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Category: Cult Films

  • Honky Holocaust (2014)

    Honky Holocaust (2014)

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    In 2010, Melrose locals Greg LaVoie, Paul McAlarney, and Nick Viau created a comedic web series called Super-Townie. While working on the series, cinematographer Nick Norrman introduced McAlarney to the controversial 1971 mockumentary Goodbye Uncle Tom. This gave McAlarney the idea to make a feature film that addressed racial issues mixed with a 70s exploitation style. Rather than sugarcoating the message, McAlarney and Norrman decided to showcase the message where it couldn’t be ignored. About a month later, McAlarney formed Blood Hammer Films, wrote a script, and assembled his cast and crew. Filming took place mainly around Boston in 2014, with some additional funds through Kickstarter totaling over $1700. After filming was completed, the film went on the festival circuit in 2015 until it caught the attention of Troma. Troma picked up the distribution rights and released Honky Holocaust in 2016.

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    Synopsis

    In 1969, notorious cult leader Charles Manson (Thomas Delcarpio) and his followers went underground to await a prophecized race war. When Manson died, he assigned his second-in-command Dan Masucci (Lucas Fleming), to take over and raise his daughter Kendra. After years of living underground, Masucci leads the Manson family outside to see what the world has become. Much to their shock, the world is not what they expected: whites are the minority while blacks are in charge. While Masucci retreats after several of his men are killed, the now-adult Kendra (Maria Natapov) wanders the streets. She’s mocked, drugged, assaulted, and possibly raped because of her skin color until she’s taken in by Lucius (Constantine Taylor). Having seen what African Americans have experienced, she decides to stand against bigotry and hunt down her surrogate father. Alongside the newly reformed Fiona (Krisoula Varoudakis), Kendra must stop Dan from assassinating the mayor.

     

    Review

    Honky Holocaust is a movie I have conflicted feelings about: it has a strong message, but its tone is off. Having the tables turned and showing how it would feel to be treated as a minority is still relevant today. Then again, this film features people getting shot through the anus, strangled with intestines, or shot and urinated on. It’s as if McAlarney couldn’t decide if he wanted to make a message movie or a sleazy exploitation flick. While it’s admirable that he tried to do both, the result is all over the place with its tone. While the message isn’t delivered with any hint of subtlety, it feels intentional, like the filmmakers demand you face it. Also, while out of place, the exploitation elements provide what gorehounds expect, especially with the Troma branding. There are copious amounts of fake gore, nudity, and politically-incorrect humor to entertain Troma fans.

    Given its meager budget, McAlarney and his crew manage to put together a decent-looking film. Sure, the effects aren’t the greatest, and the sets look cheap, but these add to the film’s charm. On top of that, the performances are surprisingly good, mainly because almost everyone plays their roles seriously. Maria Natapov does a great job, and seeing her transform from scared and defenseless to a gun-toting badass is incredible. Lucas Fleming is a great villain, acting just over the top enough while still being intimidating. Constantine Taylor is another stand-out as the sympathetic Lucius, who takes Kendra under her wing when no one else will. This film will offend plenty of people and has problems, but I think curious onlookers should give it a watch. Overall, Honky Holocaust is a bit disjointed, but the performances and message help the film stand out from similar schlock.

     

    Buy Honky Holocaust from Amazon: https://amzn.to/3Yyt5oh.

    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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  • Zombiethon (1986)

    Zombiethon (1986)

    [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=”4.19.5″ _module_preset=”default” global_colors_info=”{}”]After making three back-to-back compilation tapes, Charles Band and Ken Dixon made one more to end it all. As mentioned before, Band acquired the rights to numerous low-budget horror films for his label, Wizard Video. Many of these were European and directed by exploitation filmmakers like Lucio Fulci, Jess Franco, and Pierre Chevalier. Also, by the mid-1980s, zombie movies were popular thanks to Return of the Living Dead and Day of the Dead. Luckily for Band, plenty of European zombie movies came out after the success of George Romero’s Dawn of the Dead. Band and Dixon would use clips from various zombie movies using a wraparound story instead of hosts for this compilation. This was their last compilation tape, as Ken Dixon later directed 1987’s Slave Girls from Beyond Infinity. But before then, Charles Band released their zombie compilation Zombiethon to a ravenous fanbase.

