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Category: Cult Films

  • All the Love You Cannes! (2002)

    All the Love You Cannes! (2002)

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    In 1938, French Minister of National Education Jean Zay got the idea to start an international film festival. This decision was mainly due to the Venice Film Festival’s bias towards fascism and the Nazi regime at the time. With support from the US and England, Zay chose the city of Cannes to host this new festival. Unfortunately, 1939 was when the Nazis invaded France, and it seemed that the festival was no more. Thankfully, the festival relaunched in 1946, and the Cannes International Film Festival was born on September 20, 1946. In 1959, the Marché du Film (Film Market) was founded for studios to buy and sell to foreign markets. Since Troma’s birth in the early 1970s, Lloyd Kaufman and his team have traveled to Cannes to promote their movies. To show their fans what the festival is like, Troma produced the 2002 documentary All The Love You Cannes!

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    Synopsis

    In 2001, Lloyd Kaufman and his team visited the Cannes Film Festival to try and promote their films. In particular, they were looking to drive up hype for Terror Firmer and Citizen Toxie: The Toxic Avenger IV. While filming the goings-on at Cannes, Lloyd provides advice and insight for those who want to attend and save money. Since the major studios spend millions of dollars promoting their movies, Troma has to go above and beyond for attention. For example, the team put on parades where they make tons of noise, hand out leaflets, and frolic half-naked. Unfortunately, the Troma team runs afoul of the hotel security and local police because of their shenanigans. Most of the blame is laid at Doug Sakmann, who’s shown getting drunk and getting himself into tons of trouble. Also, a small dog from Warner Bros. tries to start some beef with Troma.

     

    Review

    All The Love You Cannes! is an entertaining and insightful look at Cannes and the studio system in general. Much like the making-of documentaries they’ve made, this one also shows how chaotic working for Troma can be. The documentary shows the struggles Troma has to go through to get people to notice them. We’re shown the 40+ staff sleeping in an apartment made for four people, getting into drunken fights, and hassling cops. We also see some internal trouble from the Troma team, including some Tromettes being sexually harassed by locals. As mentioned above, Doug Sakmann is given most of the blame since he’s the one charged with running things. It doesn’t help that he performs stunts like stumbling around spewing blood and running outside in a Kabukiman costume. It’s the kind of pure insanity you’d expect from Troma.

    Something is endearing about these renegades going up against the bigwigs as chaotic as everything is. Troma has always been a champion of independent cinema, and they feel that the big corporations have taken over. In addition to providing sound advice, Lloyd also shows how pure showmanship can win people over to your side. Admittedly, there are times where things get so chaotic that it’s hard to follow along with what’s happening. Plus, there’s not much information about Cannes’ history, which would’ve helped add further context to the narrative being presented. Even though the documentary is almost twenty years old, many of the topics discussed are still relevant today. Also, given some of the recent things Lloyd has said about Cannes, it might’ve gotten even worse. Overall, All The Love You Cannes! is one of the most eye-opening documentaries that any aspiring filmmaker can watch.

     

    Buy All The Love You Cannes! from Amazon: https://amzn.to/3s7Lxa4.

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  • The Gingerdead Man (2005)

    The Gingerdead Man (2005)

    [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=”{}”]William Butler started working at Empire Pictures doing make-up effects on films like From Beyond and Ghoulies II. He also had parts in Friday the 13th Part VII: The New Blood, Spellcaster, and Leatherface: Texas Chainsaw Massacre III. Wanting to do more, Butler would submit writing ideas to various studios, but nothing came of them. One idea he had revolved around a killer gingerbread cookie, which he presented to Mad TV, but they said no. Butler decided to take his concept to Full Moon Features, which by the early 2000s was not in good shape. Charles Band liked his ideas, but he wanted to take Butler’s script and rewrite it to be made more affordable. Charlie handed the rewrite to Domonic Muir, who also wrote Critters and worked with him for a few years. After a scrapped 2001 teaser, The Gingerdead Man hit video store shelves in late November 2005.

