwood, Meat Loaf, Charles Gray

Only one film has been in constant theatrical circulation since its release, and that’s The Rocky Horror Picture Show. 47 years on and this affectionate high camp musical spoof of mid-century American B-movies is still going strong, and has transcended initial critical dismissal to be embraced by a devoted cult movie audience who will happily dress up, sing, dance and riff along each and every time they watch it.

So pick out your best fishnets and sing along if you know the words: “It’s astounding, time is fleeting, madness takes its toll…”

Newly engaged couple Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon) stop off at a castle during a storm to use their phone. There, the couple get caught up in the machinations of mad scientist Dr Frank-N-Furter (Tim Curry) from Transexual Transylvania, who has created a musclebound man in his laboratory.

As an immediate indication of the film’s self-awareness, the first thing you see in the opening credits, apart from Patricia Quinn’s disembodied red lips, is that the cast and characters are introduced to us by the archetypes they represent and their pre-determined plot purpose (“Janet Weiss – A Heroine”, “The Criminologist – An Expert”, etc.) before Charles Gray’s smooth, drawling narration takes over to ease us into this strange story.

Rocky Horror is an extremely clever semi-parody of cheap 50s sci-fi movies presented in the form of a slightly seedy rock ‘n’ roll musical. The film has undeniably become a cultural phenomenon over the years largely thanks to its fanatical fanbase, and it’s easy to see why. It revels in references to Universal horror movies, 1930s through 1950s low-budget sci-fi and schlock pictures which are scattered throughout (the opening number alone name-checks Doctor X, The Forbidden Planet and King Kong among many others), plus it reuses one of the filming locations and many of the sets from Hammer productions as a nice bonus. Then there’s the unique tone, aesthetic and revolutionary attitude to sexuality that permeates the whole thing.

The Rocky Horror Picture Show is most commonly described as a poster child for “camp”, that is to say it goes in for gaudy costume design, flamboyant song-and-dance numbers and intentionally hammy dialogue, like a drag catwalk show (the likes of which were documented in Paris is Burning) viewed through the prism of the love of genre storytelling. The film is fully aware of what it is and who it’s for, and is not afraid to scream it from the rooftops.

Barry Bostwick has an earnest Adam West Batman thing going on in the cadence of his voice, and it’s his deadpan performance and Susan Sarandon’s wide-eyed and heartfelt turn that makes for such an entertaining contrast with the other far more flamboyant players. This buttoned-up, middle-class couple inevitably go through something of a sexual awakening (Frank teaching both of them to “give in to pleasure” and Janet losing her virginity in song form with “Touch-A-Touch-A-Touch-A-Touch Me”). It is perhaps this aspect that is the most interesting to explore.

Tim Curry is a powerfully sexy force of nature as Frank, and very likely responsible for kick-starting many a change in sexuality or transition gender identity. It’s the unshakeable confidence with which he does everything, from strutting and thrusting in heels to the magnetic way he belts out his musical numbers like a rock star to the awkward humour he brings to his incongruous Received Pronunciation dialogue apparently inspired by the Queen. Everyone in the ensemble gets their moment to shine, but it’s always been Curry’s movie.

Curry saw the film as “a guaranteed weekend party to which you can go with or without a date and probably find one if you don’t have one, and it’s also a chance for people to try on a few roles for size,”. The film has grown far beyond the confines of the screen, the social aspect of dressing up and interacting with sing-along screenings and live performances acting as a liberating first step to discovering your true self.

A film has to have a decent budget and talent behind it to look so intentionally cheap. It’s all really well shot by Peter Suschitzky (The Empire Strikes Back) and appropriately atmospheric in the gothic horror-inspired scenes, but the props and costumes are never not kitsch and pulpy as a nod to the kind of films Richard O’Brien was so fond of growing up.

The creative mind behind the whole ‘Rocky Horror’ project (stage and film), O’Brien should be commended for bringing together such an eclectic range of ideas as one (relatively) coherent entity. He is obviously an avid film fan, but he’s also a talented musician with a real ear for a memorable tune and of course he portrays the decidedly creepy “handyman” Riff Raff.

To go from “Time Warp” straight into “Sweet Transvestite” with scarcely a pause for breath, can really take it out of you (particularly if you’re singing along), but what a wonderful 15 minutes of queer cinema this passage of the movie is. The soundtrack is full of ridiculously catchy and funny rock ‘n’ roll bangers with remarkably few duds among them.

You’re carried along quite happily supping this odd filmic cocktail for at least the first hour of the film, but in its final act (from “Eddie” onwards), after all the plot twists are revealed, Rocky Horror loses something. It’s not a long film, but this passage which seems to take itself a little more seriously makes it feel much longer. By this point everyone but Tim Curry seems to be running on empty, most of the fun has dissipated, and so we drift towards a rather damp and unsatisfying conclusion.

