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Category: Cult Films

  • Luther the Geek (1989)

    Luther the Geek (1989)

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    While at the dinner table, writer/producer Carlton J. Albright was talking with his children about geeks, specifically circus geeks. In the early 1900s, geeks were circus performers who would bite the heads of chickens to get some cheap booze. The idea intrigued Albright, so he teamed up with producing partner David Platt and wrote a screenplay as “Whitey Styles”. Albright decided to film in Illinois and hiring students from the University of Iowa’s film department for the crew. For the title role, Albright hired Edward Terry, who he had previously worked with on The Children in 1980. The special effects were handled by William Purcell (RoboCop) and Mike Tristano (Evil Dead II), who chose to go uncredited. Following a limited release in 1989, the film got a VHS release in the early 90s before Troma released it. Originally titled The Freak, let’s take a look at Luther the Geek.

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    Synopsis

    In rural Illinois in 1938, young Luther (Carlton Williams) is taken to see the local geek show and becomes obsessed. After losing his teeth as a child, he gets a set of metal teeth and becomes a geek himself. Years later, an adult Luther (Edward Terry) is released from prison on parole after serving time for murder. Soon after, he makes his way to a grocery store, where he attacks and kills an old woman. While trying to escape the authorities, he hops in the back of a car driven by local Hilary (Joan Roth). Once at her house, Luther ties her up and holds her hostage when her daughter Beth (Stacy Haiduk) arrives. With her boyfriend Rob (Thomas Mills), she and her mother become Luther’s next would-be victims along with their chickens. A local trooper (J. Joseph Clarke) arrives, but will he save them from Luther the Geek?

     

    Review

    By splatter film standards, Luther the Geek doesn’t do much to differentiate itself from the rest of them. What makes this one stand out is its central character of a circus geek who clucks about like a chicken. Edward Terry easily gives the best performance in the film as Luther as he’s clearly fully committed to the role. With dialogue mostly consisting of chicken noises, he comes off as terrifying and sadistic, yet strangely sympathetic in a way. While the film never endorses what he’s doing, you can’t help but feel bad given his obvious mental condition. Then again, this film isn’t interested in the character’s psychology, but rather going for the jugular both literally and figuratively. For splatter fans, there’s plenty of blood spilling and flesh ripping to please fans looking for something messy. It helps that the gore effects are, mostly, really good considering the low budget.

    Aside from Terry, the rest of the acting is about what you’d expect from a low budget B-movie. None of the performances are downright awful, but many of them are somewhat bland and forgettable, though they’re clearly trying. Joan Roth is alright as the captive mother, and future TV actress Stacy Haiduk enhances the film with her “assets”. At roughly 80 minutes, the film goes by pretty quickly and there are never any dull moments dragging it down. Even if the script is super thin, Albright manages to at least make the film visually interesting and well-paced. This is what I’d call a “party movie”, the kind that’s best enjoyed with friends and plenty of booze. While there’s nothing remarkable about the film, it’s definitely an interesting entry in Troma’s catalog, even if it’s a pickup. Overall, Luther the Geek is a gory shocker worth at least a one-time watch.

     

    Buy Luther the Geek on Amazon: https://amzn.to/38TVrlC

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  • The Caller (1987)

    The Caller (1987)

    [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=”{}”]Despite releasing some solid sci-fi and horror films, Empire Pictures was facing financial problems and were fearing bankruptcy. Many of their films were either breaking even or losing money, and they were overspending hoping to find a hit. During this time, they were experimenting with different genres, including action with Enemy Territory and comedy with The Princess Academy. Michael Sloan, best known for creating the popular TV series The Equalizer, wrote a screenplay that revolved around two characters. Frank Yablans, who had a working relationship with Charles Band, brought the script to him and he saw potential. Arthur Allan Seidelman, who worked on shows like Hill Street Blues and Murder, She Wrote, was hired to direct. He happily took the challenge of making a film with only two characters and one main set. Originally released in 1987 at Cannes, The Caller wasn’t released in the US until 1989.

