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Category: Cult Films

  • Trancers III: Deth Lives (1992)

    Trancers III: Deth Lives (1992)

    [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=”{}”]C. Courtney Joyner has had a long working relationship with Charles Band all the way back to Empire Pictures. In 1987, Joyner wrote the horror film Prison for Empire, which was directed by a then up-and-coming Renny Harlin. Unfortunately, Empire Pictures collapsed some years later, and Joyner went off to work on other projects, including Class of 1999. One day, a friend of Joyner’s went with him to the Full Moon offices, and Joyner reunited with Charles Band. While there, Band offered Joyner the chance to write three screenplays, including Puppet Master III: Toulon’s Revenge and Doctor Mordrid. For the third screenplay, Joyner wrote a Trancers sequel, but since Band wouldn’t return to direct, Joyner wanted the opportunity. Luckily for Joyner, producer Albert Band and lead Tim Thomerson supported him, so he was given the chance to direct. So in 1992, Joyner’s directorial debut, Trancers III: Deth Lives, was released.

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    Synopsis

    Jack Deth (Tim Thomerson), the cop from the future, has been working as a private detective in 1992 Los Angeles. While working a case, Deth is visited by an android named Shark (R. A. Mihailoff), who takes him to 2252. Jack meets up with wife Alice Stillwell (Megan Ward) and Cmdr Raines (Thelmas Hopkins), who tell him what’s happening. At some point, some new trancers emerge and start a war, so Jack must travel back to stop them. He’s sent to 2005, where he meets up with ex-wife Lena (Helen Hunt), who reported on a top-secret government operation. Turns out these trancers are the result of experiments performed by Col “Daddy” Muthuh (Andrew Robinson) to create super soldiers. Jack teams up with R.J. (Melanie Smith), who escaped the military compound where the trancers are bred, to stop them. Will Jack and R.J. be able to stop Col Muthuh’s trancer operation?

     

    Review

    While Trancers II was enjoyable, Trancers III: Deth Lives is a major improvement that feels more like a legitimate sequel. Whereas the last film felt like a disposable but fun sci-fi action film, this one has more of an edge. The scenes in 2252 have a dark and gritty tone reminiscent of the future scenes from The Terminator. Megan Ward even goes from waifish and demure last film to being like Linda Hamilton in Terminator 2: Judgment Day. However, this film remembers that humor was a big staple of the series, though it’s more subtle here than previously. As Jack Deth, Tim Thomerson is just as much a cocky smart-ass as before, and he’s still great at it. While Richard Lynch made for a decent villain last time, Andrew Robinson is a much more intimidating villain here. His performance is both intense yet subdued at the same time.

    Of course, Helen Hunt had started becoming a big star, but it’s still nice she came back for this. Thankfully, she’s written out in a way that feels justified, and there are some great scenes between her and Thomerson. Relative newcomer Melanie Smith does a good job as R.J., and she has some fantastic chemistry with Thomerson. The production design is top-notch, the military compound being the highlight with a futuristic look that could possibly exist. With KNB doing the make-up effects, they look fantastic, possibly even being the best make-up effects in the whole series. My only complaints are that there are very few action scenes that stand out, and the film feels somewhat rushed. With a 74-minute runtime, not a whole lot of what’s happening is explored, so some may find that disappointing. Overall, Trancers III: Deth Lives is another high point in Full Moon’s history.

     

    Buy Trancers III: Deth Lives 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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  • Big Money Rustlas (2010)

    Big Money Rustlas (2010)

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

    In 1989, Detroit-based rappers Violent J (Joseph Bruce) and Shaggy 2 Dope (Joseph Utsler) formed the rap duo, JJ Boys. While initially not interested in a serious music career, they decided to take it further by signing with Psychopathic Records. They released their first EP in 1991 under the name Inner City Posse, though they couldn’t get much airtime. Around 1991, the group decided to change their name to Insane Clown Posse, don clown face paint, and make history. Despite their naysayers, the duo has earned two platinum and five gold albums, and even have their own cult fanbase. With their success, they decided to try filmmaking, starting with 2000’s Big Money Hustlas, a send-up of 70s Blaxploitation films. Years later, they decided to make another film, this time a send-up of Westerns and similar comedies, particularly Blazing Saddles. So, in 2010, ICP released their follow-up film, Big Money Rustlas.

