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  • Man of Steel (2013)

    Man of Steel (2013)

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    Created by Jerry Siegel and Joe Shuster in 1938, Superman is one of the most iconic superheroes of all time. Debuting in Action Comics #1, Superman proved so popular, he was adapted into radio shows, animated shorts, and film serials. The first feature-length film adaptation of the character was Superman and the Mole Men in 1951 starring George Reeves. In 1978, Warner Bros produced the first big-budget superhero film, Superman: The Movie, starring Christopher Reeve in the title role. Three sequels followed, but the last two were such financial disappointments that the series was put on hold. While a reboot was being produced in the mid-90s, plans fell through until Superman Returns in 2006 starring Brandon Routh. Unfortunately, the film turned out to be a financial disappointment, so Warner Bros decided to completely reboot the franchise. So, in 2013, Man of Steel was released with Henry Cavill playing Superman.

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    Synopsis

    The planet of Krypton is about to explode, though Jor-El (Russell Crowe) is the only one who recognizes this. So, he and his wife Lara-El (Ayelet Zurer) put their infant son Kal-El in an escape pod bound for Earth. Kal-El grows up to be Clark Kent (Henry Cavill), being raised by Jonathan (Kevin Costner) and Martha Kent (Diane Lane). Lois Lane (Amy Adams), a reporter for the Daily Planet, gets assigned to investigate an alien spacecraft in the arctic. Clark goes to find what turns out to be a Kryptonian ship, where he learns of his true nature. Meanwhile, General Zod (Michael Shannon) and his forces have escaped imprisonment and are searching for Krypton’s genetic codex. Turns out Clark was given the codex before being launched into space, so Zod sets his sights on Earth. Now knowing his true power, Clark must defeat Zod and save Earth from total annihilation.

     

    Review

    The best way I can describe Man of Steel is that it has good ideas but poor execution. There are some interesting concepts not seen in a Superman movie before, but much of it isn’t handled well. While most Superman origins offer a brief glimpse at Krypton, this one devotes the first 20 minutes to Krypton. This certainly offers a nice change of pace since it’s a side of Superman’s origin we haven’t seen before. The rest of his upbringing is told in flashbacks, which bring up some questionable moments that don’t make logical sense. Essentially, they bring up how Clark must hide his powers for fear of being exposed, but at other people’s expense. Also, during the big action-packed climax, Superman ends up doing as much if not more damage than the villains. Granted, this is his first outing as Superman, but Metropolis ends up destroyed by the end.

    Performance-wise, everyone does a decent job, even if much of the material is a bit shaky, to say the least. Henry Cavill makes for a solid Superman, not only with his looks but also his charisma and emotional range. Michael Shannon, though not quite as good as Terrence Stamp, is wonderfully over-the-top as Zod while still being ruthless. Amy Adams is alright as Lois Lane, but she isn’t given much to do and lacks Margot Kidder’s spunkiness. Russell Crowe comes off a bit stiff and wooden, though this adds some dry humor to a few scenes. I’d say the film’s biggest problem is that it’s very dreary and joyless, not helped by the desaturated colors. Of course, not every superhero movie has to be light and fun, but Snyder’s direction probably wasn’t the best choice. Overall, Man of Steel isn’t terrible, but it’s a weak start to DC’s cinematic universe.

     

    Buy Man of Steel from Amazon: https://amzn.to/3779dAf.

    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 Man of Steel (2013)

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  • DC Cember – An Introduction

    DC Cember – An Introduction

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    Originally founded as National Allied Publications in 1934, DC Comics is one of the oldest comic book companies in history. Throughout its history, many beloved comic book characters were created, including Superman, Batman, Wonder Woman, The Flash, and Aquaman. It wouldn’t be too long before Hollywood noticed the growing popularity of comics as many were adapted as film serials. Soon, superheroes found success on television with the 1960s Adam West Batman and the 1970s Lynda Carter Wonder Woman. Following the success of Star Wars, Warner Bros released Richard Donner’s Superman in 1978, the first big-budget superhero movie. Over the years, superhero and comic book movies have fluctuated in quality, and now they’re more popular than ever. With the success of the Marvel Cinematic Universe, Warner Bros created the “DC Extended Universe”, which we’ll be covering. To coincide with the release of Wonder Woman 1984, FilmNerd presents DC Cember!

