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Category: Cult Films

  • Subspecies (1991)

    Subspecies (1991)

    [et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” 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/0kC2dweoieM” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][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=”4.27.4″ global_colors_info=”{}”]After the success of Puppet Master, Full Moon started releasing more direct-to-video films intending to start potential franchises. Thanks to a deal with Paramount Pictures, they were able to feed the burgeoning home video market at the time. Around the same time, Full Moon also released ShadowzoneMeridian: Kiss of the Beast, and Crash and Burn. Even films originally produced under Empire Pictures, namely Trancers, were made into their own franchises for Full Moon. Speaking of Empire, Ted Nicolaou, who worked on GhouliesThe Dungeonmaster, and TerrorVision, was brought over to Full Moon. For his first film under Full Moon, Nicolaou would also be directing the first American to be filmed in Romania. While initially reluctant, Nicolaou agreed to do it despite some production setbacks, including the last remnants of communism. Then in 1991, Full Moon released Nicolaou’s Romanian film, the vampire tale, Subspecies, kicking off a whole new series.

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    Synopsis

    In the Romanian town Prejmer, the vampire king Vladislas (Angus Scrimm) is confronted by his evil son Radu (Anders Hove). Radu is after the Bloodstone, which will give him untold power, but Vladislas plans on entrusting it to Radu’s half-brother. In retaliation, Radu kills the king and gets the Bloodstone with the help of his diminutive minions, the subspecies. Meanwhile, American students Michelle (Laura Tate) and Lillian (Michelle McBride) meet up with their friend Mara (Irina Movila) in Bucharest. They soon meet Stefan (Michael Watson), who turns out to be Radu’s younger half-brother and is trying to protect them. Unfortunately, Lillian accidentally marks herself for Radu, leading to her and Mara being turned into his vampire brides. Stefan falls in love with Michelle, but Radu also has his sights set on making her one of his own. With the help of local Karl (Ivan J. Rado), Stefan must stop Radu.

     

    Review

    The first thing I’d like spotlight is how Subspecies takes full advantage of the ancient Romanian castles and ruins. The locations used really add to the look of the film and make it seem bigger than it actually is. In addition, Nicolaou’s direction is top-notch, utilizing the locations and heavy shadows to create a dark and foreboding atmosphere. Performance-wise, everyone does a decent job, but the real highlight is Anders Hove, who’s instantly memorable as the villainous Radu. His raspy voice, Nosferatu-inspired look, devilish smile, and drooling snarl make him stand out from other vampire characters. Another highlight are the subspecies themselves, who were brought to life by stop motion animator and frequent collaborator David Allen. While some of the blue screen on the puppets hasn’t aged well, the stop motion animation still looks good. Plus, the musical score is among some of the best in Full Moon’s entire catalog.

    However, while this is definitely one of the better Full Moon films, Subspecies still has its issues and flaws. For one, even at 83 minutes, there are many scenes that drag on and probably could’ve been trimmed. There are many scenes where characters are just standing around and not doing anything, which slows the pacing down. Also, while Anders Hove makes for a memorable vampire, Michael Watson’s Stefan is an incredibly weak and pretty useless vampire. Honestly, the human characters, namely Michelle and Karl, end up doing more than Stefan, a half vampire, does. Speaking of, while none of the human characters are awful, their performances are unremarkable and nothing to write home about. Even with all that said, this still works as an interesting spin on vampire mythology that works on its own. Overall, Subspecies is a great start to another signature Full Moon franchise.

     

    Buy Subspecies 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 Subspecies (1991)

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  • Slave Girls from Beyond Infinity (1987)

    Slave Girls from Beyond Infinity (1987)

    [et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” 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/S6WxCgSX7iE” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][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=”{}”]In 1924, author and journalist Richard Connell published the short story, The Most Dangerous Game, in the American magazine Collier’s. The story was about a big-game hunter who’s stranded on a tropical island and hunted by a Russian aristocrat. Over the years, the story has been adapted into multiple films, starting with 1932’s The Most Dangerous Game from RKO. Future Oscar winner Robert Wise directed the 1945 remake, A Game of Death, which was also produced by RKO. Several more adaptations were made, such as 1956’s Run for the Sun, 1961’s Bloodlust!, and 1972’s The Woman Hunt. Even Asian filmmaker John Woo’s debut in America, 1993’s Hard Target, was loosely based on the short story. And of course, the 80s saw a sci-fi version of the story from none other than Charles Band’s Empire Pictures. That adaptation was the 1987 sci-fi adventure film, Slave Girls from Beyond Infinity.