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    Synopsis

    A young woman (Madolyn Smith) is living alone at a cabin in the woods waiting for someone to arrive. One night, a mysterious stranger known only as ‘the Caller’ (Malcolm McDowell) arrives asking for help after his car crashes. She invites him inside to contact a tow truck, but she becomes suspicious of his intentions almost right away. Over the next few days, the two keep running into each other and engage in a battle of wits. He accuses her of murdering her husband and daughter, while she thinks he wants to torture and kill her. As he keeps asking her questions, she reveals more about her past, including her daughter Allison and her dead husband. Soon, she starts plotting to kill him and put an end to his games once and for all. It all culminates in a finale that you won’t see coming.

     

    Review

    Compared to Re-Animator, Trancers, and Ghoulies, The Caller is an atypical film by Empire standards, but that’s a good thing. This film plays as more of a straight psychological thriller that’s surprisingly sophisticated and keeps you guessing throughout. Malcolm McDowell gives a great performance as always, coming off as charming while also having a dark side to him. Madolyn Smith also gives a solid performance, balancing off of McDowell really well and showing plenty of emotional range. Given that they’re the only actors in the film, they carry the film and have great back-and-forths throughout. Seidelman’s direction is fantastic, taking full advantage of the single set and using fluid camerawork to keep the visuals interesting. Some scenes take place near an auto shop and on a hilltop, but it’s mostly just the cabin set. It’s a challenge that Seidelman managed to tackle effectively.

    At slightly over 90 minutes long, the film manages to maintain a sense of tension and dread throughout the runtime. Even in scenes where nothing is happening, you get the sense that anything could happen at any moment. This is also a film that doesn’t give the audience a lot of information, which can be frustrating. Without giving away the ending, let’s just say that you’ll have more questions than answers before the movie’s over. Effects maestro John Carl Buechler contributed some effects to the film, and they look fantastic as per usual. Unfortunately, I can’t say what effects work he did on the film without giving away the big twist. If you consider yourself a Charles Band fan and have seen all the well-known movies, you should consider watching this. Overall, The Caller is an effective thriller with two great performances and a strong story.

     

    Buy The Caller from Amazon: https://amzn.to/3CkEL7M.

    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 Caller (1987)

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  • The Beastmaster (1982)

    The Beastmaster (1982)

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    In 1979, filmmaker Don Coscarelli achieved critical and commercial success with the release of his indie horror film Phantasm. Following its success, Coscarelli decided to do something outside of the horror genre that would be even bigger. Growing up, he loved the sword and sorcery films from the 50s, particularly the Hercules films starring Steve Reeves. Coscarelli and his Phantasm co-producer Paul Pepperman worked on a story loosely based on the 1959 novel The Beast Master. Rather than adapting the book, they took the basic concept and set it in a Bronze Age fantasy world. Producer Sylvio Tabet signed on to finance the project after a Conan the Barbarian film starring Arnold Schwarzenegger was announced. With a $9 million budget, this was Coscarelli’s biggest project at the time, but also one of his most frustrating. After a grueling production, Coscarelli’s The Beastmaster was released to theaters in August 1982.

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    Synopsis

    High Priest Maax (Rip Torn) learns that the unborn son of King Zed (Rod Loomis) is destined to kill him. He sends one of his witches to kidnap and kill the child but is stopped by a villager (Ben Hammer). After killing the witch, he raises the child as his own, names him Dar, and teaches him how to fight. Years later, Dar (Marc Singer) is the lone survivor after his village gets raided by Maax and his barbarians. Swearing vengeance, Dar acquires animal companions Sharak the eagle, Koto and Poto the ferrets, and Ruh the tiger. Along the way, he also meets Kiri (Tanya Roberts), a slave girl who’s to be sacrificed by Maax. Dar teams up with the king’s younger son Tal (Josh Milrad) and his bodyguard Seth (John Amos) to rescue her. Will Dar defeat Maax, or will Dar and his friends fall victim to Maax’s minions?