That said, you’ll hardly care if you see The Rocky Horror Picture Show as it was meant to be seen – with a group of friends, perhaps dressed up, for the first or the fiftieth time, and participating in everything without inhibition, especially the Time Warp. After all, “It’s just a jump to the left…”.

Score: 21/24

Muppet Treasure Island (1996)
Director: Brian Henson
Screenplay: Jerry Juhl, Kirk R. Thatcher, James V. Hart
Starring: Tim Curry, Billy Connolly, Jennifer Saunders, Kevin Bishop, Dave Goelz, Steve Whitmire, Jerry Nelson, Kevin Clash, Bill Barretta, Frank Oz

For all those involved in the creation of what is The Muppets’ fifth theatrical release, surely only in their wildest dreams could they have envisaged that in 25 years time, their song “Cabin Fever” would be the unofficial anthem of the whole world. The fact that this song comes to mind to those down in the doldrums of prolonged indoor living, decades after its initial release, is a testament to the ongoing popularity of Muppet Treasure Island, and confirms that it can give all of its rivals a run for their money for title of Most Beloved Muppet Film.

After the huge success of The Muppet Christmas Carol with Disney, it made perfect sense for director Brian Henson to do another period piece. After a toss up with King Arthur, it was Robert Louis Stevenson’s novel “Treasure Island” that was gifted with the most outlandish film adaption in cinematic history. The story follows Jim Hawkins (Kevin Bishop), an orphan who works in the Benbow inn alongside his friends, Gonzo the Great and Rizzo the Rat, where they are often regaled by their regular, Captain Billy Bones (Billy Connolly) and his stories of the villainous Pirate, Captain Flint, and his buried treasure. These stories quickly turn into reality when Blind Pew, one of Billy’s old shipmates, arrives at the inn to give Billy Bones “The Black Spot”- a pirate’s death sentence. It turns out Billy Bones had Captain Flint’s treasure map in his possession the whole time, but whilst trying to escape from his old murderous shipmates he suddenly dies, passing down the map to Jim, who seizes the opportunity to follow in his late father’s footsteps and go on a sea adventure. He pitches the treasure quest to the dim-witted Squire Trelawney (Fozzie Bear) who agrees to finance the voyage, which he leaves the enigmatic Long John Silver (Tim Curry), a one-legged ship’s cook, to organise. However, Billy Bones’ dying warning (“Beware the one-legged man”) goes amiss, and no sooner than they have weighed anchor does it become obvious that the voyage has been sabotaged by pirates. Jim and Captain Smollett (Kermit the Frog), must then race against the pirates to find the treasure and escape Treasure Island alive.

Each Muppet theatrical release always had something new to bring to the table, either in terms of storytelling or technical innovation. The Muppet Movie (1979) was obviously a game-changer, accomplishing many puppetry feats such as Kermit riding a bike and Fozzie driving a car; The Great Muppet Caper (1981) had the muppets in high octane action sequences including Miss Piggy’s iconic motorbike chase; The Muppets Take Manhattan (1984) had Kermit and Miss Piggy finally tying the knot; and of course The Muppet Christmas Carol (1992) became one of the greatest film adaptions of all time, with its emotionally poignant yet silly retelling of the great Dickens tale. So what did Muppet Treasure Island have to bring to the table?

The movie doesn’t really cover any fresh ground, and although it had a much bigger budget than other Muppet films, it lacked some of the production value of its immediate predecessor (the recreation of Victorian London in the winter really was breath-taking). There is no major break through in the Muppet puppetry, and in terms of story it isn’t particularly original – not being the first Muppet period piece or the first “Treasure Island” film adaption – but Muppet Treasure Island does take all of the best elements of the previous Muppet film releases (and productions in general) and balances them perfectly in one of the most universally appealing family films of all time. For those who grew up on the works of Jim Henson, Muppet Treasure Island is the last of the truly great Muppet films, with all of its successors not quite managing to hit the ultimate sweet spot that fans have craved ever since.

The secret to Muppet Treasure Island‘s ability to enthral adults and children alike is its superb writing and direction. Both Brian Henson and Jerry Juhl are Muppet veterans, with Juhl providing writing since ‘The Muppet Show’ and Henson being enlisted in the family business since The Muppet Movie. And, judging by the huge box office and critical success of The Muppet Christmas Carol, both know how to do source material justice.

Robert Louis Stevenson’s original book is actually packed with murder and death, which if completely faithfully translated to film would prove to be a frightening watch for very young audiences, but the darker moments of Muppet Treasure Island are quickly balanced-out with comedy, breaking any tension. This isn’t just a benefit for any kids watching, Juhl’s comedy prowess is smart enough or at least absurd enough to leave most adults in hysterics. One such notable moment (of which there are many within the 99-minute runtime) is when Long John Silver fires his pistols to defend himself from his angry mob of pirates: one pirate is left grieving after one of his shipmates is apparently fatally wounded by Silver’s gunfire, to then be gently reminded:

” But Dead Tom’s always been dead – that’s why he’s called Dead Tom!”