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    Synopsis

    Daria (Elizabeth Kaitan) and Tisa (Cindy Beal) have recently escaped from a space prison and taken off in a spacecraft. Unfortunately, the ship crashes on a mysterious planet, where they meet Zed (Don Scribner), who invites them to his fortress. After cleaning up and getting elegant dresses, they join Zed for dinner, along with two other crash-landing survivors. Rik (Carl Horner) and his sister Shala (Brinke Stevens) both warn the girls about Zed, saying the other survivors disappeared. Soon enough, they discover Zed’s trophy room and learn that he plans on hunting them for sport. While Rik and Daria go off to the jungle to prepare for the hunt, Shala is taken prisoner by Zed. Eventually, Zed figures out what’s going on, captures Daria and Tisa, and sets them and Shala loose for the hunt. The girls flee for their lives as they try finding a way to survive.

     

    Review

    With a title like Slave Girls from Beyond Infinity, you’ll know right away if this is something you’re interested in. If you scoff at the title and find it ridiculous, this movie will obviously not appeal to you. However, if you know what you’re getting into and are looking for something silly but fun, this is for you. This is the sort of B-movie that knows what it is and has fun with it without being too self-aware. Elizabeth Kaitan and Cindy Beal, in addition to being gorgeous, clearly know what movie they’re in and act accordingly. Don Scribner makes for a decent villain, even though there’s not much to his character, but backstory isn’t necessary here. Carl Horner and Brinke Stevens do what they can with the small amount of screen time they’re given. Of course, it helps that the women are willing to show off their “assets”.

    Slave Girls from Beyond Infinity feels like the kind of movie a 14-year-old would stumble across at 2am on CineMax. In addition to the women either wearing skimpy outfits or being nude, there’s also robots, mutants, and laser guns. What this movie lacks in story and character development, it makes up for in unapologetic fun and sheer ridiculousness. Shout out to the late John Carl Buechler, who worked on the make-up effects for many Empire/Full Moon films. It also helps that this movie is only 75 minutes long, so it never overstays its welcome or drags out. Admittedly, there are some moments where the movie tends to slow down, but not enough to make the movie boring. Given the sociopolitical environment we live in, this movie would upset the likes of Anita Sarkeesian and other hardcore feminists. For everyone else, Slave Girls from Beyond Infinity is great B-movie entertainment.

     

    Buy Slave Girls from Beyond Infinity 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 Slave Girls from Beyond Infinity (1987)

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  • Trancers (1984)

    Trancers (1984)

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    Synopsis

    In 2247, Jack Deth (Tim Thomerson) is a cop hunting down trancers, zombie-like people being controlled by an evil mastermind. After an incident at a diner, Jack is told by his superior McNulty (Art LaFleur) to meet the high council. The council informs him that the mastermind behind the trancers, Whistler (Michael Stefani), lives and has retreated to the past. Using a process called “going down the line,” he’s inhabited his ancestor’s body and hunted down the council’s ancestors. Jack’s consciousness is sent into his ancestor’s body in 1985 to track down Whistler and bring him to justice. In the past, he meets Leena (Helen Hunt), a punk girl his ancestor picked up at a bar. He asks her for help finding the council’s ancestors, but she’s initially reluctant until she encounters some trancers. With her help, Jack works to track down the ancestors before Whistler gets to them.