     

    Review

    The Beastmaster gets unfairly criticized as a Conan the Barbarian rip-off, which couldn’t be further from the truth. While both are sword and sorcery epics about a revenge quest, Conan was more adult-oriented while Beastmaster is more lighthearted. That’s not to say this film doesn’t have its darker moments, but it’s more of a fun, lighthearted adventure. Given what Coscarelli took as inspiration, this comes off more like a 50s adventure film with 80s sensibilities. There’s some fairly dark imagery including child sacrifice, corpses on stakes, and even people being dissolved or turned into monsters. Along with some mild nudity thrown in, it’s fascinating to see how different PG films were compared to now. Though it’s commendable that Coscarelli would push the boundaries, the somewhat disjointed tone might be why it didn’t succeed theatrically. Even still, there’s plenty of great things that help elevate the film to cult status.

    The story is fairly simple and moves at a solid pace, though it drags in a few places. The action sequences are pretty fun, with plenty of sword fighting, hand-to-hand combat, and some epic battles during the climax. Marc Singer makes for a good hero, having a great physique and tons of wit while also being dramatic. Tanya Roberts, on top of looking great, has good chemistry with Singer and has some pretty cool moments. Rip Torn makes for a fun, over-the-top villain, especially with his line delivery, and John Amos is also memorable. The animal companions are remarkably well-trained and a major highlight, especially the two ferrets, who are cute and mischievous. At the end of the day, the filmmakers wanted to make a simple and fun adventure film, and they succeeded. Overall, The Beastmaster is a relic of a bygone era of filmmaking that’s worth rediscovering.

     

    Buy The Beastmaster from Vinegar Syndrome: https://bit.ly/399dG5q

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    This review is dedicated to the memory of actress Tanya Roberts, who passed away on January 4, 2021, at the age of 65.

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  • The Toxic Avenger Part II (1989)

    The Toxic Avenger Part II (1989)

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    After The Toxic Avenger and Class of Nuke ‘Em High were hits, Troma hoped Troma’s War would be another hit. Unfortunately, the film was severely trimmed at the behest of the MPAA, and the cut version released was a flop. Because of this, any hope of Troma being able to compete with the major studios was quickly dashed. Moving forward, Troma would be reworked into an independent studio, putting more emphasis on doing their thing rather than competing. To try and bounce back, Lloyd Kaufman decided to make a sequel to his most popular film at the time. It was decided to film a large part of the film in Japan to expand its reach in foreign markets. Unfortunately, none of the original cast returned, and there were some issues regarding the Japanese actors’ ability to speak English. Eventually, The Toxic Avenger Part II was released in 1989.

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    Synopsis

    Tromaville has become a nice place to live since The Toxic Avenger (Ron Fazio) cleaned up all the crime. Unfortunately, Toxie is severely depressed since there’s no evil to beat up, though his blind girlfriend Claire (Phoebe Legere) helps. However, the evil organization Apocalypse Inc, led by the Chairman (Rick Collins) and his assistant Malfaire (Lisa Gaye), is emerging. After losing some of their men to Toxie, the organization tries figuring out how to get Toxie out of Tromaville. Thanks to his psychologist, they learn that Toxie has father issues and that his father lives in Tokyo. Toxie is convinced to travel to Tokyo to find his father, along the way meeting Japanese local Masami (Mayako Katsuragi). With her help, he finds his long-lost father Big Mac Junko (Rikiya Yasuoka), who’s been smuggling drugs with fish. Will Toxie have to kill his own father, and what will happen to Tromaville?