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    Synopsis

    It’s been two years since Sarah Leigh (Robin Sydney) watched Millard Findlemeyer (Gary Busey) kill her dad and brother. For his crimes, Findlemeyer is taken to the electric chair and vows revenge on Sarah even in death. With her alcoholic mother Betty (Margaret Blye), Sarah runs a bakery and pastry shop that’s on its last legs. One day, a stranger delivers a container full of gingerbread seasoning containing Findlemeyer’s ashes since his body was cremated. Unfortunately, Sarah’s co-worker Brick Fields (Jonathan Chase) gets cut, and some of his blood drips into the seasoning. After the dough’s finished mixing, Sarah makes a giant gingerbread man and cooks it in the oven, which comes alive. The gingerbread man becomes Findlemeyer and stalks Sarah, Amos (Ryan Locke), and Lorna (Alexia Aleman) throughout the bakery. Which of our heroes will survive, and who will fall victim to The Gingerdead Man?

     

    Review

    The Gingerdead Man is one of those movies that you’ll love or hate depending on your taste. The movie isn’t sweeping the Oscars, but it doesn’t need to aspire for anything more. Admittedly, this movie is a drastic drop in quality from Full Moon’s peak in the early to mid-90s. Their movies back then were undoubtedly low budget, but they made the most of the budgets they had. However, this has the trappings of direct-to-video movies from the mid-2000s, including one location, low-grade quality, and shoddy digital effects. The acting is pretty shoddy, though Robin Sydney easily shines as the female lead who steps up to the challenge. Of course, the big draw is Gary Busey, who is surprisingly low-key in his on-screen appearances. When he voices the Gingerdead Man, you can tell he’s having fun spouting some ridiculous lines. Though, I would’ve appreciated it if he was on-screen more.

    The movie does have some similarities to Child’s Play, but that one at least explained things better. In that film, we were shown how the killer used voodoo to become the doll, and it made sense. Here, it’s not made clear exactly how the whole ritual of bringing the killer back as a gingerbread man works. Granted, this isn’t meant to be a serious horror film, but this leaves more questions than answers. The Gingerdead Man puppet itself looks fine for their budget, especially considering the original Pillsbury Doughboyesque design. There are some reasonably bloody kills sprinkled in, but none are particularly memorable or inventive. At roughly 70 minutes, this movie gets in and out very quickly and won’t take too much of your time. Overall, The Gingerdead Man is a movie where its concept is more entertaining than the movie itself. That said, you could certainly do worse.

     

    Buy The Gingerdead Man 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 The Gingerdead Man (2005)

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  • Monster in the Closet (1986)

    Monster in the Closet (1986)

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    As kids, we were fearful of monsters lurking in our bedrooms, whether under the bed or in the closet. We realize just how dumb this fear is as we get older, eventually getting over it. In 2001, Pixar tried showing us what the monsters living in our closets were doing when we weren’t sleeping. That movie was Monsters, Inc., and it showed us that not all monsters are nasty. However, years before Sully and Mike Wazowski warmed our hearts, writer/director Bob Dahlin tapped into that fear. Dahlin started the industry with the 1973 short film Norman Nurdelpick’s Suspension: A Tribute to Alfred Hitchcock. After that, he worked as an assistant director on movies like Damien: Omen II, And Justice For All, and Popeye. In 1983, Dahlin directed his only feature film, Monster In The Closet, though it wouldn’t see a release until 1986.

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    Synopsis

    In a quiet college town near San Francisco, a series of murders has the townsfolk in hysterics. Obituary writer Richard Clark (Donald Grant) is assigned to report on the recent deaths and figure out what’s happening. He meets local science teacher Diane Bennett (Denise DuBarry) and her intelligent son nicknamed ‘Professor’ (Paul Walker). Soon enough, they discover what’s responsible for the murders: a hideous monster (Kevin Peter Hall) who lives in people’s closets. Local eccentric Dr. Pennyworth (Henry Gibson) tries reasoning with the beast and gets clawed to death. General Turnbull (Donald Moffat) and his forces try to destroy the monster, but none of their weapons are successful. With seemingly no options left, our heroes have to fend for themselves against the closet-dwelling monster. But is the monster murderous, or is he misunderstood and possibly looking for love?