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    Synopsis

    In the small town of Mudbug, the ruthless gambling tycoon Big Baby Chips (Violent J) has taken over. He and his henchmen Raw Stank (Jamie Madrox) and Dusty Poot (Monoxide) walk over everyone and crush anyone opposing them. One day, the outlaw Sugar Wolf (Shaggy 2 Dope) rides in and is distraught over what’s become of his hometown. His mother (Cindie Haynie) explains that while Wolf was away, his father (Ron Jeremy) and his brothers were gunned down. Determined to change things, Wolf decides to become the new sheriff, hiring town local Bucky (Jason Mewes) as his deputy. The gang gets word of this and decides to send out some of their top assassins to kill Wolf. Though he’s able to make quick work of them, Wolf loses his shooting hand, and Bucky gets killed. Will Wolf be able to save the town, or will Chips take him down?

     

    Review

    Going into this movie, I had little to no expectations, especially since I hadn’t heard any of their music before. With that in mind, I will say that Big Money Rustlas was decent at best, but unremarkable at worst. Acting-wise, everyone does a fine enough job, though some performances are so over-the-top, they border on slightly annoying. Violent J and Shaggy 2 Dope do their jobs well, but Jamie Madrox and Monoxide, in particular, were irritating. As for the comedy, sadly many of the jokes fall flat, either being too predictable or vulgar for vulgarity’s sake. Admittedly, there were a few jokes that made me chuckle, so I have to give it credit for that. Also, while the movie is clearly low-budget, there’s some decent cinematography, and the Western town doesn’t look half bad. You can tell that there was plenty of effort put into this film.

    In addition to Jason Mewes and Ron Jeremy, there are appearances from Dustin “Screech” Diamond, Bridget Powers, and Tom Sizemore. While Diamond and Powers are having some fun, it feels like Sizemore is slumming it, which is slightly depressing. Going back to the comedy, some of the more offensive humor hasn’t aged well, particularly some gay and racial humor. While I enjoy plenty of off-color jokes and politically-incorrect humor, these jokes are weak and among the film’s worst jokes. Obviously, this movie isn’t trying to say something deep or have a lasting impact, but it’s just some disposable entertainment. While this hasn’t converted me to being a Juggalo (fan of ICP), I’m sure fans of ICP will enjoy this. Though I don’t regret watching this and somewhat enjoyed it, I can only recommend this if you have some drinks. Overall, Big Money Rustlas has its moments but isn’t for everyone.

     

    Buy Big Money Rustlas from Amazon: https://amzn.to/30R410z

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  • Island of Lost Souls (1932)

    Island of Lost Souls (1932)

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    In 1896, famed sci-fi novelist H. G. Wells published The Island of Dr. Moreau, a story of science gone awry. Described as “an exercise in youthful blasphemy”, it tells the story of Dr. Moreau, a mad scientist creating animal-human hybrids. In the 1930s, there was a massive boom in horror films thanks to the release of Universal’s Dracula and Frankenstein. Paramount Pictures decided to capitalize on this trend, starting with their 1931 adaptation of Dr. Jekyll and Mr. Hyde. The film was both a critical and commercial success upon release and lead Fredric March won a Best Actor Oscar. Seeing the potential, Paramount decided to follow it up with an adaptation of the H. G. Wells novel. For the adaptation, they hired Erle C. Kenton to direct, who was mostly known for comedies and crime dramas. Finally, in 1932, The Island of Lost Souls was released to theaters.

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    Synopsis

    Edward Parker (Richard Arlen) has been rescued and brought onto a freighter by its captain, Captain Davies (Stanley Fields). Unfortunately, Parker’s thrown off and left on the boat of Dr. Moreau (Charles Laughton) and his assistant Montgomery (Arthur Hohl). They arrive on Moreau’s island, where Parker is treated to his hospitality and is introduced to Lota (Kathleen Burke). Parker soon suspects something going on, so he investigates and discovers the “House of Pain”, where he discovers Moreau’s experiments. Turns out that Moreau has been creating human-animal hybrids, all of whom follow the Sayer of the Law (Bela Lugosi). Meanwhile, Parker’s fiance Ruth Thomas (Leila Hyams) hires Captain Donahue (Paul Hurst) to help her find and rescue him. As Parker spends more time with Lota, it becomes clear that Moreau wants him to mate with her. Will Moreau succeed in his experiments, and will Ruth be able to rescue her fiance?

