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Category: Cult Films

  • Critters 2: The Main Course (1988)

    Critters 2: The Main Course (1988)

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    Released in 1986, Critters was a modest hit at the box office, making over four times its budget back. Also, the film received favorable reviews, Siskel and Ebert giving it both thumbs up and rating it 3/4 stars. Naturally, with that kind of success, New Line Cinema asked for a sequel, given their penchant for franchises. Unfortunately, the original writer and director, Brian Muir and Stephen Herek did not return to helm the sequel. Instead, up-and-coming writer David Twohy was hired alongside co-writer Mick Garris, who would be making his directorial debut. Garris was chosen due to his work on the Steven Speilberg produced Amazing Stories series and *batteries not included. Much of the original cast and crew returned, including the Chiodo Brothers fresh off of making Killer Klowns from Outer Space. So, two years after the original, we got Critters 2: The Main Course.

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    Synopsis

    Two years after the last film, Brad Brown (Scott Grimes) has returned to his hometown of Grover’s Bend. Meanwhile, alien bounty hunters Ug (Terrence Mann) and Lee, alongside Charlie (Don Opper), learn the Crites are still on Earth. Once there, Lee takes on a female form (Roxanne Kernohan) and they set out to find and destroy the Crites. Elsewhere, Brad is visiting his grandmother (Herta Ware) when he attracts the attention of young reporter Megan Morgan (Liane Curtis). Turns out Brad is pretty well-known for what happened years ago, and she wants to learn more. Soon enough, the Crites make themselves known, going on a rampage through the town and killing everyone in their path. With some help from former sheriff Harv (Barry Corbin), Brad leads the townsfolk in taking out the carnivorous critters. Can they be stopped, or will Grover’s End be their latest feast?

     

    Review

    Whether or not it was made to ride off the coattails of Gremlins, Critters was an enjoyable time. And while Critters 2: The Main Course is also enjoyable, it’s missing much of what worked in the first film. For instance, the first film was a blending of horror and comedy, whereas the sequel feels more comedic than scary. Granted, there are some shockingly gruesome sequences here and there, but there are just as many goofy moments. On the one hand, the emphasis on comedy does make this a more fun film than the previous installment. On the other hand, the weird shift in tone makes this feel like it’s not even in the same universe. That being said, much of the comedy here does work, partially because the actors are playing it straight. Plus, the more comedic moments never get in the way of the more serious scenes.

    Like the previous film, the Chiodo Brothers did excellent work in bringing the Crites to life, perhaps more so here. The puppets seem more articulated, more expressive, and they even have different characteristics to make them stand out. Cast-wise, everyone does a great job, with returning actors Grimes, Mann, Opper, and Lin Shaye turning in solid performances. Admittedly, it is distracting not having M. Emmet Walsh back as Harv, but Barry Corbin makes up for this. For a first-time director, Mick Garris does a fine job, giving the film a slick studio picture look. While Muir and Herek are missed here, the work by Garris and Twohy is sufficient enough here. While this lacks the more low-budget feel of the previous film, this still is enjoyable enough to warrant a recommendation. Overall, Critters 2: The Main Course lacks the predecessor’s bite but is still work a look.

     

    Buy The Critters Collection from Shout! Factory: https://bit.ly/3dSwczC

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  • Critters (1986)

    Critters (1986)

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    In the early 1980s, filmmaker Stephen Herek got his start working as an editor for B-movie king Roger Corman. He was the assistant editor on Android, The Slumber Party Massacre, and Space Raiders, where he met Brian Muir. The two began a friendship while working on 1984’s City Limits, and Brian presented Stephen with a script he wrote. Seeing the potential in the screenplay, Herek decided this would be his next project as well as his directorial debut. They pitched their concept to Sho Films, who agreed to develop the film with New Line Cinema as the distributor. For the creature effects, they hired The Chiodo Brothers, who previously worked on Tim Burton’s Vincent and Pee-wee’s Big Adventure. Brian Muir decided to be credited as Dominic, his middle name, which he later regretted due to the confusion. After a six-week filming schedule and post-production, Critters was finally released in 1986.

