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  • Nightmare Weekend (1984)

    Nightmare Weekend (1984)

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    With the rise of horror films in the early 1980s, a group of producers worked on a concept. They planned to make a series of R-rated films for roughly $500,00 each aimed at a specific audience. Their first film ended up being an American, British, and French co-production with inexperienced actors and a French crew. French filmmaker Henri Sala was hired to direct, though he mostly made softcore films and never made a horror film. Because of the different languages, two scripts were used, one in English and one in French, but there were problems. For one, the producers started to worry when they saw the dailies and it was mostly sex with little-to-no gore. They ordered reshoots to be done to add more gore in the hopes of trying to salvage the film. Though completed in 1984, Nightmare Weekend wasn’t released until 1986.

    [/et_pb_text][/et_pb_column][et_pb_column _builder_version=”4.9.9″ _module_preset=”default” type=”1_3″][et_pb_circle_counter _builder_version=”4.9.9″ _module_preset=”default” title=”Rating” number=”55″ bar_bg_color=”#EDF000″ hover_enabled=”0″ sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.9.9″ _module_preset=”default”][et_pb_column _builder_version=”4.9.9″ _module_preset=”default” type=”4_4″][et_pb_text _builder_version=”4.9.9″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Synopsis

    Scientist Edward Brake (Wellington Meffert) has just developed a new computer system that can alter a person’s personality. He intends on using it to turn bad people good, but his assistant Julie (Debbie Laster) has other plans. Meanwhile, Edward’s daughter Jessica (Debra Hunter) confides to her puppet friend George about a guy she’s fallen for. Said guy is Ken (Dale Midkiff), who was in league with Julie before his friend was killed. Julie plans to use Edward’s computer, Apache, to turn people into mutated murderous psychopaths, so she gathers some would-be victims. She has three girls – Annie (Lori Lewis), Linda (Andrea Thompson), and Pamela (Kimberley Stahl) – brought to the house. While at the house, the girls end up hooking up with some guys, who they end up killing. Will Julie’s evil plan be stopped, will Jessica find love, and who will survive this nightmare weekend?

     

    Review

    Of all the films I’ve covered so far for Troma Tuesdays, Nightmare Weekend is truly one of the most baffling. From the title and box cover, you’d think this is going to be some fun, schlocky horror film. However, what you get is something bordering on softcore porn you’d see on Cinemax at 1:00 am on Saturday. Not only that but it’s filled with such laughably bad dialogue and obvious dubbing that it becomes unintentionally hilarious. Admittedly, the concept of using a machine to alter someone’s personality is certainly unique and could lead to something interesting. But then, you’ve got scenes of a young woman talking to a hand-puppet about the birds and the bees. It’d be one thing if the filmmakers were making something intentionally campy, but they wanted this to be taken seriously. Needless to say, they didn’t quite succeed.

    It’s hard to judge the acting here since everyone is dubbed, though at least two actors have their original voices. Going by body language and facial expressions, it seems like a lot of them have no idea what they’re doing. There are some notable actors here: Dale Midkiff (Pet Sematary), Robert John Burke (Robocop 3), and Andrea Thompson (NYPD Blue). Given that many of the cast did not have an enjoyable experience, I’m guessing they’d rather people forget this movie. One positive I can say is that the gore effects, random as they are, are pretty good all things considered. Also, whereas most bad movies are easily forgotten over time, this is one that you’ll at least remember. Some have called this The Room if it were a horror film, and I think that’s a pretty apt comparison. Overall, Nightmare Weekend needs to be seen to be believed.