     

    Review

    While it expands on what the original established, The Toxic Avenger Part II feels somewhat excessive and longer than expected. There are fun and ridiculous action sequences, but many of them go on for longer than they should. At times, it feels like the filmmakers were more concerned with doing something goofy rather than moving the plot forward. For instance, the opening sequence has at least three to five fight sequences that go on for roughly 10 minutes. Admittedly, there are some moments of silly over-the-top gore thrown in, but they drag out the runtime considerably. Things don’t change much once Toxie’s in Tokyo, as the same emphasis on action and violence over the story continues. At slightly over 90 minutes, it feels longer due to the messy pacing and scenes that seemingly never end. It feels like excess for the sake of excess rather than delivering a message.

    That said, this is still an entertaining film that’ll more than satisfy any hardcore Troma fan and then some. While not as good as Mitch Cohen, Ron Fazio makes for a good Toxie, even if his voice is off. Rick Collins and Lisa Gaye make for fun over-the-top villains, clearly chewing up every bit of scenery around them. Phoebe Legere can be a bit grating as Claire, but she provides enough fan service to satiate any Tromaholic. It’s somewhat difficult to judge Rikiya Yasuoka and Mayako Katsuragi’s performances since they’re dubbed, but they’re very expressive and active. Jessica Dublin, returning from Troma’s War, is fun as Toxie’s mom, though she isn’t given much to do. While the sequel is a bit of a mess, but it’s still just as entertaining as any other Troma film. Overall, The Toxic Avenger Part II is a flawed but enjoyable follow-up to the original.

     

    Buy The Toxic Avenger Part II on Amazon: https://amzn.to/355KBqn

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  • Subspecies 4: Bloodstorm (1998)

    Subspecies 4: Bloodstorm (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=”{}”]In the early 1990s, Full Moon Features enjoyed great success thanks to their partnership with Paramount Pictures as their distributor. Unfortunately, in 1994, Paramount ended their partnership with Full Moon, which put an end to many titles they had announced. Thankfully, Full Moon Features were saved by Kushner-Locke, a production company founded in 1983 by Donald Kushner and Peter Locke. While they helped save Full Moon from bankruptcy, they weren’t able to provide the budgets that Paramount offered. Under Kushner-Locke, Full Moon could expand their MoonBeam line of children’s films and branch into softcore films with Torchlight. While many Full Moon regulars were starting to jump ship, Ted Nicolaou stuck around to direct Dragonworld and Vampire Journals. Four years after Bloodlust: Subspecies III, Nicolaou decided to revisit the series with one final installment, providing a definitive ending. 1998 saw the release of Subspecies 4: Bloodstorm.

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    Synopsis

    Following the end of the last film, Radu (Anders Hove) is severely burned and makes off with the Bloodstone. Meanwhile, Ana Lazar (Ioana Abur) finds the car driven by Rebecca and Mel having crashed, leaving no survivors. However, Michelle (Denice Duff) survives, so Ana takes her to Dr. Ion Niculescu (Mihai Dinvale) to treat her. Niculescu discovers that Michelle’s a vampire and promises to cure her, only it turns out Niculescu is also a vampire. Meanwhile, Radu makes his way to Bucharest to reclaim his fortune from one of his fledglings Ash (Jonathon Morris). Turns out Ash has his own fledgling, Serena (Floriela Grappini), and she wants Ash to help her destroy Radu. The Bloodstone at stake, Radu is pursued by Niculescu and Ash while Michelle is torn between Radu and her humanity. It’s the ultimate vampiric showdown in what’ll surely be the final installment in the series.

     

    Review

    Compared to Trancers 4: Jack of Swords, Subspecies 4: Bloodstorm isn’t nearly as bad of a fourth installment. Unlike that film, this one still feels like a proper entry in the series, maintaining the same tone and style. As always, Nicolaou’s direction is solid, taking full advantage of the Bucharest locations to create a gothic atmosphere. Anders Hove and Denice Duff both continue giving solid performances as Radu and Michelle, having established their characters for years. Admittedly, Duff takes a backseat to Hove as Radu is given more emphasis with the addition of Ash and Serena. That said, we do see some character growth with her as she fully accepts her vampiric nature. While Radu’s demise has been done before and in a worse fashion, it does effectively leave a sense of closure. At roughly 90 minutes, the film moves at a decent pace and never gets boring.