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    Synopsis

    In the far-off reaches of space, a group of aliens known as Crites escapes from an asteroid prison. Two bounty hunters are sent to find and destroy the Crites, and they chase them down to planet Earth. They end up in the small town of Grovers Bend, where the bounty hunters assume human forms and start searching. Meanwhile, the Crites start making their way through the town and wind up at the home of the Brown family. The family consists of Helen (Dee Wallace), Jay (Billy “Green” Bush), Brad (Scott Grimes), and April (Nadine van der Velde). As the Crites and bounty hunters run rampant, local Sheriff Harv (M. Emmet Walsh) is having to deal with this. Once the Crites arrive at the Brown family’s house, it becomes a fight for survival against the diminutive creatures. Will the family survive, or will they be the Crites’ next meal?

     

    Review

    First and foremost, I should mention how Critters has been compared to Gremlins since its release and labeled a knock-off. While they share a similar premise of tiny monsters attacking people, the two are completely different from one another. Plus, Herek and Muir have refuted that Critters was written before Gremlins and was rewritten to avoid comparisons. Much like Ghoulies, this may have gotten greenlit because of the success of Gremlinsbut wasn’t a direct rip-off. That being said, Critters is easily the best if not one of the better films spawned after Gremlins. The cast is excellent, featuring veteran actors Billy Bush and M. Emmet Walsh, as well as genre favorite Dee Wallace. Plus, younger actors Scott Grimes and Nadine van der Velde give exceptional performances and are fully dedicated to the film. Also, there are some early appearances from Billy Zane and Lin Shaye.

    While not as intricate or detailed as the Gremlins, the Critters are still impressive given the low budget. As designed by the Chiodo Brothers (Killer Klowns from Outer Space), they have a unique look and plenty of movement. For a first-time director, Herek does a good job behind the camera, making effective use of shadow and low lighting. Admittedly, after the opening scene of the Crites escaping from prison, the film takes a while to get going. Thankfully, the characters are fun to watch, and there’s plenty of humor and character development to keep you invested. Once it gets going, it’s a great thrill ride as the family tries fighting off the Crites and surviving. Plus, at a brisk 86 minutes, the film never outstays its welcome or feels like it’s dragging to the end. Overall, Critters is a solid creature-feature made with tons of talent and heart.

     

    Buy The Critters Collection from Amazon: https://amzn.to/3X406JU.

    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 Critters (1986)

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  • Bad Channels (1992)

    Bad Channels (1992)

    [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=”{}”]The early 1990s were a golden time for Full Moon Features, pumping tons of low budget direct-to-video classics. Of course, their biggest hit was the Puppet Master series, but they had plenty of other titles in the mix. Charles Band always had a steady stream of filmmakers to turn to, including David DeCoteau, Stuart Gordon, and Ted Nicolaou. I’ve covered the works of Ted Nicolaou in past Full Moon Fridays, namely TerrorVision, Subspecies, and Bloodstone: Subspecies II. While working on his vampire series, Nicolaou was working on a more out-there project, something outside Full Moon’s comfort zone. This film would incorporate Nicolaou’s three favorite things into one: UFOs, rock and roll music, and comedy. It would feature various rock groups of the time and seem to go after the MTV crowd. What we finally got was the 1992 oddball sci-fi comedy Bad Channels.

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    Synopsis

    Shock jock DJ “Danger” Dan O’Dare (Paul Hipp) has taken a job at radio station 666 KDUL in Pahoota, California. He’s scheduled for an interview with reporter Lisa Cummings (Martha Quinn), but she blows him off over a rigged contest. While continuing his radio broadcast, the station is invaded by an alien named Cosmo (Mike Deak) and their robot companion. Dan and the station’s engineer Corky (Michael Huddleston) find themselves trapped while trying to warn the outside world. Unfortunately, no one believes them and thinks it’s all an elaborate stunt despite their desperate pleas for help. Soon, Cosmo’s plan is revealed: he’s using the radio to capture women, shrink them, and put them in glass jars. Meanwhile, Sheriff Hickman (Victor Rogers) thinks Dan is up to something, and station manager Vernon Locknut (Aaron Lustig) gets nervous. Will the alien be stopped, or will the girls forever remain trapped and shrunk?

