Facebook

FilmNerd

Category: Cult Films

  • Laserblast (1978)

    Laserblast (1978)

    [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=”{}”]Well before Full Moon Features and Empire Pictures, Charles Band was cutting his teeth during the 1970s as a producer. His first film was 1973’s Last Foxtrot in Burbank, which was a spoof of the controversial Last Tango in Paris. He produced 1975’s Mansion of the Doomed, which is most notable for featuring an early role for Lance Henriksen. Charles Band even dabbled in adult cinema with 1977’s Cinderella and 1978’s Fairy Tales, both erotic versions of classic stories. He directed 1977’s Crash!, starring José Ferrer and John Carradine, and also produced End of the World the same year. In 1978, Band founded MEDA Home Entertainment, one of the first home video distributors, which later became Media Home Entertainment. The same year, he produced a sci-fi film that would later go on to develop a small cult following. That film was 1978’s Laserblast, the sole directing credit of Michael Rae.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Teenager Billy Duncan (Kim Milford) hates the small town he lives in, feels abandoned by his mother, and gets bullied. Even though he has a loving girlfriend Kathy (Cheryl Smith) that cares, Billy feels dejected by everyone around him. Things change when Billy finds a strange laser gun while wandering in the desert that requires a special pendant. After he starts firing the laser gun, two aliens are assigned to go to Earth and retrieve the laser gun. Meanwhile, Billy starts using the gun against those who bullied him, such as Chuck (Mike Bobenko) and Froggy (Eddie Deezen). As Billy continues his rampage, government agent Tony Craig (Gianni Russo) leads the investigation with help from the local sheriff. As he continues using the laser gun, Billy finds himself being corrupted further, getting green skin and white eyes. Will Billy be stopped, and will the aliens get their laser gun back?

     

    Review

    Laserblast is one of those movies where, after reading the synopsis, you’ll know whether or not this is for you. Most mainstream audiences will be put off by the weak story, mediocre acting, slow pacing, and general ridiculousness. However, if you’re the sort of B-movie connoisseur who enjoys watching these films on late-night channels, here you go. Like I said before, the story, though simple, is fairly weak, not helped by the incredibly dull pacing. With a few exceptions, the acting ranges between mediocre and terrible, with Kim Milford being arguably the weakest. Laserblast does feature classic actors Keenan Wynn, Roddy McDowall, and Ron Masak, all of whom do what they can. Also, the pacing is incredibly slow, with several scenes going on for what too long and not much exciting happening. Despite this, Laserblast is noteworthy for several reasons that make it worth a watch.

    For one, the film marks the first collaboration between Charles Band and stop-motion animator David Allen, which became a partnership. The sequences with the stop-motion aliens looking for the gun are among the film’s highlights, despite not understanding their dialogue. Also, this marked the first time Richard Band worked as a film composer, and he’d continue working with his brother. For being his only directing credit, Michael Rae’s direction isn’t terrible, and he could’ve even gone on to better things. Laserblast has a look that could only have come from the 70s, right down to the drab color scheme. Some audiences might be put off by this, but I look at it as a time capsule of the 1970s. This is often considered one of the worst movies ever made, but it’s nowhere near as bad as that. Overall, Laserblast is a good slice of 70s B-movie entertainment.

     

    Buy Laserblast 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.

     

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Puppet Master II (1990)