     

    *Note: I’ve previously covered Aquaman, Shazam!, and Birds of Prey, so those won’t be covered for DC Cember.

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  • Cannibal! The Musical (1993)

    Cannibal! The Musical (1993)

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    Today, Trey Parker and Matt Stone are best known for their long-running hit adult animated series, South Park. However, in the late 1980s, they were attending the University of Colorado, Matt a math major, Trey a film major. The two became fast friends and started making short films together showcasing their brand of anti-authoritarian and absurd humor. In 1992, Parker and Stone, alongside Jason McHugh and Ian Hardin formed the production company Avenging Conscience. Around this time, Parker was going through a horrible depression after learning that his fiancee was having an affair. Rather than sulk, Parker focused his efforts on making a 3-minute trailer for a fictional movie, Alfred Packer: The Musical. After getting some money together, they expanded the trailer into a feature film and premiered it in Boulder in 1993. Troma eventually picked the film up for distribution and released it in 1996 as Cannibal! The Musical.

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    Synopsis

    In 1883, Alfred Packer (Trey Parker) is being tried for supposedly killing and eating his group during a gold expedition. While imprisoned, Packer’s visited by journalist Polly Pry (Toddy Walters), who asks him to explain his side of the story. Cut to 1873 in Bingham Canyon, Utah, where a group of men is planning on an expedition to Breckenridge. Led by Mormon priest Shannon Wilson Bell (Ian Hardin), Packer is brought on given his time in Colorado territory. They’re joined by James Humphrey (Matt Stone), Israel Swan (John Hegel), Frank Miller (Jason McHugh), and George Noon (Dian Bachar). Along the way, they encounter a group of fur trappers, Japanese Indians, and a cyclops, as well as harsh weather. Back in the present, Packer is sentenced to death by hanging, but Polly decides to fight for his innocence. What will happen to Packer, and is he guilty of murder and cannibalism?

     

    Review

    Cannibal! The Musical has very amateurish production qualities and was clearly made by film students who didn’t entirely know better. What it lacks in production value, the film more than makes up for in energy, absurd humor, and catchy songs. Before becoming a film major, Trey Parker was a music major, which he puts to good use here. Taking inspiration from musicals like Oklahoma and the works of Rogers & Hammerstein, each song stands out from the rest. From the opener, Shpadoinkle, to the love ballad, I Was On Top Of You, you’ll be humming at least one. Parker and Walters are easily the best singers here, though you can tell the rest of the cast is trying. Hegel has probably one of the film’s best songs, Let’s Build a Snowman, an upbeat song during a hopeless scene. These songs are great despite the Casio-sounding score.

    South Park fans will notice some elements that would appear in the show, including a grey alien in the background. The musical numbers are predecessors to the numbers in South Park: Bigger, Longer, and Uncut and Team America: World Police. Even the amateurish production value is similar to South Park, showing that entertainment can be made for little money. Admittedly, there are some noticeable flaws present, such as awfully fake beards, plastic weapons, obvious doubles, and ADR. However, much like The Toxic Avenger and Class of Nuke ‘Em High, these flaws give the film its charm. This feels like a home movie some friends made to later watch while drinking, though there’s some artistic merit. Even with its crude production, questionable acting, and cut corners, this film was what laid the groundwork for South Park. Overall, Cannibal! The Musical is a fun time if you don’t take it too seriously.