     

    Buy Nightmare Weekend from Amazon: https://amzn.to/2TUakzO

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  • Spellcaster (1988)

    Spellcaster (1988)

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    Around the time of Troll and Dolls, screenwriter Ed Naha was working on a new script at Empire Pictures. However, he and many other talents at the studio had jumped ship to work on Honey, I Shrunk the Kids. As such, Empire handed the script over to writer and frequent Stuart Gordon collaborator Dennis Paoli to finish. For the director, they hired Canadian-born Rafal Zielinski, who had previously directed the 1987 comedy Valet Girls for Empire. The cast featured Bunty Bailey from the “Take On Me” music video, radio host Richard Blade, and musician Adam Ant. While parts were shot at Dino De Laurentiis’ old studio, much of it was filmed at Castello di Giove. After a roughly six-week shoot that went by smoothly, the film wrapped and was set for release in 1988. Unfortunately, due to Empire Pictures’ collapse, Spellcaster wouldn’t be officially released until May 1992.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    At the castle of one Signore Diablo (Adam Ant), a group of seven people is gathered for a contest. Sponsored by the record company of pop star Cassandra Castle (Buntly Bailey), the contestants are after a $1 million check. Among the contestants are orphaned siblings Jackie (Gail O’Grady) and Tom (Harold Pruett), who agree to split the money. Hosted by VJ Rex (Richard Blade), the contestants have one day to search the whole castle for the check. However, Signore Diablo has other plans for his guests as he uses magic to eliminate them one by one. Before too long, each of the contestants is killed by their own sins, such as gluttony, greed, and pride. While Jackie wants to leave the castle, Tom is determined to get that $1 million check and get rich quickly. Who will win the prize, and who will survive the Spellcaster?

     

    Review

    Though hardly a classic like Re-Animator and Trancers, Spellcaster is still an enjoyable slice of 80s cheese, though somewhat forgettable. From the fashion to the music and even some of the cast, this film just screams the late 80s. There’s so much big mall hair, tacky clothing, and punk/new wave music, it’s like a time capsule of 1988. The cast each fits into various archetypes you’d see in plenty of films at the time for better or worse. You’ve got the fat guy who constantly eats, the goody-two-shoes girl, the valley girl, the womanizing creeper, and more. Richard Blade certainly steals the show as the overly exaggerated though somewhat cynical VJ dealing with the craziness around him. Though he doesn’t show himself until the last act, Adam Ant is still very charming and conniving as the villain. It’s a shame his screen-time is so limited.

    Unfortunately, the rest of the cast either comes off a little on the bland side or even annoying. Bunty Bailey can get slightly annoying, but it’s also kinda funny seeing her play such a drunken bitch. Speaking of, Kim Johnston Ulrich is clearly having fun as the bitchy valley girl Teri, someone you love to hate. Special mention should go to Traci Lind, credited as “Traci Linn”, who is drop-dead gorgeous as the stereotypical French girl. The creature effects have that distinct John Carl Buechler style, where you can tell they’re puppets, but charmingly so. Rafal Zielinski’s direction is decent, and taking advantage of a real Italian castle adds quite a lot of production value. At slightly under 90 minutes, the movie goes by fairly quickly, though you’ll probably forget about it shortly after. Overall, Spellcaster isn’t going to blow you away, but it’ll provide some cheesy entertainment.

     

    Buy Spellcaster on Amazon: https://amzn.to/3AMcnq0.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Spellcaster (1988)

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  • Black Widow (2021)

    Black Widow (2021)

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    Natasha Romanova, aka Black Widow, first appeared in Marvel Comics’ Tales of Suspense #52 in 1964. Stan Lee, Don Rico, and Don Heck were the brainchild, and she was initially an Iron Man villain before becoming an Avenger. In 2004, Lionsgate announced plans for a live-action movie written and directed by David Hayter, but the project fell through. Marvel Studios reacquired the rights in 2006, and the character made her big-screen debut in 2010’s Iron Man 2. Played by Scarlett Johansson, the character has become one of the most popular Marvel Cinematic Universe. Around 2017, work on a Black Widow solo film had started, with Cate Shortland attached to direct. The film had an initial May 2020 release planned but saw delays due to the COVID-19 Pandemic. After several delays, Black Widow finally hit theaters and Disney+ in July of 2021.