    Puppet Master II (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 releasing Puppet Master in 1989, things were starting to look up for Charles Band’s brand new production company. They had struck a deal with Paramount to release their films, and they wanted a sequel as soon as possible. Around the same time, Full Moon had three more films lined up: Shadowzone, Meridian, and Crash and Burn. For the next Puppet Master, original director David Schmoeller didn’t return, so stop-motion animator David Allen stepped in. David Allen had been working for Band since the 70s on films like Laserblast, The Dungeonmaster, Trancers, Eliminators, and Dolls. He was even nominated for an Oscar for his work on Young Sherlock Holmes for Best Visual Effects in 1985. For this, not only would he be handling the stop-motion effects, but he’d also be directing, something he rarely did. So, in 1990, one year after the previous film, Puppet Master II was released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Following the events of the previous film, a team of paranormal investigators goes to the Bodega Bay Inn. Alex Whitaker has gone crazy and Megan Gallagher was killed, so the team is there to investigate what happened. Among them are Carolyn Bramwell (Elizabeth Maclellan), her brother Patrick (Greg Webb), Mike Kenney (Collin Bernsen), and Wanda (Charlie Spradling). Mike’s psychic mother Camille (Nita Talbot) is supposed to join them, but she gets kidnapped by the puppets. Soon, the puppet Tunneler kills Patrick, leading to the sudden arrival of one Eriquee Chaneé (Steve Welles). Turns out Eriquee is Andre Toulon, who has been resurrected by his puppets to continue making his life-giving serum. His serum requires fresh brain matter, so he creates a new puppet, Torch, to assist the other puppets. Who will survive against these tiny terrors, and will Eriquee/Andre’s dastardly plot be foiled?

     

    Review

    While I enjoyed the first film, I thought it was lacking in the puppets, having very little screen time. Luckily, Puppet Master II remedies this by incorporating more of the puppets, even giving us an idea of their personalities. While Pinhead, Blade, Leech Woman, Jester, and Tunneler return, there’s the addition of Torch, easily one of the coolest puppets. Many of the kill scenes are pretty fun, the highlight being Blade running towards someone to slice their face up. With the late great David Allen at the helm, the stop-motion sequences are as delightful and as unsettling as ever. Having Toulon come back as a villain was a nice touch, especially his look, inspired by The Invisible Man. Plus, we get to know more of Toulon’s backstory, such as his introduction to giving life to puppets. Also, like so many other great B-movies, George “Buck” Flower is here, too.

    On that note, the acting isn’t terrible here and they do a fine job, but none are particularly memorable. Elizabeth Maclellan makes for a decent lead, and she does have good chemistry with her love interest Lance (Jeff Weston). Steve Welles makes for a good Toulon, both when he’s normal and when he’s dressed up in robes and bandages. Charlie Spradling is also fairly memorable, mixing a bit of a snarky attitude with her obvious sex appeal. Still, the true stars of this film are the puppets, and they’re easily the best part of the film. They proved to be so popular, Full Moon started producing a line of action figures and a comic book series. Even though Full Moon had only been around for about two years, things were starting to look up. As for Puppet Master II, it’s a great addition to a long-running franchise.

     

    Buy Puppet Master 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.

     

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • From Beyond (1986)

    From Beyond (1986)

    [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, Re-Animator was one of Empire’s more successful films, grossing $2 million against a $900,000 budget. Also, the film received positive reviews from critics, including Roger Ebert, who awarded it three out of four stars. Following the success, Stuart Gordon was given a three-picture deal, the first of which would be another Lovecraft adaptation. A sequel to Re-Animator was tossed around, but executive producer Charles Band was unsure about the idea at the time. Instead, it was decided by Gordon, co-writer Dennis Paoli, and co-writer/producer Brian Yuzna decided to adapt another Lovecraft work. Much of the cast/crew from Re-Animator would be brought back, including actors Barbara Crampton and Jeffrey Combs. Whereas the last film was filmed in Los Angeles, this would be filmed in Rome at the recently-acquired Dinocitta studios. So, in 1986, Stuart Gordon’s sophomoric effort, From Beyond, was released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    Physicist Crawford Tillinghast (Jeffrey Combs) has been assisting Dr. Edward Pretorius (Ted Sorel) in building a machine called The Resonator. The machine is designed to stimulate the pineal gland, which will allow those near the machine to see beyond reality. Something goes wrong and strange interdimensional creatures kill Pretorius, though Crawford escapes, only to end up in a mental institution. Psychiatrist Katherine McMichaels (Barbara Crampton) takes him into her care and intends to recreate the experiments that got Pretorius killed. Accompanied by football player turned detective Bubba Brownlee (Ken Foree), they return to Pretorius’ mansion and reactivate The Resonator. In addition to the strange creatures from before, they also see Pretorius, but he’s now become one with the creatures. While Crawford and Bubba want to either destroy the machine or leave, Katherine is determined, believing this may cure schizophrenia. Will our heroes survive, or will Katherine’s obsession be their downfall?