     

    Buy Cannibal! The Musical on Amazon: https://amzn.to/3mZ4JRN

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  • Trancers 4: Jack of Swords (1994)

    Trancers 4: Jack of Swords (1994)

    [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=”{}”]Much like Puppet Master III: Toulon’s Revenge, Trancers III: Deth Lives was a highpoint in the series. Unfortunately, as good as his entry was, C. Courtney Joyner’s sequel saw diminishing returns despite it being reviewed fairly well. For the next installment, it was decided to take Jack Deth out of his element, more so than the original. Charles Band had started working with Castel Films, a burgeoning studio based in Romania formed after the fall of Communism. Many Full Moon films were produced at Castel Films, including Dark Angel: The Ascent, Mandroid, Oblivion, and the Subspecies sequels. They decided to film the next Trancers film in Bucharest, hiring comic book writer Peter David to pen the script. Additionally, David Nutter, known for TV shows like 21 Jump Street, Booker, and The Commish would be directing the film. In February of 1994, Trancers 4: Jack of Swords was released to video.

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    Synopsis

    Jack Deth (Tim Thomerson) has returned to the 23rd century and is working for the council on various missions. As he prepares for his next mission, a mysterious creature sneaks aboard the TCL Chamber and starts sabotaging it. He arrives in an alternate dimension, an ancient medieval kingdom, where he finds a new kind of Trancers called “Nobles”. Led by the nefarious Lord Caliban (Clabe Hartley), the Nobles suck the life-force out of their victims to sustain themselves. Deth soon encounters a rebel group fighting against Caliban, including Shaleen (Terri Ivens), Farr (Alan Oppenheimer), and Prospero (Ty Miller). He reluctantly agrees to help them fight this new group of Trancers, Farr prophecizing he’s the one to save them. Unfortunately, most of Deth’s weapons don’t work in this dimension, so he’s going to need some help in the fight. Will Caliban be defeated, and what other dangers await Jack Deth?

     

    Review

    Trancers 4: Jack of Swords is a massive drop in quality from the first three films, inconsistent as they are. It’s easy to see that by this point, Charles Band had milked this franchise for all its worth. While admirable that they tried mixing things up by placing Deth in a medieval setting, it doesn’t work here. It worked in Army of Darkness because it felt tonally consistent with the previous films and had a decent budget. This clearly didn’t have the budget needed, and it essentially took away the sci-fi noir of the first three films. In fact, aside from Jack Deth, the opening 10 minutes, and some references, this is a standard direct-to-video sword-and-sorcery movie. While Trancers II: The Return of Jack Deth might’ve been drastically different, it at least felt like a Trancers film. It’s disappointing to see such a cool franchise brought down to this level.

    Tim Thomerson is trying his best given the material, but you can tell his heart’s not in it anymore. With that said, he still has the same smarmy attitude and smart-ass quips we’ve come to know and love. Aside from him, the rest of the acting comes off pretty wooden and stilted, especially from Hartley and Miller. Classic actor Alan Oppenheimer adds some class to the production, but he’s clearly just waiting for when his paycheck clears. David Nutter’s direction, while not terrible, comes across as flat, though that could just be because of his TV background. However, perhaps the film’s biggest flaw is simply that it’s boring, and its flat acting and direction don’t help. As with many Full Moon franchises, this was filmed back-to-back with the next installment, and things don’t get much better. Overall, Trancers 4: Jack of Swords is wasted potential in a cult-favorite series.

     

    Buy Trancers 4: Jack of Swords 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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  • Mothra vs. Godzilla (1964)

    Mothra vs. Godzilla (1964)

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    Following the success of King Kong vs. Godzilla, Toho wanted to immediately fast-track another film right away. For the next installment, they had Godzilla go up against Mothra, who debuted in her own film back in 1961. Ishiro Honda was once again hired to direct with the intent of making the film accessible for children and adults. Television was becoming popular in Japan at the time, so Honda wanted to compete and draw in a bigger audience. Eiji Tsuburaya would be returning to handle the effects, including building a lighter Godzilla suit and creating mechanical props. Like the previous films he directed, Honda wanted to tackle some issues as well as making a fun kaiju film. For its American release, it was distributed through AIP (American International Pictures) as Godzilla vs. The Thing to provoke curiosity. In April of 1964, Mothra vs. Godzilla made its Japanese premiere.