     

    Review

    Even though aspects of the film are slightly dated, Trancers still works thanks to its fantastic story and talented cast. Tim Thomerson nails it as Jack Deth, perfectly capturing the look and attitude of a film noir detective. His sarcastic attitude, smart-ass quips, and tremendous charisma make him an instantly likable and believable leading man. To match his attitude and charisma, Helen Hunt does a great job and has fantastic chemistry with Thomerson. Michael Stefani is a good villain, and Art LaFleur is entertaining as the hard-ass police lieutenant. Charles Band’s direction is on-point, and he manages to stretch the film’s low budget as far as possible. Bilson and De Meo’s script is well-written, and the concept of time travel is unique and ahead of its time. Trancers is one of the more unique sci-fi action films of its time.

    Many crew members from Trancers worked at Full Moon, including David Allen, Ted Nicolaou, and John Carl Buechler. Allen did stop-motion effects for many Full Moon movies, Nicolaou directed the Subspecies franchise, and Buechler worked on makeup effects. Bilson and De Meo went on to write and direct Zone Troopers for Empire, reuniting Tim Thomerson and Art LaFleur. After Empire fell and Full Moon started, Band decided to resurrect Trancers into a franchise totaling five sequels. In addition to film noir, Trancers also takes inspiration from Blade Runner, even hiring Gene Winfield, who designed the spinners. Admittedly, I would’ve liked more scenes in the future setting and further explanation on how the trancers work. Even still, this is a fantastic hidden gem of a sci-fi film that more than earns its cult status. Overall, Trancers is a solid sci-fi noir that launched a popular cult franchise.

     

    Buy Trancers 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 Trancers (1984)

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  • Shocking Dark (1989)

    Shocking Dark (1989)

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    In 1984, a then-unknown James Cameron brought us The Terminator, a sci-fi film that instantly became a classic. Two years later, he followed that up with a long-awaited sequel to Alien, simply titled Aliens, which also hit big. Of course, years prior, many filmmakers made their own films trying to capitalize on Ridley Scott’s slasher in space. B-movie kingpin Roger Corman brought us titles like Forbidden World and Galaxy of Terror, which Cameron actually worked on. Over in Italy, there was Ciro Ippolito’s Alien 2: On Earth and the more infamous Contamination from Luigi Cozzi. After the release of Cameron’s Aliens, there weren’t too many knock-offs produced in its wake, despite its massive success. However, in 1989, Italian filmmakers Bruno Mattei and Claudio Fragasso teamed up for a mash-up of Aliens and The Terminator. That film was the sci-fi action film Shocking Dark, also known as Terminator 2. (Yes, really!)

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    In the distant future, Venice has been hit with pollution, and is under the control of the Tubular Corporation. One day, one of their facilities is attacked by some strange underground creatures, and a team is sent to investigate. The team is comprised of Dr. Sara Drumbull (Haven Tyler), some civilians, and the Mega Force, an elite combat team. With Mega Force member Koster (Geretta Geretta) leading the team, they investigate the base to find hideous monsters running amok. While exploring, they find a little girl named Samantha (Dominica Coulson), who’s been surviving after the monsters killed her parents. As the Mega Force are killed one by one, team member Samuel Fuller (Christopher Ahrens) is revealed to be cybernetic. Turns out he’s been sent by the Tubular Corporation to cover up that the monsters were their creation. It’s up to Sara and Samantha to stop them and prevent the pollution.

    Make no mistake, Shocking Dark is absolutely a rip-off of Aliens with elements of The Terminator thrown in. There’s the advanced combat team, the female lead, a young orphan girl, an evil corporation, monsters, and even a cyborg. As for The Terminator, not only is there an evil cyborg, there’s also some time travel in the last act. It’s pretty clear why this wasn’t released in the States until recently when Severin Films released the film on blu-ray. Had Shocking Dark been originally released in the States, there probably would’ve been at least one lawsuit against the filmmakers. Honestly, there really isn’t much to talk about since the plot is essentially the same plot as Aliens. To their credit, the filmmakers were told by their producers to intentionally rip off Aliens and The Terminator. Honestly, this isn’t surprising since that was the case with most Italian exploitation films back then.

