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Category: Cult Films

  • Hocus Pocus (1993)

    Hocus Pocus (1993)

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    Since childhood, producer David Kirschner loved Halloween and would tell his daughter ghost stories to set an ominous tone. She was particularly captivated by a story he told of a boy cursed to be a cat by three witches. He hired Mick Garris to adapt the tale into a screenplay called Halloween House, submitting it to Disney in 1984. Over the years, the script went through various rewrites, but production stalled until it caught Bette Midler’s attention. With her onboard, the studio moved ahead with the production, hiring Newsies director Kenny Ortega to helm the project. Leonardo DiCaprio was originally going to play the lead but dropped out to star in What’s Eating Gilbert Grape? On a $28 million budget, the movie was shot in Burbank, Salem, and Marblehead from October 1992 to February 1993. To avoid competing with The Nightmare Before Christmas, Hocus Pocus was released in July 1993.

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    Synopsis

    In 17th Century Salem, young Thackery Binx (Sean Murray) is cursed to be a cat by three witches. These witches are The Sanderson Sisters – Winifred (Bette Midler), Mary (Kathy Najimy), and Sarah (Sarah Jessica Parker). While the witches are found and hanged for their crimes, Thackery is left to wander Salem for eternity. Three hundred years later, Max Dennison (Omri Katz) is forced to take his younger sister Dani (Thora Birch) trick-or-treating. They run into Allison (Vinessa Shaw), whom Max has a crush on, and she shows them the Sanderson Sisters’ cottage. Max lights a black candle, inadvertently resurrecting The Sisters, but they run off with their spellbook. The Sisters enlist Winifred’s zombified ex-lover, Billy Butcherson (Doug Jones), to retrieve it to redo their eternal youth spell. With precious time on their hands, our heroes have to stop the witches before they succeed in exacting their revenge.

     

    Review

    While initially a critical and commercial flop, Hocus Pocus has gone on to amass a huge cult following. It’s easy to see how, given the way the film perfectly captures the dark yet playful essence of Halloween. Though much of the material was toned down over the various rewrites, this is still dark for a Disney movie. A child dies in the opening, characters constantly mention how Max is a virgin, and there’s even a public hanging. This is the rare kind of family film where both children and adults can find something to enjoy. The kids will love the goofy shenanigans and fun characters, while adults will appreciate the occasional risque jokes and themes. Admittedly, some of these elements don’t mesh together well, but it’s not enough to create tonal whiplash. Your enjoyment will depend on your tolerance for slapstick and fish-out-of-water humor.

    Omri Katz is likable as Max, and he has excellent chemistry with both Thora Birch and Vinessa Shaw. You buy the brother-sister relationship between Max and Dani, and the budding romance with Allison is charming. While Sean Murray plays the human version of Thackery Binx, Jason Marsden provides the voice for when he’s a cat. Marsden does an excellent job injecting some dry wit into the film to bring an animatronic/digital cat to life. Doug Jones is a lot of fun as the mute Billy Butcherson, playing his part as exaggerated as possible. Stephanie Faracy and the late Charles Rocket are fun as Max and Dani’s parents, acting oblivious without seeming obnoxious. There are also some nice cameos from the late Kathleen Freeman, Gary Marshall, and Penny Marshall. It’s a well-rounded cast, with each actor given their moment to shine.

    However, the real stars of the film are The Sanderson Sisters, each one perfectly cast for their part. Bette Midler is funny and menacing as the lead witch, Winifred, who gets some of the movie’s best lines. Kathy Najimy and Sarah Jessica Parker balance her menace by providing comic relief, essentially witch versions of The Three Stooges. Kenny Ortega’s direction is fluid and dynamic, largely thanks to his background directing music videos. William Sandel’s production design, Tony Gardner’s practical effects, Mary E. Vogt’s costumes, and Hiro Narita’s cinematography are all mesmerizing. Admittedly, some of the digital effects haven’t aged that well, and its 90s aesthetic might put off modern audiences. Still, even for cynical Disney haters, it’s hard to deny the film’s magical qualities and not find something enjoyable. Overall, Hocus Pocus is a highly entertaining, if somewhat flawed, Halloween adventure the whole family can watch.

     

    Buy Hocus Pocus from Amazon: https://amzn.to/46QD4JD.