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    Synopsis

    Following the events of Captain America: Civil War, Natasha “Black Widow” Romanoff (Scarlett Johansson) is on the run. While trying to stay in hiding, she’s attacked by a mysterious assassin called Taskmaster, though she manages to escape. Wanting to learn more about her assailant, Natasha goes to Budapest and reunites with her sister Yelena Belova (Florence Pugh). It turns out that Dreykov (Ray Winstone), the man who kidnapped them and turned them into trained killers, sent Taskmaster. These killers are known as “Black Widows,” One found a way to reverse the chemical mind control used. Dreykov operates out of the “Red Room,” so Natasha and Yelena find their surrogate parents for help. Said parents are former Russian operative Alexei Shostakov (David Harbour) and elder Black Widow Melina Vostokoff (Rachel Weisz). It’s up to our heroes to save the victims of Dreykov’s influence.

     

    Review

    Ever since her debut back in 2010, audiences had been clamoring for a Black Widow solo film. While it’s great that we finally got it, especially after the pandemic, it might’ve been a little too late. There’s no real sense that Natasha is in any real danger considering the events of the later films. It would’ve felt more timely and appropriate had this film come out in maybe late 2016/early 2017. That said, this is still a reasonably entertaining spy thriller with some pretty impressive action sequences. Scarlett Johansson still delivers a solid performance in the title role if this is her swan song. Florence Pugh is a welcome addition as her more sarcastic, wise-cracking personality compliments Johansson’s more stoic and severe delivery. David Harbour practically steals the show as the larger-than-life Red Guardian, and he has good chemistry with Rachel Weisz.

    Even though his screen-time is limited, Ray Winstone is effectively creepy, even if playing the stereotypical evil businessman. Unfortunately, Taskmaster doesn’t get that much to do aside from fighting people for all the build-up. We’re told backstory on the character, but they have no lines, and we don’t get any personality. The MCU is known for its humor, and while there are some funny moments, it often clashes with the tone. There’ll usually be a theatrical, serious scene that reels you in only for a joke to be shoehorned in. Admittedly, there are some heartfelt moments with some humor injected in, but it’s more inconsistent than balanced. This film will provide a decently entertaining experience at slightly over two hours, but I don’t see this leaving an impact. Overall, Black Widow is a reasonably entertaining spy thriller, but it could’ve been much better.

     

    Black Widow is currently playing in theaters and on Disney+. Click the link for more: https://bit.ly/36quTpS.

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  • The Prowler (1981)

    The Prowler (1981)

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    Writers Glenn Leopold and Neal Barbera, son of famous animator Joseph Barbera, got their start writing for Hanna-Barbera cartoons. After working on shows like Scooby-Doo, Yogi Bear, and Shmoo, they decided to write something far more mature. Around the same time, Joseph Zito was an up-and-coming director who had already made 1975’s Abduction and 1978’s Bloodrage. He read Leopold and Barbera’s script and was drawn to it, saying “It had this strange, dreamlike mood in it.” With a budget of $1 million, the largest budget Zito had at that point, they shot in Cape May, NJ. Though the cast consisted mostly of young, unknown actors, they landed two veterans: Farley Granger and Lawrence Tierney. Tom Savini, who had just done the effects for Friday the 13th, was hired to create some truly gruesome kills. After a six-week shoot, The Prowler was released in the fall of 1981.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    In 1945, Rosemary (Joy Glaccum) and her boyfriend Roy (Timothy Wahrer) are killed by her ex-lover after returning from WWII. Since then, the town of Avalon Bay has not held a graduation dance for 35 years due to the murders. In 1980, college senior Pam MacDonald (Vicky Dawson) is working on starting up a new graduation dance. While visiting her boyfriend, Deputy Mark London (Christopher Goutman), Pam hears a report about a mysterious prowler on the loose. To make matters worse, Sheriff George Fraser (Farley Granger) is going out of town for a fishing trip. Soon enough, the prowler starts killing Pam and Mark’s friends one by one using a pitchfork and a bayonet. As the bodies keep piling up, our heroes discover that the prowler was Rosemary’s killer but was never caught. Will this masked killer be stopped, who will be the prowler’s next victims?

