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Category: Cult Films

  • 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:

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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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  • Father’s Day (2011)

    Father’s Day (2011)

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    In 2007, Canadian filmmakers Adam Brooks and Jeremy Gillespie formed the production company Astron-6, named after 1980s video labels. The group later included Matt Kennedy, Conor Sweeney, and Steven Kostanski, each having a unique set of expertise. They shot a series of short films in 2007 before moving on to starting the feature film Manborg in 2008. A send-up of ’80s genre films, the film wasn’t released until 2011 due to the extensive post-production work. Manborg premiered at Fantastic Fest 2011, where it made the Official Selection and was a huge hit with audiences. While Steven Kostanski was finishing up Manborg, the others were making more short films and prepping their next feature film. Their next feature would be an action-horror comedy evocative of old grindhouse films and was distributed by Troma. In October 2011, Astron-6’s Father’s Day premiered at the Toronto After Dark Film Festival.

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    Synopsis

    As a child, Ahab (Adam Brooks) witnessed his father get killed by Chris Fuchman (Mackenzie Murdock), a serial rapist/killer. He’s raised by Father O’Flynn (Kevin Anderson), who trains him to eventually hunt down and exact his revenge on Fuchman. Years later, Ahab kills what he thinks is Fuchman, but it’s actually one of his victims, and he’s arrested. Meanwhile, male prostitute Andrew (Conor Sweeney), aka Twink, sees his father get set on fire by Fuchman. Father John Sullivan (Matthew Kennedy) tries to comfort him, but Twink shoots him down, so he asks O’Flynn for advice. O’Flynn tells John to seek out Ahab, as he’s the only one who can kill Fuchman, but Ahab is reluctant. However, after Ahab’s sister Chelsea (Amy Groening) is kidnapped, Ahab joins John and Twink to hunt down the Fuchman. Will our heroes succeed, and what does Fuchman have planned for Chelsea?

     

    Review

    Father’s Day is a testament to the power of drive and perseverance found in the best of low-budget films. Given the budget was roughly $10,000, it’s impressive the film got made, let alone looking as good as it does. Joe Dante once said that there are two types of movies: color movies and movies that happen to have color. This is definitely a color movie, given the use of colored lighting, which enhances the film’s style and looks fantastic. Combined with the film scratches and subtle shaky cam, the filmmakers went above and beyond to recreate the grindhouse look. The fully synthesized score is evocative of John Carpenter’s best film scores, especially Escape from New York. There are also some intentionally silly effects used, including choppy stop-motion and obvious green screen compositing. Some might be put off by this, but to me, they enhance its charm.

    The cast all do a fantastic job, with Brooks, Sweeney, and Kennedy making for a solid trio of oddball heroes. They’re able to skirt the fine line of taking themselves seriously enough while also acknowledging how absurd the story is. On top of being stunning, Groening shines as Ahab’s estranged sister, as she has some fun back-and-forths with the guys. Though mostly speechless, Murdock makes for a truly revolting and hideous rapist/killer, the perfect hateable and terrifying villain. The practical effects are really good, especially given the small budget, and the filmmakers revel in the gross-out factor. While there are some genuinely disturbing moments, the over-the-top scenes balance things out without clashing with the more serious scenes. Admittedly, it goes maybe too over-the-top in the last third, but given everything else that happens, but what’d you expect? Overall, hardcore genre fans will love Father’s Day, but fathers probably won’t.

     

    Buy Father’s Day from Amazon: https://amzn.to/3vqblw6

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  • Mansion of the Doomed (1976)

    Mansion of the Doomed (1976)

    [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=”{}”]Growing up in Italy, Charles Band aspired to get into the film industry much like his father, Albert Band. He came back to the States in the early 70s with hardly any money and started working various odd jobs. One day, he found an ad that someone in Dallas had acquired several volumes of The New York Times. Encompassing 35 years of the newspaper, he was selling them for $300, so Band took the offer. He decided to sell them to high-end clients for $50 each based on their date of birth. Within a few weeks, Band managed to raise $300,000, so he decided to use it to fund a feature film. Charles hired writer Frank Ray Perilli and director Michael Pataki, having worked with them on Last Foxtrot in Burbank. Originally titled The Eyes of Dr. Chaney, the film was released in 1976 as Mansion of the Doomed.