     

    Review

    Compared to the previous film, From Beyond isn’t quite as good, but it’s an impressive film in its own right. While they’ve essentially swapped roles, Barbara Crampton and Jeffrey Combs give terrific performances, able to deliver some ridiculous lines convincingly. Much like in Dawn of the Dead, Ken Foree is very entertaining as the comedic heart of the film. Thankfully, his humor never ruins some of the more serious scenes, and he knows when it’s appropriate for the moment. Similar to David Gale’s Dr. Hill in Re-Animator, Ted Sorel completely steals the show as the evil mad scientist. Even when he has to work with layers upon layers of makeup, he gives a very commanding performance. Also noteworthy is Carolyn Purdy-Gordon as the frigid Dr. Bloch, who has a pretty grisly and memorable death scene. It’s even funnier considering she was, and is still, married to the film’s director.

    In addition to the great cast, the special effects are something to behold, clearly showing the larger budget they had. Designed by the late great John Carl Buechler, the makeup and creature effects perfectly capture the cosmic horror of Lovecraft. Admittedly, some of the opticals stick out, but the rest of the effects still hold up over 30 years later. Though From Beyond lacks the over-the-top dark humor and gore of Re-Animator, the more serious tone works well here. Since the original short story is only seven pages long, everything after the pre-credits sequence acts as a sequel. In lesser hands, this would’ve failed, but given the talent behind the film, they manage to retain a Lovecraftian tone. This clearly shows how Stuart Gordon improved as a director following his impressive debut, given some of the filming conditions. Overall, From Beyond works as a Re-Animator follow-up and a standalone film.

     

    Buy From Beyond on Amazon: https://amzn.to/3CkGkCI.

    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. 

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch From Beyond (1986)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”From Beyond” data-year=”1986″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Doctor Mordrid (1992)

    Doctor Mordrid (1992)

    To view this content, you must be a member of FilmNerd’s Patreon at $2 or more
    Unlock with Patreon
    Already a qualifying Patreon member? Refresh to access this content.
  • An American Werewolf in London (1981)

    An American Werewolf in London (1981)

    [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=”{}”]Filmmaker John Landis is probably best remembered for comedic classics like Animal House, The Blues Brothers, and Trading Places. However, before making some of the most iconic comedies of the 70s and 80s, he had his humble beginnings. In 1969, he got his first real job as an assistant director on the WWII comedy, Kelly’s Heroes. While working on that film, Landis witnessed a gypsey burial where a man was wrapped in canvas, garlic, and rosaries. The man was also buried feet first to prevent him from rising from the dead, which gave Landis an idea. He wrote the first draft soon after, but it was shelved for years as he continued growing his career. He soon found success directing The Kentucky Fried Movie, Animal House, and The Blues Brothers, all of which were hits. With this success, he got to make his dream project, An American Werewolf in London. [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    Two young American men, David (David Naughton) and Jack (Griffin Dunne), are backpacking through the moors in Yorkshire, England. While traveling, they come across a pub called The Slaughtered Lamb, where they’re not welcome, so they decide to leave. Before leaving, they’re warned to avoid the moors, stick to the roads, and beware of the moon. Unfortunately, they end up disregarding their advice and are attacked by a large wolf, Jack killed and David left scarred. Sometime later, David wakes up in a London hospital, where he’s tended to by Nurse Alex Price (Jenny Agutter). David starts having a series of vivid dreams before being visited by Jack, now a member of the undead. Jack warns him that he’ll soon turn into a werewolf and he must kill himself, but David doesn’t believe him. Eventually, the full moon comes and David is turned into a deadly hound from hell.