     

    Review

    Admittedly, The Prowler comes off somewhat formulaic compared to other slashers from around that time, but that isn’t necessarily bad. Though this borrows elements from other slashers like My Bloody Valentine, it also stands out in many ways. For one, the idea of the killer being a WWII veteran suffering from PTSD is pretty frightening. The psychological effects of war coupled with extensive military training make for a very unhinged and efficient killer. Not to mention, the green army fatigues add a uniquely terrifying quality to the killer that helps him stand out. On top of that, Zito’s direction is top-notch, as he gives the film a very dreamlike, ethereal quality. Of course, no good slasher would be complete without death scenes, which this movie delivers thanks to Tom Savini. He considers this to be his best work, and I’m honestly inclined to agree with him.

    Unfortunately, what this movie has in solid direction and effects, it lacks when it comes to its characters. Granted, none of the actors are particularly bad, but none of them really stand out as being very memorable. This could be attributed to the script simply not giving the cast much to do aside from spewing exposition. While the presence of Hollywood veterans Granger and Tierney are nice, they don’t really do much aside from showing up. Even at roughly 90 minutes, there are still quite a few dead spots where the cast just wander aimlessly. Honestly, many of the cast just feel like cannon fodder, though this does lead to those memorably murderous moments. For all of my complaints, this is still a solid little slasher that deserves to be rediscovered and appreciated. Overall, The Prowler is a flawed but gruesome slasher that horror fans should see at least once.

     

    Buy The Prowler on Amazon: https://amzn.to/3xjZrFP.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch The Prowler (1981)

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  • Clue (1985)

    Clue (1985)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.5.6″ _module_preset=”default” custom_margin=”||||false|false”][et_pb_fullwidth_header title=”Special Review” subhead=”This review was requested by Discord user TechTune. If you’d like to join the server, click the button below.” text_orientation=”center” button_one_text=”Visit Discord” button_one_url=”https://discord.gg/sKBSX7u” background_overlay_color=”#8300E9″ _builder_version=”4.9.9″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” hover_enabled=”0″ sticky_enabled=”0″][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_column type=”2_3″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_text _builder_version=”4.9.9″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    In 1949, the British company Waddingtons manufactured the board game Cluedo, a play on “Clue” and “Ludo” meaning “I play”. Originally designed by musician Anthony E. Pratt, the game was a hit and Parker Brothers licensed it in the US. In the early 1980s, actor turned director Jonathan Lynn had made a name for himself with the series Yes Minister. In 1983, producer Jon Peters had a meeting with Lynn about a potential project: a film based on Clue. Though skeptical, Lynn was sold on Peters’ pitch, so he flew out to Los Angeles to meet with John Landis. Lynn worked with Landis on developing the script, but Landis couldn’t direct it because he signed onto Spies Like Us. Despite having no experience directing films, Lynn agreed to direct and set out to bring this comedy to life. Clue saw its theatrical release on December 13, 1985.

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    Synopsis

    In 1950’s New England, a group of people is invited to a secluded mansion for a supposed dinner party. They’re greeted by the butler Wadsworth (Tim Curry) and the maid Yvette (Colleen Camp) and each given a fake name. The group includes Colonel Mustard (Martin Mull), Mrs. White (Madeline Kahn), Mrs. Peacock (Eileen Brennan), and Professor Plum (Christopher Lloyd). There’s also Mr. Green (Michael McKean) and Miss Scarlet (Leslie Ann Warren), and each of them is being blackmailed. Turns out the one responsible is Mr. Boddy (Lee Ving), who ends up getting killed under mysterious circumstances. Other victims soon arise including The Cook (Kellye Nakahara), a motorist (Jeffrey Kramer), and a singing telegram girl (Jane Wiedlin). With each of the guests having their own motive for the murders, everyone suspects everyone of being the killer. Who is the real killer, and how is this mystery going to end?