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    Synopsis

    After his daughter Nancy (Trish Stewart) loses her eyesight in an accident, Dr. Chaney (Richard Basehart) vows to fix it. He decides the optimal solution would be to replace her damaged eyes with new ones, but there’s a problem. According to his assistant Katherine (Gloria Grahame), there’s no way to perform such surgery without damaging the optic nerve. Chaney must extract the entire eyeball from a living donor for the surgery to work and restore Nancy’s eyesight. When Nancy’s fiancée Dr. Bryan (Lance Henriksen), visits, Chaney drugs him and takes his eyes for the surgery. At first, the surgery is a success and Nancy can see, but unfortunately, she loses it soon after. Because of this, Chaney starts kidnapping various people, extracting their eyes, and trying to restore Nancy’s eyesight with similar results. The eyeless victims are locked in the basement, struggling to escape from this Mansion of the Doomed!

     

    Review

    Mansion of the Doomed is a sadly forgotten and underrated grindhouse thriller that deserves to be more well-known. While not exactly a horror classic, this is still a fairly well-constructed and effectively creepy film that’s worth a watch. Though the film was most likely inspired by the 1960 film Eyes Without a Face, it’s still fairly unique. Given that he was mostly known as a character actor, Michael Pataki does a solid job behind the camera. He makes great use of darkness and shadows to give a very foreboding atmosphere, and the film’s fairly well-paced. The cast largely does a solid job, Richard Basehart giving a great performance as a surgeon plagued with guilt. While his methods are wrong, he wants to help his daughter, so you at least understand his perspective. His performance elevates the role from being the stereotypical mad scientist to a more sympathetic yet flawed character.

    Trish Stewart, though not given much to do, is equally sympathetic as the blind daughter wanting her sight back. Gloria Grahame, though clearly washed up after It’s A Wonderful Life, does the best she can with the material. However, the big stand-out is a then-unknown Lance Henriksen, who really shows signs of the great actor he’d become. Speaking of stand-outs, this was one of the first films that special effects legend Stan Winston worked on. While clearly working with a low budget, the make-up used to make people eyeless is pretty impressive. The score by Robert O. Ragland is effectively creepy and perfectly complements the overall tone and style of the film. Admittedly, there are plenty of slow spots, especially scenes with Chaney wandering the streets with droning voiceovers alongside these scenes. Overall, Mansion of the Doomed, while not a classic, is still an underrated gem worth seeking out.

     

    Buy Mansion of the Doomed 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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  • Freddy Got Fingered (2001)

    Freddy Got Fingered (2001)

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    In the 1990s, Canadian-born comedian Tom Green was incredibly popular due to his shock humor and lack of shame. Starting in September of 1994, he had his own show called The Tom Green Show, which ran until 1996. Acting as a precursor to Jackass, the show primarily consisted of Green performing all sorts of shocking stunts in public. Also, much like Bam Margera would do with Viva La Bam, Green would torment his parents and embarrass them. The show was picked up by MTV in 1999, where it became insanely popular worldwide, making Tom Green a superstar. With his newfound stardom, Green was offered numerous movie roles and appeared in Road Trip, Charlie’s Angels, and Stealing Harvard. Somehow, he convinced 20th Century Fox executives to let him star in, write, and direct his own feature film. So, on April 20th, 2001, Tom Green’s Freddy Got Fingered was released into theaters.

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    Synopsis

    Gordon Brody (Tom Green) is a 28-year-old unemployed man who dreams of being a professional cartoonist and making daddy proud. Said daddy is his father Jim (Rip Torn), who’s overjoyed to see his grown son move out of the basement. Once in LA, Gordon manages to meet Dave Davidson (Anthony Michael Hall), the head of a major animation studio. Unfortunately, Davidson rejects Gordon’s ideas, calling them “nonsensical”, so he moves back in with his parents, much to Jim’s annoyance. After a skateboarding accident puts his friend Darren (Harland Williams) in the hospital, Gordon meets Betty Menger (Marisa Coughlan). A quadriplegic doctor, Betty also has a passion for rockets, which ties into her oral fixation among other….strange fetishes. As Gordon struggles to make it big, he and his father are at war to ruin each other’s lives. Also, the title refers to a “joke” involving Gordon’s brother Freddy (Eddie Kaye Thomas).