     

    Review

    Monster in the Closet is one of those movies whose idea is more entertaining than the movie itself. This movie isn’t what I’d call a lost Troma classic, but that’s not to say it’s all terrible. The filmmakers wanted to make a spoof of 50s monster movies, though not many jokes land. It doesn’t help either that there are several dead spots, and it takes a while for things to get going. A few gags were pretty funny, particularly a montage of people from all over the world trashing their closets. Another memorable one involves the love interest Diane in a trance whenever Richard’s glasses fall off. One thing that makes this film stand out is the cast of notable character actors, which is staggering. You’ve got appearances from Henry Gibson, Claude Akins, Stella Stevens, Howard Duff, Donald Moffat, Paul Dooley, and John Carradine.

    Another positive I can give this movie is the titular monster, which has a uniquely goofy design. Not only is its mouth constantly open, but it lets out a scream that repeats every time it’s on-screen. It even has a more petite mouth inside of its mouth, similar to the Xenomorph from Alien. I also like how there’s no explanation for what the monster is or where it came from. As I said before, tons of filler scenes drag the movie down until the monster shows up. It’s very similar to 1982’s Nightbeast, though that at least made up for it with tons of blood and gore. I’d recommend the former between the two, though this would still make for a fun bad movie night. Overall, Monster in the Closet doesn’t entirely deliver on the laughs and scares, but it has its moments.

     

    Rent Monster in the Closet on Amazon Prime: https://amzn.to/3D92tyw

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  • Cannibal Women in the Avocado Jungle of Death (1989)

    Cannibal Women in the Avocado Jungle of Death (1989)

    [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 better known for writing the romantic comedy Pretty Woman, J. F. Lawton struggled in LA back in the day. The son of famous novelist and journalist Harry Lawton, J. F. got his first taste of filmmaking in his childhood. In 1969, his father’s book was adapted into the film Tell Them Willie Boy is Here, starring Robert Redford. J. F. got to visit the set and was mesmerized by the filmmaking process, and decided to become a screenwriter. After graduating from California State University, he moved to Los Angeles and lived in one of the city’s roughest areas. While trying to find work, Lawton met producer Charles Band, struggling to keep Empire Pictures alive despite the mounting debts. With Band, Lawton got the opportunity to direct his directorial debut, shot in his hometown of Riverside. The result was 1989’s Cannibal Women in the Avocado Jungle of Death.

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    Synopsis

    Margo Hunt (Shannon Tweed) is a professor at Spritzer College that teaches feminist studies and advocates for gender equality. The US government recruits her to travel to the mysterious Avocado Jungle and contact a female tribe, The “Piranha Women.” These women tend to have sex with men, kill them, and eat them as part of a sacrificial ritual. Though reluctant, Hunt agrees to go, but one of her students Bunny (Karen Mistal), insists that she go too. Before embarking on their journey, they need a guide and hire Jim (Bill Maher), a chauvinist ex-lover of Hunt’s. They eventually stumble upon the Piranha Women and meet their leader as they make their way through the jungle. Their leader is Dr. Kurtz (Adrienne Barbeau), a former colleague of Hunt’s who the government also sent before going MIA. What follows are explorations of feminism and gender politics, all in the name of avocados.

     

    Review

    Much like Sorority Babes in the Slimeball Bowl-O-Rama, this is a film with quite a catchy title. However, while the former was more what you’d expect, this tries to be much more intelligent and offer some satire. For the most part, it works, but a lack of budget hampers it from being much more. Shannon Tweed, who was 1982’s Playmate of the Year, is funny as the sharp-witted feminist teacher trying to maintain independence. Karen Mistal does come off slightly annoying as the overly ditzy and stereotypical valley girl, but she has her moments. While I’m sure he’d rather people forget about his performance, Bill Maher is appropriately cocky and arrogant in his role. Though she has limited screen time, it’s always lovely to see Adrienne Barbeau pop up in these low-budget shlock films. Plus, the score by Carl Dante is surprisingly catchy and well-orchestrated.