     

    Review

    At the time of its release in December of 1985, Clue was both a critical and commercial disappointment. In the years following its release, the film has developed a huge cult following, and I can see why. For one, the ensemble cast is made up of some of the best comedic actors of the time. Tim Curry is one of the film’s major highlights, delivering his lines with tons of wit and energy. On top of being absolutely stunning, Leslie Ann Warren is also fun as the conniving yet somewhat dimwitted Miss Scarlett. Madeline Kahn (Blazing Saddles) also shines as the quietly mysterious Mrs. White, who especially shines in her flames monologue. Christopher Lloyd, Martin Mull, and Michael McKean are pretty enjoyable acting either as ravenous horndogs, utter buffoons, or nervous wrecks. Though she can get somewhat annoying with her constant screaming, Eileen Brennan also has some funny moments.

    The production design is remarkable, with the sound stages looking just like a real old mansion you could live in. The score by Mel Brooks regular John Morris gives it a chilling mood and adds to the murder mystery feel. At slightly over 90 minutes, the movie moves at a fairly decent pace, though there are a few slow spots. Also, while many of the jokes land thanks to the delivery, some of the humor doesn’t quite work. There’s also an over-reliance on slapstick humor, which will either be enjoyable or predictably dull depending on your taste. Of course, the film is best known for its multiple endings gimmicks, which ended up hurting it. Given that any one of them could be the true ending, the film doesn’t really have a definitive conclusion. Overall, though it comes off somewhat disjointed, Clue is still a fairly enjoyable watch if nothing else.

     

    Buy Clue from Amazon: https://amzn.to/3dvos8X

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  • Terror Firmer (1999)

    Terror Firmer (1999)

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    As anybody who’s worked in independent cinema for as long as Lloyd Kaufman has, he can tell you it’s rough. Tempers flare up, cast/crew members come and go, the money runs dry, and many other things can go wrong. The problems don’t stop there, as you’ll have to deal with corrupt executives, stuck-up critics, and stingy audiences. Even still, people like Lloyd Kaufman persevere because they see value in the work they do and keep going. In 1998, Kaufman and James Gunn wrote All I Need to Know about Filmmaking I Learned from the Toxic Avenger. Since Gunn had written Tromeo & Juliet, he was the perfect choice to compile all of Lloyd’s personal stories. Finding inspiration, Kaufman adapted the book into a film that, while fictional, showed what filming a Troma movie was like. The result was the wildly bombastic and absurdly over-the-top 1999 horror/comedy Terror Firmer.

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    Synopsis

    Larry Benjamin (Lloyd Kaufman) is a blind film director who is trying to make his greatest film yet. However, between caring for his daughter Audrey (Charlotte Kaufman) and dealing with a difficult crew, that’s easier said than done. An unknown person is killing off people closely associated with the film in gruesome ways to make matters worse. In the middle of all this, there’s production assistant Jennifer (Alyce LaTourelle), who’s caught up in a love triangle. On the one hand, there’s Casey (Will Keenan), the boom operator that’s ruggedly handsome but somewhat stuck up. On the other hand, there’s Jerry (Trent Haaga), a special effects guy who’s eccentric but also passionate about his work. At first, Jennifer goes for Casey, but then she sees through Jerry’s eccentricities and falls for him to Casey’s chagrin. Who is this mysterious killer, why are they doing this, and will they be stopped?

     

    Review

    While The Toxic Avenger is the film Troma’s best known for, Terror Firmer is quite possibly the ultimate Troma movie. Not only is this a wildly entertaining horror/comedy, but it also shows just how chaotic independent filming can be. Larry Benjamin’s speech about how horrible the world is and how a film set is worse perfectly exemplifies Lloyd’s experiences. From whiny crew members quitting and taking equipment to cast members having nervous breakdowns, it’s everything found in independent filmmaking. Even if you’re not as familiar with filmmaking, everyone can relate to having a difficult time working on tough projects. Mixed in with all this is an insanely over-the-top, ridiculously gross, and horribly politically incorrect slasher film. There are so many memorably gruesome and bloody death scenes involving broken bongs, killer escalators, exploding breasts, and many more. You’ll never hear “Amazing Grace” the same way again.