     

    Review

    The late great Roger Ebert once said this movie “doesn’t deserve to be mentioned in the same sentence with barrels”. This refers to the old saying of “bottom of the barrel”, often referring to the absolute worst of the worst. In that regard, I personally think Mr. Ebert wasn’t harsh enough towards Freddy Got Fingered, which is saying something. This is one of those films where you wonder just who greenlit this and who thought this would be funny. Freddy Got Fingered is one of the worst comedies I’ve ever seen, and I thought It’s Pat was the worst. Much like that film, this one has very little plot, a really unlikeable lead, and “jokes” that fall flat. In many ways, this almost feels like a feature-length version of The Tom Green Show, but it doesn’t work. Then again, maybe this wasn’t intended to be a mainstream hit.

    This film tries to take the conventions of many comedies of the 90s and turn them on their heads. It’s the standard “loser tries to prove himself” storyline with the conventional love interest and emphasis on going against authority. However, despite what it tries to do, it fails because Gordon is a mean-spirited, sociopathic, and deranged man-child. It’s sad seeing Rip Torn and Anthony Michael Hall go from The Beastmaster and The Breakfast Club respectively to this. If I can give this film any positives, Marisa Coughlan is somewhat charming as the paraplegic love interest. She at least has a goal that she legitimately works towards as opposed to Gordon lying to get his way. I will say that this was slightly easier to sit through than It’s Pat, but that’s not saying much. Overall, Freddy Got Fingered is just as bad as you’ve heard.

     

    Buy Freddy Got Fingered from Amazon: https://amzn.to/34D5lF5.

    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 Freddy Got Fingered (2001)

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  • Tromeo & Juliet (1996)

    Tromeo & Juliet (1996)

    [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 early 90s, Troma founder and president Lloyd Kaufman was working on a Shakespeare adaptation by way of Troma. In early 1992, Kaufman wrote the first draft alongside employees Andy Deemer and Phil Rivo entirely in a Shakespearean language. Unfortunately, this draft was pretty hated by everyone at Troma, so it was scrapped for the time being. In 1995, a newcomer named James Gunn came along and decided to take a crack at the script. He completely rewrote the script, making it much darker and more obscene but still using the Shakespearean verse. Kaufman worked with Gunn to rework the script further, removing the Shakespearean verse and adding more comedic elements. With a budget of roughly $350,000, this wound up being one of the cheapest films in Troma’s history. Though premiering at Cannes in 1996, Tromeo & Juliet wouldn’t see a US release until 1997.

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    Synopsis

    For years, the Que and Capulet families have been at war with each other, tearing up Manhattan in the process. While the Que’s son Tromeo (Will Keenan) lives in squalor, the Capulet’s daughter Juliet (Jane Jensen) lives a luxurious life. However, Juliet has to deal with her abusive father Cappy (Maximillian Shaun), and overprotective cousin Tyrone (Patrick Connor). During a costume party, Tromeo and Juliet cross paths and instantly fall in love despite their family rivalry. Unfortunately, Juliet is being forced to marry the young meat millionaire London Arbuckle (Steve Gibbons), but they have a plan. They get secretly married, but unfortunately, Tyrone finds out and tries killing Tromeo, only for Tromeo to kill Tyrone. With Tromeo on the run from the cops, Juliet is forced to marry London instead under threat from her father. Will Tromeo and Juliet be reunited, or will this end the way the play does?

     

    Review

    If you’re expecting Tromeo & Juliet to be a faithful adaptation of Shakespeare’s classic play, you’re going to be disappointed. Without going into spoilers, this film goes in some wildly different directions and is almost an in-name-only adaptation. Purists will probably hate the deviations this takes, but if you’re willing to look past that, you’ll have some fun. Even by Troma standards, this is one of the most wildly outrageous and obscene movies in their catalog. It has a very punk rock quality to it, which fits with the rebellious and anti-mainstream nature of Troma. This is exemplified by the soundtrack, which features the likes of Motorhead, Sublime, Supernova, the Ass Ponys, and more. Speaking of, the late great Lemmy from Motorhead appears in this as the narrator, who adds some eloquence. Still, it can be somewhat hard to understand him through his mumbling and raspy voice.

    In typical Troma fashion, the cast plays this as over-the-top and ridiculous as possible though not in an annoying way. Will Keenan and Jane Jensen shine as the star-crossed lovers torn apart by family and actually have some solid chemistry. Maximillian Shaun makes for a great villain, being both charismatic and so hateable that you want to see him die. Speaking of death, the gore scenes aren’t quite as outrageous as The Toxic Avenger Part III, but they’re still fun. Steve Gibbons is probably the only cast member who teeters on being annoying, acting like an even crazier Jim Carrey. Valentine Miele and Stephen Blackehart make for a fun comedic duo, Debbie Rochon is stunning, and Sean Gunn is funny. At slightly over 90 minutes, the film does drag in places, but it’s never boring largely thanks to the cast. Overall, Tromeo & Juliet would’ve been Shakespeare’s favorite movie…probably.