    The film’s satire might put some people off, but it doesn’t diminish the overall goofy nature of the movie. There’s a tribe of women that are literal “man-eaters,” a braggadocious male lead who’s also incompetent, and much more. The film’s set-up revolving around an avocado shortage is so absurd that it must be intentional. What makes the satire work is that the filmmakers poke fun of both groups rather than siding one group over another. While there are plenty of jokes about men and toxic masculinity, there are just as many jokes about feminism. Unfortunately, the lack of a decent budget ultimately hurts the film, though it’s not surprising given Charles Band’s involvement. Still, the fact that they’re filming in the forest near Lawton’s college adds to the movie’s campy charm. Overall, Cannibal Women in the Avocado Jungle of Death is silly, but it’s more intelligent than you’d expect.

     

    Buy Cannibal Women in the Avocado Jungle of Death 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 Cannibal Women in the Avocado Jungle of Death (1989)

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  • Pink Flamingos (1972)

    Pink Flamingos (1972)

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    Growing up in Baltimore with a fire-protection equipment manufacturer and a devout Catholic, John Waters led an odd life. At age seven, Waters was staging violent puppet shows and secretly watching cheap drive-in flicks through binoculars. Waters first got his inspiration to pursue cinema after seeing The Wizard of Oz at a young age. His first venture in filmmaking was a short film in 1964 called Hag in a Black Leather Jacket. Over the next few years, he developed an acting troupe called “The Dreamlanders,” similar to Andy Warhol’s superstars. The star of the company was Harris Glenn Milstead, better known as the drag queen performer Divine. Together, they made several low-budget films that pushed many boundaries and were as gross and offensive as possible. After making Mondo Trasho and Multiple Maniacs, John Waters made what ended up being his most famous film, Pink Flamingos.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.13.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.13.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Having been labeled the filthiest person alive, Divine goes under a pseudonym, Babs Johnson, to protect her identity. She lives with her mentally-ill mother Edie (Edith Massey), son Crackers (Danny Mills), and companion Cotton (Mary Vivian Pearce). On the other side of town, Connie (Mink Stole) and Raymond (David Lochary) Marble are jealous of Divine’s status. They kidnap young women, keep them locked up, have their manservant Channing (Channing Wilroy) impregnate them, and sell their babies. Using a spy named Cookie (Cookie Mueller), The Marbles learn of Divine’s assumed name, family, and address. After The Marbles send her a box of poop, Divine declares war to show who’s the filthiest person alive. Homes go up in flames, people lick furniture, a party gets raided, and people stage a kangaroo court. In the end, only one person can indeed earn the coveted title of “Filthiest Person Alive!”

     

    Review

    Given the film’s reputation, there’s nothing that I can say about Pink Flamingos that hasn’t already been said. Of course, it’s gross, vile, disgusting, offensive, politically incorrect, and transgressive, but that’s just what John Waters intended. In a way, it’s as if Waters set out to make the worst movie ever, and yet it worked. It’s one of those movies where every character is a terrible person, yet Divine and her family are weirdly sympathetic. They accept that they’re the filthiest people alive, yet The Marbles are jealous of how proud they are. While The Marbles try their best to be nasty, you also get a sense that they’re in over their heads. Divine and her family are just living their lives when The Marbles have to interject and make themselves targets. It’s an intriguing look at how mainstream society tries to co-opt otherwise taboo material to seem cool.

    In terms of filmmaking, the movie has that grimy quality you could only get from 70’s low-budget cinema. Admittedly, there are times where scenes drag for way too long, and it feels like they should’ve cut much sooner. Acting-wise, everyone delivers their lines as if they’re reciting Shakespeare, making the ridiculous dialogue even funnier. Much of the acting is hit or miss, but Divine delivers an enjoyably over-the-top performance that perfectly fits this movie. While Divine is the show’s star, Mink Stole and Edith Massey perfectly suit their roles and are just as memorable. For a film made in 1972, some of the shock scenes are still pretty shocking even by 2021 standards. General audiences probably won’t enjoy this, but fans of cult cinema should give this at least one viewing. Overall, Pink Flamingos is rough around the edges but enjoyable for midnight movie fans.