    Like many other Troma films, many performances are exaggerated and ridiculous, though not to any obnoxious levels. Will Keenan makes for a loveably hateful prick that’s so stuck up and pretentious, yet charismatic and even threatening. Trent Haaga radiates with so much life and energy, you start to feel as passionate about Troma as he is. Alyce LaTourelle works as the straight man, trying to act normal while all this insanity is happening around her. There are also some great appearances from Troma regulars like Debbie Rochon, Joe Fleishaker, and Lemmy from Motorhead. Some other notable cast members include Yaniv Sharon as an overly eager PA and Gary Hrbek as “The Toddster”. Admittedly, it can feel more like random events rather than a cohesive narrative, but that adds to its chaotic nature. Overall, Terror Firmer is both an insanely crazy romp and a love letter to truly independent cinema.

     

    Buy Terror Firmer from Amazon: https://amzn.to/3A6Ked6.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Terror Firmer (1999)

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  • Curse of the Puppet Master (1998)

    Curse of the Puppet Master (1998)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]While Puppet Master 5 was intended to be the last film, Charles Band had other ideas for the franchise. He wanted to do an epic trilogy of films known as Puppet Wars, which would see Toulon’s puppets fighting monsters. They would be going up against the likes of The Mummy, Frankenstein’s Monster, and Dracula, and Guy Rolfe would’ve returned. Unfortunately, Full Moon had ended their deal with Paramount, and they were struggling financially, so those plans fell through. David DeCoteau, who previously directed Puppet Master III, wasn’t getting much work when he got to direct Shrieker for Band. DeCoteau was given a script for a new Puppet Master movie, but he didn’t like it. He decided to take inspiration from 1973’s Sssssss and have a female puppet master, but he was overruled. After an 8-day shoot, Curse of the Puppet Master was released in 1998.

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    Synopsis

    Dr. Magrew (George Peck) runs a puppet show/museum called The House of Marvels and recently acquired Toulon’s puppets. His daughter Jane (Emily Harrison) has just returned from college to help him with running the puppet show. At a gas station, Robert “Tank” Winsley (Josh Green) is getting harassed by local bully Joey Carp (Michael D. Guerin). After Joey and his friends leave, Jane finds a statue that Robert carved, which impresses Magrew enough to offer work. He invites Robert to their home and offers him a job to help create a living puppet similar to Toulon’s. Meanwhile, Sheriff Garvey (Robert Donavan) and Deputy Wayburn (Jason-Shane Scott) are questioning Magrew about his last assistant’s whereabouts. Soon enough, the puppets are set free and kill Joey, which paints a bigger target on Magrew. What does Magrew have planned, and what will become of Tank and Jane?

     

    Review

    Compared to the last five entries, Curse of the Puppet Master is a major step down in quality. Say what you will about 4 & 5, but they had the potential to further expand the series. You know you’re in trouble when the opening credits are padded out with stock footage from the previous films. In fact, there’s hardly any original puppet footage included, and they’re just pushed along and barely move at all. Sadly, by this point, stop-motion animator David Allen had left Full Moon and would succumb to cancer in 1999. This is also the first film since the original Puppet Master where the puppets hardly have any screen time. It doesn’t help either that the film itself is pretty boring and moves at a snail’s pace. Admittedly, the concept sounds interesting, but in execution, it falls flat. Granted, these movies were never known for their deep stories.

    Acting-wise, everyone does the best job they can given the somewhat anemic material they’re given to work with. George Peck does a decent job as Dr. Magrew, but he doesn’t quite have the same charisma as Guy Rolfe. On top of being pretty cute, Emily Harrison is likable enough as the female lead, though she doesn’t do much. Josh Green is alright as Tank, but he doesn’t quite pull off the idiot savant quality they were going for. He comes off somewhat bland and wooden, which I suppose is fitting given his character’s ultimate fate at the end. There are maybe one or two kill scenes altogether, but they are plenty bloody and gruesome. The ending is pretty ridiculous, but by that point, it comes a bit too late following an otherwise dull entry. Overall, Curse of the Puppet Master has its moments, but it’s a pretty subpar entry.