     

    Buy Tromeo & Juliet from Amazon: https://amzn.to/4fyF3Xf.

    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 Tromeo & Juliet (1996)

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  • Castle Freak (1995)

    Castle Freak (1995)

    [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=”{}”]As mentioned in previous Full Moon Fridays, Charles Band typically sold a film on a poster and a title. While visiting the Full Moon offices, Stuart Gordon saw a poster with a chained-up Quasimodo-like figure being whipping a woman. Gordon expressed interest in filming, so Band gave him carte blanche if it featured a castle and a freak. Gordon wrote the film alongside his writing partner Dennis Paoli, taking inspiration from the H.P. Lovecraft story “The Outsider”. The film was shot in an Italian castle owned by Charles Band where they shot The Pit and The Pendulum. Gordon cast regulars Jeffrey Combs, Barbara Crampton, and Jonathan Fuller, and it would be his first unrated film since Re-Animator. Unfortunately, Full Moon was going through financial problems since their Paramount deal ended in 1994, so the film was delayed. Eventually, Stuart Gordon’s Castle Freak was released direct-to-video in November of 1995.

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    Synopsis

    John Reilly (Jeffrey Combs) has just inherited a 12-century castle that was previously owned by a famed Duchess. He moves in with his wife Susan (Barbara Crampton) and blind daughter Rebecca (Jessica Dollarhide), though things have gone bad. Years ago, John was drunk driving and got into an accident that killed their son and blinded Rebecca. Because of this, Susan has not forgiven him and blames him for the death, though she’s still with him. Unbeknownst to the family, the Duchess’ deformed son Giorgio (Jonathan Fuller) has been living in the castle dungeons. He manages to escape from his shackles and roams the castle, eventually finding Rebecca and freaking her out. She tries telling her parents, but Susan doesn’t believe her, though John decides to investigate further and learn more. With tensions between John and Susan rising further, it’s only a matter of time before the Castle Freak strikes.

     

    Review

    For what ended up being his last collaboration with Charles Band, Castle Freak is a superb send-off for Stuart Gordon. Gordon manages to construct a well-directed and very atmospheric modern-day gothic horror film even with a limited budget. It helps that they filmed at a real castle, which adds plenty of production value much like with Subspecies. Admittedly, compared to Gordon’s other films which added some humor, this one is largely humorous and much more serious. Granted, it’s better than The Pit and The Pendulum, where the humor clashed with the more serious elements. Jeffrey Combs and Barbara Crampton give some of their best performances here, both sympathetic and in some way tragic. Relative newcomer Jessica Dollarhide does a solid job as a blind girl whose disability is treated respectfully and honestly. However, Jonathan Fuller steals the show as the title character, giving a very expressive and emotive performance.

    Fuller’s performance is very reminiscent of how Lon Chaney portrayed the various monsters he played, using body and facial expressions. The creature and makeup effects from Optic Nerve are wonderfully gruesome and Giorgio’s design ranks among the best practical monsters. Richard Band’s score is a delightful mix of terror and playfulness that fits right alongside his score for Dolls. At roughly 90 minutes, the film goes by fairly quickly without feeling like it’s rushing or having padding added. In terms of flaws, one problem with the film is that some of the characters act rather irrationally. No one really seems to entertain the thought that something more is going on and just act on instinct. Still, given the tensions going on and how emotional everyone is, it’s fair to expect people wouldn’t be thinking straight. Overall, Castle Freak is a solidly underrated gothic horror film that deserves your attention.

     

    Buy Castle Freak 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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  • Graduation Day (1981)

    Graduation Day (1981)

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    After being dissatisfied with being a rabbi, Herb Freed was convinced by his wife to pursue his true passion: film. Freed really wanted to make arthouse films but recognized that there was no money to be made in arthouse films. He made his debut film A.W.O.L. in 1972, which was followed by the horror film Haunts in 1976. While working on that film, Freed met David Baughn, an executive who worked with MGM and Russ Meyer’s company. The two entered a partnership to produce and distribute their own films, agreeing that the real money was in horror. Together, they produced the supernatural horror film Beyond Evil, which was released the same year as Friday the 13th. Seeing that slasher films were becoming popular, they decided to find a holiday that hadn’t been made into one yet. They settled on Graduation Day, which was released in May of 1981.