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    Synopsis

    A zombie chases a young woman (Karrene Janyl Caudle) into The Historic El Rey Theater, occupied by various zombies. The young woman takes a seat as she and the other undead patrons watch clips from multiple zombie movies. We start with Lucio Fulci’s 1979 classic Zombie, most infamous for a brutal eye-gouging and zombie vs. shark death match. Unfortunately, the quality goes downhill as we move onto the notoriously bad 1981 schlockfest Zombie Lake. Things only get worse when we go to Jess Franco’s Oasis of the Zombies, followed by Murder Syndrome, aka Fear. Then, we get two 1970s offerings: 1970’s The Invisible Dead and 1973’s A Virgin Among the Living Dead. To cap off this compilation, we end with Ted V. Mikel’s The Astro-Zombies from 1968, previously featured in Filmgore. Stay away from any graveyards, as the liveliest Festival of the Dead is about to begin!

     

    Review

    Of all four of the compilation tapes made for Wizard Video, Zombiethon is undoubtedly one of them. It’s not as fun as The Best of Sex and Violence, but it’s a step above Famous T & A. This one tries to be unique by having a wraparound story instead of the usual host segments. These wraparound segments add charm due to their cheesiness but are disjointed, confusing, and repetitive. Each sequence boils down to a pretty girl getting chased by a zombie, running into a theater, rinse and repeat. In place of makeup, all the zombies wear masks, which come off as cheap but add to the campiness. Unfortunately, the wraparound has no resolution, as it ends with the zombies sitting in the theater. We never find out what happened to the various women who were chased inside, so I guess they’re dead.

    As for the clips shown, there’s a decent variety, but the compilation somewhat blows its load a little early. They start with a truncated version of Lucio Fulci’s classic, only to transition into progressively worse movies. Also, according to the book Empire of the B’s, the compilation features Dawn of the Dead, Burial Ground, etc. Unless they watched a different version than me, none of the other movies they mention are featured. Either way, this compilation does succeed in helping you avoid sitting through some utter garbage. Why sit through all 82 minutes of Oasis of the Zombies when you can watch the highlights shown here? Considering that Empire folded a few years later, it’s unfortunate we didn’t get more of these compilations until years later. Overall, Zombiethon isn’t the worst of the Wizard Video comp tapes, and it’ll make for some good background noise.

     

    Buy Zombiethon 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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  • Evil Bong 2: King Bong (2009)

    Evil Bong 2: King Bong (2009)

    [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=”4.19.5″ _module_preset=”default” global_colors_info=”{}”]Released in 2006, Evil Bong was a surprise hit for Full Moon Features, so a sequel was to follow. Charles Band announced the sequel in 2008, along with Killjoy 3, GingerDead Man 3, and Puppet Master: Axis of Evil. Band returned to direct alongside the late writer Dominic Muir, using the pseudonym August White, for the stoner sequel. Much of the original cast returned, though they could no longer afford Tommy Chong, and Brett Chukerman replaced David Weidoff. Since prolific cinematographer Mac Ahlberg retired, Charlie hired Terrance Ryker, who also shot The Haunted Casino and Dangerous Worry Dolls. They hired Jeffrey S. Farley for the makeup effects, who earned an Emmy nomination for his work on Babylon 5. While the last film was a mix of horror and weed humor, this sequel would lean further into stoner comedy. In July 2009, Evil Bong 2: King Bong hit DVD shelves worldwide.

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    Synopsis

    Months after the last film, Allistair (Brett Chukerman) visits Larnell (John Patrick Jordan) at his apartment to catch up. The Evil Bong’s effects are lingering as Bachman (Mitch Eakins) has narcolepsy and Brett (Brian Lloyd) is obese. Additionally, Larnell has lost all sexual inhibitions and humps anything near him, including Brett’s girlfriend Luann (Robin Sydney). The guys get the delivery guy Rabbit (Sonny Carl Davis) to accompany them to the Amazon to find answers. They run into Velicity (Amy Paffrath), who’s working with Larnell’s grandpa Cyril (Jacob Witkin) to study some potent marijuana. She believes the weed could be used for medicinal purposes, while Cyril wants to sell it to the highest bidder. Unfortunately, Cyril and Rabbit use the weed to resurrect Eebee (Michelle Mais), only to be taken by the Poontang Tribe. Our heroes must battle with Eebee’s former mate, King Bong (Michael Shepperd).