    Acting wise, there isn’t much to say, other than it ranges from decent to laughably ridiculous, but nothing outright awful. Geretta Geretta, clearly channeling Jeanette Goldstein in Aliens, is still the highlight here and has some of the best lines. Haven Tyler is fine but nothing special, and Dominica Coulson’s indefinable accent just adds to the ridiculousness on display. Speaking of, even before he’s revealed to be a cyborg, Christopher Ahrens acts very robotic and doesn’t have much emotion. Compared to other 80s Italian exploitation, Shocking Dark is surprisingly tame, with very little to no gore and nothing sexual. It almost feels like a live-action Saturday morning cartoon or a slightly updated 50s cheesy sci-fi movie. While I’ve been pretty critical here, it’s still worth a watch so long as you know what you’re getting into. Overall, Shocking Dark is a shameless yet strangely entertaining piece of sequel-sploitation.

    Buy Shocking Dark on Amazon here: https://amzn.com/B07CT88BVT/

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  • Beyond the Darkness (1979)

    Beyond the Darkness (1979)

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    I talked about Italian exploitation filmmaker Aristide Massaccesi, aka Joe D’Amato, in my review of his 1980 cannibal film, Antropophagus. Before he was a director, D’Amato worked as a cinematographer for directors like Umberto Lenzi, Massimo Dallamano, and Demofilo Fidani. He got his first chance at directing in 1972, co-directing various spaghetti westerns before directing his own films in 1973. His first solo films were 1973’s Death Smiles on a Murderer and 1974’s Heroes in Hell, both featuring Klaus Kinski. The first film he directed using the Joe D’Amato pseudonym was 1975’s Red Coats, which was a hit upon release. Between 1975 and 1977, D’Amato entered the adult film world with his Black Emanuelle series starring Laura Gemser. Returning to Italy in 1978, he directed the nunsploitation film, Images in a Convent, eventually directing a new horror film. That film was 1979’s Buio Omega, released domestically as Beyond the Darkness.

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    Taxidermist Frank Wyler (Kieran Canter) visits his fiance Anna (Cinzia Monreale), who’s dying of some sort of unknown illness. After she dies, he returns home to confide in his housekeeper Iris (Franca Stoppi), who has her own ulterior movies. Not wanting to let her go, Frank takes Anna’s body from the funeral home to keep her preserved. Along the way, he picks up a hitchhiker (Lucia D’Elia), who catches Frank disemboweling Anna’s corpse and is promptly killed. With Iris’ help, the two chop up the hitchhiker’s body and dissolve the parts in a tub of acid. Later on, Frank runs into a jogger (Anna Cardini), who sprains her ankle and goes home with Frank for help. The two start having fun on the bed, until she freaks out seeing Anna’s body, prompting Frank to kill her. Iris helps Frank dispose of the body again, but soon her intentions become clear.

    While I did overall enjoy Antropophagus, I personally found Beyond the Darkness was the much stronger film of the two. Not only does the film work as a prime Italian splatter example, but it has a psychological angle to it. As weird as it sounds, this almost has an endearing love story of a man wholly devoted to his lover. Even though what he does is deplorable, Frank clearly loves his fiance and wants to keep her around forever. In addition, you get a sense of how Iris is clearly manipulating Frank so she can get his inheritance. Not only does she help him with his murders, but she babies him, even breastfeeding him at one point. At one point, Iris tries passing off to her friends that she and Frank are lovers, but Frank rejects her. Clearly, these two have a tenuous relationship that’s on the tipping point.

    From a technical standpoint, Beyond the Darkness is probably D’Amato’s most well-made film to date, even with a low budget. Much like with Antropophagus, he makes great use of shadow and darkness that add to the suspense and uneasiness throughout. Acting wise, Kieran Canter does a decent job, though he spends most of the film with one facial expression. At the same time, Franca Stoppi amps up her performance and really shows off her crazy eyes and eccentric personality. In terms of violence and gore, Beyond the Darkness is probably less graphic than Antropophagus, but it’s still pretty gruesome. The autopsy scene with Anna’s corpse alone should satisfy any gorehound, if only for how raw and real it feels. Lastly, special mention goes to the score by the Italian rock group Goblin, which is immediately catchy and memorable. Overall, Beyond the Darkness is a gory, disturbing, and effective horror film.