     

    Review

    Island of Lost Souls is certainly one of the more interesting movies to come out of the pre-code era. While there’ve been many Dr. Moreau adaptations over the years, this one remains the definitive version, and for good reason. Firstly, the performances are top-notch, Charles Laughton being the highlight, playing more a calm, collected scientist than a mad one. He’s so charismatic and oddly charming that you almost buy into the bizarre experiments he’s performing, making a memorable villain. Arlen does a good job as the standard hero, and Burke is both captivating and seductive as the Panther Woman. Though virtually unrecognizable under heavy makeup, Lugosi delivers a great performance as always, even though his screentime is limited. Filmmaking wise, Kenton’s direction is decent, though there isn’t anything special on display, which was fairly typical of 1930s films. For its time, it’s a good looking film.

    What’s really impressive are the makeup effects used to create the human-animal hybrids, especially considering the limited budget they had. The makeup effects were done by Charles Gemora and Wally Westmore, who would work with John Ford and Alfred Hitchcock. It’s easy to see why, given how they were able to use very primitive materials to transform all these extras. Honestly, the effects are about on-par with the work Jack Pierce did for Frankenstein and The Wolf Man. Admittedly, parts of the movie tend to drag, and the action doesn’t really pick up until near the end. Thankfully, at roughly 70 minutes in length, it never outstays its welcome and is a fairly quick sit. It’s hard to recommend a movie like this to newer audiences, but it’s worth watching for any budding film historian. Overall, Island of Lost Souls is a piece of cinematic history worth uncovering.

     

    Buy The Island of Lost Souls from The Criterion Collection: https://bit.ly/3kn5cMV

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  • Creepozoids (1987)

    Creepozoids (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=”{}”]In my review of Sorority Babes in the Slimeball Bowl-O-Rama, I talked about the early career of filmmaker David DeCoteau. After directing his first mainstream film, 1986’s Dreamanic for Charles Band, DeCoteau presented him with two pitches for his follow-up. With the popularity of post-apocalyptic movies and the recent release of Aliens, DeCoteau pitched Mutant Spawn 2000, which combined both. His other concept was a Ghoulies knock-off called Creepozoids, the film’s title being inspired by the Midnight Star song “Freak-A-Zoid”. Charles Band liked the concept of Mutant Spawn 2000 and the title Creepozoids, so he decided to combine the two. On a budget of roughly $150,000, DeCoteau assembled a small crew and filmed in a small studio in LA. Though casting Linnea Quigley fresh off of The Return of the Living Dead, most of the cast was relatively unknown. Finally, in 1987, Creepozoids was released both theatrically and direct-to-video.

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    Synopsis

    Years after a nuclear war, a group of survivors are wandering through a post-apocalyptic cityscape looking for supplies and shelter. Led by Jake (Richard Hawkins), the group finds an abandoned facility that they decide to hold up in for now. Jesse (Michael Aranda) checks the computer logs to see what happened to the people who were previously there. Meanwhile, Jake, Blanca (Linnea Quigley), Butch (Ken Abraham), and Kate (Kim McKamy) explore and find food, beds, and running water. Unbeknownst to them, however, a strange and deadly creature is lurking throughout the facility, along with some killer rats. One by one, the creature picks off the crew members and sprays them with acid turning them into radioactive mutants. As their numbers continue to dwindle, the remaining crew members have to find a way to survive against the creature. Who will be able to survive and fight against the Creepozoids?

     

    Review

    Creepozoids is a movie that clearly “borrows” from more popular films, not the least of which being Ridley Scott’s Alien. The film also uses the trappings of post-apocalyptic films, but that’s more so for the setup rather than the plot. That said, Creepozoids is still a fine example of B-movie thrills made on a shoestring budget with plenty of creativity. The cast all put plenty of enthusiasm into their performances, even if many of them don’t do much. The main creature, though it’s clearly a knock-off of the Xenomorph, looks impressive and has a memorable design. DeCoteau is able to work around his low budget to create an effective mood using moody colors and dynamic lighting. Plus, at seventy-two minutes, the film never outstays its welcome and won’t take up too much of your time. Plus, Linnea Quigley’s in it, so you get to see her get naked.