     

    Review

    While it’s not one of the more well-known Full Moon movies, Bad Channels is still something of a hidden gem. Like many of his other movies, Nicolaou’s direction is top-notch, using atmospheric shots that incorporate dynamic lighting and shadows. Paul Hipp makes for a decent lead, mixing a fun, smarmy attitude with some more serious moments later on. Martha Quinn’s intentionally exaggerated performance is pretty fun, and it adds to the film’s charm, though it can be grating. Aside from that, the rest of the acting is decent, but no one else stands out aside from the leads. However, Full Moon fans will be happy to see appearances from regulars Sonny Carl Davis and Charlie Spradling. The musical numbers by Fair Game, DMT, and Sykotik Sinfoney are easily the film’s highlights, each better than the last. Whether you like hair metal, grunge, or something slightly weird, there’s something for you.

    As enjoyable as the film is, Bad Channels is still not as good as Nicolaou’s TerrorVision despite having similar themes. For a film that’s under 90 minutes long, many scenes feel padded out to reach feature-length runtime. This isn’t helped by the musical numbers which, though fun, feel like they’re dragging out to cover the entire song. That being said, the film’s soundtrack is still worth a listen, especially with the score done by Blue Öyster Cult. Also, much of Dan O’Dare’s past antics are talked about, but we’re never really shown any of it. The same goes for the alien, who we know virtually nothing about other than he’s after women to take home. Even still, the film is still an enjoyable watch for those who want to dig deep into Full Moon’s library. Overall, Bad Channels is a flawed but fun sci-fi comedy with some rock music added.

     

    Buy Bad Channels 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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  • Troll (1986)

    Troll (1986)

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    Well before meeting and working with Charles Band, special effects designer John Carl Buechler got his start with Roger Corman. He’s worked on the special and makeup effects for Corman on films like Forbidden World, Sorceress, Love Letters, and Deathstalker. While working on 1982’s Android, Buechler presented Corman a treatment for a film about an evil troll running amok. Corman passed on the idea, so Buechler held onto it for years until he started working for Band years later. Buechler presented the treatment to Band, saying he wanted to direct, and Band agreed to finance the project. However, Buechler found himself busy working on the effects for other Band productions, including Trancers, From Beyond, and Ghoulies. As such, he handed off scriptwriting duties to journalist/screenwriter Ed Naha, who coincidentally had also worked with Corman. Finally, after so many years, Buechler got to direct the 1986 fantasy horror film Troll.

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    Synopsis

    The Potter family has recently moved into their new San Francisco apartment, and things seem normal at first. While exploring the building, young Wendy (Jenny Beck) is attacked by an evil troll wielding a magic ring. The troll, known as Torok (Phil Fondacaro), uses the ring to disguise himself as Wendy and blend in. While parents Harry Sr. (Michael Moriarty) and Anne (Shelley Hack) are duped, Harry Jr. (Noah Hathaway) is suspicious. Soon, Torok sets his plan in motion, using his ring to turn the tenants into pods that sprout various creatures. Harry Jr. seeks advice from neighbor Eunice St. Clair (June Lockhart), who reveals she’s a witch who fought Torok. Eventually, Torok’s influence starts turning the apartment into a fantasy world that threatens to consume humanity and take control. Harry Jr. must venture into the fantasy world, save his sister, and stop Torok before it’s too late.

     

    Review

    Much like the titular character, Troll is an odd little thing, yet that’s what makes it so interesting. For one, this has one of the most eclectic casts you could ever imagine, especially for the relatively low budget. There’s The NeverEnding Story‘s Noah Hathaway, classic actress June Lockhart, character actor Michael Moriarty, Sonny Bono, and even Julia Louis-Dreyfus! Indeed, years before she appeared in National Lampoon’s Christmas Vacation and Seinfeld, Julia Louis-Dreyfus was turned into a forest nymph. In fairness, everyone in the cast does do a great job, particularly Hathaway, Lockhart, and Phil Fondacaro in dual roles. He plays the titular Torok, as well as a human character named Malcolm Mallory, an English teacher suffering from leukemia. To his credit, Fondacora does an amazing job showing a real depth you wouldn’t expect in this kind of movie. Plus, it must’ve been tough working in that troll costume.