    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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  • Mutant Hunt (1987)

    Mutant Hunt (1987)

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    While Charles Band’s Wizard Video label gained popularity in its early days, it was nearing its end by 1987. Combined with the cost of running Empire Pictures and each film bombing, Band was losing more and more money. His cost-saving deal with Tim Kincaid to produce cheap quickies in New York wasn’t proving fruitful as Band had hoped. Substandard movies like Breeders and Robot Holocaust were not flying off the shelves as their licensed European titles. But there was another film Kincaid shot before the previous two that had been sitting on the shelf for years. This would end up being Kincaid and company’s most ambitious project up to this point. Unfortunately, this also was the last film released under Wizard Video before the label shut down. Though filmed in 1985, Tim Kincaid’s Mutant Hunt didn’t hit video store shelves until April 1987.

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    Synopsis

    Robots have become a daily necessity for everyday life in the not-too-distant future, but that’s about to change. A genetic scientist working for the world’s leading robot manufacturer, Inteltrex, named Z (Bill Peterson), has gone mad with power. He injects his powerful Delta 7 cyborgs with a drug called “Europhon,” which mutates them into bloodthirsty killers who melt. When Z’s colleague Paul Haynes (Mark Umile) discovers the truth, he and his sister Darla (Mary Fahey) try to escape. Paul gets captured, so Darla enlists mercenary Matt Riker (Rick Gianasi) to help rescue her brother and stop Z’s cyborgs. Along the way, they meet Paul’s friends: undercover operative Elaine Eliot (Taunie Vrenon) and weapons expert Johnny Felix (Ron Reynaldi). While Z sends his cyborgs to do his bidding, his business partner Domina (Stormy Spill) has something brewing in secret. The fate of the free world rests on the mutant hunt!

     

    Review

    If you’ve been following my Full Moon Fridays series, you’ll know that I’ve torn Tim Kincaid’s movies apart. Even for low-budget filmmaking, Kincaid’s offerings are usually dull, poorly acted, and incompetent attempts at entertainment. Admittedly, Mutant Hunt has many of the same problems as his earlier efforts, but it’s easily the best. This isn’t some accidental masterpiece or anything like that, but it’s at least got more going for it. The special effects by artists Ed French, John Bisson, and James Chai are incredible, given the meager budget. Each mutant cyborg is given a distinct look as they melt and deteriorate into monsters as the film progresses. The highlight is one cyborg who loses much of his face and jaw, now being played by a puppet. It’s, without a doubt, the best effect in the entire movie, and that’s saying something.

    The music is also worth mentioning, as that late 80s stock synth score seemed to work back then. Also worth noting is that some of the music used was taken from another Wizard Video release, David DeCoteau’s Dreamaniac. It makes sense that they’d use that film’s music since it was undoubtedly the best thing about that movie. A decent variety of locations are also used, particularly a former Navy harbor near Manhattan used for the climax. Since all of Kincaid’s films were shot in mid to late-80s New York, they serve as a time capsule. It’s a peek at New York City before it was gentrified and cleaned up in the 1990s to increase tourism. While this movie would’ve been perfect for a 42nd Street Grindhouse, the fact that it was released direct-to-video is ironic. Regardless of the film’s overall quality, it still has some value for its historical place.

    Sadly, the rest of the movie is the same dull walk through New York alleys we’ve seen before. The acting isn’t as bland as Breeders, and some stand out in unintentionally hilarious ways. For instance, Rick Gianasi’s introduction as Matt Riker involves him fighting a cyborg in his apartment in his underwear. He does have a few funny lines of dialogue, but his true potential wouldn’t be showcased until Sgt. Kabukiman N.Y.P.D. Bill Peterson is weak as the villain, though Stormy Spill has her moments as she plots her revenge on Z. The guys playing the mutant cyborgs make the most of the trim material they’re given and are having some fun. While this isn’t a good movie, I will say that if you have friends and some substances, you’ll enjoy this. Overall, Mutant Hunt is probably Tim Kincaid’s best movie, though that’s not saying much.

     

    Buy Mutant Hunt from Amazon: https://amzn.to/3RAp1mV.

    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 Mutant Hunt (1987)

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  • Ferocious Female Freedom Fighters (1982)

    Ferocious Female Freedom Fighters (1982)

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    In 1966, Woody Allen released What’s Up, Tiger Lily?, a redubbed version of a Japanese spy caper from 1964. Soon, other filmmakers used this technique of taking old foreign films and recutting and redubbing them to make new content. Roger Corman reedited several movies from the Lone Wolf and Cub series to create 1981’s Shogun Assassin. Charles Band cobbled two women-in-prison films together, shot additional footage with Linda Blair, and released it as Savage Island. It was only a short time until Lloyd Kaufman decided to get in on this after acquiring a Filipino movie called Passionate Woman. While the film was shot in English, Kaufman replaced the language track with one scripted by his brother Charles. They attempted to take an unintentionally funny foreign wrestling movie and make it intentionally funny, which horrified the original producer. The result was the retitled spoof Ferocious Female Freedom Fighters.