    Probably my biggest issue with the film is how padded it is, even with its relatively short runtime. There are several reused shots and alternate takes used, and the end credits are stretched out for so long. Also, while DeCoteau is able to mostly mask the low budget, there are moments where you can see the cheapness. For instance, you can tell that they only had a few filming locations that they constantly reuse and redress. Also, some of the puppets that are used are obvious, namely, the giant rat puppet used every now and then. We’re never given much backstory other than some brief text at the beginning, and even that’s never fully explored. Still, this is the kind of movie that’s more concerned with delivering B-movie thrills than having a compelling story. Overall, Creepozoids knows exactly what kind of movie it is, and it mostly succeeds at that.

     

    Buy Creepozoids 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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  • Puppet Master III: Toulon’s Revenge (1991)

    Puppet Master III: Toulon’s Revenge (1991)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]After helming several projects during the Empire days, director David DeCoteau worked as a producer during Full Moon’s early years. He produced Crash and Burn, Trancers II, and Puppet Master II when he got a call about directing again. Paramount, who was distributing Full Moon’s films, was happy with how Puppet Master II did and immediately wanted a sequel. For the installment, they hired writer C. Courtney Joyner, who previously wrote the Charles Band produced Prison in 1987. They decided that rather than a straight-up sequel, this third film would be a prequel set in WWII Germany. After filming Subspecies in Romania, they wanted to film there but decided against it due to political turmoil. Instead, they shot for two days at the Universal Backlot, while the rest was filmed at their Los Angeles studio. Released months after II, Puppet Master III: Toulon’s Revenge hit video store shelves in 1991.

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    Synopsis

    In 1941 Berlin, puppeteer Andre Toulon (Guy Rolfe) and his wife Elsa (Sarah Douglas) are entertaining children with their shows. However, during their shows, they make fun of Hitler, which catches the attention of Major Kraus (Richard Lynch). Kraus has Lieutenant Stein (Kristopher Logan) investigate, and he discovers that Toulon has found a way to animate his puppets. This catches the attention of Dr. Hess (Ian Abercrombie), who’s been researching reanimating dead soldiers to create an immortal army. Kraus and his men raid Toulon’s home, kill his wife, and capture him with his puppets to be executed. The puppets manage to kill some of their captors, and Toulon makes his escape with them, plotting his revenge. Meanwhile, Kraus’ superior, General Mueller (Walter Gotell) orders him to find Toulon at once while Hess wants Toulon’s help. Will Toulon succeed in avenging his wife’s death, or will the Nazis kill him first?

     

    Review

    Of the films in the series so far, Puppet Master III: Toulon’s Revenge is easily the strongest entry. First off, the decision to film on the Universal Backlot greatly enhances the production value and adds to the authenticity. It’s also worth mentioning that the backlot sets used were the same ones used for the 1931 Frankenstein. Cast-wise, this has some of the best actors in any Full Moon film, including veterans Rolfe, Lynch, Abercrombie, Gotell, and Douglas. Much like in Trancers II, Lynch plays a very compelling villain who’s very sinister and determined while also showing humility. Rolfe, who you might remember from Stuart Gordon’s Dolls, delivers another solid performance, and his relationship with Douglas is touching. While he doesn’t have much screen time, Gotell also delivers a strong performance and adds to the pedigree on display. Also noteworthy is a brief appearance by famous scream queen Michelle Bauer.

    While the first two films were enjoyable, they had essentially the same plot of puppets killing people at a hotel. This film, however, stands out by having a plot centered on revenge that also makes the puppets the heroes. The one slip-up with the story is that the film takes place in 1941, while the original opened in 1939. Admittedly, it’s not a huge deterrent, but it’s kind of funny to point out and a glaring oversight. Also, while the puppetry and stop-motion hold up, there are some shots where you can see the strings. Even with that said, this is still an impressive entry in the series and a highlight in Full Moon’s catalog. Though the series would have its ups and downs going forward, this still stands as a milestone for Full Moon. Overall, Puppet Master III: Toulon’s Revenge is the best film in the franchise so far.