    For a first-time director, Buechler does a surprisingly good job behind the camera, thanks in part to cinematographer Romano Albani. Once Torok’s influence starts spreading, there’s tons of fog and moody lighting that creates a creepy and foreboding atmosphere. The creature effects are also top-notch, Torok’s design, in particular, is a highlight, and there’s some stop motion animation. I’d say my only problem is that Troll doesn’t seem to know what audience it’s made for. It’s too dark for kids, but it’s also too ridiculous for adults, so the somewhat inconsistent tone makes it confusing. Still, the weird tone, the out there creatures, and the eclectic cast makes this stand out all the more. It may not appeal to everyone, but it’s such a weird oddity that it’s worth discovering, preferably with drinks. Overall, Troll is an enjoyably strange film with plenty of charm to be found.

     

    Buy Troll from Amazon: https://amzn.to/3btuFPH

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  • Bloodstone: Subspecies II (1993)

    Bloodstone: Subspecies II (1993)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ collapsed=”off” 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=”{}”]Despite some difficulties behind the scenes, the first Subspecies was another bonafide for the still relatively young Full Moon Entertainment. Much like Puppet Master and Trancers before it, this would be the start to one of their most popular franchises. The next two entries would be shot back-to-back with director Ted Nicolaou returning to helm these and every other entry. Much of the original cast and crew returned except for a few replacements, namely the female lead and effects crew. Makeup effects artist Greg Cannom moved on to bigger projects, including Bram Stoker’s Dracula, Mrs. Doubtfire, The Mask, and Titanic. Lead actress Laura Tate refused to return due to how rough the shoot for the first film was. In her place, they cast relative newcomer Denice Duff, whose prior credits include episodes of Northern Exposure and Matlock. Two years after the first film, Bloodstone: Subspecies II was finally released.

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    Synopsis

    Picking up directly after the first film, the villainous vampire Radu (Anders Hove) is restored thanks to his diminutive minions. Now alive again, Radu kills his brother Stefan while he sleeps, only to retreat when the sun rises. At sunset, Michelle (Denice Duff) wakes up to find her lover Stefan dead, and she takes off with the Bloodstone. Once in Bucharest, she calls her sister Becky (Melanie Shatner), who soon arrives in Romania to help her. Meanwhile, Radu seeks out his “Mummy” (Pamela Gordon) for help, and she tells him to retrieve the Bloodstone from Michelle. Once she arrives, Becky gets help from police lieutenant Marin (Ion Haiduc) and US embassy agent Mel (Kevin Blair). Eventually, Becky learns the truth about Michelle: she has become a vampire and is now Radu’s fledgling. Accompanied by Mel and Professor Popescu (Michael Denish), Becky seeks to hunt Radu and save her sister.

     

    Review

    Bloodstone: Subspecies II is the rare sequel that not only continues what worked previously but also expands upon it further. Like the last film, this takes full advantage of the Romanian locations, from the ancient castles to the nearby towns. Plus, Anders Hove once again delivers a great performance as Radu, channeling his inner Nosferatu and giving him some pathos. Also, whereas Laura Tate was somewhat flat in the last film, Denice Duff is a welcome change as Michelle. She adds a real human quality to the role, making the character more sympathetic and conflicted with her vampirism. Melanie Shatner also shines as Becky, the sister who’s determined to rescue her sister no matter what happens. Supporting players Haiduc, Blair, and Denish also have their moments, Denish in particular as the eccentric professor turned vampire hunter. All in all, the cast here is a step up from the previous entry.

    As always, Nicolaou is a great director, incorporating dynamic lighting and harsh shadows to establish a foreboding mood. While Cannom’s effects work is sorely missed, the effects done by Wayne Toth and Norman Cabrera are still impressive. Speaking of effects, those expecting the return of the titular subspecies will be disappointed that they’re only onscreen very briefly. Starting with Bloodstone: Subspecies II, the title characters gradually get less and less screentime, which is good in this instance. Aside from bringing Radu back to life, they don’t factor into the plot, so nothing is lost with their absence. I’d say my main critique is that the pacing drags in parts, not much happening for long stretches. Even still, this is not only a fantastic sequel but yet another fantastic vampiric tale with more depth than expected. Overall, Bloodstone: Subspecies II is another highpoint in the Full Moon catalog.