     

    Buy Pink Flamingos from Amazon: https://amzn.to/30kVViE.

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  • Retro Puppet Master (1999)

    Retro Puppet Master (1999)

    [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=”{}”]Curse of the Puppet Master was a massive letdown for many of Full Moon’s established fans, and Band knew this. He knew he had to think of something to get the fans back, so he decided to go back. Looking over the initial art from the first film in 1988, he noticed some puppets that they didn’t use. Charles Band decided to use these puppets and craft a prequel that explored Andre Toulon’s origins pre-WWII. Like many of Full Moon’s films at the time, shooting would be in Romania at Castel Film Studios. David DeCoteau, under the pseudonym Joseph Tennent, was hired to direct after directing two entries, including Puppet Master III. For the role of young Andre Toulon, the filmmakers cast a then-unknown Greg Sestero after considering James Franco. A few months after the last film, Full Moon released Retro Puppet Master in November of 1999.

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    Synopsis

    In 1902 Paris, Andre Toulon (Greg Sestero) is running a puppet show called “Theater Magique,” which is quite popular. After a performance of Dante’s Divine Comedy, Toulon meets Elsa (Brigitta Dau), a young socialite wanting to see the country. The two start to hit it off until a man who’s nearly beaten to death arrives looking for help. The stranger is Afzel (Jack Donner), an Egyptian sorcerer who’s stolen the secret of life from the god Sutekh. He passes his knowledge along to Toulon, allowing him to bring life to his puppets with human souls. Meanwhile, Sutekh sends three of his mummified followers to track down Afzel and kill him before passing his knowledge on. Before long, Toulon assembles a puppet army to take on Sutekh’s forces while falling in love with Elsa. An elder Toulon (Guy Rolfe) in 1944 Switzerland shares this story with his puppets.

     

    Review

    Retro Puppet Master is a slight improvement compared to the last installment, but not by a whole lot. The Romanian filming locations add plenty of production value and make the film look more expensive. Also, introducing the new retro puppets is an excellent way to keep things fresh and exciting. It’s interesting to see what Blade, Pinhead, and Six Shooter looked like before getting a new design. Admittedly, the film plays with the continuity from the other movies, but this series never had a consistent continuity. Even though he hardly resembles Guy Rolfe, Greg Sestero does a decent job playing a young Andre Toulon. He also deserves some credit for adding a French accent considering the character’s name, even if it doesn’t match Rolfe. Speaking of, while he’s only on-screen for a few minutes, Guy Rolfe does an excellent job for his final role.

    Brigitta Dau, known chiefly for doing voiceovers for Ranma 1/2, has decent chemistry with Sestero and is quite lovely. The late character actor Jack Donner gives the role of Afzel more dignity than it otherwise deserves. Another notable actor is Stephen Blackehart, who was previously in Tromeo & Juliet and later became a James Gunn regular. In terms of his direction, David DeCoteau does a decent job and takes advantage of the Romanian locations. Like the last film, the lack of stop-motion animation is unfortunate, but the puppets have more screen time here. The puppet effects are decent, though there are quite a few moments where you can see the strings. Sadly, for all the improvements made here, the series would continue to go further downhill from where it started. Overall, Retro Puppet Master does some things right but does plenty more wrong.

     

    Buy Retro Puppet Master from Amazon: https://amzn.to/4mb2Jov.

    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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  • Beware: Children At Play (1989)

    Beware: Children At Play (1989)

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    Mik Cribben has been in the industry since the 1970s, working as a soundman or a camera operator. Like many at the time, he got his start working in the adult film industry and some B-movies. He worked on notable titles like Squirm, Eyes of Laura Mars, Nightmare, and blockbuster movies like Annie and Wall Street. At some point, Cribben was working with a guy who had made a low-budget horror film about a Vietnam veteran. The two were collaborating on a new project, but the director wanted to make it a studio film. Cribben commissioned his friend Fred Sharkey to write a new screenplay using the extra money from the collaboration. On a $200,000 – $300,000 budget, Cribben and company worked on what would become one of Troma’s more controversial pictures. In late 1989, Troma distributed Cribben’s only directorial effort, Beware: Children at Play.