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  • Antropophagus (1980)

    Antropophagus (1980)

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    In the annals of exploitation cinema, one country that has produced some of the most notorious films is Italy. Some of the most prominent filmmakers of this period included Dario Argento, Lucio Fulci, Ruggero Deodato, and Umberto Lenzi. These and many others specialized in different types of films, including giallos, spaghetti westerns, crime thrillers, knock-offs, and splatter films. One of the most notorious of these was Deodato’s Cannibal Holocaust, which became a major controversy since its 1980 release. Deodato was actually brought before a judge to prove he didn’t kills his actors, though he did kill many animals. While not the first, this started a trend of cannibal movies, including Cannibal FeroxEaten AliveCannibal Apocalypse, etc. Enter filmmaker Joe D’Amato, born Aristide Massaccesi, who, with frequent collaborator Luigi Montefiori aka George Eastman, made a cannibal film. That film was the notorious 1980 film, The Grim Reaper aka Antropophagus.

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    A group of tourists are planning a trip to the Greek islands and bring along Julie (Tisa Farrow). She’s joining them to meet up with friends living on one of the islands, though Carol (Zora Kerova) has reservations. Despite her objections, the group sails to the islands anyway, and upon arrival, pregnant Maggie (Serena Grandi) sprains her ankle. The others go off exploring the island while Maggie stays behind, only to be abducted by a mysterious figure. While exploring the island, they find it deserted save for a woman in black living in an old house. They make their way to a house owned by Julie’s friends, finding a young blind girl named Henriette (Margaret Mazzantini). Soon, the titular Antropophagus (George Eastman) makes his presence known and starts eating and killing the group one by one. Who will survive, and who will fall victim to the cannibalistic killer?

    As with many Italian horror films of the time, this one clearly lacks the budget of a major studio production. However, what the film lacks in budget, it more than makes up for in its atmosphere and some shocking moments. D’Amato is similar to another infamous exploitation director, Jess Franco, where when he’s on, it’s great, but otherwise is poor. He’s usually known for his knock-offs of more popular films, such as The Blade Master, or his more hardcore films. However, Antropophagus is definitely one of his better films, where even in slower scenes, there’s a very foreboding atmosphere present. The film makes great use of shadows and darkness that gives it a very eerie feeling, like exploring a cave. Of course, there’s the occasional day-for-night sequence that’s painfully obvious, but that’s pretty common in most low budget films. Otherwise, the filmmaking on display is quite impressive given the limitations.

    Acting-wise, the performances are fairly decent, though it’s hard to judge given that everyone was dubbed like most Italian films. Tisa Farrow, in what ended up being her final role before retiring, gives a very expressive performance that works here. Zora Kerova and Margaret Mazzantini also do a good job, and the rest of the cast does what they can. However, the real star is George Eastman, who despite having no dialogue, is intense and terrifying as the cannibalistic killer. It’s a shame that he said he was ashamed of this film in a recent interview because he is fantastic. When it was released, the film was labeled a “Video Nasty” in the UK, and it’s easy to see why. While not as graphic by today’s standards, there are some shocking moments that are not for the faint of heart. But those with strong stomachs, Antropophagus is worth a look.

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  • Viy (1967)

    Viy (1967)

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    In 1835, Russian novelist Nikolai Gogol published Mirgorod, which was a collection of short stories that revolve around Ukrainian life. One of those stories was the novella Viy, aka The Viy, focusing on a demonic creature of the same name. Though the story’s folkloric source is unknown, scholars believe it may have been inspired by St. Cassian the Unmerciful. Some tales said St. Cassian had eyebrows that went down to his knees and were raised during Leap Year. While Mirgorod wasn’t financially successful at the time, it was received positively, particularly from Vissarion Belinsky and Leo Tolstoy. The first film adaptation of Viy was a silent film in 1909, but the film has since been lost. Though not an adaptation, Mario Bava’s 1960 film Black Sunday was loosely based on Gogol’s novella. The first feature film adaptation came seven years later with the release of the Russian film called Viy.