     

    Review

    An American Werewolf in London is easily one of the best horror comedies ever made, achieving a perfect genre balance. Like I’ve said in my reviews of Evil Dead II and Blood Diner, horror-comedies can be tricky to pull off. Luckily, Landis manages to strike a balance between dark humor, crude jokes, tension-filled suspense, and effective use of gore. Right from the opening scene, David Naughton and Griffin Dunne are instantly likable and have great chemistry with each other. Speaking of, Naughton also has great chemistry with Jenny Agutter, which also adds an element of tragic romance. There are also some great character actors throughout, including John Woodvine, Dave Schofield, Brian Glover, Rik Mayal, and Frank Oz. Everyone in the cast knows exactly when it’s appropriate to be funny and when to act serious and even ominous. Also, be sure to look for a cameo from John Landis himself.

    Of course, it’s hard to talk about An American Werewolf in London without mentioning the makeup effects, for good reason. Done by the legendary Rick Baker, these are easily some of the best practical effects ever put on film. From Jack looking disemboweled and rotting to David’s initial werewolf transformation, it puts today’s CGI effects to shame. What also makes the initial transformation effective is Naughton’s performance, the bone-crunching sound effects, and the odd choice of music. Speaking of, the soundtrack is mostly comprised of “moon” songs, such as Blue Moon, Bad Moon Rising, and Moondance. While a more contemporary score would’ve fit some scenes better, the music is weirdly effective, adding an off-kilter feel. Other than some pacing issues and certain shots lasting too long, this is still an effective horror-comedy that deserves praise. Overall, An American Werewolf in London is essential viewing for budding horror aficionados.

     

    Buy An American Werewolf in London on Amazon: https://amzn.to/4fu8gCB.

    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. 

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch An American Werewolf in London (1981)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”An American Werewolf in London” data-year=”1981″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Sorority Babes in the Slimeball Bowl-O-Rama (1988)

    Sorority Babes in the Slimeball Bowl-O-Rama (1988)

    [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=”{}”]David DeCoteau has had a career in B-movies since the early 80s, having started at Roger Corman’s New World Pictures. He worked as a production assistant on Galaxy of Terror and Escape from New York, both released in 1981. After that, he moved on to directing mostly adult films under the pseudonym David McCabe before he met Charles Band. In 1986, DeCoteau directed Dreamanic, which was followed up by the post-apocalyptic monster movie Creepozoids in 1987. Band was so happy with DeCoteau’s work that he decided to bring him on board to become a regular. For his next film, DeCoteau started working on a film called The Imp, which was turned into a horror-comedy. With the change in tone, they decided on a new title that would fit the film more. So, in 1988, the newly re-titled Sorority Babes in the Slimeball Bowl-O-Rama was released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    At a college frat house, three guys, Calvin (Andras Jones), Jimmie (Hal Havins), and Keith (John Stuart Wildman), are bored. They get an idea: sneak over to the local sorority house where some new pledges are being initiated and watch. Unfortunately, they get caught by head sisters Babs (Robin Rochelle), Rhonda (Kathi O’Brecht), and Frankie (Carla Baron). As punishment, the three guys must accompany pledges Taffy (Brinke Stevens) and Lisa (Michelle Bauer) on a special mission. They’re sent to break into a local bowling alley and steal a trophy, the three heads watching via security cameras. While at the bowling alley, the gang runs into Spider (Linnea Quigley), a biker who’s robbing the place. They find a bowling trophy, but it gets dropped, releasing an imp named Uncle Impie (Michael Sanye, aka Dukey Flyswatter). He offers each of them a wish, but they soon discover that comes with a price.