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    Synopsis

    Bambi (Eva Arnaz) is a Judo champion who, despite her fighter prowess, wants to leave the fighting world behind. However, her mother insists she keeps fighting to earn enough money to afford an operation for her little brother. According to the doctor, her brother suffers from a condition where semen rushes to his head when he gets excited. Bambi gets involved with an Elvis-impersonating trainer named Barney (Barry Prima), who gets her into criminal activities. While the money is enough for her brother, Bambi confides in her friend Mia (Leily Sagita) about the degrading wrestling. Barney can also see that this underground wrestling ring isn’t right for Bambi, so he helps her escape. What follows are several poorly staged fight scenes, a jive-talking snake, and a lot of farting. But Bambi is determined because she is a ferocious female freedom fighter! At least, that’s what the dub says.

     

    Review

    If the synopsis sounded incomprehensible just from reading it, imagine watching Ferocious Female Freedom Fighters and making sense of it. Granted, I can’t imagine the movie would make much sense with the original audio, but the “comedic” dubbing hurts it. Part of me wishes I could watch this movie with the original audio, but I doubt it would’ve helped. Troma wasn’t taking the film seriously, considering all the farts, sex jokes, and low-brow humor used in the dubbing. It’s like what the company behind the dub of the anime Ghost Stories did, only with fewer racial jokes. Unfortunately, because of the dub, it’s hard to follow along with what’s happening in the movie, let alone care. I’m not saying the original film was probably some lost masterpiece of Filipino cinema, but its plot could’ve been decent. Instead, what we got is a complete mess.

    It’s hard to gauge the acting in this film, considering we aren’t hearing the actors’ original voices. Going off of their facial expressions and body language, it seemed like they were trying their best. Also, to give the actors credit, some of the fight sequences aren’t half bad, even if sloppily put together. There are some unintentionally hilarious moments from the original film, most notably a random mud wrestling fight. Also, some of the dubbing made me chuckle, mostly the Elvis impersonator and the weirdly out-of-place snake that speaks jive. But aside from some mild giggles, the rest of the movie is dull, and the humor falls flat. Lately, I’ve been trying to write longer reviews to explain things better, but honestly, there’s not much to say here. Overall, Ferocious Female Freedom Fighters is another movie whose title is better than the actual content.

     

    Buy Ferocious Female Freedom Fighters from Amazon: https://amzn.to/46opywm.

    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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  • Parts of the Family (2003)

    Parts of the Family (2003)

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    1989’s Rabid Grannies became a popular title for Troma Entertainment, so Lloyd Kaufman formed a partnership with producer Johan Vandewoestijne. The following year, Vandewoestijne produced Maniac Nurses Find Ecstacy, which was directed by Belgian filmmaker Léon Paul De Bruyn. When Troma acquired the distribution rights, they considered retitling it to seem like a sequel to 1976’s Bloodsucking Freaks. Instead, they used the original title, and the film ended up being another small hit for Troma. Vandewoestijne also produced 1994’s State of Mind, which featured American actors Lisa Gaye, Fred Williamson, and Jill Scholen. A decade later, Vandewoestijne reunited with De Bruyn to produce a Belgian zombie movie called Parts of the Family. When Troma acquired the movie for distribution, they found the final product unwatchable and decided to “fix” it. When they released the film on DVD in 2003, they included the original and an “improved” version with questionable results.

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    Synopsis

    After pulling off a bank heist, Jason Goodis (Bob Dougherty) is fleeing from the cops and looking for a hideout. While on the run, he kidnaps young model Elle (Cecilia Bergqvist) and holds her up in an old mansion. As the police try talking Jason down and bringing in a negotiator named Carl Ressler (Lloyd Kaufman), things turn dark. Through flashbacks, we learn that Elle knew the family who previously lived in the mansion and was their maid. She was having an affair with the son but was found by the father, and she killed them both. When the mother and daughter came home, Elle killed them and buried the bodies, vowing to keep them safe. In the present, the family rises as zombies and goes on the hunt, attacking Jason and the police outside. Who will survive, and who will become a part of the family?