     

    Buy Curse of the Puppet Master from:

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • The Burning (1981)

    The Burning (1981)

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    In the early 1980s, Harvey Weinstein was having trouble breaking into the film industry, and he needed a hit. Recognizing the success of The Texas Chain Saw Massacre and Halloween, he and producing partner Michael Cohl started sharing ideas. While exchanging ideas, they remembered hearing about the Cropsy stories told at camp, so they decided to work with that. Harvey, his brother Bob, and Peter Lawrence worked on the screenplay, and Tony Maylam was hired to direct. This would be the first film produced under Miramax, which was named after Harvey and Bob’s parents, Miriam and Max. Tom Savini, who worked on the effects for Friday the 13th, was hired to design some equally gruesome kills. With a relatively-unknown cast and a $1.5 million budget, the film was shot in North Tonawanda in late summer 1980. After being sold to Filmways, The Burning was released in May of 1981.

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    Synopsis

    At Camp Blackfoot, a group of campers pulls a prank on the groundskeeper Cropsy (Lou David), but it goes wrong. He ends up getting set ablaze and taken to the hospital while the campers swear to keep this a secret. Five years later, Cropsy is released from the hospital after several failed skin grafts and he seeks revenge. At the nearby Camp Stonewater, one of the original campers, Todd (Brian Matthews), is now a counselor. He has a budding romance with fellow counselor Michelle (Leah Ayres) while dealing with the socially awkward Alfred (Brian Backer). Todd and Michelle take a group of campers on a canoe trip, but unfortunately, the canoes go missing. To make matters worse, Cropsy shows up and starts killing off several of the campers as they try escaping. Will Crospy’s murderous spree end, and who will die by his gardening shears next?

     

    Review

    Compared to most other slashers of the time, The Burning somewhat blends into the crowd and isn’t particularly unique. It pretty much lifts most everything from Friday the 13th, with the only main difference being the killer. Instead of avenging someone else’s death, the killer is getting revenge for almost being killed by someone else. What also helps Cropsy stand out is his design, with its warped features, imposing frame, and a black trenchcoat. Tom Savini did an incredible job on the design and created some elaborately gruesome death scenes to satiate any gorehound. The highlight is a scene where he jumps out of a canoe and kills several campers in a grisly fashion. It’s worth noting that this scene alone got the film put on the UK’s Video Nasties list. This list also included The Last House on the Left, Antropophagus, and The Evil Dead.

    The cast features some fairly notable actors, namely Jason Alexander, Fisher Stevens, and Holly Hunter. While Hunter only has a few scenes, Alexander and Stevens have a fairly prominent role as comedic relief characters. It’s easy to see how Alexander would transition from appearing in this to playing George Costanza on Seinfeld. Brian Matthews and Leah Ayres make for a decent leading couple, and Lou David makes for an imposing killer. The story is fairly basic, but it gets the job done for an early 80s slasher film. At roughly 90 minutes, it moves at a fairly decent pace, though once they get stranded, it starts dragging. It doesn’t help that, while not necessarily insufferable, none of the characters are really that interesting or compelling. Still, this is worth a look for fans of slasher films, especially if you love Savini’s effects work. Overall, The Burning is enjoyable but forgettable.

     

    Buy The Burning from Amazon: https://amzn.to/2SgTsCg

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  • Summer of Slashers – An Introduction

    Summer of Slashers – An Introduction

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    In the history of horror cinema, the slasher has remained one of the most popular and enduring subgenres to date. While The Texas Chain Saw Massacre and Black Christmas are credited for starting the trend, Halloween popularized the genre. However, it wasn’t until the release of Sean S. Cunningham’s Friday the 13th in 1980 that the floodgates opened. Following its success, numerous studios tried to capitalize on it with their own slasher films that exploited the trends. These often followed a similar pattern: young people isolated, a masked killer, tons of blood, and some nudity. Critics at the time were none too kind to these films, but many of them achieved financial success. Even many of the lesser-known slashers have gone on to become beloved cult films that continue to find an audience. With many prominent slashers have been released in 1981, FilmNerd presents the Summer of Slashers.