     

    Review

    Having a title like Sorority Babes in the Slimeball Bowl-O-Rama, you should know what kind of movie you’re getting into. While this film is not going to receive high critical praise or sweep the Oscars, but it’s not trying to. The acting ranges from mediocre to downright amateurish, the effects are shoddy, and the story is flat out ridiculous. Even by Empire/Full Moon standards, this film is complete trash, but it’s still enjoyable trash that’s worth some laughs. One thing of note is the casting of three legendary scream queens: Linnea Quigley, Brinke Stevens, and Michelle Bauer. Not only are Stevens and Bauer more than willing to show some skin, but Quigley is owning all her scenes. She’s having fun playing a bad girl similar to her role in Return of the Living Dead, minus the nudity. However, the real star of the show is Uncle Impie.

    With a heavy ebonics-speaking voice and tons of corny jokes, Uncle Impie is what makes the film so much fun. The puppet itself looks pretty good, even though it has limited movement and the mouth doesn’t entirely match the voiceover. Also, much like other great B-movies, there’s even an appearance by George “Buck” Flower, once again giving a fun performance. As stated above, Sorority Babes in the Slimeball Bowl-O-Rama is not for everyone, especially for most mainstream audiences. However, if you’re the type of person who enjoys enjoyable trash cinema, this is well worth a watch. I should note that, at the time of writing this review, a sequel is already in the works. Whether or not the sequel lives up to the original, it shows how popular a seemingly bad movie can be. Overall, Sorority Babes in the Slimeball Bowl-O-Rama is a fun time for the right audience.

     

    Buy Sorority Babes in the Slimeball Bowl-O-Rama from Amazon: https://amzn.to/4d90Swm.

    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.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Dollman (1991)

    Dollman (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=”{}”]Filmmaker Albert Pyun is certainly no stranger to B-movies, having worked in the industry since the early 1980s. He first emerged on the scene with the surprise hit The Sword and the Sorcerer in 1982. Despite receiving mostly negative films, the film made almost $40 million against a $4 million budget, eventually earning cult status. This led to him becoming a regular for Cannon Films, directing films like Dangerously Close, Alien from LA, and Cyborg. He also directed the ill-fated Captain America in 1990 that went unreleased for two years before being released direct-to-video. While working for Cannon Films, Pyun also directed Vicious Lips in 1986 for Charles Band’s Empire Pictures. After Empire’s fall and the rise of Full Moon Features, Band recruited Pyun to direct a few more movies. They were the 1993 sci-fi horror film Arcade and the 1991 sci-fi action film Dollman.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    On the far-off planet of Arturos, the tough-as-nails cop Brick Bardo (Tim Thomerson) stops a hostage situation while doing laundry. After getting home, he’s kidnapped and brought before the villainous Sprug (Frank Collison), who has stolen Bardo’s blaster. Fortunately, Bardo manages to retrieve his weapon, the Groger Blaster, and uses it to blow up Sprug’s henchmen. Sprug escapes into his ship, Bardo chases after him, and they both end up going through a wormhole. They land on Earth, specifically The Bronx, where it turns out they’re both roughly 13 inches tall. Bardo ends up meeting Debi (Kamala Lopez), a single mother who’s frustrated by the increasing crime rate in her city. Meanwhile, Sprug is discovered by local gang leader Braxton Red (Jackie Earle Haley), and they strike a deal. It’s intergalactic urban warfare as Bardo takes on Braxton and his gang and fights to clean the streets.

     

    Review

    Much like Trancers, Tim Thomerson once again shows off just how awesomely charismatic and entertaining he can be. As Brick Bardo, he essentially acts as a parody of Dirty Harry, with his attitude, overpowered gun, and general recklessness. Kamala Lopez does a great job, playing a civilian who stands her ground against crime and corruption in the city. For a relatively silly film, Jackie Earle Haley easily steals the show, playing his character with intensity and manic energy. Albert Pyun’s direction is solid, perfectly capturing the grittiness of The Bronx and New York in the early 1990s. However, at least 40% of the film is comprised entirely of establishing shots of the city, which can be repetitive. Also, as much as I prefer in-camera effects, many of the miniatures and compositing have aged pretty poorly. Admittedly, these do add to the film’s charm as a fun, cheesy B-movie.