     

    Review

    If you’ve seen the first one, you should know what to expect from Evil Bong 2: King Bong. This sequel is more of the same, but some slight improvements made here make this more tolerable. Moving the action out of the apartment and into the jungle adds variety and makes it stand out. Also, Brett Chukerman is a welcome replacement for the nerdy Allistair, making the character more of a snob. Amy Paffrath’s Velicity is an excellent addition to the series, offering plenty of charm and high energy. Sonny Carl Davis always looks like he’s having a good time, and Jacob Witkin has some of the best lines. The new villain, King Bong, has an excellent design, and Michael Shepperd gives him tons of personality. His performance reminds me of Michael Sonye as Uncle Impie from Sorority Babes in the Slimeball Bowl-O-Rama.

    Before you go rushing to pick up the DVD, don’t expect the quality of 90’s Full Moon. The sets still look cheap, there’s an abundance of CGI, and most of the acting is pretty shaky. Anyone hoping for blood and more horror like the first film will be disappointed with this sequel. This movie is like an extended R-rated sitcom without the studio audience or the pauses for laughter. Most of the humor relies on marijuana, penises, obesity, and sex, and it’s pretty juvenile and outstays its welcome. Still, this movie moves much faster than the first film at roughly the same runtime. Plus, with this film opening on a recap of the original, you could skip to this one. Overall, Evil Bong 2: King Bong is more of the same as the first but is slightly better.

     

    Buy Evil Bong 2: King Bong 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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  • The Dead Come Home (1989)

    The Dead Come Home (1989)

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    Born in 1961 in New Jersey, James Riffel attended the NYU Film School, aka the Tisch School of the Arts. As with many aspiring filmmakers, Riffel decided to make a horror film as his directorial debut. He found an old house in Cherry Valley, NY, and chose that as his primary filming location. Under the working title The Road, Riffel assembled a small cast and crew to shoot their gory horror film. Filming wrapped in 1988 using the title The Dead Come Home, and Troma eventually picked it up. Through a collaboration with AIP, Troma released the film on VHS as The House on Tombstone Hill. Later, once Troma gained full ownership of the film, they tried re-releasing it as Dead Kids on the Block. Due to legal troubles, they had to change the title, this time to Dead Dudes in the House.

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    Synopsis

    Mark (Douglas Gibson) has brought six of his friends to an old house he bought to help renovate it. There’s Ron (Mark Zobian), Bob (Victor Verhaeghe), Jamie (Sarah Newhouse), Steve (J.D. Cerna), Linda (Naomi Kooker), and Joey (Eugene Sautner). While working on the house, one of the group accidentally breaks a headstone, resurrecting an old woman seeking vengeance. Soon enough, our would-be homemakers meet a grisly demise at the hands of this murderous granny. Characters are cut in half by broken windows, stabbed in the back with scissors, and mangled with power tools. However, the victims don’t stay dead; they come back to life and kill anyone alive in exceedingly gruesome ways. Before long, two teens named S (Rob Moretti) and Ricky (James Griffith) end up at the house as would-be victims. Who will escape from this house on Tombstone Hill when the dead come home?

     

    Review

    Whether you call it The Dead Come Home or Dead Dudes in the House, this is a lackluster horror film. While the acting isn’t terrible, most of the main characters are forgettable, and none are fully developed. Admittedly, Victor Verhaeghe has some moments as an arrogant meathead who does kung-fu with his organs hanging out. Also, props to actor Douglas Gibson for playing the dual roles of Mark and the killer old woman. Though it’s a guy wearing makeup, it offers some camp potential just for the absurdity of senior drag. Speaking of makeup, the effects were done by Ed French, whose credits include Sleepaway Camp, The Stuff, and Blood Rage. His gore effects are the movie’s central strong point, each more disgusting and creative than the last. While some effects don’t work as well as they should, they’re still well done.

    The biggest problem with this film is how much filler there is to pad out the runtime. Scenes of characters trying to open sticky doors, throwing rocks at windows, and more to get the movie to feature-length. Not only that, but the film leaves us with so many unanswered questions as to what’s going on. Why is the old lady killing people, why do her victims become undead, and how did Mark find this house? Given how uninteresting the majority of the movie is, it’s hard to care about these questions being answered. The film plays out like a lower-budget version of The Evil Dead, minus the charm and creativity. This one provides some decent splatter effects for gorehounds, but it’s not enough to save an otherwise dull movie. Overall, The Dead Come Home isn’t the worst Troma movie, but it’s not exactly a hidden gem either.

     

    Buy The Dead Come Home from Amazon: https://amzn.to/3LUQOxV.

