'Night of the Comet' a Beloved 80s Cult Classic

Night of the Comet is a 1984 cult classic, a low budget sci-fi comedy with zombies, valley girls, and the single most fun apocalypse ever brought to the big screen. Teenage girls traverse an empty L.A as a playground as they learn to fight zombies and fend for themselves. 

The film was developed by director Thom Eberhardt who drew inspiration from the 50s B-Movies he loved as a kid, specifically the 1954 movie Target Earth, which inspired the opening of Night of the Comet, and episodes of The Twilight Zone. 

Ebeerhardt’s research took him to Valley malls where he spoke with real teenage girls about how they would react to an apocalypse scenario. Their upbeat responses helped give Night of the Comet its unique comic tone, one that set it far apart from other post-apocalypse movies. 

The original title for the film was Teenage Comet Zombies, another tribute to silly 50s sci–fi before it was simplified to the less obviously comedic, Night of the Comet. 

Atlantic Releasing Corporation funded it quickly for about $700,000 (some sources note marketing pushed total costs higher), aiming to capitalize on the success of their 1983 hit Valley Girl (which shared producers Wayne Crawford and Andrew Lane) and quirky drive-in fare like Repo Man. 

Eberhardt had to fight to direct the film himself. The studio initially resisted after his prior film Sole Survivor, released to little success earlier in 1984, but he held firm. The script was trimmed from around 140 pages with producer input. 

Production

Filming began around late 1983/early 1984 in Los Angeles on a very tight budget and schedule. Key challenges included clashing visions: producers reportedly didn’t fully get the tongue-in-cheek tone and even tried to replace Eberhardt early on (though he praised their producing skills overall). 

Creative low-budget solutions defined the look:Empty LA streets were shot early in the morning (including Christmas morning) or between traffic lights, using “student filmmaker tricks” for that eerie post-apocalyptic feel—no big street closures.

The mall shopping and siege scenes were filmed overnight in a real department store.

Practical effects (zombies by David B. Miller, fresh off A Nightmare on Elm Street and Michael Jackson’s Thriller) were created in a garage. Visual effects were minimal. 

Stars Catherine Mary Stewart (Regina/Reggie) and Kelli Maroney (Samantha/Sam) brought energetic, sisterly chemistry; Heather Langenkamp auditioned for Sam. Robert Beltran (Hector) pushed for a more everyman/Gary Cooper vibe rather than a stereotype. 

Improvisation happened on set (e.g., the Uzi line when a gun jammed), and real slaps were used for authenticity in one scene due to budget constraints on retakes. 

The filmmakers wanted to use Cyndi Lauper’s Girls Just Want to Have Fun but didn’t have the budget for the licensing. So, as a compromise they commissioned a cover by singer Tami Holbrook and avoided licensing issues by not including the cover on the official soundtrack. 

Release

Atlantic Releasing gave Night of the Comet a wide release on November 16, 1984, across about 1,098 theaters—their first major nationwide push. It opened in third place with roughly $3.58 million that weekend (behind Missing in Action and Oh God! You Devil), eventually grossing about $14.4 million domestically. This was a solid success relative to its tiny budget. 

It played for about six weeks before competition (including 2010) pushed it out. Home video and cable later expanded its reach significantly. 

Reaction

Contemporary reviews of Night of the Comet were mixed to positive: 

“Night of the Comet has the right blend of comedy and fear.” 

Critic Dave Matheny

“Night of the Comet has an impish, good time air.” 

Critic David Barber

Critic Robert W. Butler didn’t quite get it writing that;

“Night of the Comet promises more than it delivers.” 

Critic Robert W. Butler

Today, Night of the Comet holds a 79% on Rotten Tomatoes from a modest number of critics with a Metascore around 59. Gene Siskel was a notable fan, calling it a “real pleasure” and “buried treasure” on "At the Movies.” 

Audiences responded well enough for its budget, appreciating the humor, action, and post-apocalyptic shopping spree. Some marketing or double-billing issues (e.g., paired with less compatible films) may have hurt visibility. 

Legacy

Through heavy rotation on cable TV and the ubiquity of VHS, Night of the Comet blossomed into a formidable cult favorite, eventually receiving high-end physical media treatment via Shout! Factory and 4K steelbook editions. The movie's cocktail of humor, horror, and consumerist satire featuring capable yet quintessential valley girls struck a chord that has lasted for decades.

The film's DNA is evident in Joss Whedon's Buffy the Vampire Slayer, which mirrored its focus on clever, empowered young women battling the supernatural. Notable figures like Greg Nicotero have celebrated its impact, and it consistently appears on curated lists of essential apocalyptic cinema. Meanwhile, Stewart and Maroney remain staples on the convention circuit, and whispers of a potential reboot occasionally surface.

Ultimately, the film serves as an endearing 1980s artifact—a testament to how ingenuity and creative daring can transform a shoestring budget into a timeless treasure. Its central hook of stylish teenagers navigating the end of days remains a vibrant, hopeful alternative to the standard grimness of the genre.