    One thing that helps Dollman stand out is its themes of urban decay and people struggling to make ends meet. Granted, given that this is Full Moon, this might have been accidental, but that’s what I took away from it. Still, it’s pretty apparent with how Debi is struggling as a single mother whose husband was killed by street toughs. There’s a minor subplot about her trying to help the city and stop the crimewave despite an apathetic police chief. Admittedly, not much is done with this and it doesn’t lead to anything, but it’s still an interesting addition. Much like other Full Moon films, Dollman did return, first cameoing in Bad Channels and later fighting the Demonic Toys. We’ll get to that sequel, Dollman vs Demonic Toys, some other time, but for now, Dollman gets a strong recommendation. Overall, Dollman is a solidly entertaining film despite some minor flaws.

     

    Buy Dollman 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.

     

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch Dollman (1991)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Dollman” data-year=”1991″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • TerrorVision (1986)

    TerrorVision (1986)

    [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=”{}”]

    Ted Nicolaou, who some may remember directed Subspecies, has had quite an interesting career, especially in the horror genre. After graduating from film school, his first job was as a sound recorder for 1974’s The Texas Chain Saw Massacre. In 1979, he worked as an editor on the film Tourist Trap, where he first met producer Charles Band. He continued editing for Band on movies like The Day Time Ended, The Alchemist, Trancers, Ghoulies, and Zone Troopers. Eventually, Nicolaou got to direct a segment of The Dungeonmaster, but later asked Band to direct a full-length feature. Band presented him with a poster and a title, “TerrorVision”, and told him to come up with the concept. With this in mind, Nicolaou decided to make it a comedy that satirized the excess and tropes of the 1980s. After some months shooting in Italy, 1986 saw the release of Nicolaou’s feature debut, TerrorVision.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Stan Putterman (Gerrit Graham) is working on his new satellite dish when it gets struck by a bolt of lightning. This ends up boosting the dish’s signal, much to the shock and amazement of the rest of the Putterman family. Later on, their son Sherman (Chad Allen) settles in to watch some monster movies with his survivalist Grampa (Bert Remsen). Meanwhile, Stan and his wife Raquel (Mary Woronov) go out to meet some swingers, who they eventually bring back home. Their daughter Suzy (Diane Franklin) goes out with her metalhead boyfriend OD (Jon Gries), leaving Sherman and Grampa all alone. That night, while Sherman and Grampa fall asleep, a giant alien monster emerges from the TV and eats Grampa. Soon, the rest of the family return home and Sherman tries warning them about the monster, but to no avail. Soon, the monster runs rampant and eating everything in its path.

     

    Review

    Even for an 80s horror-comedy, TerrorVision is such a strange and ridiculous film that shouldn’t work but weirdly does. The entire cast is having a great time, playing their parts as over-the-top as possible and reveling in the absurdity. You have Gerrit Graham and Mary Woronov as the parents with the sensibilities of the 50s mixed with 80s weirdness. Then there’s Diane Franklin, whose character is like a more exaggerated Cyndi Lauper mixed with a stereotypical 80s valley girl. Along with the crazy survivalist Grampa and the stereotypical metalhead OD, Chad Allen’s Sherman is pretty much the straight man. Also worth mentioning is Jennifer Richards as Medusa, a horror hostess inspired by Elvira who has some fun moments. Lastly, there’s Sonny Carl Davis in a small role, who would later go on to be a Full Moon regular. This is one of the best B-movie casts assembled.

    Given that this was his first time directing a feature, Nicolaou’s direction is fantastic, perfectly capturing that live-action cartoon aesthetic. The creature effects were done by the late John Carl Buechler, and they look fantastic, a testament to his talent. Buechler and his team manage to make the monster both hideous and gross, yet strangely cute at the same time. In terms of production design, the Putterman house is intentionally made to be as garish and tacky as possible. The look and style compliment the cast in satirizing some of the worst aspects of the 1980s. Admittedly, TerrorVision is one of those films that people will either love or hate given the ridiculousness on display. If you rolled your eyes at how I described TerrorVision, then this is not the film for you. But if you enjoy 80s campy cinema, TerrorVision is an underrated gem that’s worth a watch.