     

    Review

    I should mention that the version of Parts of the Family I’m reviewing is the original, not the Troma-edited version. From what I understand, the main changes made were a mocking commentary by Lloyd Kaufman and some stock footage. Having seen the original version, I can see why Troma wanted to “fix” it since the film is plodding. I don’t mind a slow-burn movie if it produces a good payoff, but unfortunately, this one doesn’t. It almost feels like the filmmakers tried taking a cue from From Dusk Till Dawn with its genre switch. However, the characters and the writing kept you engaged before the vampires showed up, making the Rodriguez/Tarantino collaboration work. With this, we know so little about the characters, and the dialogue is so dull that it’s hard to care. Sometimes, it feels like watching a soap opera with nudity and blood.

    In terms of acting, everyone does a serviceable enough job with the material, though no one stands out. Cecilia Bergqvist, while not terrible, was most likely hired because she looks good naked rather than her acting ability. Her delivery is flat, lifeless, and more laughable than believable when she tries to show emotion. Bob Dougherty isn’t much better, as he tries to play a tough guy but fumbles around and doesn’t offer much. Aside from Lloyd Kaufman as a police negotiator, everyone else might as well have been a cardboard cutout. Even the actors playing the family, when they’re living and undead, blend into the background and offer nothing. It doesn’t help that all these elements – crime thriller, erotic drama, and zombie horror – don’t mesh well together. It’s like Léon Paul De Bruyn had all these ideas but didn’t know how to make them work.

    Admittedly, the only things that held my attention were the nudity, the gore, the decent soundtrack, and the gloomy atmosphere. As I said, Cecilia Bergqvist looks great when she’s naked, and we see her like that constantly. Also, the movie is full of blood and guts, especially in the last act when the family returns as zombies. The makeup for the zombies is crude but effective, and there’s enough blood spray to make Sam Raimi blush. While repetitive, the score adds a creepy, almost haunting feel to the film, and there’s some decent cinematography. It’s clear the director tried making more of an arthouse horror film, so it’s a shame that it didn’t work. Even at 85 minutes, the movie’s so slow and tedious, and it’s only worth seeing for the few trashy elements. Overall, Parts of the Family isn’t the worst Troma movie, but there are much better ones.

     

    Buy Parts of the Family from Amazon: https://amzn.to/3Zed34e.

    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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  • Little Nicky (2000)

    Little Nicky (2000)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review was requested by YouTuber Rogue, Internet Man. If you’d like to subscribe to Rogue’s YouTube channel, click the buttons below.” text_orientation=”center” button_one_text=”Rogue on YouTube” button_one_url=”https://www.youtube.com/@RogueInternetMan” logo_image_url_last_edited=”off|desktop” _builder_version=”4.22.1″ _module_preset=”default” title_level=”h2″ background_color=”#ff0000″ background_enable_image=”off” background_size=”contain” custom_button_one=”on” button_one_bg_color=”#ff0000″ custom_button_two=”on” button_two_bg_color=”#E02B20″ custom_margin=”||||false|false” custom_padding=”15px||15px||false|false” global_colors_info=”{}” logo_image_url__hover_enabled=”off|desktop”][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After the financial success of Billy Madison and Happy Gilmore, Adam Sandler became one of Hollywood’s most prominent comedic actors. Even though he wasn’t a hit with critics, audiences lined up to see the latest Sandler comedy. Between 1998 and 1999, Sandler’s movies grossed over $100 million, with Big Daddy making $235 million alone. In 1999, Sandler started his production company, Happy Madison Productions, to produce movies for himself and his SNL friends. The studio’s first film, Deuce Bigalow: Male Gigolo, was a hit, making over $92 million against a $17 million budget. For his next project, Sandler wanted to do something more ambitious that retained elements from his earlier comedies. With a budget of around $80-85 million, Sandler hired Steven Brill, who previously helmed 1995’s Heavyweights, to direct. In November 2000, Sandler’s most expensive production at the time, Little Nicky, debuted on theater screens across the globe.

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    Synopsis

    After 10,000 years of reigning over Hell, Satan (Harvey Keitel) must choose one of his sons as his successor. There’s the conniving Adrian (Rhys Ifans), the brute Cassius (Tommy “Tiny” Lister Jr.), and the meek Nicky (Adam Sandler). When Satan tells them he’ll still rule Hell, Adrian and Cassius are furious and decide to flee to Earth. Unfortunately, their exit freezes the gates of Hell, preventing souls from entering, which causes Satan to start disintegrating. Satan sends Nicky to Earth with a flask that imprisons anyone who drinks from it to bring his brothers back. With help from a talking dog named Mr. Beefy (Robert Smigel), Nicky has to learn to navigate the human world. He meets aspiring actor Todd (Allen Covert), metalheads John (Jonathan Loughran) and Peter (Peter Dante), and designer Valerie (Patricia Arquette). Will Nicky stop his brothers, or is Hell coming to The Big Apple?