     

    Buy Puppet Master III: Toulon’s Revenge from:

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

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    Where to watch Puppet Master III: Toulon’s Revenge (1991)

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  • Robot Jox (1989)

    Robot Jox (1989)

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    After directing three back-to-back horror films, Stuart Gordon decided his next film would tackle a whole new genre: science-fiction. At the time, he was a fan of the Japanese Transformers toys as well as the Macross anime series. He noted that while giant robots were done in animation, no one at the time tried a live-action version. Following the release of Dolls, Gordon presented his concept to Charles Band, who was initially reluctant due to high costs. Eventually, Band reconsidered after Gordon presented him a demo reel featuring stop-motion animation from David Allen of robots in action. Gordon wrote the script alongside sci-fi writer Joel Haldeman, who clashed with him over their different visions of the film. With a budget of roughly $10 million, it would be the most expensive film Empire Pictures ever produced. After a delayed release due to Empire’s bankruptcy, Robot Jox was released in 1990.

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    Synopsis

    In the future, war has been abolished, and all global conflicts are settled through one-on-one combat using giant robots. These robots are piloted by robot jox aka robot jockeys, each representing either the Western Market or the Eastern Confederation. The Confederation champion Alexander (Paul Koslo) has killed his previous opponents, and next is the Market champion Achilles (Gary Graham). During their match, Alexander launches a projectile towards some nearby spectators, and Achilles blocks it only to fall, crushing them. Shaken up by this, Achilles announces his retirement, and he is subsequently labeled a traitor and a coward. Genetically-bred jox Athena (Anne-Marie Johnson) replaces him, but Achilles has second thoughts and decides to come out of retirement. It’s soon discovered that there might be a spy in the Market who’s giving secrets to the Confederation. Who is this spy, what will happen to Athena, and will Alexander be defeated?

     

    Review

    Considering Empire Pictures’ state of affairs at the time, it’s impressive Robot Jox got made at all. At the time, Empire was going through massive debt, so spending $10 million on an ambitious sci-fi film was risky. Thankfully, with a talented director, effects crew, and cast, this is quite a fun ride, even if disjointed at times. Like his previous films, Gordon’s direction is top-notch, really giving it a sense of scale and larger than it is. Performance-wise, everyone does a commendable job, even if their characters are more or less stock characters, though it is intentional. Gary Graham works as the hardheaded hero with a heart of gold, and Koslo is fun as the stereotypical villain. Johnson does well as the female lead trying to prove herself, though she becomes Graham’s love interest, which is odd. Also noteworthy are appearances from regulars Robert Sampson, Jeffrey Combs, and Carolyn Purdy-Gordon.

    The special effects from David Allen and his team are some of their best work, arguably their best work. The stop motion animation is fantastic, the robot fight sequences being a massive spectacle and easily the film’s highlight. Just the amount of detail put into the models and the range of movement is impressive given the budget. Admittedly, there’s probably only about 15 minutes of screentime devoted to the robot fights, but it’s still fun to watch. Probably my biggest issue with the film is the inconsistent tone, either being too silly or too dark. Admittedly, this can be chalked up to the disagreements between Haldeman and Gordon, each wanting a different tone. Even with its off-kilter tone and somewhat stock characters, this is still a fun movie to watch, especially with friends. Overall, Robot Jox is a solid if flawed attempt for a director to try different genres.

     

    Buy Robot Jox from Amazon: https://amzn.to/2Nvcteg.

    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 Robot Jox (1989)

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  • The Lost Boys (1987)

    The Lost Boys (1987)

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    Initially a window dresser, Joel Schumacher realized filmmaking was his passion, so he moved to LA in the early 1970s. While studying at UCLA, he was working as a costume designer on films like Woody Allen’s Sleeper and Interiors. After earning a Master of Fine Arts degree, Schumacher wrote the screenplays for Sparkle, Car Wash, and The Wiz. His first two films as director, The Incredible Shrinking Woman and D.C. Cab, made modest profits and received mixed reviews. His next film, 1985’s St. Elmo’s Fire, was a smash hit, earning over $37 million on a $10 million budget. Following its success, Schumacher was hired by Warner Bros. to direct a film originally offered to Richard Donner. The film was a story of vampires inspired by Peter Pan that also served as a coming of age story. That film would be released in 1987 as The Lost Boys.