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    Synopsis

    At Midvale High School, young athlete Laura Ramstead (Ruth Ann Llorens) dies from a blood clot during a track meet. Months later, her older sister Anne (Patch Mackenzie) comes home to take part in the high school’s graduation. Meanwhile, someone is killing off the remaining members of Laura’s track team and crossing them off a team picture. Right before the killer strikes, they pull out a stopwatch to make sure they kill their victims within 30 seconds. The track team is killed in various methods, including a football with a metal spike and a steel spike pit. As more and more students are disappearing, Principal Guglione (Michael Pataki) is having to deal with their parents. Anne confronts Laura’s track coach George Michaels (Christopher George) who’s still dealing with being blamed for her death. Who is this mysterious killer, and who will survive and make it to graduation day?

     

    Review

    Graduation Day is not only a solid slasher, but it also works as a great mystery film. Throughout the film, there are various red herrings placed about, and each one makes sense for being the killer. Between the grieving sister Anne, the angry coach George, and the eccentric principal, any of them could be the killer. Admittedly, one thing that somewhat drags the film is that there isn’t one central character to focus on. While Anne is initially the lead early on, she disappears for much of the film until the third act. Also, we don’t really get to know much of the track team aside from their names up until they’re killed. That being said, for an early 80s slasher, the film has some fairly likable characters that you honestly care about. Plus, slashers aren’t really known for their deep characterizations or rich backstories.

    Though she disappears for much of the film, Patch Mackenzie makes for a solid lead, being both sympathetic and tough. One of her best scenes is when she’s confronting the coach, and she bounces off of Christopher George with ease. Speaking of, Christopher George delivers a great performance as always, and Michael Pataki has some funny moments as the principal. However, the biggest name here is a then-unknown Vanna White, who got the job since George was her uncle. Plus, we get an early appearance of future 80s scream-queen Linnea Quigley from Sorority Babes in the Slimeball Bowl-O-Rama. What really makes the film stand out is the editing, which incorporates a lot of quick cuts and split-second shots. While some may find it distracting, it’s used just enough here to make the scenes more energetic and tense. Overall, Graduation Day is a slasher classic that should be talked about more.

     

    Buy Graduation Day from Amazon: https://amzn.to/2S48mLI

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  • Prison (1987)

    Prison (1987)

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    Irwin Yablans, who produced the 1978 classic Halloween, was thinking of new ideas for a horror film. Feeling that just about every idea had been exhausted, he started thinking of setting a horror film in a prison. He pitched the idea to Charles Band, and he agreed to produce it under his company, Empire Pictures. They hired C. Courtney Joyner to pen the script, but he decided to make it more of a ghost story. Yablans wanted a young, up-and-coming director to helm the project, someone who could be the next John Carpenter. Off the strength of his debut feature Born American, Finnish filmmaker Renny Harlin was hired for his first American film. With a budget of around $1-$4 million, they went to the former Wyoming State Penitentiary to shoot this horrifying production. Eventually, Prison was released in 1987 in the UK and 1988 in the US.

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    Synopsis

    Despite the objections of inspector Katherine Walker (Chelsea Field), the prison board decides to reopen the recently condemned Creedmore Prison. Eaton Sharpe (Lane Smith), who was a guard back in the day, is hired to be the warden. Several hundred inmates are transferred in, including Burke (Viggo Mortensen), Cresus (Lincoln Kilpatrick), and Joe ‘Lasagna’ Lazano (Ivan Kane). Trouble starts brewing when one of the inmates is burned to death in a solitary confinement cell. Walker is demanding an investigation be conducted, but Sharpe declines and is vehement about reporting to the board. Turns out that back in the day, Sharpe oversaw the execution of a prisoner who was framed for murder. As more prisoners and guards are being killed in mysterious ways, Sharpe is driven mad while trying to maintain control. Soon, the prisoners band together to try escaping before they’re picked off by the vengeful spirits of the prison.

     

    Review

    Compared to many of the cheap quickies put out by Empire Pictures around this time, Prison is a hidden gem. Part of what makes this film stand out is the fact that they shot in an actual abandoned prison. The location has a very dark and foreboding presence on its own, enhanced by the excellent cinematography of Mac Ahlberg. For such a low budget and given that this was Renny Harlin’s second film, it looks way better than expected. There are tons of moody lighting, harsh shadows, and dynamic lighting, with some scenes feeling like a warped dream. Acting-wise, everyone does a solid job, Lane Smith in particular making for a great and complex villain. As much as he tries to act tough and stern, you get a sense that he’s haunted by his past. Plus, Hal Landon Jr. of Bill & Ted fame plays a guard.