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    Synopsis

    While investigating some wreckage following a typhoon, reporter Ichiro Sakai (Akira Takarada) and photographer Junko Nakanishi (Yuriko Hoshi) find something. They find some bluish-gray object in the debris before a giant egg is found on the shore by the natives. While Professor Shunsuke Miura (Hiroshi Koizumi) wants to study the egg, businessman Kumayama (Yoshifumi Tajima) wants to exploit the egg. He meets with business partner Jiro Torahata (Kenji Sahara), only for two twin fairies to plead for the egg’s return. After escaping, the fairies convince Sakai, Junko, and Miura to help them return the egg to its mother, Mothra. Meanwhile, Godzilla emerges from the ground and goes on a rampage, so our heroes ask for Mothra’s help. Though the natives and the fairies are skeptical, they agree to let Mothra fight Godzilla despite her age and health. Unfortunately, Mothra loses, but maybe something more powerful will hatch from the egg.

     

    Review

    Mothra vs. Godzilla is considered to be one of the best in the franchise, and it’s easy to see why. Not only do we get the monster action we’ve come to expect, but the human plotline is also worthwhile. Yoshifumi Tajima does a good job as a corporate villain, playing him in a way that he’s fun to hate. The whole subplot of him making profits off the egg is a great commentary on how corporations exploit natural resources. The rest of the cast, namely Takarada, Hoshi, and Koizumi, come off as likable and are solid leads. With an 89-minute runtime, the film moves at a decent pace, and it never really drags at any point. There’s also plenty of build-up to the monsters first making their appearance, and that build-up is more than paid off. This leads to the big monster brawl in the last act.

    The actual fight between Godzilla and Mothra is the film’s biggest highlight, both monsters putting up a good fight. Before then, there are tons of great scenes of Godzilla rampaging through Japan as the military tries taking him down. This film truly establishes just how powerful Godzilla is, just trampling over the military like it’s nobody’s business. While they’re clearly using miniatures and costumes for these sequences, they’re filmed well-enough and it adds to the film’s charm. Credit has to go to the actor in the Godzilla suit considering all the pyrotechnics going off around him. At one point, the head of the costume catches fire, though thankfully the actor inside wasn’t seriously injured. The addition of Mothra’s larvae helps add some variety to the fight, capping off a great installment in the series. Overall, Mothra vs. Godzilla is another high point in the long-running series.

     

    Buy Mothra Vs. Godzilla on Amazon: https://amzn.to/3lq3xFm.

    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 Mothra vs. Godzilla (1964)

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  • Troma’s War (1988)

    Troma’s War (1988)

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    After the success of The Toxic Avenger and Class of Nuke ‘Em High, Troma became a household name. With two back-to-back hits, Lloyd Kaufman decided that his next project would be an ambitious one. The 1980s saw a rise in action films, specifically what Kaufman referred to as “movies that glorified warfare”. Films like Rambo: First Blood Part II, Commando, and Red Dawn were dominating the box office at the time. This, combined with what Kaufman saw as the Reagan administration making efforts to glorify war and making Americans favor violence. This is mind, Kaufman and his partner Michael Herz put together a budget of $3 million, their largest to date. The two set out to make their own action-packed war film, but with some added Troma touches and social commentary. Also known as 1,000 Ways to Die, Troma’s War was released to theaters in late 1988.