    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 Dead Come Home (1989)

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  • Filmgore (1983)

    Filmgore (1983)

    [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=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]As I mentioned in my review of Famous T & A, many studios created compilation tapes to stock video stores. They were cheap to produce, gave audiences exactly what they wanted, and always made a profit. Charles Band and Ken Dixon had already made two compilation tapes, including 1982’s The Best of Sex and Violence. They got B-movie icons like John Carradine and Sybil Danning to deliver wry commentary over the clips shown. Band and Dixon hired Cassandra Peterson, who exploded in popularity as the horror hostess Elvira, for their next tape. They also brought Forrest J. Ackerman, the founding editor/writer of Famous Monsters of Filmland, to write Peterson’s quips. While the other compilations focused on violence or nudity, this one focused primarily on blood and guts. In 1983, Charles Band released the compilation tape Filmgore through his Wizard Video label.

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    Synopsis

    The Mistress of the Dark, Elvira (Cassandra Peterson), hosts this gallery of gore, offering her snide quips and “valuable assets.” First on the chopping block is Herschell Gordon Lewis’ 1963 splatterfest, Blood Feast, about an Egyptian caterer who’s a cannibal. Next, we get two of the most highly regarded 70s shockers, The Texas Chain Saw Massacre and The Driller Killer. Then, we move on to Drive-In Massacre, Ted V. Mikels’ The Astro Zombies, and Carnival of Blood. We’re also treated to low-budget movies like Dr. Jekyll’s Dungeon of Death and Fiend, from Don Dohler of Nightbeast infamy. After this, we return to HG Lewis with what he’s considered his best film, 1964’s Two Thousand Maniacs! The collection ends with the notorious 1975 stinker Snuff, a pre-existing no-budget shocker re-edited with a gory ending. With Elvira as your guide, check out some of the goriest scenes that Hollywood has to offer.

     

    Review

    Compared to the earlier comp tapes, Filmgore is better than Famous T & A but worse than Sex and Violence. What makes this one more enjoyable is Cassandra Peterson, who’s entertaining as always as Elvira. She delivers each line with her tongue firmly planted in her cheek and has fun commenting on the movies. Also, while the other compilations were either trailers or random clips, this one offers the cliff notes of several films. Admittedly, this does lessen the impact of The Texas Chain Saw Massacre but prevents you from suffering through Snuff. Then again, spotlighting all the bloody scenes might also entice people to seek out the full movies. It’s similar to modern movie reviewers on YouTube, where people more or less condense a film to explain the plot. These comp tapes were ahead of their time, or I’m giving them too much credit.

    In terms of actual production, this is as cheap as you can get: one set, one actress, and one camera. The quips written by Forrest J. Ackerman aren’t the most clever, but they’re fun in a cheesy way. Cassandra Peterson is at least given more to do here than Sybil Danning, who looked confused the whole time. Some of the films chosen don’t feel like they belong, like The Astro Zombies, which isn’t all that bloody. The same thing could apply to The Texas Chain Saw Massacre, but at least the violence felt gruesome. At around 90 minutes, this compilation goes by fairly quickly and delivers on what it promises. There are better comp tapes out there, but this is a decent one to watch. Overall, Filmgore does what it sets out to do, but don’t expect anything of substance.

     

    Buy Filmgore on Amazon: https://amzn.to/4jUPIxY.

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

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  • Puppet Master X: Axis Rising (2012)

    Puppet Master X: Axis Rising (2012)

    [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=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]Following the release of Puppet Master: Axis of Evil, Charles Band announced a direct follow-up in October 2011. Originally titled Puppet Master Forever, Band decided this would be the first film in the series he’d be directing. He hired newcomer Shane Bitterling to co-write after meeting him following the death of Axis’ screenwriter Dominic Muir. With this new writing assignment, Bitterling made it a personal goal to write the best Puppet Master movie to date. Charles Band hired Tom Devlin’s 1313 FX to recreate the original puppets using molds of the originals from decades ago. In addition, Christopher Bergschneider would be designing four new Nazi-themed puppets that Band slowly revealed on the Full Moon website. Unlike the last film, this one would be shot in the United States on a twelve-day shooting schedule. In 2012, the retitled Puppet Master X: Axis Rising made its way onto DVD shelves.