     

    Buy Bloodstone: Subspecies II 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 Bloodstone: Subspecies II (1993)

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  • Dolls (1987)

    Dolls (1987)

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    After the critical and commercial success of Re-Animator, director Stuart Gordon was offered a three-picture deal at Empire Pictures. His next film was From Beyond, which was released in 1986, but it wasn’t exactly his direct follow-up. Before filming his second H.P. Lovecraft adaptation, Gordon went off to shoot a different film based on some real-life experiences. While in college, Gordon found himself locked up in a room full of Victorian-era porcelain dolls, which freaked him out. Also, like most of his productions, Charles Band had presented a concept and a poster for a killer doll movie. Screenwriter Ed Naha turned that concept into a story involving a family trapped in an old house with killer dolls. Much of the cast and crew Gordon had worked with previously returned, though the film wouldn’t be released until 1987. That film would become the underrated gem, Dolls.

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    Synopsis

    On a vacation in England, David (Ian Patrick Williams), Rosemary (Carolyn Purdy-Gordon), and Judy Bower (Carrie Lorraine) get lost. With their car stuck in the mud and a raging storm, they decide to take shelter in a nearby house. They soon meet the residents, eccentric dollmaker Gabriel Hartwicke (Guy Rolfe) and his equally eccentric wife Hilary (Hilary Mason). Before long, hitchhikers Isabel (Bunty Bailey) and Enid (Cassie Stuart), and their driver Ralph (Stephen Lee) show up. The Hartwickes agree to let them all stay for the night, but before long, strange things start happening. Isabel ends up getting killed and dragged off, which Judy witnesses, so she gets Ralph to help her investigate. They discover the secret behind the Hartwickes: they are witches who have brought their dolls to life to kill. Unfortunately, no one else believes them, so it’s up to Judy and Ralph to stop them.

     

    Review

    While lacking the over-the-top gore and dark humor of his previous films, Dolls is still another great Stuart Gordon chiller. For this movie, Gordon went for more of a fairy tale/haunted house vibe, focused on a small child. Like many fairy tales, Dolls is a morality tale, where the bad get punished and the good get spared. In terms of bad, there’s the girl’s hateful father and stepmother, and the two hitchhikers looking to rob the Hartwickes. Each of them gets their comeuppance, and it’s satisfying to see each of them get their just desserts. Ian Patrick Williams and, especially, Carolyn Purdy-Gordon do a great job playing characters that you just love to hate. The two hitchhikers, Bunty Bailey & Cassie Stuart, are fun riffs on 80s punk girls, though they don’t do much. Stephen Lee and Carrie Lorraine make a good and likable pair as well.

    Guy Rolfe and Hilary Mason are the real standouts, acting both warm and friendly, as well as dark and sinister. However, the true stars of the show are the dolls themselves, brought to life thanks to stop-motion animator David Allen. Though they don’t have much screentime, it’s impressive to see them move about and go on their killing spree. It’s pretty easy to see how this film led to Charles Band coming up with the concept for Puppet Master. Also, the makeup effects from the always talented John Carl Buechler are quite good, yet some don’t hold up well. Fans of Re-Animator and From Beyond might be disappointed that this lacks the weirdness and crazies of those two films. Even still, this is worth a watch thanks to its chilling atmosphere, solid performances, and ability to make dolls creepy. Overall, Dolls is an underrated gem from a talented cult filmmaker.

     

    Buy Dolls from Amazon: https://amzn.to/2WKS4aR

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    This review is dedicated to the memory of cult filmmaker Stuart Gordon, who passed away on March 24, 2020, at the age of 72.

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  • Candyman (1992)

    Candyman (1992)

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    “I have seen the future of horror, and his name is Clive Barker.” That was Stephen King’s reaction when Barker’s Books of Blood, a collection of short stories, was released in the US. Barker started as a playwright during the 1960s and 1970s, opening his own theatre company, The Dog Company, in 1978. Eventually, he shifted his focus to writing horror and fantasy stories, which became popular and attracted the attention of Hollywood. He wrote the screenplays for Underworld, aka Transmutations, and Rawhead Rex but was displeased with how they were handled. Because of this, he decided to adapt his novella The Hellbound Heart into 1987’s Hellraiser, which spawned several sequels. While working on Nightbreed, he met fellow filmmaker Bernard Rose, who was interested in adapting Barker’s short story, The Forbidden. Barker agreed to license the rights, and Rose went off to adapt the story into 1992’s Candyman.