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    Synopsis

    Following a plane crash onto a seemingly deserted island, a group of survivors struggles to assess their situation. They find some armed soldiers on the island, only it turns out the soldiers are part of a terrorist group. Two of the passengers, Vietnam veteran Parker (Michael Ryder) and Taylor (Sean Bowen), try leading the group to safety. Unfortunately, some of the passengers get kidnapped and killed by the terrorists, prompting the survivors to fight back. With help from Englishman Marshall (Steven Crossley), they acquire some weapons and launch a counteroffensive against the terrorists. Soon, it’s revealed that they plan to invade America, first by creating an AIDS epidemic and destroying American from within. With time running out, the survivors must band together to stop the terrorists from succeeding in their invasion of America. Will our heroes succeed, or is America doomed in winning Troma’s War?

     

    Review

    Lloyd Kaufman considers Troma’s War to be his best film, and it’s fairly easy to see why. With its $3 million budget, it’s the closest to a Hollywood-esque blockbuster you’d ever expect from a Troma film. There’s plenty of stunts, shootouts, and explosions to rival even what Cannon was producing at the time. At the same time, there are some Troma touches, such as copious amounts of nudity, blood, and politically incorrect humor. That said, this is a very atypical Troma film since it doesn’t have much of the downright insanity from before. The Toxic Avenger and Class of Nuke ‘Em High embraced their campy nature and went as over-the-top as possible. Troma’s War, however, plays more like a straight action film with occasionally heartfelt moments and some absurdly comedic scenes. While it’s admirable they tried stepping outside their comfort zone, some fans may not appreciate the change.

    Acting-wise, everyone does a fair job playing it straight, though they’re not nearly as exaggerated as in past Troma movies. Sean Bowen makes for a fine charismatic lead, though he sometimes comes off slightly misogynistic, especially towards his love interest. Speaking of, Carolyn Beauchamp has some decent chemistry with Bowen and is tough in her own right. Michael Ryder (real name Rick Washburn) is clearly having fun as the manic veteran who maybe enjoys killing too much. Steven Crossley is very cool and suave, almost as if he’s playing James Bond, which might not be far off. Future Troma veterans Rick Collins, Jessica Dublin, and Joe Fleishaker make their Troma debuts here, and each has fun moments. While it takes time to get going, the shootout sequences, especially the climax, are the highlight of the film. Overall, Troma’s War isn’t what you might expect, but maybe that’s a good thing.

     

    Buy Troma’s War on Amazon: https://amzn.to/3fsufvL

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  • Zone Troopers (1985)

    Zone Troopers (1985)

    [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=”{}”]In the mid-1980s, Charles Band scored a deal for his Empire Pictures by acquiring the old Dino De Laurentius studio. Based in Rome, this was where films like Barbarella and Danger: Diabolik were filmed, but it fell on hard times. After acquiring the studio, Band decided to relocate all of his productions to Rome, which continued until the company’s closing. Fresh off of making Trancers, the duo of Danny Bilson and Paul De Meo wanted to make a WWII picture. Specifically, they wanted to make an homage to the WWII-era B-movies made during and after the war. As part of their deal with Empire Pictures, Bilson was allowed to direct one film, so he chose this. Reuniting with some of the same cast as Trancers, they made what became Empire’s first Italian production. The result was the 1985 WWII sci-fi film, The Lost Patrol, which later changed to Zone Troopers.

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    Synopsis

    Somewhere in Italy, in 1944, a group of American soldiers led by Sgt. Stone (Tim Thomerson) is behind enemy lines. Unfortunately, they get ambushed by German soldiers, Sarge, Joey (Timothy Van Patten), Mittens (Art LaFleur), and Dolan (Biff Manard) surviving. While exploring the German countryside, the group gets separated as Mittens and Dolan find a German encampment. Meanwhile, Sarge and Joey discover a crashed alien spacecraft with a dead pilot, the co-pilot captured by the Germans. Mittens and Dolan end up getting captured by the Germans, who believe they have some connection to the alien. Sarge and Joey manage to bust Mittens and Dolan out and escape along with the alien after it saves them. They meet up with the alien’s companions, but they don’t prove to be much help, even when the Germans attack. Sarge and his fellow troops must make a last stand if they’re to survive.