     

    Buy TerrorVision from Amazon: https://amzn.to/4hCtHDE.

    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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch TerrorVision (1986)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”TerrorVision” data-year=”1986″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Demonic Toys (1992)

    Demonic Toys (1992)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_video _builder_version=”4.27.5″ _module_preset=”default” src=”https://youtu.be/W2RX1TGjQMc” hover_enabled=”0″ sticky_enabled=”0″][/et_pb_video][/et_pb_column][/et_pb_row][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=”4.27.5″ global_colors_info=”{}”]

    Throughout the early to mid-’90s, Full Moon Features was dominating the booming home video market, establishing several film franchises. They were finding their biggest successes with their Puppet Master, Subspecies, and Trancers series, and they had Paramount Pictures’ backing. Full Moon was releasing several direct-to-video fantasy, sci-fi, and horror films in hopes of creating more franchises. In addition to bringing talent from the days of Empire Pictures, Full Moon also had plenty of young, fresh talent. One such person was writer David Goyer, who went on to write the Blade and Dark Knight trilogies, among other blockbusters. Then there’s filmmaker Peter Manoogian, who started at Empire directing films like The Dungeonmaster, Eliminators, Enemy Territory, and Arena. After the fall of Empire, Manoogian moved on to Full Moon and joined Goyer to work on their first project. That project became the 1992 killer toy movie, Demonic Toys.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ global_colors_info=”{}”]

    Synopsis

    Officers Judith Gray (Tracy Scoggins) and Matt Cable (Jeff Weston) are staging a fake arms deal to catch two dealers. Unfortunately, things go south when the dealers, Lincoln (Michael Russo) and Hesse (Barry Lynch), figure out this is a setup. Matt shoots Heese, Lincoln kills Matt, and they make their way to a nearby toy store with Judith in pursuit. Judith manages to catch Lincoln, while Heese stumbles through the store, bleeding out, which brings the toys to life. Amongst the toys are Baby Oopsy Daisy, Grizzly Teddy, Jack Attack, and Mr. Static, who brutally murder Heese. Meanwhile, the oblivious security guard, Charneski (Pete Schrum), orders his usual chicken dinner from his friend, Mark Wayne (Bentley Mitchum). Soon, Judith and Lincoln join the others, the toys kill Charneski, and Anne (Ellen Dunning), a teen runaway, joins them. As the toys continue hunting them, their true motives are soon revealed.

     

    Review

    Demonic Toys is prime Full Moon goodness, full of fun characters, plenty of blood, dark humor, and tiny puppets. The first thing to spotlight is Tracy Scoggins, who gives a really good performance and is having a good time. It helps that Tracy Scoggins is a huge horror and sci-fi fan who wanted to do this kind of film. Bentley Mitchum does go into overacting territory later on, almost going for something similar to Bill Paxton in Aliens. The rest of the cast does their best, but the real stars are the toys themselves. Designed by the late, great John Carl Buechler, each toy has a very distinct personality and looks great. There’s even a great moment where the teddy bear goes from a puppet to a guy in a full suit. While the film is occasionally scary, it’s more funny in a dark way.

    Though not quite as prolific as the Puppet Master series, Demonic Toys still had life following the first film. There were two spin-offs, Dollman vs Demonic Toys and Puppet Master vs Demonic Toys, and even a sequel in 2010. Manoogian went on to direct Seedpeople, The Midas Touch, and DevilDolls, while Goyer wrote Arcade and the first spin-off. Demonic Toys is perfect for anyone looking for a fun, cheesy horror film to watch, and it goes by quickly. There will be plenty who say this movie is ridiculous, but they’re not the right audience for it. That said, it’s probably good that there weren’t too many films that went downhill over time. Still, this is a fun horror-comedy that’s perfect fodder for an all-night horror movie marathon, especially for B-movie fans. Overall, Demonic Toys is another example of how entertaining Full Moon movies can be.