Muppet Treasure Island is full of these brief, humorous sketches to keep the story light-hearted, making this Muppet film most akin to ‘The Muppet Show’, which was on the same level as ‘Monty Python’s Flying Circus’ in terms of breakneck surrealist comedy. These brief diversions from the action of the main storyline, such as the ongoing sub-plot of Brooklyn city rats using the voyage of the Hispaniola as a cruise, help to maintain the youngest of audience members’ attention. Whenever there is exposition, a joke is not too far away.

It would be a lie to say that, with this constant onslaught of gags, Muppet Treasure Island doesn’t come across as annoying just as many other children’s films do, with some reliance on long-drawn, unnecessary squealing and noise from the more silly Muppet characters. However, it has the edge over most contemporary family films as so much of its comedy doesn’t spawn from lazy pop culture references. Furthermore, despite it rivalling the laughter rates of comedy juggernauts like Airplane! (1980), the humour of Muppet Treasure Island doesn’t actually detract from the story itself. The straight men of the Muppets entourage such as Kermit and Sam Eagle are brought out for moments of peril, but most of the emotional poignancy is achieved by the human characters, namely Jim Hawkins and Long John Silver.

The balance and interaction between the Muppets and their human co-stars is one of the most important factors for a successful Muppet flick: in its predecessor, The Muppet Christmas Carol, Michael Caine (as Ebenezer Scrooge) was the focal point of the film’s plot, which hadn’t been done before by the Muppets. It’s a major reason that The Muppet Christmas Carol is one of the most popular Christmas movies of all time, achieving an impressive depth and seriousness that does Dickens’ philanthropic message justice. In Muppet Treasure Island, the plot centres around Jim Hawkins, played by child actor Kevin Bishop. Bishop’s lack of experience, having only previously appeared in children’s TV series ‘Grange Hill’, meant he struggled to carry the plot single-handedly, ultimately leaving much of the film’s emotional weight to screen and stage legend Tim Curry in his role as Long John Silver.

It is curious to note that whilst Michael Caine played the part of Ebenezer Scrooge as straight as he would in a Royal Shakespeare Company production, Tim Curry totally hams it up – the man is practically one of the Muppets. Still, even with this larger than life screen presence, he manages to navigate quieter moments with his human co-star, creating a very believable relationship between Hawkins and Silver, making Silver’s treachery all the more shocking and hurtful. Muppet productions, despite their reputation for wackiness, have always had substance, with each of their movies having a moral to their story, and as such Tim Curry’s Silver is a dangerous figure who helps to build the thrilling adventure story at the heart of this film, his flamboyance and camp touches making him the kind of villain who is impossible to not love, a key component of what makes Muppet Treasure Island so memorable and fun. Backed up by the experience gained from the four earlier Muppet movies, Juhl and Henson, along with Curry, knew how to nail the serious drama of “Treasure Island”, and it’s in getting this story right that the film production was able to give The Muppets a free pass to go absolutely nuts.

It truly is the craziness of Muppet Treasure Island that has made it so memorable for the 25 years since its release – there isn’t really a comparison to any other family film that can rival its unrestrained madcap comedy, capable of orchestrating a continuous stream of belly laughs from its audience. The fact that most of the human co-stars were unable to resist joining in with the hilarious Muppet antics is simply delightful.

The best demonstration of Muppet Treasure Island‘s ability to offer cheer is its musical legacy. One of the most underappreciated elements of all Muppet productions is their wealth of original songs, with these films being the most over-looked entries of musical cinema. Not only does the film boast a pre-Pirates of the Caribbean score from Hans Zimmer, but it has some of the most popular songs of the Muppets’ discography – it is very clear that all the stops are pulled out for this film’s musical numbers.

“Upstage Lads! This is my only Number!”

Much of the adoration garnered by Muppet Treasure Island is due to these musical numbers. All are relevant and integral to the plot, and they each help to create the joyful and adventurous mood of the film. They are essential to keeping true to the adventurous spirit of the original novel, being a vehicle for the best moments of Muppet comedy, and for illustrating the warmth and joy of this production. In The Muppet Movie, Kermit expresses his wish to be able to make millions of people happy, and this ambition more than comes true with Muppet Treasure Island, one of the smartest family comedies of the 90s and beyond.

For those who first saw the film released in 1996, we have never forgotten it, but the secret to its ongoing popularity even 25 years on is because it doesn’t disappoint. It never falls short of the expectations of those who return to the film as adults after first seeing it as children. Muppet Treasure Island is just as hilarious and as fun as we all remembered it back in the day, and while there are moments in which it can go over the top, and while it doesn’t necessarily offer anything new to long-standing fans, Muppet Treasure Island has set the bar for where we hope Muppet Productions in the future will eventually reach again.