     

    Review

    While Little Nicky was a financial flop when it was released, it’s since gained a cult following and critical reevaluation. Having revisited it after many years, I can see why the film has its fans and continues to find more. In terms of production value, this is one of Sandler’s more ambitious films, with its elaborate sets and makeup effects. It helps that artists like Norman Cabrera, Greg Cannom, and the three heads of the KNB EFX Group were hired. The Hell sets look impressive, almost like you’re seeing a metal album cover come to life. Admittedly, the digital effects haven’t aged well, but you could say that about most movies around this time. Given that this was his second feature, Steven Brill does a decent job as director and shows plenty of promise. While the film is technically impressive, the humor and story could be better.

    Admittedly, my least favorite Adam Sandler movies are the ones where he uses an obnoxious voice. While the voice he puts on here can be grating, it’s not as bad as The Waterboy or Billy Madison. As usual, his performance comprises him mugging for the camera and making silly faces with occasional pathos. The supporting cast is more interesting than the lead, especially with names like Harvey Keitel, Rodney Dangerfield, and Patricia Arquette. Rhys Ifans steals the show as the devious Adrian and Tommy “Tiny” Lister Jr. does a decent job as Cassius. There are some decent cameos from Henry Winkler, Regis Philbin, Ozzy Osbourne, Reese Witherspoon, and Jon Lovitz. At 90 minutes, parts of the film drag as it tends to get sidetracked, but it gets the job done. Overall, Little Nicky isn’t quite as bad as its reputation, but I wouldn’t call this a misunderstood classic.

     

    Buy Little Nicky from Amazon: https://amzn.to/3CdcRLa.

    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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  • The Prey (1983)

    The Prey (1983)

    [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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]Since the early 1970s, Edwin Brown and his wife Summer worked on several adult films for Essex Productions. After working on 1979’s Human Experiments, studio head Joseph Steinman offered the Browns a horror film to write/direct. Edwin and Summer took inspiration from Wes Craven’s 1977 classic The Hills Have Eyes and John Carpenter’s Halloween. Like many low-budget horror films, the cast comprised relatively unknown actors, save for Jackie Coogan of The Addams Family. Though Edwin set the movie in the Colorado Rockies, the actual filming occurred in and around Idyllwild, California. A young John Carl Buechler created the effects, and Don Peake, who composed The Hills Have Eyes, did the score. Despite finishing filming in 1980, the movie sat on the shelf for years before New World Pictures acquired it. It wasn’t until the fall of 1983 that The Prey finally entered US theaters.

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    Synopsis

    Three young California couples are going on a hiking/camping trip through the Colorado Rockies leading to North Point. During their journey, the women meet local ranger Mark O’Brien (Jackson Bostwick), who warns them about trekking to North Point. The couples split up that night for private time, but unfortunately, Gail (Gayle Gannes) and Greg (Philip Wenckus) go missing. The remaining couples – Nancy (Debbie Thureson) and Joel (Steve Bond), and Bobbie (Lori Lethin) and Skip (Robert Wald) – go searching. Meanwhile, O’Brien meets with ranger Lester Tile (Jackie Coogan), who mentions an older couple that went missing in North Point. O’Brien searches for the older couple while the other campers continue their journey, unaware of the dangers ahead. Little do they know that a mysterious figure is stalking them, intending to kill them off one by one. Who will survive, and who will end up as The Prey?

     

    Review

    The Prey is about as primary as possible with early 80s slasher films, but that’s not necessarily bad. Sometimes, less is more; this movie exemplifies that for better or worse, depending on your mileage. The filmmakers added tons of nature stock footage to put the audience in the same setting as the characters. The abundance of stock footage makes it feel like they tried padding out the runtime, which is only 80 minutes. It doesn’t help that there’s little material to work with since it’s primarily characters wandering through the woods. While none of the actors are bad, they’re not particularly memorable, though there are a few standouts. Jackson Bostwick has some entertaining moments, either playing guitar or telling jokes, and Debbie Thureson is a decent lead. It’s also interesting to see veteran actor Jackie Coogan in his final role before passing away in 1984.

    For a movie that had a $150,000 budget, the gore effects, while minimal, are pretty gruesome and bloody. If anything, it’s an excellent showcase for the talent John Carl Buechler later implemented into his work for Charles Band. Also, the score by Don Peake helps add tension and suspense as it gradually builds throughout the film. As slow as the movie is, the filmmakers do a decent job of making it suspenseful until the climax. The film’s last 20 minutes are nail-biting as the remaining characters try to outrun the killer. It all builds up to an ending that, without spoiling, needs to be seen to be believed. The deliberately slow pace and basic setup may put some people off, but I had a decent time with it. Overall, I wouldn’t call The Prey an all-time classic, but I think it’s underrated if nothing else.