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box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” z_index_tablet=”500″]

    When several seminary students are sent out for vacation, three particular students end up getting lost in the woods. The three take up residence in a small farmhouse where an old lady lives and sleep for the night. She tries to seduce seminarian Khoma (Leonid Kuravlyov), but he refuses, prompting her to cast a spell on him. Flying on his back, she reveals herself to be a witch, and once they land, Khoma beats her to death. She suddenly turns into a young woman named Pannochka (Natalya Varley), and Khoma runs off in fear. He returns to his seminary, where he’s summoned by the rector to meet with a rich merchant needing prayers. Turns out his daughter, who’s the young woman Khoma nearly killed, requested Khoma by name to offer his prayers. Khoma is promised gold if he succeeds, but he ends up being haunted by her demonic forces.

    The first thing to mention is that I watched this twice, mostly because I started nodding off the first time. Somehow, this feels appropriate since the movie has a very dreamlike quality to it, like a nightmare or fever dream. As the film progresses, there’s a sense of uneasiness and dread that persists to the end in a big way. Given when and where this was made, many of the effects are dated, but that adds to the general uneasiness. Also, when things start to get strange, the editing gives the film even more of a dreamlike and disorientating feel. Acting-wise, everyone turns in a fine performance, with Leonid Kuravlyov and Natalya Varley standing out. Leonid mixes mild comedy with pure terror well, and Natalya is delightfully over the top as the witch. When the demons show up, everything is tinted green and there are some harsh camera angles used.

    As mentioned above, I had a hard time watching the film initially, so this film may not appeal to everyone. The pacing is deliberately slow, almost as if nothing is happening, and that can put many people off. However, if you’re willing to stick with it, you’ll be rewarded with a very intense climax of trippy visuals. By today’s standards, the demons and the titular Viy look crude, but it works for this film’s style. Some may also be put off because the story isn’t very well-known and isn’t as accessible as other older stories. If nothing else, it’s worth a watch just for something different and to see what Russian filmmaking was like. Given Hollywood’s current trend of revisiting familiar stories several times over, I wonder what a modern version would be like. Until then, Viy is a strange curiosity that’s worth discovering and giving a watch.

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  • The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

    The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

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    In the 1970’s, screenwriter W.D. Richter was introduced to novelist Earl Mac Rauch, and the two began a working relationship. When Mac Rauch introduced a new character he created named Buckaroo Bandy, Richter became interested and had him develop it. At one point during the revisions, Mac Rauch changed the character’s name to Buckaroo Banzai, which was suggested by Richter. Years later, a finished treatment was shopped around to various studios before eventually being picked up by 20th Century Fox. With Richter as director, they manged to assemble a cast of notable character actors, who were all fully on board. They also hired some talented crew members, including cinematographer Jordan Cronenweth, though producers replaced him with Oscar-winner Fred J. Koenekamp. With a $12 million budget, Richter and company set out to bring this new character to life. In 1984, we got The Adventures of Buckaroo Banzai Across the 8th Dimension.

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    Synopsis

    Buckaroo Banzai (Peter Weller) is a world-renowned scientist, neurosurgeon, and rock star, along with his team, the Hong Kong Cavaliers. He’s working on a device called the Oscillation Overthruster, which makes light speed travel possible, alongside Professor Hikita (Robert Ito). Meanwhile, Lord John Whorfin, an alien living in the body of Dr. Emilio Lizardo (John Lithgow) learns of Banzai’s discovery. He and his fellow aliens, the Red Lectroids, have been stuck on Earth trying to return to the 8th dimension. At the same time, the Black Lectroids are trying to stop the Red Lectroids from their goal of world domination. Soon, Whorfin and his goons kidnap Banzai’s love interest Penny Priddy (Ellen Barkin) and threaten her life for the Overthruster. It’s up to Banzai and his Cavaliers to stop the Red Lectroids, rescue Penny, and save the world. Just remember, no matter where you go, there you are.