17/24

Recommended for you: The Muppets Movies Ranked

Make sure to read 10 Best Home Alone Moments before you read this article.

Alone in the most heavily populated city in the United States, Kevin encounters troublesome hotel clerks and the return of some old foes in this much beloved follow-up to one of the greatest Christmas films of all time.

In this Movie List, we at The Film Magazine are examining Chris Columbus’ iconic Christmas sequel for this, the 10 Best Home Alone 2: Lost in New York Moments.

Make sure to follow us on Twitter for updates on more articles like this one.

10. Kevin Calls Uncle Frank a Cheapskate

The film opens with a scene from a Christmas concert at Kevin’s school, the parents of the children all gathered in the audience to watch the show. Kevin’s solo is coming up.

Buzz (Devin Ratray), Kevin’s horrible older brother, plays a prank on him whilst he is singing, causing the whole auditorium to laugh at Kevin’s expense. 

Back at the house, after the event has unfolded, Buzz is apologising to the family for the prank he pulled and the embarrassment he caused his younger brother. Kevin clocks on to the insincerity of Buzz’s apology and stands up to his family, saying he doesn’t want to spend Christmas in Florida anyway. Uncle Frank (Gerry Bamman) tells him not to ruin the trip that Kevin’s father has paid a lot of money for. 

With outstanding delivery from Culkin, Kevin roasts Uncle Frank with one simple line: “I wouldn’t want to spoil your fun Mr. Cheapskate.”

Hilarious.

9. Marv Smiles for the Camera

Marv (Daniel Stern) and Harry (Joe Pesci) have escaped prison and made their way to New York in an attempt to make the Big Apple their new stomping grounds. They find out about a donation drive happening at a big toy store, and when Kevin clocks on to what they’re doing, he follows them there and catches them in the act.

When he sees them robbing the store, Kevin uses his new polaroid camera to snap a shot of them for proof. He shouts, “Hey Guys! Smile!”.

With brilliant comedic timing, and his trademarked goofiness, Marv looks up at the camera and gives it a big grin. 

Some Halloween films take the very essence of Halloween and run with them. Whether it be the spirit of magic, witches, or simply the film’s use of Halloween as a theme. The following is a collection for people who enjoy the spirit of Halloween and all the fun that comes with it, but don’t necessarily feel the need to watch a possessed doll butcher some teenagers. Here are the 7 best Halloween films for people who don’t like horror movies…

1. The Craft (1996)

The Craft does have its scary moments, but the film’s relevance for being a bonding sisterhood movie rather than an evil witch movie adds it to our list. Four young women (incl. Scream’s own Sidney, Neve Campbell), all outcasts at their high school, stumble onto the occult to try and make their lives better. The film’s moral message is a very heavy ‘be careful what you wish for’ story, and centres on power, having it, abusing it, and learning when to say enough is enough. While not ranking that highly upon its release, the film’s strong theme of people struggling to fit in has made it a cult classic sleeper hit in recent years and it remains 10th on the list of the highest grossing movies about witches since 1980. It also received bonus points for using what would go on to become the ‘Charmed’ theme song.

Recommended for you: 5 Horror Movies for People Who Don’t Like Horrors

2. Hocus Pocus (1993)

From the catchy tunes and campy performances right through to the fun take the film has on the subject of being a witch, Hocus Pocus is an undeniably quintessential Halloween movie. The film’s plot revolves around a trio of witch sisters being awoken from their centuries old curse in a haunted American town by a hapless teenage boy. The story flits between teenage rom-com and coming-of-age story, with a gaggle of witches thrown in. The passion for fighting for your family – from both sides of the cauldron – makes the film especially heart-warming, perhaps enough to put a spell on you. Calls from stars Bette Midler, Kathy Najimy, and Sarah Jessica Parker (a.k.a The Sanderson Sisters) to make a sequel can only further love for the film, making Hocus Pocus an unmissable entry on this list.

3. The Rocky Horror Picture Show (1975)

It’s just a step to the left…

Thematically, most Halloween films that aren’t scary are very, very camp, and Tim Curry’s turn as the sweet transvestite from Transylvania is no different. The film features a married couple who become stranded in Curry’s character’s mansion, an unfortunate circumstance that results in a lot of dream-like escapades that don’t make a whole lot of sense. In today’s times, the film seems fairly commonplace, but considering the climate of the 1970s, the film was fairly forward-thinking in terms of Dr Frank N Furter (Curry) and remains a classic all these years later. If nothing else, “The Time Warp” will definitely prime you for the inevitable repeated performances by anyone you witness on a night out around Halloween.