    While he’s not given many lines, Viggo Mortensen has a very cool and charismatic presence to him. It’s easy to see how he became a major star in the Lord of the Rings films and Green Book. Chelsea Field does a good job as the female lead and has great back-and-forths with Smith and Mortensen. Also, there are plenty of notable character actors, including Tommy “Tiny” Lister, Lincoln Kilpatrick, Tom Everett, and Larry “Flash” Jenkins. Like many Charles Band productions, the late great John Carl Buechler did the effects, and it’s easily his best work. From Hal Landon Jr.’s death by razor wire to the zombified corpse played by Kane Hodder, it’s some incredible stuff. Admittedly, the film does take a while to get going, but once they’re at the prison, all hell breaks loose. Overall, Prison is a solidly creepy and atmospheric horror film worthy of rediscovering.

     

    Buy Prison on Amazon: https://amzn.to/3tJgcaD

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  • Mother’s Day (1980)

    Mother’s Day (1980)

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    Charles Kaufman, brother of Troma co-founder Lloyd Kaufman, currently runs a bakery in San Diego that’s been operating since 1994. However, before entering the baking industry, Charles wanted to get into the film industry and attended UCLA’s film school. After graduating, Kaufman got a job working on the Bob Hope Show before moving on to making B-movies. Not having much luck in Hollywood, Charles decided to move back to New York to work with his brother Lloyd. His directorial debut was the 1977 adult film, The Secret Dreams of Mona Q, which Lloyd also produced. Around this time, John Carpenter’s Halloween was dominating the box office, and studios were trying to capitalize on its success. Seeing the potential in this, Charles decided to make his next project a horror film, albeit with some humor added. Made on a budget of $115,000, Mother’s Day was released in September of 1980.

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    Synopsis

    Former college roommates Trina (Tiana Pierce), Abbey (Nancy Hendrickson), and Jackie (Deborah Luce) have an annual “mystery weekend” tradition. Each year, one of them picks a mystery destination for them to spend the weekend, and this is Jackie’s year. She plans a camping trip for the three of them at Deep Barons, a wooded area in rural New Jersey. One night, they’re stuffed into their sleeping bags and kidnapped by brothers Ike (Frederick Coffin) and Addley (Michael McCleery). The girls are brought before the brothers’ demented mother (Beatrice Pons), who subjects them to physical and mental torture. While the girls manage to escape, Jackie dies from her wounds, leaving Trina and Abbey to fend for themselves. After recovering, the girls head back to the house to get their revenge on the brothers and their mother. Truly, this will be one Mother’s Day they won’t soon forget.

     

    Review

    After having viewed Mother’s Day, I’m somewhat conflicted on my feelings towards the overall film, mostly due to the tone. When the girls are kidnapped and tortured, it’s effectively disturbing and uncomfortable, which makes the revenge all the more satisfying. However, several scenes are so ridiculous in between the disturbing moments, it’s hard to take it seriously. From what I understand, Charles Kaufman intended for this to have some satire, which many contemporary critics have noted. I can see where they’re coming from, given that the boys are raised on junk food and TV. Also, there are numerous pop culture references sprinkled in, such as a Star Trek poster and G.I. Joe action figures. It comes off as a satire of rampant consumerism, a society raised on popular media, and parental upbringing. Granted, I could be reaching for something deep in an exploitation film.

    Directing-wise, Charles does well behind the camera, and the low budget gives it a very raw and gritty feel. In terms of acting, it’s about what you’d expect from this type of movie, though there are a few stand-outs. Credited as Rose Ross, Beatrice Pons steals the show as the demented mother who wants her boys to prove themselves. Frederick Coffin and Michael McCleery work well off each other as the dimwitted brothers and they have some good back-and-forths. Speaking of, Tiana Pierce, Nancy Hendrickson, and Deborah Luce have decent chemistry, and you feel for what they’re going through. While the film clocks in roughly 90 minutes, much of the runtime is padded out with a pretty meaningless filler. These slower scenes do detract from the film, but it’s almost expected for this era of exploitation film. Overall, Mother’s Day is a bit disjointed, but it’s still a good time.

     

    Buy Mother’s Day from Amazon: https://amzn.to/2QMdq76

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