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    Synopsis

    During a camping trip with his son, Professor Randall (Bernard Hocke) accidentally gets his leg caught in a bear trap. After he succumbs to his wounds and dies, his son Glenn (Eric Tonken) eats him and goes insane. Ten years later, John DeWolfe (Michael Robertson) is driving with his family to New Jersey to visit some old friends. Chief among them is Ross Carr (Rich Hamilton), the local sheriff, dealing with numerous reports of missing children. Meanwhile, local farmer Isac Braun (Mik Cribben) believes Glenn is still alive and taking their children to join his cult. It turns out that Glenn is indeed living, now calling himself Grendel (Danny McClaughlin), and has been brainwashing children. As the kids carve a path through the town, John and Ross try to figure out a peaceful solution. Will John be able to rescue the kids, or will the townsfolk deliver some vigilante justice?

     

    Review

    As a whole, Beware: Children at Play is a very flat and boring movie struggling to reach feature-length. While there are a few cheesy kills here and there, most of it is just dull scenes of meaningless dialogue. It doesn’t help that much of the acting is pretty uninspired, though I’m not expecting Oscar-worthy performances here. Some notable characters include a Bible salesman with a sailor’s mouth or a psychic who loves saying “dearie” a lot. There’s also Isac Braun, played by the director, wearing some unconvincing old man makeup with powder in his hair. But aside from that, most of the characters are pretty generic, and you’ll quickly forget who’s who. Honestly, it was difficult for me to keep up with what was happening, considering how dull it was. That is until the last five minutes when all hell breaks loose, and the film earns its notoriety.

    As uninteresting as the rest of the movie is, the ending almost makes watching it worthwhile just for the carnage. What follows are five minutes of several child characters being shot down and killed in various ways. Kids get their heads blown off, stabbed with a machete, pinned to walls with pitchforks, and shot with arrows. Granted, kids getting killed in movies isn’t anything new, but the volume of child deaths is staggering. It makes sense that the trailer mostly has scenes from the last few minutes since they’re the most exciting. The ending almost warrants a viewing, but that requires sitting through so much uninteresting stuff to get there. Hardcore Troma fans will want to check this out, but otherwise, you can just watch the scene on YouTube. Overall, Beware: Children at Play is a dull experience that only gets interesting towards the end.

     

    Buy Beware: Children at Play from Amazon: https://amzn.to/3mcwVmp.

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  • Rawhead Rex (1986)

    Rawhead Rex (1986)

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    After how disappointing Transmutations turned out, Clive Barker had his reservations in working with George Pavlou again. Still, the studio convinced Barker to adapt one of his short stories from the Books of Blood, Rawhead Rex. He agreed and wrote a screenplay that was a straight adaptation of his story, but the troubles started again. Once he turned in his script, Barker was barred from the set and not allowed further creative input. Additionally, the studio decided to film in Ireland during the rainy season instead of the original English summer setting. While Barker’s original story had tons of sexual subtext, the final film turned into a standard monster-on-the-loose picture. Though he did have some kind words during production in interviews, Barker has since disowned the film. Though premiering in the UK in 1986, Empire Pictures released Rawhead Rex to the US in 1987.

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    Synopsis

    American Howard Hallenbeck (David Dukes) travels to Ireland with his wife and kids, searching for religious artifacts. Meanwhile, a local digs up an ancient column, accidentally freeing an ancient demon called Rawhead Rex. Declan O’Brien (Ronan Wilmott) touches the altar at a nearby church and is driven mad by Rawhead’s influence. Rawhead starts rampaging through the Irish countryside, killing anyone in its path while O’Brien grows more insane. Howard catches a glimpse of Rawhead and tries to explain it to the police, but they don’t believe him. He decides to take his family back on the road when his daughter Minty (Cora Lunny) needs a bathroom break. While Howard and his wife Elaine (Kelly Piper) check on her, Rawhead kills their son Robbie (Hugh O’Conor). Now enraged, Howard takes it upon himself to confront O’Brien and find a way to destroy Rawhead Rex.