     

    Review

    Zone Troopers has a very unique concept that makes it stand out from other Empire Pictures films of the time. While combining WWII with some supernatural element is nothing new, the idea of adding aliens to the mix was solid. For a first-time director, Danny Bilson does a good job, staging some excellent action sequences and capturing some great angles. As always, Tim Thomerson is excellent playing a gruff, no-nonsense character who lets his gun do the talking. Art LaFleur and Biff Manard make for solid comic relief, having plenty of funny moments without throwing off the tone. Timothy Van Patten, in stark contrast to his character in Class of 1984, works as the plucky, wide-eyed young soldier. His New York accent greatly adds to his cocky attitude, though he can come off as a bit stubborn. Nonetheless, the four men have great chemistry together and feel like fellow soldiers.

    The main creature, designed by the late John Carl Buechler, has an impressive design, even without having many expressions. The way it’s designed, the creature looks like something out of the Mos Eisley cantina in Star Wars. There are some more humanoid aliens that show up later on, and though their design is basic, it fits here. Plenty of sci-fi B-movies of the time had human-looking aliens cause of low budgets, and that’s what they went for. The music, composed by long-time composer Richard Band, mixes the standard sci-fi synth score with bombastic 40s era jazz. Admittedly, the mixing of the two genres sometimes doesn’t mix together, often leaning more towards WWII action than science fiction. Those expecting a non-stop barrage of aliens vs nazis will be disappointed, but there’s plenty of entertaining action. Overall, Zone Troopers is a uniquely original offering from the Empire Pictures catalog that’s worth discovering.

     

    Buy Zone Troopers on Amazon: https://amzn.to/4hxFcvJ.

    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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  • Friday the 13th (1980)

    Friday the 13th (1980)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/Fo-KdC_vumM” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][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=”{}”]Following the release of 1972’s The Last House on the Left, producer Sean S. Cunningham struggled to find similar success. He tried his hand at kid’s films with Here Come the Tigers and Manny’s Orphans, but neither made a profit. However, after John Carpenter’s Halloween was released to critical and commercial success, Cunningham got the idea to rip it off. He came up with the title Friday the 13th and placed a full-page ad in Variety to drum up interest. After drumming up investors, Cunningham hired Victor Miller to write a script originally titled A Long Night at Camp Blood. Special effects wizard Tom Savini was hired off of the success of Dawn of the Dead to create similar effects. With a $550,000 budget and a cast of relative unknowns, Cunningham went onto make the first in a long-running franchise. May 9th, 1980, saw the release of Friday the 13th.

    [/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=”85″ 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=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Steve Christy (Peter Brouwer) is planning on refurbishing and reopening Camp Crystal Lake after being closed for several decades. The locals are wary about him reopening the camp, dubbing it “Camp Blood” after various incidents involving people getting killed. Nevertheless, he hires Alice (Adrienne King), Bill (Harry Crosby), Marcie (Jeannine Taylor), Brenda (Laurie Bartram), Jack (Kevin Bacon), and Ned (Mark Nelson) as counselors. He also hires Annie (Robbi Morgan) to be the camp’s cook, but she gets killed before getting to the camp. Christy drives into town to gather supplies, leaving the counselors to fend for themselves at the camp during a thunderstorm. As the night goes on, the counselors start disappearing until Alice is the only one left, finding them all dead. While trying to escape, she’s stopped by Pamela Voorhees (Betsy Palmer), who worked at the camp years ago. Pretty soon, Alice learns who the true killer is.

     

    Review

    Friday the 13th is a simple yet effective slasher film that knows what it is and doesn’t go much further. Ordinarily, a lack of ambition would be a negative against the film, but its simplicity is what makes it work. That being said, the film is more well-made than you’d expect given its budget and the reason behind its creation. Cunningham’s direction is solid, capturing plenty of great angles and creating an effective mood like there’s some hidden figure watching. Acting-wise, everyone does a good job, Adrienne King and Betsy Palmer giving standout performances, along with a then-unknown Kevin Bacon. King makes for a good final girl, balancing between being scared and being strong, in addition to being likable. Despite only doing the film for a new car, Betsy Palmer is surprisingly great here, being both motherly and terrifying. You almost feel sympathy for what she went through.