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    Synopsis

    Helen Lyle (Virginia Madsen) and her friend Bernadette Walsh (Kasi Lemmons) are conducting research focused on urban legends. During their research, they learn of one such legend, “Candyman”, an ominous figure with a hook for a hand. According to legend, if you say his name five times while looking at a mirror, he will appear. Helen learns about Candyman’s origin, that he was a well-educated black man who was killed after starting an interracial relationship. She eventually proves that the Candyman is merely a story linked to the hardships the residents of Cabrini-Green go through. That all changes when she’s confronted by Candyman (Tony Todd), who uses her to restore belief in him. This leads to Helen being blamed for several murders committed by Candyman, and her trying to regain her sanity. Will she survive, or will she be seduced by the allure of the Candyman?

     

    Review

    Candyman is by far one of the best and most memorable contemporary horror films to come out of the 1990s. The first notable thing is the acting, especially from leads Virginia Madsen and Tony Todd, both of whom are phenomenal. Madsen gives a very grounded and human performance, and Todd is both imposing and captivating as the titular villain. The supporting cast, including Lemmons, Xander Berkeley, Vanessa Williams, and DeJuan Guy, have their shining moments and give good performances. Bernard Rose, mostly known at the time for directing music videos, manages to mix urban grit with a dreamlike quality. What also adds to the horror is Philip Glass’ haunting score, which helps set the mood right from the start. The makeup effects from Bob Keen are exceptional, and the use of real locations help give the film real authenticity. Plus, there’s a Ted Raimi cameo early on, so that’s cool.

    At its core, Candyman is a film that explores social issues dealing with race, identity, and the effects of fear. Candyman only has power when people fear him, hence why he uses Helen to incite fear by killing innocent people. It also explores how society tends to push to the side things viewed as a problem, such as Helen’s hysteria. While Candyman has plenty of blood and guts to satisfy horror fans, it never feels exploitative or overly grotesque. The film also never relies on cheap jump scares but rather focuses on atmosphere and building tension and suspense. Admittedly, the film does start to lose its meaning in the second half once the blood and guts start happening. Thankfully, it’s never enough to where the film devolves into schlock, and it still retains its good qualities. Overall, Candyman is a fantastic horror film with themes that are still relevant today.

     

    Buy Candyman from Shout! Factory: https://bit.ly/2TSNLIY

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  • Trancers II: The Return of Jack Deth (1991)

    Trancers II: The Return of Jack Deth (1991)

    [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=”{}”]While not a massive hit upon release, Trancers managed to gain a strong cult following over the years. Following its release, Charles Band started working on an anthology film called Pulse Pounders comprised of three 30-minute segments. These included The Evil Clergyman, an H.P. Lovecraft adaptation, a sequel to The Dungeonmaster, and a Trancers sequel. Unfortunately, Empire Pictures folded in the late 80s, and the film was shelved for several years until it was rediscovered. The Evil Clergyman was released in 2011, and Trancers 1.5: City of Lost Angels was released in 2013. After Full Moon was formed and found success with Puppet Master, many more franchises were established, including Subspecies. Following Tim Thomerson’s return in Dollman, Band decided to resurrect Trancers, with most of the original cast and crew returning. Released six years after the original, the result was 1991’s Trancers II: The Return of Jack Deth.

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    Synopsis

    Six years after taking down Whistler, Jack Deth (Tim Thomerson) and Lena (Helen Hunt) have been living the good life. They’ve been living with Hap Ashby (Biff Maynard), who’s cleaned himself up and gotten rich after becoming a commodities broker. Back in the future, Deth’s body has become calcified, so McNulty (Art LaFleur) goes down the line to help him. Now in the body of his 15-year-old ancestor (Alyson Croft), McNulty visits Jack, Lena, and Hap to deliver the news. Meanwhile, Deth’s wife Alice Stillwell (Megan Ward), thought to be dead, is in the present and is onto something big. Turns out Whistler’s brother E.D. Wardo (Richard Lynch) is creating new trancers using an environmental group as a front. Jack, Alice, Lena, Hap, and McNulty must team up to stop Wardo from creating his new trancer army. Will Jack be able to save the world while dealing with two wives?