     

    Review

    Considering how poorly Transmutations turned out, it’s shocking that Clive Barker would be willing to try again. To his credit, Rawhead Rex is a much better film, but you can see why Barker wasn’t happy with this. The film takes itself super seriously, but tons of unintentionally campy elements hinder any tension. For one, Rawhead Rex himself looks utterly ridiculous with its bulging eyes, flared nostrils, and misshapen mohawk. From a distance, it looks fine, but whenever you get a good look at its face, it’s too funny. Considering that the original short creature was a 9′ phallus, I can see why they changed it. Admittedly, I would be okay with the creature design if the whole movie was just as ridiculous, but it isn’t. Also, I’m surprised they had any sets left, given all the scenery-chewing Ronan Wilmott was doing with his performance. At least he’s not obnoxiously hammy.

    Speaking of acting, most of it ranges from being decent to being pretty dull and uninspired. David Dukes does a pretty good job in the lead role, even if his character makes some dumb decisions. He and Kelly Piper have some decent chemistry, although she’s not given much to do until the very end. Directing-wise, George Pavlou takes full advantage of the Irish countryside and manages to create an effectively spooky mood. It’s evocative of the look and feel of Hammer films from the 50s and 60s, though not as good. There’s also plenty of bloody and gruesome kills for the average gorehound, and it was risky to kill a kid. Parts of the film work as a cheesy monster movie, but it could’ve used more insane moments. Overall, Rawhead Rex isn’t terrible, but it could’ve been so much better. Thankfully, this led to Clive Barker helming a horror classic.

     

    Buy Rawhead Rex from Amazon: https://amzn.to/3ps0diH.

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  • Screamplay (1985)

    Screamplay (1985)

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    Rufus Butler Seder had an affinity for films from an early age, thanks in part to his father. He studied at the American Film Institute and received tons of acclaim for his experimental short films. At some point, Seder wanted to make a biopic about Thomas Edison and Nikola Tesla, but that never happened. With no projects lined up, Seder dug up an old script he had written in the late 1970s. The screenplay took inspiration from his experiences in Hollywood, especially some odd neighbors he had in his apartment complex. On a budget of roughly $50,000, Seder set up the Boston Black and White Movie Company to work on this. He and his team did almost all of the in-camera effects, including front projection and forced perspective. Though New Line Cinema showed interest, Troma ultimately acquired the rights and released the film in 1985 as Screamplay.

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    Synopsis

    Struggling writer Edgar Allen (Rufus Butler Seder) moves to Hollywood with dreams to make a name for himself. Unfortunately, Edgar gets mugged on his first day in Tinseltown, and a stranger kills the mugger right after. The killer is Martin (George Kuchar), a sleazy landlord who hires Edgar as a custodian if he keeps silent. Edgar spends his nights writing murder stories in his spare time, many inspired by what happens around him. His neighbors include aging actress Nina Ray (Linda Robinson), prophet/rocker Lot (Bob White), and aspiring actress Holly (Katy Bolger). Before long, people start dying in ways that are eerily similar to the scenarios Edgar writes, which raises suspicion. Officers Tony Cassano (Basil J. Bova) and Joe Blatz (George Cordeiro) are investigating, and all signs point to Edgar. Has the struggling writer finally lost it, or is there someone else responsible?

     

    Review

    Screamplay is one of those films where the people behind it are wearing their influences on their sleeves. They drive this further by showing clips from Nosferatu, The Golem, and Cabinet of Dr. Caligari so that you know. Thankfully, the filmmakers use their influences to tell a creative and unique story rather than just recycling something similar. Rufus Butler Seder gives a wonderfully exaggerated performance as struggling screenwriter Edgar Allen, who can be both likable and creepy. Whenever we see him going mad, his manic expressions remind me of silent actors like Lon Chaney and Conrad Veidt. The film was shot entirely in black and white that both pays tribute and adds a sense of dread. The film sometimes feels like a nightmare come to life with all the twisted shadows and warped perspective. For such a small budget, they were able to pull off quite a bit.