    While Nicolaou is mostly able to mask the low budget, there are still moments where it pokes through. For instance, the Radu makeup looks noticeably worse, resembling some sort of cheap plaster rather than looking like natural skin. Also, while Hove and Duff are doing their best with the material, the rest of the acting is pretty uninspired. Dinvale whispers all of his dialogue to make himself sound mysterious and dark, but it comes off more as cliche. Abur lacks the charm that Melanie Shatner brought to the last two films, though Morris and Grappini are somewhat decent. Story-wise, the film has several subplots that go nowhere and retcons because certain cast members were unavailable, though that’s understandable. One bright spot is that the low budget means no more tiny creatures, but this is still fairly lackluster. Overall, Subspecies 4: Bloodstorm is a somewhat disappointing finale to a decent franchise.

     

    Buy Subspecies 4: Bloodstorm from:

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

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    Where to watch Subspecies 4: Bloodstorm (1998)

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  • Christmas Evil (1980)

    Christmas Evil (1980)

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    Oftentimes, movie ideas can come from strange situations, such as with writer/director Lewis Jackson, whose idea came from drugs. Specifically, while smoking a joint, Jackson saw an image of Santa Claus holding a knife, which gave him an idea. He spent several years developing a script, but he had trouble finding financing, as his concept was a hard sell. In the end, he managed to acquire $450,000 for the budget, though the budget went overboard due to his cinematographer. Enter Ricardo Aronovich, an Argentinian cinematographer who was critically acclaimed for his work, but was very expensive to work with. For the cast, Jackson originally wanted major talent, but for budgetary reasons, could only afford relative unknowns or character actors. Filming took place from 1979-1980 around New Jersey, though it was a struggle because of the dwindling funds. Originally released as You Better Watch Out, it was retitled Christmas Evil.

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    Synopsis

    As a child, young Harry (Gus Salud) watches his mother being groped by his father dressed as Santa Claus. This leaves him heartbroken, so much so that as an adult, Harry (Brandon Maggart) still clings to his beliefs. He works at a toy manufacturer, where he’s made fun of and taken advantage of by his coworkers. At home, Harry watches the neighborhood children and writes their names in a naughty/nice book based on their actions. His ultimate goal is to become Santa Claus, or at least his version of Santa Claus, and spreading holiday cheer. His brother Phil (Jeffrey DeMunn) is constantly frustrated by Harry’s behavior despite his wife Jackie (Diane Hull) being more sympathetic. Meanwhile, Harry finally snaps after seeing the hypocrisy around him, dons the Santa suit, and goes on a rampage. It all builds up to an ending you’ll never see coming and certainly never forget.

     

    Review

    Christmas Evil or You Better Watch Out as the director intended is a very unique holiday horror/thriller hybrid film. The premise and some of the cover art would make you think it’s a horror film, which isn’t completely inaccurate. However, it plays more like a thriller akin to Scorsese’s Taxi Driver in that it’s a character study of madness. Brandon Maggart, like Robert De Niro, plays the part of a mentally-ill man driven insane perfectly, though with more intensity. While you do feel sorry for him given his situation, you’re also terrified by just how manic he is. There are several moments where you’re not sure if what you’re seeing/hearing is real or only in his head. Plus, many scenes are shot with a very soft focus, which gives off a somewhat dreamlike quality to them. It’s well-made and well-acted given its low budget.