     

    Buy The Prey from Amazon: https://amzn.to/3CcpZ3b.

    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 Prey (1983)

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  • 10 to Midnight (1983)

    10 to Midnight (1983)

    [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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After purchasing The Cannon Group in 1979, Israeli filmmakers Menahem Golan and Yoram Globus were ready to conquer Hollywood. While many of their low-budget pictures made money, their release of 1982’s Death Wish II put them on the map. Following the sequel’s success, Golan and Globus wanted to make another film with Hollywood veteran Charles Bronson. Producer Pancho Kohner wished to adapt the 1978 novel The Evil That Men Do, but the rights would’ve cost $200,000. Instead, Golan asked him to develop a new title, which they promoted at Cannes despite not having a story. Upon returning home, Kohner asked his friend Lance Hool for help, and he gave him a script called Bloody Sunday. Besides the title, nothing in the screenplay was changed, and Happy Birthday to Me director J. Lee Thompson was hired. In March 1983, The Cannon Group released the crime thriller/slasher film 10 to Midnight.

    [/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=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Detectives Leo Kessler (Charles Bronson) and Paul McAnn (Andrew Stevens) are investigating a series of murders in Los Angeles. Almost every victim is a beautiful young woman found disemboweled and left to bleed out to death. The killer is an officer repairman, Warren Stacey (Gene Davis), a quiet loner who feels rejected by every woman. Meanwhile, Kessler is trying to repair the relationship with his daughter Laurie (Lisa Eilbacher), whom he abandoned for work. Through the investigation, Kessler learns that Stacey is responsible and makes it his mission to bring him to justice. He goes so far as to plant evidence to try and frame Stacey, only for him to be let out. Now a free man, Kessler and Stacey battle wits against one another until Stacey goes after Laurie. With time running out, it’s up to a weathered detective and his young partner to stop a malicious slasher.

     

    Review

    I’m unsure if 10 to Midnight belongs in this series since it’s more of a crime thriller than a slasher. Then again, when else will I talk about this 1983 Charles Bronson thriller from The Cannon Group? While this is more Dirty Harry than Friday the 13th10 to Midnight is exciting, well-paced, and well-made. While he looked like he was coasting and doing the bare minimum, Charles Bronson seemed to enjoy his role here. He has excellent chemistry with Andrew Stevens; the scenes of them bantering back and forth are a highlight. Lisa Eilbacher also does a great job as Kessler’s daughter and manages to hold her own against Bronson. Wilford Brimley fits the role of the cranky police captain to a T, though his screen time is limited. Also, there’s an appearance from Ola Ray, who was also in the music video for Michael Jackson’s Thriller.

    However, the film’s real star is Gene Davis as the cold and calculating serial killer Warren Stacey. He’s putting his all into this role and makes for one of the most intense villains of the 1980s. Seeing him going after women who rejected him, I can’t help but feel like this movie is still relevant today. J. Lee Thompson does a great job building the suspense through harsh shadows and moody lighting. Adding to that is the phenomenal score by Robert Ragland, which adds a lot of energy to the film. Granted, this movie is a product of its time, with its views of justice leaning heavily to the right. Some may scoff at the violence and nudity, but this film is practically tame compared to Michael Winner’s work. Overall, 10 to Midnight is a compelling crime thriller that happens to have some slasher elements.

     

    Buy 10 to Midnight from Amazon: https://amzn.to/3NSox8E.

    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 10 to Midnight (1983)

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  • The Final Terror (1983)

    The Final Terror (1983)

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    With the rising popularity of slashers in the early 80s, exploitation producer Samuel Z. Arkoff wanted to capitalize on it. Joe Roth, an up-and-coming producer dating Arkoff’s daughter at the time, wanted to make a horror film with him. Arkoff handed Roth a script he had called Three Blind Mice, which Alien co-writer Ronald Shusett wrote. Shusett suggested they hire a young Andrew Davis to direct off the strength of his short films. With little money and relatively unknown actors, the movie was shot in Jedediah Smith Redwoods State Park in late 1981. Unfortunately, because of the low body count, no distributor was interested compared to the other slasher films released. In 1982, Adrian Zmed and Darryl Hannah gained much attention for T.J. Hooker and Blade Runner, respectively. Now, with two big stars in the cast, The Final Terror was finally released to theaters in late 1983.