    What also helps this stand out are all the side characters, each just as memorable and weird as Edgar. You’ve got the washed-up B-movie actress trying to cling onto whatever youth she has left by constantly making herself up. Then there’s Lot, a stoned-out rockstar who prophesies about the evils of Hollywood and partakes in some holistic remedies. Even the seemingly pure and innocent Holly has her quirks, namely that she’ll do anything to be an actress. Of course, there’s plenty of over-the-top deaths and even some nudity, but it’s all reasonably tame even by Troma standards. This movie is more psychological, so people expecting an all-out gore and tit fest might be disappointed. However, if you consider yourself a Troma fan, you really should give this sadly forgotten shocker a chance. Overall, Screamplay is both a loving homage to Old Hollywood but also a wonderfully grim and dark thriller.

     

    Buy Screamplay from Amazon: https://amzn.to/2XW0DCf.

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  • Transmutations (1985)

    Transmutations (1985)

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    After making a name for himself in theatre, Clive Barker wanted to shift his focus towards becoming a writer. While writing the short stories that would make up Books of Blood, Barker met up-and-coming filmmaker George Pavlou. The two met at a dinner party, where they discussed their shared interest and passion for the film industry. Pavlou wanted to direct, and Barker wanted to write, so the two decided to collaborate on a project together. Barker wrote a screenplay of mobsters versus monsters that included science-fiction, film noir, and horror elements. Unfortunately, the studio had promised their financiers more of a pop-rock-infused tale and was uncomfortable with the horror themes. The studio demanded rewrites that essentially stripped the film of anything horror-related, which led to Barker disowning the project. Initially released in the UK as Underworld in 1985, Empire Pictures released it in the US as Transmutations in 1986.

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    Synopsis

    After underground mutants kidnap high-class prostitute Nicole (Nicola Cowper), the Docklands Mafia hires their best man to find her. Said man is Roy Bain (Larry Lamb), a private investigator who has since retired. He’s convinced by mob boss Hugo Motherskille (Steven Berkoff) to rescue her, given Bain’s past relationship with her. Meanwhile, the mutants abducted Nicole uses her as a bargaining chip for an antidote to the drug “Whiteman.” Created by Dr. Savary (Denholm Elliot), the drug is known to expand the mind and cause deformities. However, Nicole is a rare case in that she’s remained physically normal despite having taken Whiteman consistently. As Bain continues his search, he eventually finds the mutants and Nicole, and he helps them take on Savary. Unfortunately, Motherskille is working with Savary, so Bain betrays his former employer to protect the mutants and Nicole. It’s mobsters versus monsters in the London underworld!

     

    Review

    Whether you call it Underworld or Transmutations, this film had the potential to be good only to waste it all. The concept of mobsters versus monsters offers many creative ideas, but this movie has almost none on display. Given Barker’s future work, it makes me wonder what his original script was like compared to the mess we got. The cast has huge names like Denholm Elliot, Steven Berkoff, Miranda Richardson, and Ingrid Pitt, but the film wastes them. Elliot and Berkoff, in particular, give off that sense of “I’m only doing this just for the extra money.” Larry Lamb tries to come off as a relaxed and rugged detective, but he lacks the charisma of Tim Thomerson. Then again, Trancers knew what it wanted to be and stuck with it instead of missing any of its personality. Honestly, this film is almost as bad as the later Trancers sequels.

    If there are any positives here, I will say that the production design has a decent 80s punk look. It probably helps that their art director was Len Huntingford, who worked on the Oscar-winning 1981 film, Chariots of Fire. The makeup effects, while certainly cheap-looking, help the movie stand out with all the different mutant designs shown. Also, the score by the band Freur has some solid tracks, though much of it is instantly forgettable. George Pavlou doesn’t inject anything special in his direction and shoots the film with a bland style. Though the widely available version is 88 minutes long, the version released in the US is 15 minutes longer. Honestly, I can’t imagine if those extra 15 minutes would’ve improved the overall quality of this forgettable mess. Overall, Transmutations is what happens when a good idea is compromised and stripped of what made it special.

     

    Buy Transmutations from Amazon: https://amzn.to/40wUaMu.

    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 Transmutations (1985)

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