     

    Review

    Buckaroo Banzai Across the 8th Dimension is a fun, unique, and entertaining film that fully deserves its cult classic status. It’s one of those movies where you can tell that everyone involved was having a great time while making it. Much like in RoboCop, Peter Weller makes Buckaroo Banzai his own and lends his natural charisma to the part. John Lithgow is delightfully over-the-top as the villainous John Whorfin, and his Red Lectroids, particularly Christopher Lloyd, have great banter. The Hong Kong Cavaliers consist of some great character actors, including Jeff Goldblum, Clancy Brown, Lewis Smith, and Pepe Serna. Each of them have their moments to shine and really feel like a team with a long history together. Ellen Barkin is fun as Penny Priddy, though she does come off as a bit of a damsel in distress. Everyone in the cast helps add to the overall sense of fun.

    For a first-time director, W.D. Richter does a great job and makes the film look bigger than its budget. The special effects, though minimal, have a delightfully weird look that helps Buckaroo Banzai Across the 8th Dimension stand out. If there are any issues, nothing is really explained, and there isn’t much in the way of backstory or exposition. However, that actually works in its favor, as it’s more focused on delivering a fun story than dumping exposition. There’s a lot that’s hinted at, but never explored, mostly because they planned on a sequel that sadly never happened. But maybe, it’s better that we had one good, fun movie, instead of a good movie followed by lackluster sequels. This simply introduces this world and these characters, and just expects to go along for the ride. The Adventures of Buckaroo Banzai Across the 8th Dimension is a ride worth going on.

     

    Buy The Adventures of Buckaroo Banzai Across the 8th Dimension on Amazon: https://amzn.to/48XIird.

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

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    Where to watch The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

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  • Brazil (1985)

    Brazil (1985)

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    Terry Gilliam is perhaps one of the most unique and eccentric filmmakers, with a legacy of over 40 years. Gilliam is probably best known for being a member of the British comedy troupe, Monty Python, despite being an American. He got his first directing job on 1975’s Monty Python and the Holy Grail, co-directing with fellow Python Terry Jones. After his first solo directing effort, 1977’s Jabberwocky, the Monty Python group began to gradually dissipate between 1979 and 1983. Despite this, the Pythons made two more films, 1979’s Life of Brian and 1983’s The Meaning of Life. In between these two films, Gilliam had his first hit solo film, 1981’s Time Bandits, both critically and commercially successful. Thanks to its success, Gilliam decided to continue what he called his “Trilogy of Imagination” with a very ambitious project. 1985 saw the release of the ambitious yet troubled film, Brazil.

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    Brazil takes place in a dystopian future where bureaucracy reigns and nothing can be done without the proper paperwork. Sam Lowry (Jonathan Pryce) is a low-level government employee who turns down promotions despite clearly being smarter than his boss. He frequently has dreams of being an angelic warrior on a quest to rescue a fair maiden despite the obstacles. Due to a mistake, a man is wrongfully convicted, and Sam has to visit the widow to deliver a check. While there, he runs into Jill Layton (Kim Greist), who resembles the woman in his dream, and tries pursuing her. At the same time, the government is looking for an alleged terrorist named Archibald Tuttle (Robert De Niro). Through a series of events, Jill is labeled an accomplice of Tuttle’s, and Sam tries to protect her. With the bureaucratic system after them, Sam and Jill fight to be together.

    This is one of those movies that’s already been talked about so many times, it’s hard to say anything new. Still, Brazil is a fantastic film that deserves to be talked about more and is highly underrated and underappreciated. Jonathan Pryce is perfectly cast as an everyman unsure of what he wants and is clearly frustrated by this society. Kim Greist perfectly embodies a sense of rebellion against such a bureaucratic society, and she has great chemistry with Pryce. While I only mentioned some of the cast, that isn’t to say anything bad about the supporting players. Michael Palin, who plays Lowry’s old friend Jack Lint, is charming and likable, yet has a strangely sinister quality. Katherine Helmond has fun moments as the oblivious and obsessed mother, and Jim Broadbent works well as her surgeon lover. Also noteworthy are De Niro, Bob Hoskins, Ian Holm, Ian Richardson, and Peter Vaughan.