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    Synopsis

    Michael (Jason Patric), Sam (Corey Haim), and Lucy Emerson (Dianne Wiest) have just moved into Santa Carla, California. One night, they decide to check out the nearby boardwalk, Lucy looking for work and the boys strolling around. Sam checks out a local comic book store and meets the Frog Brothers, Edgar (Corey Feldman) and Alan (Jamison Newlander). Meanwhile, Michael meets Star (Jamie Gertz), a young woman who hangs out with David (Kiefer Sutherland) and his biker gang. They invite Michael into their group despite Star’s hesitation, but soon Michael discovers things about him are changing. He becomes sensitive to sunlight, his reflection is fading, and he develops a thirst for blood, almost attacking Sam. While Michael battles with his vampirism, Sam recruits the Frog Brothers to figure out who the head vampire is. Will Michael succumb to his vampirism, or will the head vampire be defeated?

     

    Review

    Much like Near Dark, which came out the same year, The Lost Boys is a fantastic modernization of vampire mythology. While that film had a more Western feel, this has a punk rock feel, from the clothes to the music. For being his fourth film, Schumacher shows just how talented he was as a filmmaker, giving this a rich style. He uses tons of shadow, harsh lighting, and deep colors to help create a mood that’s both haunting and inviting. Cast-wise, everyone delivers a fantastic job, with Patric and Haim being solid protagonists. As the villain, Sutherland is very cool and sinister, while the amazingly gorgeous Gertz acts as Michael’s voice of reason. Feldman and Newlander are fun as the Frog Brothers, two guys who take vampirism seriously while everyone else doesn’t. Also noteworthy is Edward Hermann, a seemingly kindly man whose true intentions become clear later on.

    The other three lost boys, played by Brooke McCarter, Billy Wirth, and Alex Winter, unfortunately, aren’t given much to do. On that same note, Wiest and Bernard Hughes have some decent moments, but they also aren’t given much. Also, there are times when the editing can get choppy at times, making it difficult to understand what’s happening. While the soundtrack is great, the song “Cry Little Sister” is played several times throughout, so get used to it. On a more positive note, the makeup effects from Greg Cannom are impressive, especially the vampire designs and gore effects. The film also serves as a nice coming of age story, the vampirism a metaphor for change and finding identity. While it does have its flaws, this is yet another great example of a modern vampire story done well. Overall, The Lost Boys is a fun film to sink your teeth into.

     

    Buy The Lost Boys from Amazon: https://amzn.to/2CwvN8C

    [/et_pb_text][et_pb_divider _builder_version=”4.4.8″][/et_pb_divider][et_pb_blurb title=”Joel Schumacher, 1939 – 2020″ image=”https://staging.film-nerd.com/wp-content/uploads/2020/06/200622-joel-schumacher-obit-se-212p_58867df7b70cf1a68f457a53a1bf9b26.jpg” alt=”Joel Schumacher, 1939 – 2020″ _builder_version=”4.4.8″]

    This review is dedicated to the memory of filmmaker Joel Schumacher, who passed away on June 22, 2020, at the age of 80.

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  • Dark Angel: The Ascent (1994)

    Dark Angel: The Ascent (1994)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Much like how Empire Pictures would use Italy, Full Moon Features started shooting their films in Romania and Bucharest. They found success shooting Subspecies in Romania, so films like Oblivion, Lurking Fear, and Mandroid would also be filmed there. Around this time, writer Matthew Bright, who frequently worked with Richard and Danny Elfman, found himself working at Full Moon. He started writing a script that involved horror, romance, and vigilantism that drew its influence from Taxi Driver. Originally to be directed by Jeff Burr, relative newcomer Linda Hassani, who previously worked on Silk Stalkings, was hired. Angela Featherstone, who had a small part in Army of Darkness, was cast in what became her first lead role. Produced for a small budget of $350,000, the film would end up being one of Full Moon’s more unique entries. In 1994, Dark Angel: The Ascent was finally released.

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    Synopsis

    In the depths of hell, young demoness Veronica Iscariot (Angela Featherstone) years to venture up to the mortal world. Her father Hellikin (Nicholas Worth) disapproves and threatens punishment, but Veronica escapes and makes her way to Earth. Soon after arriving, she’s hit by a car, taken to the hospital, and tended by Dr. Max Barris (Daniel Markel). Since she has nowhere else to go, Max decides to let Veronica stay with him in his apartment. While he sleeps, she watches TV and catches a broadcast of Mayor Wharton (Milton James), recognizing his corruption and evil. This motivates her to find evil in the city and dispatch sinners, killing muggers/rapists and racist cops. These murders catch the attention of Detectives Harper (Mike Genovese) and Greenberg (Michael C. Mahon) who are on her trail. Will Veronica succeed in dishing out justice, or will the cops manage to stop her?