     

    Review

    Trancers II: The Return of Jack Deth is an enjoyably fun film and a decent sequel, even with its flaws. Like the first film, Tim Thomerson’s charisma is dripping all over the screen, delivering plenty of smartass quips effortlessly. He has great chemistry with both Helen Hunt and Megan Ward, who each have their moments to shine. Richard Lynch makes for a great villain, and Martine Beswick and Jeffrey Combs make for good accomplices. Alyson Croft, who also played McNulty’s ancestor in the original, has tons of fun mimicking an older tough-guy cop. There’s plenty of action to keep fans happy, and there are some great oneliners to go along with those scenes. The makeup effects for the trancers look pretty good, Band’s direction is solid, and the music compliments the fun action. Plus, there’s a cameo from Barbara Crampton, which makes everything better.

    As much fun as Trancers II is, there are some things both technical and story-related that hinder its enjoyment. Firstly, it feels significantly cheaper than the first, which was also low-budgeted but felt like it had higher production values. There are several close-up shots of characters talking directly at the camera like they couldn’t get all the actors together. Also, the few futuristic scenes look very slapdashed and thrown together compared to the stylish-looking future scenes of the original. Granted, you don’t need a huge budget to make a great film, but these drops in quality are very noticeable. Plus, this film has a greater emphasis on comedy, which mostly works, but some of the jokes don’t land. Despite these issues, this is still a fun sci-fi action film with some great characters and solid set pieces. Overall, Trancers II: The Return of Jack Deth gets the job done well.

     

    Buy Trancers II: The Return of Jack Deth 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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  • Ghoulies (1985)

    Ghoulies (1985)

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    Back in the Charles Band Productions era, future Oscar-winning effects artist Stan Winston worked on 1976’s Mansion of the Doomed. He also worked on makeup effects for 1977’s Dracula’s Dog, which was directed by Albert Band, Charles Band’s father. This started a friendship between Band and Winston that lasted for many years, even after Winston went onto bigger projects. Most notably, Winston worked on the creature effects for Band’s 1982 film Parasite, which starred a then-unknown Demi Moore. Around this time, Winston and Band were discussing ideas for a potential film called Beasties, centering around tiny creatures. Nothing came of the project, but Band revisited it after Joe Dante’s Gremlins was released in 1984 to massive success. He hired Parasite co-star Luca Bercovici to co-write and direct, as well as John Carl Buechler to do the effects. The result was the 1985 creature feature Ghoulies.

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    Synopsis

    Jonathan Graves (Peter Liapis) and his girlfriend Rebecca (Lisa Pelikan) have recently moved into the estate of Jonathan’s late father. They invite several friends over for a party to celebrate, and Jonathan decides to perform a ritual with them downstairs. Though nothing seems to happen initially, the ritual ends up summoning several tiny creatures called Ghoulies, who become Jonathan’s servants. Soon, Jonathan becomes more and more obsessed with the occult and the estate much to the dismay of Rebecca. Eventually, Jonathan ends up performing a ritual that resurrects his late father Malcolm (Michael Des Barres), a satanic cult leader. Turns out Jonathan was supposed to be sacrificed as a baby but was protected by his late mother. Now with Malcolm restored, he takes control of the Ghoulies and plans to steal Jonathan’s youth to remain young forever. Will Jonathan and friends escape, or will Malcolm and his Ghoulies succeed?

     

    Review

    While the film may have been made to capitalize on the success of Gremlins, Ghoulies is still an entertaining watch. One thing that makes this stand out is the gothic scenery and atmosphere, giving off a very eerie presence. For a first-time director, Bercovici shows some promise behind the camera, and the late Mac Ahlberg’s cinematography compliments this. The Ghoulie puppets themselves, though not as intricate as the Gremlins or Critters, are still impressive and uniquely designed. The late great John Carl Buechler was always Band’s go-to guy for makeup and creature effects, and with good reason. No matter how small the budget or how limited the resources, Buechler always delivered some quality work. He’d go on to do effects for other Band films including Re-Animator, Trancers, From Beyond, TerrorVision, and Demonic Toys. Sadly, he passed away in 2019 due to prostate cancer, and he’ll be missed.