     

    Buy Demonic Toys 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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”]

    Where to watch Demonic Toys (1992)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Demonic Toys” data-year=”1992″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Re-Animator (1985)

    Re-Animator (1985)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/l4xjdlP5Spc” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_video][/et_pb_column][/et_pb_row][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Though never appreciated in his own time, Howard Phillips Lovecraft, aka HP Lovecraft, is considered the grandfather of modern horror. His works, particularly his Cthulhu mythology, have inspired writers like Stephen King, Alan Moore, William S. Burroughs, and Neil Gaiman. Over the years, numerous film adaptations have been made of his work, ironic since Lovecraft wasn’t a fan of cinema. Flash forward years later when Chicago-based theater director Stuart Gordon was looking to make a new Frankenstein-type film. At a friend’s suggestion, he read Lovecraft’s Herbert West-Reanimator and wanted to adapt it either for theater or television. Having met producer Brian Yuzna, Gordon was convinced to move to Hollywood and adapt the story to film. With a roughly $1 million budget, a cast of relative unknowns, and a first-time director, it was a tall order. Then, 1985 saw the release of what would become the highly regarded cult classic, Re-Animator.

    [/et_pb_text][/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    At Miskatonic University’s Medical School, Dan Cain (Bruce Abbott) is a young medical student with a promising future. Things are going well for him and his fiancee Meg (Barbara Crampton) until they meet student Herbert West (Jeffrey Combs). West ends up taking the spare room Dan is renting out, though Meg is unsure about West and fears him. It isn’t long before West catches the ire of Dr. Carl Hill (David Gale), and the two instantly become foes. Turns out West has been developing a reagent serum that can reanimate the dead, but with catastrophic results. After an incident where Dean Halsey (Robert Sampson), Meg’s father, is accidentally killed and reanimated, Hill tries to blackmail West. Hill wants to steal West’s work, prompting West to decapitate him with a shovel, then reanimated his head and body. Newly reanimated, Hill steals West’s reagent and commences with his sinister plans.

     

    Review

    For being a low budget horror film made by mostly first timers, Re-Animator has a lot going for it. Much like Evil Dead II, the film is a perfect blending of shocking horror, over-the-top gore, and black comedy. Adding onto that, this film pushes boundaries to where, just when you think it won’t go there, it does. There are so many scenes that’ll either make you wince, laugh, or even both, oftentimes questioning your own sanity. In addition, for a cast of mostly unknowns, everyone delivers a fantastic performance, each actor playing well off one other. Bruce Abbott makes for a likable and charismatic lead, and he has fantastic chemistry with the always lovely Barbara Crampton. David Gale makes for a great villain, having a quality that’s eerily similar to horror icons like Boris Karloff. However, I would argue that the real star of Re-Animator is Jeffrey Combs.

    As Herbert West, Combs’ mix of charisma, dry comedic wit, and quirky charm makes him an instant scene stealer. His character shows such determination in his research that you actually go along with him and believe in his work. At the same time, the film makes it clear that he’s insane in his ruthless determination to get results. Along with the cast, Gordon’s first time directing is top-notch, almost framed and blocked like a filmed theater production. The practical effects, given the low budget, are impressive and among some of the best 80’s practical effects. Admittedly, there are some character decisions and plot inconsistencies that don’t make sense, but much of that is pretty unimportant. This film shows how with determination, passion, and talent, you can still make a great film without a huge budget. Overall, Re-Animator is an entertainingly dark horror comedy that deserves its cult classic status.

     

    Buy Re-Animator on Amazon: https://amzn.to/4e2KNHO.

    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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch Re-Animator (1985)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Re-Animator” data-year=”1985″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]