    Tom Savini, known for his realistically graphic gore, delivers some stellar special effects, each death scene more shocking than the last. The most famous death scene is Kevin Bacon getting an arrow through the neck with plenty of blood spurting out. However, there are moments where you can tell the appliances used don’t match the skin tone of the actors. Granted, this film had a low budget and they didn’t have much to work with, and it’s still impressive. Harry Manfredini’s score also helps add a sense of terror throughout, especially with its minimalism and how it’s used sparingly. It has a very similar sound to the scores of Bernard Hermann, specifically the score for Hitchcock’s Psycho. What the film lacks in ambition and drive, it makes up for in its simplicity, creating a slasher classic. Overall, Friday the 13th deserves its place in the annals of horror cinema.

     

    Buy Friday the 13th from Amazon: https://amzn.to/4kFrRDC.

    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 Friday the 13th (1980)

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  • Surf Nazis Must Die (1987)

    Surf Nazis Must Die (1987)

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    Aspiring filmmaker Peter George was living near the beaches of coastal California when he spotted some graffiti stating “surf nazis”. Often used to refer to surfers who took it seriously, George decided to flesh it out and take it literally. Alongside writer Jon Ayre, George developed a concept where an old lady defends her retirement home against an inner-city gang. At some point, George and Ayre combined their original concept with the surf nazis, creating an oddball revenge film. Filming mostly took place around Huntington Beach and Long Beach, California, and the surfing scenes were filmed near Hawaii. With a relatively low budget, George, editor Craig A. Colton, and producer Robert Tinnell formed The Institute for production. The cast comprised of unknowns who appeared in mostly lesser-known films, though many would go on to have long-running careers. Finally, in July 1987, Troma released Surf Nazis Must Die.

    [/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=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After an earthquake devastates the California coastline, the beaches are taken over by various gangs during the chaos. One of these gangs is the Surf Nazis, led by Adolf (Barry Brenner), the self-proclaimed “Führer of the new beach”. His gang includes girlfriend Eva (Dawn Wildsmith), Mengele (Michael Sonye), Hook (Joel Hile), Brutus (Gene Mitchell), and Smeg (Tom Shell). Adolf tries recruiting the other gangs to their cause, but they refuse, saying Adolf can’t handle the power. Meanwhile, Eleanor “Mama” Washington’s (Gail Neely) is put in assisted by her son Leroy (Robert Harden) after her house’s destroyed. Unfortunately, Leroy is attacked and killed by the Surf Nazis on the beach, leaving Mama in a state of shock. She decides to buy a gun and some grenades, planning on exacting revenge for the death of her son. Now that Leroy’s Mama is on the prowl, the Surf Nazis Must Die!

     

    Review

    Surf Nazis Must Die promises a lot from its title and concept, and it mostly delivers, though not without flaws. Its biggest problem is that, despite a runtime of under 90 minutes, the film is very slow and very padded. There are tons of scenes that are shots of the beach, shots of people driving, and extended surfing sequences. Also, there are subplots introduced that are either dropped completely or resolved almost as soon as they’re introduced. For instance, there’s a subplot about Smeg and his relationship with his mother that goes nowhere and amounts to nothing. Additionally, the subplot about the Surf Nazis taking out the other gangs is resolved fairly quickly. Though it’s built up early on, the revenge plot doesn’t really start until the last twenty minutes of the film. Whole stretches of the movie will go by before Mama Washington shows up again.