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    Synopsis

    Dennis (John Friedrich), Marco (Adrian Zmed), Mike (Mark Metcalf), Nathaniel (Ernest Harden Jr.), and Richard (Lewis Smith) are going camping. They meet up with Margaret (Rachel Ward), Windy (Daryl Hannah), Vanessa (Akosua Busia), and Melanie (Cindy Harrell) for the trip. After being driven by bus by Eggar (Joe Pantoliano), the group sets up camp and shares campfire stories. But as soon as they arrive, a mysterious camouflaged figure emerges and starts picking them off one by one. While exploring, the group finds an old cabin that they believe is where the killer is hiding out of. They immediately suspect Eggar is responsible since he was the first to disappear the morning after they arrived. As members of the group wind up either missing or dead, the survivors have to stick together to save themselves. Without knowing they’ve unlocked an unknown force, but can they survive The Final Terror?

     

    Review

    Considering the overall quality, it’s easy to see why it took years for The Final Terror to find a distributor. While most slashers at the time ramped up the body count, this one only has three kills. The producers had to go back and shoot a completely different opening just to add some more kills. That’s not to say the final film is a complete disaster, as there are some excellent qualities to be had. For one, seeing so many talented people get their start behind and in front of the camera is worth watching. Given its meager budget, Andrew Davis made the most out of the locations, creating a feeling of isolation and dread. You feel like you’re with these unlucky campers as they get lost in this gigantic forest. It’s a shame that the film isn’t all that compelling and drags for quite a bit.

    After the tacked-on opening, none of the main characters get killed until at least 40 minutes into the film. Most of the runtime is spent with the cast wandering through the woods, trying to find their way out. Even when a character gets killed, there’s nothing unique or special about their deaths, which I guess is more realistic. I’m not saying every slasher needs crazy, over-the-top kills to be good, but you should give us something. Admittedly, the acting is decent, if unremarkable, but Joe Pantoliano does a great job playing a creepy weirdo. Also, the survival elements help this film stand out from typical slashers, but it never builds any tension or suspense. While I wouldn’t call this one of the worst slashers I’ve ever seen, it’s one of the most unremarkable. Overall, The Final Terror was a good starting ground for future talent, but it isn’t very compelling.

     

    Buy The Final Terror from Amazon: https://amzn.to/3KS1BFm.

    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 Final Terror (1983)

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  • A Nymphoid Barbarian in Dinosaur Hell (1990)

    A Nymphoid Barbarian in Dinosaur Hell (1990)

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    While working on 1988’s Mutant War, a cast member asked director Brett Piper if they could produce a film together. Piper agreed so long as the actor could raise the money, which they did, so the two started brainstorming. They adapted a script Piper had written years earlier called Dark Sun, which they retitled The Dark Fortress. Piper drew inspiration from classic adventure films, most notably ones that featured effects from legendary stop-motion animator Ray Harryhausen. The movie was shot in and around New Hampshire and Massachusetts with a tiny budget. During production, Piper remembered a conversation with a distributor, who suggested minimal dialogue would make the film more commercially appealing. After filming wrapped, Troma was interested in distributing the movie, but negotiations stalled until both parties agreed. Troma recut the film, shot a new opening, and retitled it A Nymphoid Barbarian in Dinosaur Hell.

    [/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=”30″ bar_bg_color=”#E09900″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After a nuclear armageddon ravages the land, the earth is filled with radioactive mutants and long-dormant dinosaurs. Among those not affected by the radiation is the young nymphoid Lea (Linda Corwin), who is searching for a home. One day, she gets attacked by some barbarians until a local named Marn (Paul Guzzi) saves her just in time. They fall in love and spend the day at the beach when they attract the attention of Clon (Alex Pirnie). With his group of reptilian henchmen, he bests Marn in battle and kidnaps Lea for his nefarious purposes. Marn is nursed back to health by an old man (Al Hodder), who gives him a pistol to fight Clon. While Marn rushes to save Lea, she manages to escape, only to face other mutants and monsters before being recaptured. Will Lea survive or die as a nymphoid barbarian in dinosaur hell?

     

    Review

    With a title like A Nymphoid Barbarian in Dinosaur Hell, you’d expect a fun, if dumb, sci-fi B-movie. Sadly, the movie doesn’t live up to its ridiculous title and poster but instead is a dull excuse for entertainment. Granted, Troma has a history of retitling their films to make them sound more exciting than they actually are. To his credit, writer/director Brett Piper wanted to make a low-budget Ray Harryhausen-style movie, and he did it. The occasional stop-motion dinosaur/creature is a treat, even if it’s not the best-looking stop-motion I’ve seen. Also, the costumes and variety of monsters are impressive, given the limited budget, so kudos to the filmmakers there. It’s a shame that more work was put into these aspects than the script, the acting, and the pacing. Again, I wasn’t expecting much, but I didn’t expect this.