    Acting-wise, the cast ranges from decent to not very memorable, aside from a few exceptions, namely Liapis and Des Barres. As the villainous Malcolm, Des Barres is clearly reveling in playing such an over-the-top villain, but still makes it believable. Liapis does a good job going from likable protagonist to obsessed creep then back to hero struggling against evil. Character actor Jack Nance (Eraserhead) pops in as the groundskeeper, but he doesn’t have much to do until the end. However, Ghoulies is also noteworthy for featuring a then-unknown Mariska Hargitay years before becoming famous for Law and Order: SVU. The rest of the cast is mostly there as cannon fodder, but none of them are particularly annoying or hateful. Despite these and other issues, this was still successful enough for Empire Pictures to continue making movies throughout the 80s. Overall, Ghoulies is a fun creature feature with memorable monsters.

     

    Buy Ghoulies from Amazon: https://amzn.to/2PudSD6

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  • Meridian: Kiss of the Beast (1990)

    Meridian: Kiss of the Beast (1990)

    [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=”{}”]After the fall of Empire Pictures, Charles Band’s Full Moon Features was formed, releasing Puppet Master in 1989. Years earlier, Band was traveling through Italy and came across the Park of Monsters, or “Parco dei Mostri”. He was instantly captivated by the location, but he didn’t have any projects he felt would suit the location. Once Full Moon was started, Band came up with the concept of a gothic/erotic horror love story. Now that he had the concept, he decided to utilize the Park of Monsters and nearby castle as the backdrop. Many former Empire regulars were brought on board, including Ted Nicolaou, Mac Ahlberg, Dennis Paoli, Greg Cannom, and Pino Donaggio. The resulting film would be the second film released under the Full Moon banner, paving the way for their future. Released in 1990, we have Meridian, or Meridian: Kiss of the Beast.

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    Synopsis

    Catherine (Sherilyn Fenn) has recently moved from America to Italy after inheriting her family’s castle following her father’s death. She reunites with her old friend Gina (Charlie Spradling), who’s working as a fine art restorator for the local church. While reminiscing about old times and getting reacquainted, Gina spots a nearby traveling circus that has stopped by the castle. They decide to check it out and soon meet the ringleader, Lawrence Fauvrey (Malcolm Jamieson) and his World of Wonders. After the show, Catherine invites Lawrence and his circus for dinner, where she and Gina end up being drugged. Gina gets seduced by Lawrence, while Catherine is seduced by his twin brother Oliver, who both transform into large beasts. Trying to figure out what happened, Catherine learns more about the castle and the Fauvrey brothers than she ever imagined. It’s a twisted love triangle in this strange gothic fairy tale!

     

    Review

    Even for Full Moon, Meridian is one of their stranger films, but it’s certainly one of their most unique. While many of their later films were either straight horror or science-fiction, this one is more of a gothic romance. It takes elements from classic fairy tales, particularly Beauty and the Beast, and adds a contemporary twist to it. The use of an authentic Italian castle and the general locations help make the film more expensive than it was. Most of the performances are solid, particularly a then-unknown Sherilyn Fenn and Malcolm Jamieson, though Charlie Spradling has her moments. Though it can be tricky for one actor to play two characters and make them distinctive, Jamieson pulls it off. Greg Cannom’s make-up effects are impressive, particularly the creature design, even incorporating transformations similar to An American Werewolf in London. This shows the potential Full Moon had at the time.

    However, especially in the age of the MeToo movement, Meridian: Kiss of the Beast is a somewhat problematic film. Despite the film being billed as gothic romance, the inciting incident involves rape rather than romance, which makes it awkward. Even though one brother is good and one brother is evil, neither is any better than the other. It doesn’t help that Catherine ends up falling in love with the good brother despite him drugging and raping her. I’m not sure if this was an intentional decision, but it’s more likely that they didn’t realize the implications. Given that it’s Charles Band and Full Moon, it’s is more focused on nudity and strange creatures than anything else. In the end, while it’s not one of their best films, I can appreciate them experimenting in different genres. Overall, Meridian: Kiss of the Beast is a problematic yet interesting watch.

     

    Buy Meridian: Kiss of the Beast 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 Meridian: Kiss of the Beast (1990)

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