    Not only does it work as a psychological thriller, but it also works as something of a dark comedy. In a way, it’s a dark look at the Santa lore: how he watches children, judges their actions, etc. Not only that, but it shows how corporate the holiday has become, Harry’s bosses more concerned with productivity than charity. Admittedly, it’s not a perfect film, especially when there are moments where the low budget becomes obvious. For instance, there’s a scene where someone rolls down a hill, and you can see white blankets used for snow. Granted, these and other moments don’t detract from the power the film has, though they do generate unintended laughs. Lastly, I won’t say what the ending is, but it truly is something you need to see to believe. Overall, Christmas Evil is an underrated holiday thriller that’s worth checking out.

     

    Buy Christmas Evil on Amazon: https://amzn.to/4iNjYet.

    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 Christmas Evil (1980)

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  • Ghost Warrior (1984)

    Ghost Warrior (1984)

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    J. Larry Carroll got his start in the film industry working as an editor on The Texas Chain Saw Massacre. He also did additional editing on The Hills Have Eyes and Dracula’s Dog, the latter being directed by Albert Band. Soon, he produced early Charles Band projects like Cinderella, Laserblast, Fairy Tales, and Tourist Trap, which he also wrote. Along with being a production manager on Parasite 3D and The Alchemist, Carroll was becoming a regular for Charles Band. At the same time, he was writing for kids cartoons like Ghostbusters, Dennis the Menace, and She-Ra: Princess of Power. Before too long, Carroll would get his chance at directing for Empire, though it would be his only directing effort. With a script penned by Tim Curnen, who previously wrote the Roger Corman Alien knockoff Forbidden World, Carroll started working. Though made in 1984, Ghost Warrior was released in May 1986.

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    Synopsis

    In Ancient Japan, samurai warrior Yoshimitsu (Hiroshi Fujioka) is betrayed and left to die in the frozen waters. Hundreds of years later, he’s discovered frozen in ice and brought to the US to be thawed out. Anthropologist Chris Welles (Janet Julian) goes to meet with Dr. Alan Richards (John Calvin) to study the recently unfrozen samurai. Upon waking up, Yoshimitsu starts freaking out over future shock before Welles and Richards come to see him. Welles is an expert in “oriental studies”, and she manages to get through the Yoshimitsu despite the language barrier. One night, a security guard tries sneaking into Yoshimitsu’s room to steal his sword, only to be killed by Yoshimitsu. The samurai escapes, Welles and Richards in pursuit, though it turns out Richards has other plans for him. What will become of this ancient samurai in modern times, this Ghost Warrior back from the dead?

     

    Review

    Ghost Warrior is one of the more interesting films in the Empire Pictures catalog, especially with such a unique concept. Admittedly, the idea of someone awakening from a frozen slumber isn’t new, having been done in movies like 1973’s Sleeper. However, what makes this film unique is how it shows what an ancient samurai would be like in modern times. How would he react to seeing a car coming by, or encountering some street thugs, or even watching television? Admittedly, the film doesn’t do much with this other than set up some pretty cool action scenes here and there. Hiroshi Fujioka, best known for his work on Kamen Rider, gives a very stern performance as the ancient samurai warrior. Though most of his dialogue is in Japanese without subtitles, you still get a sense of what he’s feeling. He’s easily the best part of the film.

    That’s not to say the rest of the film is terrible, but it doesn’t quite live up to its premise. Aside from Yoshimitsu fighting some thugs and evading the police, there’s not much action and what’s there is pretty dull. Also, apart from Fujioka and Charles Lampkin as an old man who befriends him, most of the acting is forgettable. Granted, there’s not much material for the actors to work off of, though you shouldn’t expect deep characterization in this. For a low budget film, it’s surprisingly well-made, the opening scenes feeling like something out of a Kurosawa film. Also, as silly as the premise comes off, the film plays it fairly straight, making it more of a drama. Fans of Full Moon and Empire might be disappointed, but it’s still an interesting relic of the 1980s. Overall, Ghost Warrior is worth uncovering for at least a one-time viewing.

     

    Buy Ghost Warrior from Amazon: https://amzn.to/3r5oBoN.

    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 Ghost Warrior (1984)

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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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  • 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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