    That being said, there are some moments where the film goes above and beyond the material and has some flair. There are a few scenes shot in a way similar to an arthouse film with plenty of earned drama. The best example is how they handle Leroy’s murder, cutting back-and-forth between his murder and Mama going to the morgue. It’s very similar to how Mary Lambert handled Gage’s death in Pet Sematary, which came out two years after this. In terms of delivering on its promises, this film has plenty of fun over-the-top performances, particularly from Brenner and Sonye. Gail Neely makes for a great unlikely hero, delivering compelling drama one minute, and spouting off one-liners in the next. The final twenty minutes are definitely the highlight as Mama gets her revenge, even though the film is somewhat uneven. Overall, Surf Nazis Must Die is entertaining despite an uneven pace.

     

    Buy Surf Nazis Must Die from Amazon: https://amzn.to/3nfzi5H.

    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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch Surf Nazis Must Die (1987)

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  • Puppet Master 4 (1993)

    Puppet Master 4 (1993)

    [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=”{}”]Following the release of Puppet Master III: Toulon’s Revenge, Charles Band had something ambitious planned for the series. The next installment would be a theatrical release called Puppet Master: The Movie that served as a sequel/reboot. However, Band decided against this and instead divided the script in half to make two movies as opposed to one. In the director’s chair was Jeff Burr, who previously directed From a Whisper to a Scream and The Stepfather II. Burr previously knew Band from Empire Pictures as they were working on a film called The Vault that never happened. Charles offered Burr the job of directing both Puppet Master movies back-to-back, as well as working on other projects. Burr accepted the job, meaning he had to get both movies cast and shot back-to-back relatively quickly. In 1993, the first of these two films, Puppet Master 4, was released.

    [/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

    At the Bodega Bay Hotel, supergenius Rick Myers (Gordon Currie) is working on developing robots with artificial intelligence. While there, he soon discovers the puppets of Andre Toulon (Guy Rolfe) and the serum that gives them life. Unfortunately, he’s made the target of Sutek (Jake McKinnon), an ancient demon whose life-giving powers were used for the serum. Sutek sends his totem minions to hunt down Rick and his colleagues, killing them and absorbing their life-force. Soon, Rick’s girlfriend Susie (Chandra West), his friend Cameron (Ash Adams), and his girlfriend Lauren (Teresa Hill) visit the hotel. They help him bring the puppets Blade, Pinhead, Tunneler, Six-Shooter, and Jester back to life to help fight the totems. Toulon tells Rick that the only way to destroy the totems is to revive his unfinished puppet Decapitron. Will they succeed, or will the forces of Sutek claim their next victims?

     

    Review

    Puppet Master 4 is a solidly entertaining film, even if it’s not as good as the previous installment. One nice thing about the film is how it further expands upon the lore, namely the introduction of Sutek. The character itself has a pretty cool design and has an imposing voice, though he mostly just stands around. While he has very limited screentime, Guy Rolfe once again does a good job as Andre Toulon. The rest of the acting, while fine, doesn’t really stand out and is pretty forgettable, though they’re not the focus. The focus is on the puppets, who are given plenty of time to shine and have some fun fight scenes. You get more of a feel for their personalities and how they interact and work with one another. Unfortunately, despite appearing on the cover, Torch does not appear in the movie at all.

    Gordon Currie works as the lead, coming off as likable and charming, though he does come off a bit bland. Ash Adams fills the role of the snarky jerk you love to hate, and he gets a fairly satisfying death. Directing-wise, Jeff Burr does a solid job of establishing mood through the use of shadow and harsh lights. As with the other movies, the puppets are brought to life through rod puppetry and David Allen’s stop-motion. It still looks good, though there’s some blue screen work that sticks out pretty badly, along with some visible strings. Some fans might be disappointed that not all of the puppets are featured, but we still get the best puppets. Given that this is one whole movie split in two, it does still feel like a complete film in itself. Overall, Puppet Master 4 is another entertaining installment in the long-running franchise.

     

    Buy Puppet Master 4 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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    Where to watch Puppet Master 4 (1993)

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