     

    Review

    Compared to the likes of Puppet Master, Demonic Toys, and Subspecies, Dark Angel: The Ascent is certainly a unique experience. Much like Meridian: Kiss of the Beast, Dark Angel is an interesting mix of horror, romance, and some vigilante justice. The Taxi Driver comparisons are very apparent, including the lead targeting a politician and taking a date to a porno. On top of that, there’s the lead going on a murder spree in what they see as a holy quest. While not as compelling as Robert De Niro’s Travis Bickle, Angela Featherstone delivers a solid performance as Veronica Iscariot. On top of being stunning to look at, she has a nice, quiet charm mixed in with a subtle intensity. Markel is decent, though a bit bland at times, though Genovese and Mahon do a fine job with their material. Also, Worth has some fun scene-chewing moments early on.

    The practical effects, from the demon prosthetics to the gore effects, are impressive considering the small budget they had. There are also some fairly decent optical effects, but they haven’t held up very well over 25 years later. I’d say the biggest problem with the film is the pacing, namely how it takes a while to get going. After the first 10 minutes in hell, it grinds to a halt as Veronica begins learning about the human world. It isn’t until about the 45-minute mark when she starts going on her vigilante spree and things start picking up. For a relative newcomer, Hassani’s direction is pretty good, taking full advantage of the Romanian locations for an effective atmosphere. While I wouldn’t recommend this to Full Moon first-timers, I’d recommend it to someone looking for something a bit different. Overall, despite its flaws, Dark Angel: The Ascent is worth a watch.

     

    Buy Dark Angel: The Ascent 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 Dark Angel: The Ascent (1994)

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  • Tammy and the T-Rex (1994)

    Tammy and the T-Rex (1994)

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    It’s always fascinating to look back through a now-famous actor’s career and see where they got their start. Examples include Jennifer Aniston in Leprechaun, Johnny Depp in A Nightmare on Elm Street, and Leonardo DiCaprio in Critters 3. In this case, we’re looking at the debut of Denise Richards and the late Paul Walker, Tammy and the T-Rex. Released in 1994, the film was co-written and directed by Stewart Raffill (The Ice Pirates, Mac and Me). Interestingly, the concept came about because someone who owned theaters in South America who had access to an animatronic T-Rex. Produced on a budget of less than $1 million, the film was shot and released within a month. Originally an R-rated film, the distributor cut it for a PG-13 until Vinegar Syndrome released an uncut version in 2019. Now with the production history out of the way, let’s examine Tammy and the T-Rex.

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    Synopsis

    Tammy (Denise Richards) and Michael (Paul Walker) are madly in love despite protests from her ex-boyfriend Billy (George Pilgrim). Meanwhile, the nefarious Dr. Wachenstein (Terry Kiser) has acquired a robotic T-Rex that he plans to bring to life. That night, Michael sneaks into Tammy’s room when Billy and his gang chase him down to teach him a lesson. They leave him at the local wild animal park where he’s mauled by a lion and put in a coma. Tammy and her gay friend Byron (Theo Forsett) visit Michael in the hospital when Wachenstein arrives to take Michael away. Alongside assistant Helga (Ellen Dubin), Wachenstein takes Michael to his lab, extracts his brain, and implants it in the T-Rex. The dinosaur soon wakes up and goes on a rampage, all while trying to find Tammy and get her back. Soon, the police get involved while Wachenstein tries getting the dinosaur back.

     

    Review

    Tammy and the T-Rex is one of those movies where you’ll know if you’re interested just by the title. Most people will scoff at the title and not give it a chance, but certain audiences will be drawn in. While I will admit that this isn’t a cinematic masterpiece, it’s still an enjoyably ridiculous film that provides laughs aplenty. Part of what makes it especially funny is how most of the cast take the material so seriously. Kiser and Dubin play up their roles as over-the-top as possible, while Richards and Walker are playing it fairly straight. Even with their relative inexperience, Richards and Walker have surprisingly good chemistry with each other and feel like a couple. There are also fun appearances from character actors George ‘Buck’ Flower, Sean Whalen, Ken Carpenter, and John Franklin. Whether their performance is ridiculous or serious, every cast member gives it their all.