     

    *Note: I’ve previously covered Happy Birthday to Me, My Bloody Valentine, and Graduation Day, so those won’t be covered for Summer of Slashers.

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  • Raiders of the Lost Ark (1981)

    Raiders of the Lost Ark (1981)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]After the blockbuster success of Jaws and Star Wars, Steven Spielberg and George Lucas became household names in the industry. Before working on his epic space opera, Lucas had conceived of a film inspired by adventure serials of the 1930s. He worked with filmmaker Philip Kaufman to further develop it, and Lucas wanted him to direct it, but he declined. While vacationing in Hawaii with Spielberg, Lucas discussed his concepts, which resonated with Spielberg wanting to make a globe-trotting adventure. Spielberg agreed to direct, and Lawrence Kasdan was hired to write the screenplay after working on The Empire Strikes Back. Unfortunately, most studios rejected their proposal to make the film for $20 million, though Paramount agreed to produce. While Tom Selleck and Sean Young were originally sought out, Harrison Ford and Karen Allen were cast in the leads. Raiders of the Lost Ark was released in the summer of 1981.

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    Synopsis

    Famed archeologist Indiana Jones (Harrison Ford) is tasked by the US Government to find the Lost Ark of the Covenant. Their intelligence suggests that the Nazis had been looking for Abner Ravenwood, Indy’s mentor, who was researching the Ark’s whereabouts. Indy travels to Nepal to find Abner’s daughter Marion (Karen Allen), who has an artifact that can reveal the Ark’s location. After her bar is set ablaze following a shootout, Marion goes with Indy to Cairo to find the Lost Ark. After visiting his friend Sallah (John Rhys-Davies), Indy learns that his arch-rival Belloq (Paul Freeman) is helping the Nazis. Turns out they were able to replicate the artifact thanks to Gestapo Agent Toht (Ronald Lacey), but only partially. Indy finds the Lost Ark’s location using the full artifact, but the Nazis manage to claim it. It’s up to Indiana Jones to stop the Nazis and recover the Lost Ark.

     

    Review

    Raiders of the Lost Ark is a cinematic masterpiece in every sense of the word and I say that wholeheartedly. While it’s hard for any film to be perfect, this comes closer to being perfect than anything before or since. This is Steven Spielberg at his peak especially considering this came after the critical and financial disappointment of 1941. This is almost a transitional film for Spielberg: going from the chaotic 70s to the more economical 80s. Even with a modest budget of $18 million, this is still an impressive-looking film that still holds up today. Along with that, this is one of those great early PG films where more mature content could slip through. There’s a fair amount of swearing, blood spraying, and a rather explosive finale where the villains meet a terrible fate. It’s truly one of those films that could not be made today as is.

    The cast is outstanding, with not a single actor giving even a subpar performance and everyone having a shining moment. Harrison Ford was practically born for this part: tough, rugged, and intelligent, but sometimes going over his head. Karen Allen, on top of being stunning, makes for a strong female lead and has fantastic chemistry with Ford. Paul Freeman is charmingly nasty as Indy’s arch-rival, acting as his polar opposite while also sharing the same ambitions. Even secondary players like John Rhys-Davies, Ronald Lacey, and Denholm Elliot shine in their small but memorable roles. The action sequences are terrific, the visual effects are impressive, and John Williams’ score is simply breathtaking. Maybe there are some nitpicks you could find if you looked hard enough, but those are really minor at best. Overall, Raiders of the Lost Ark deserves its place as a defining moment in cinematic history.

     

    Buy Raiders of the Lost Ark from Amazon: https://amzn.to/40wvL9R.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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