    But what truly makes this movie special is its filmmaking style and its story of struggling to maintain one’s humanity. The dream sequences are beautifully shot and have a very imaginative feel, perfectly contrasting with the real world’s drabness. The rest of the visuals are intentionally garish and give off the feel of a world that feels manufactured. While the movie has some great sight gags and moments of dark humor, the film eventually gets depressing and hopeless. I won’t spoil the ending, but it’s a real gut punch for anyone hoping that everything works out fine. The ultimate message to take away from this is the danger of a society dominated by routines and subjugating people. It’s a simultaneously funny and terrifying story of trying to break the status quo, but ultimately failing to change anything. Overall, Brazil is easily Terry Gilliam’s masterpiece and gets a high recommendation.

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  • Pet Sematary (1989)

    Pet Sematary (1989)

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    In the late 70s, acclaimed author Stephen King took a teaching job at the University of Maine, his alma mater. His family rented a small house in Orrington, next to a busy road that claimed many pet’s lives. One day, his daughter’s cat Smucky was one of those victims, and his son Owen was almost a victim, too. As a way to cope with this, King decided to write a book that revolved around loss and grief. That book was Pet Sematary, which was almost unreleased since it was so dark, even King was scared by it. However, due to contractual obligations, King eventually published the book through Doubleday in 1983 and was a hit. Eventually, a movie adaptation was produced based on a screenplay written by King adapted from his own book. So, in 1989, director Mary Lambert brought us her version of King’s Pet Sematary.

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    Synopsis

    The Creed family have just moved into their new home in a small Maine town. There’s husband and wife Louis (Dale Midkiff) and Rachel (Denise Crosby), daughter Ellie (Blaze Berdahl), and baby Gage (Miko Hughes). After meeting their neighbor, old-timer Jud Crandall (Fred Gwynne), the family finds a pet cemetery in their own backyard. Louis has taken a job as the doctor at the local university, where he’s greeted with an emergency. A young man named Victor Pascow (Brad Greenquist) is hit by a truck and killed, but returns as a ghost. Soon, the family cat Church is killed by a truck, and Jud helps Louis bury him. However, Jud leads Louis to an Indian burial ground beyond the pet cemetery to bury Church. Much to Louis’ surprise, Church comes back to life, though not quite the same. This leads to some more strange events that’ll forever change the family.

     

    Review

    Back in the 80s, there were so many Stephen King movies, it was hard to keep track of them all. By the time Pet Sematary came out, the fad was starting to die off, and audiences were growing tired. However, I feel that this was a good way to end out the decade for King adaptations. Like many of his works, this deals with heavy themes, such as loss, grief, and how to cope. Given what inspired the original novel, Mary Lambert does a great job conveying that feeling of loss and tragedy. For her second feature, she does a great job here, really giving the film an eerie and tense mood. What also makes it work are the performances, especially from Fred Gwynne, whose portrayal is downright iconic. Also, for a toddler, Miko Hughes does a surprisingly great job, particularly in the third act.

    However, there are some things that hold this movie back, but not enough to outright call this movie bad. For one, many of the other performances, namely Dale Midkiff and Denise Crosby, come off as being flat and wooden. Though it’s more so with Midkiff, who underacts a lot of the time, and doesn’t give much emotion. Also, there are some odd tone inconsistencies, where it jumps between being dark and serious and being weirdly campy. This might’ve been intentional given some of the more comedic moments, but it comes across a bit jarring. That being said, some of those moments are genuinely funny, particularly some of the remarks from the undead Pascow. Still, while some of the performances are slightly weak and the tone is somewhat inconsistent, it doesn’t entirely ruin it. Overall, Pet Sematary isn’t one of the best King adaptations, but it still deserves its cult status.

     

    Buy Pet Sematary from Amazon: https://amzn.to/4nWzt4E.

    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 Pet Sematary (1989)

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