    Effects-wise, the T-Rex itself looks like something you’d find at an amusement park or a low-end science museum. The walking scenes are either the T-Rex being dragged along or shots that are someone wearing dinosaur shoes. Also, there are many scenes where the T-Rex’s arms are someone wearing dinosaur gloves, but they’re nowhere near attached. Going back to the T-Rex walking, there are some composite shots of the dinosaur moving that look hilariously awful. Of course, given the film’s low budget, many of these can be excused, and they add to the film’s charm. Probably the film’s biggest flaw is the inconsistent tone, going from high school romance to a mad scientist plot. Along with the inclusion of some extremely graphic gore scenes, it leaves you wondering who exactly this was made for. Overall, Tammy and the T-Rex is a disjointed mess that still has plenty to offer.

     

    Buy Tammy and the T-Rex from DiabolikDVD: https://bit.ly/2MhPDWR

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  • Ghoulies II (1987)

    Ghoulies II (1987)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Released in 1985, Ghoulies was a massive success for Empire Pictures, making over $35 million on a $5 million budget. The film was also a hit on home video, so naturally, a sequel was to follow soon after. Charles Band had been tossing around an idea with his father Albert Band about the creatures taking over a circus. Unfortunately, much of the original cast and crew, including writer/director Luca Bercovici, did not return for the sequel. Instead, veteran director Albert Band would be stepping up, having not directed since 1979’s She Came to the Valley. Dennis Paoli (Re-Animator, From Beyond) wrote the screenplay and John Carl Buechler’s effects shop would again design the creatures. While the original was filmed in California, this would be filmed at the Empire Studios in Rome, Italy. So two years later, Empire Pictures released 1987’s Ghoulies II.

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    Synopsis

    The local carnival funhouse, Satan’s Den, has been running into financial troubles with businessman Philip Hardin (J. Downing) threatening foreclosure. While Larry (Damon Martin) wants to keep it running, his magician turned alcoholic Uncle Ned (Royal Dano) has given up. Meanwhile, the mischievous Ghoulies have hitched a ride on Satan’s Den as it makes its way to the local carnival. Taking up residence in the funhouse, the Ghoulies start attacking, though the carnival-goers think they’re part of the act. Soon, Satan’s Den is making a profit to Hardin’s chagrin, so he starts hitting on Larry’s girlfriend Nicole (Kerry Remsen). Once several of the other carnival workers start disappearing, the guests realize the Ghoulies are real and panic erupts. Alongside fellow carnie Sir Nigel Penneyweight (Phil Fondacaro), it’s up to Larry and Nicole to stop the Ghoulies. Will our heroes succeed, or will the Ghoulies become the next carnival act?

     

    Review

    While Ghoulies was enjoyable enough, it was also kinda slow and didn’t have much going for it besides the puppets. Ghoulies II, on the other hand, is much more fun, has better acting, and the puppets look amazing. First off, moving the setting from a generic haunted house to a carnival helps this film stand out. Also, the acting is much improved over the previous film, with some highlights being Martin, Dano, Remsen, and Fondacaro. Dano has some fun moments as an old drunk, and Fondacaro once again shows underrated of an actor he is. Downing is pretty fun as the stock corporate tightwad that you love to hate, and his death scene is satisfying. Plus, for a film that had a lower budget than the original, the puppets honestly look way better. They’re much more detailed, have better articulation, and each has a more unique design.

    Alongside the puppet and creature effects from John Carl Buechler and crew, there’s some great stop-motion from David Allen. The production design from Empire and Full Moon regular Giovanni Natalucci is fantastic, creating an authentic living and breathing carnival. The cherry on top of the sundae is the inclusion of “Scream Until You Like It” from W.A.S.P. Not only is it an awesome song, but it was written specifically for the film and W.A.S.P. enjoyed the experience. As much fun as the film is, my only gripe is that the love triangle subplot is uninteresting and dull. Also, while there are some gruesome moments to be had, much of the violence seems like it was cut out. Even with those gripes aside, this is still an enjoyable monster movie and a step up from the previous installment. Overall, Ghoulies II is a fun B-movie best enjoyed with friends and alcohol.

     

    Buy Ghoulies II from Amazon: https://amzn.to/3UzWGOq.

    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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