    As mentioned in my introduction, Piper intentionally included minimal dialogue to reach potential overseas markets. Sometimes, having very little conversation can work if the film’s visuals and pacing are handled well. Sadly, the visuals are about what you’d expect from this budget, and the pacing is beyond glacial. To emphasize this, I had to rewind the movie at least two or three times to remember what happened. The movie clocks in at 82 minutes, but the sluggish pacing makes it feel like the longest 82 minutes ever. There’s nothing to say about the acting since hardly anyone talks, and when they do, it’s okay but nothing special. While it’d be easy to lambast Brett Piper for making such a dull movie, I blame Troma for misrepresenting it. Overall, A Nymphoid Barbarian in Dinosaur Hell is too dull of a movie to have such a hilariously awesome title.

     

    Buy A Nymphoid Barbarian in Dinosaur Hell from Amazon: https://amzn.to/45tucsr.

    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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  • The House on Sorority Row (1983)

    The House on Sorority Row (1983)

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    After graduating from NYU’s film program, Mark Rosman got an idea for a movie when he returned home to LA. Before attending NYU, he was part of a fraternity at UCLA, and he based his concept on his college experiences. Rosman’s script focused on sorority sisters being threatened after a prank gone wrong but were more than just victims. After gathering a budget of $300,000, Rosman started casting in New York and Los Angeles before filming began in 1981. The movie was shot on location in and around Pikesville and the University of Maryland, though the production struggled financially. After principal photography wrapped, Film Ventures International picked the film up for distribution and gave additional funds for post-production. Richard Band, who later scored Re-Animator and Puppet Master, composed the score with the London Philharmonic Orchestra. Following a limited 1982 release, The House on Sorority Row hit theaters nationwide in 1983.

    [/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=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.22.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    A group of sorority sisters is celebrating their graduation when their housemother, Mrs. Slater (Lois Kelso Hunt), spoils it. One of the girls, Vicki (Eileen Davidson), suggests they pull a prank on her that she’ll never forget. Unfortunately, things go wrong, and Mrs. Slater is shot and killed, so the girls hide her body in the pool. While fellow sister Katey (Kathryn McNeil) is distraught and wants to call the authorities, Vicki persuades her not to. Before long, an unknown assailant kills off the girls one by one using Mrs. Slater’s walking cane. Before long, Katey gets in touch with Dr. Beck (Christopher Lawrence), who had been treating Mrs. Slater years earlier. However, Katey soon learns more about her former housemother than she could have ever expected. Nothing can prepare you for what happens when she fights back in The House on Sorority Row!

     

    Review

    On the surface, The House on Sorority Row seems like any standard slasher film that ticks off all the checkboxes. You’ve got an isolated setting with the sorority house, plenty of young women to pick off, and some gruesome kills. What separates this from other slashers is that the victims are, in a way, responsible for what’s happening to them. Sure, you feel bad for the girls getting killed, but you can’t help but feel like they might’ve deserved it. Seeing the rational Katey and the vindictive Vicki argue over how to handle the situation drives this point home. It helps that Kathryn McNeil and Eileen Davidson give solid performances and make these characters feel real. The other sorority sisters also do an excellent job of feeling like a group of girls who’ve been long-time friends. All around, the acting is better than you’d expect from this kind of movie.

    While this is a slasher film, it could almost be seen as a thriller on par with Brian De Palma. Just when you think the girls have gotten away with the murder, something comes along to jeopardize it. Plus, the plot has so many twists and turns that it keeps you engaged and constantly guessing. Admittedly, the movie goes off the rails in the last twenty minutes when the killer’s identity is revealed. Thankfully, Mark Rosman and cinematographer Tim Suhrstedt keep the suspense and tension going as it turns into a cat-and-mouse game. Also, Richard Band’s score is fantastic, adding a surreal, dreamlike quality to the film, enhancing some trippy moments. Though I wouldn’t call this one of the greatest slashers ever, it’s still a well-made and well-acted thriller worth seeing. Overall, The House on Sorority Row deserves its cult status as an underrated slasher classic.

     

    Buy The House on Sorority Row from Amazon: https://amzn.to/47z2blc.

    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 House on Sorority Row (1983)

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