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    Synopsis

    Following the last film, Lady Ozu (Terumi Shimazu) is betrayed and shot by Nazi commandant Heinrich Moebius (Scott King). Meanwhile, Danny (Kip Canyon) and Beth (Jean Louise O’Sullivan) return home with the remaining puppets, except for Tunneler. Just as they’re figuring out what to do, Danny and Beth are taken to meet with Major Collins (Kurt Sinclair). Given what happened last time, he puts them under the protection of Sgt. Stone (Brad Potts). Meanwhile, Moebius and his right-hand woman Uschi (Stephanie Sanditz) are working on creating the perfect, undead soldier. They’ve kidnapped a scientist named Freuhoffer (Oto Brezina), who discovers Toulon’s life-giving serum inside Tunneler. With this discovery, he creates four new puppets for the Third Reich – Blitzkrieg, Bombshell, Kamikazee, and Weremacht. With Sgt. Stone’s aid, it’s up to Danny, Beth, and their puppets to save the world from tyranny once again.

     

    Review

    Like the last installment, Puppet Master X: Axis Rising isn’t on par with the earliest installments, but it isn’t terrible. Sure, the film suffers from a lack of budget, but you can tell the filmmakers put their hearts into it. As the director, Charles Band does a good job trying to give this film a 1940s war movie feel. Also, for a relatively new screenwriter, Bitterling works some well-needed humor into the script to give it some charm. Everyone in the cast delivers an appropriately over-the-top performance, with King and Sanditz standing out as the villains. Also, Brad Potts, a former marine turned actor, shines as the gruff and scraggly yet reluctant Sgt. Stone. Tom Devlin and his team have done a great job recreating several of the original puppets from scratch. The four new puppets added to the mix are a nice touch, even if slightly non-PC.

    Unfortunately, some of the recasting drags the film down, particularly Kip Canyon, who has the charisma of a wooden block. Jean Louise O’Sullivan, for her part, tries her best as Beth and even has some badass moments. You can tell they didn’t have quite the budget they needed when you look at some of the action sequences. For instance, there’s a big scene where the good puppets battle with the evil puppets during the climax. Sadly, the fight is in a small room with just a podium, a few actors, and some WWII-era posters. Still, compared to Puppet Master: The Legacy, this is one of the series’ better entries. At slightly under 90 minutes, parts of the movie drag, but it gets the job done. Overall, Puppet Master X: Axis Rising is a promising improvement over the last entry in a long-running franchise.

     

    Buy Puppet Master X: Axis Rising from:

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  • Play Dead (1983)

    Play Dead (1983)

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    One of the most popular horror subgenres of the 1970s was the animal attack genre, which started with 1971’s Willard. The decade brought us Frogs, Killer Bees, Jaws, Grizzly, Kingdom of the Spiders, and Piranha, amongst others. An off-shoot of this subgenre was movies centered around domesticated animals running amok, most prominently dogs. After The Omen, a wave of killer dog movies filled movie theaters, including Dogs, The Pack, and Dracula’s Dog. The United Construction Company decided to produce its own film in Texas to capitalize on this trend. They hired Peter Wittman, whose only credit was co-writing and producing Skullduggery, to direct the movie. Filming began in 1981, with Yvonne De Carlo, best known for her role on The Munsters, as the lead. After premiering in Britain in 1983 and West Germany in 1985, Troma released Play Dead to the US in 1986.

    [/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=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _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=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Audrey (Stephanie Dunnam) and her brother Stephen (David Ellzey) attend their mother’s funeral when Aunt Hesther (Yvonne De Carlo) arrives. While everyone’s mourning, Hesther is scornful because her sister stole her boyfriend, married him, and killed herself after he died. After the funeral, Stephen urges Hesther to make things right with Audrey, so she gifts her a rottweiler named Greta. However, it turns out that this dog is part of Hesther’s plan to get revenge on her late sister. Using some Satanic black magic, Hesther possesses the dog and commands her to kill anyone she feels has wronged her. Each of the murders is staged as an accident, which puzzles Detective Otis (Glenn Kezer) as he investigates the deaths. After her brother and her boyfriend Jeff (David Cullinane) wind up dead, Otis suspects that Audrey might be responsible. Little does he know that a demon dog is on the loose.

     

    Review

    Despite the ridiculous premise, Play Dead is one of the more competently made and decently acted films of its kind. While not all that scary or intense, the movie offers plenty of camp and bizarre moments. The biggest thing this has going for it is Yvonne De Carlo as Hester, the vindictive aunt seeking her revenge. De Carlo commits to the role even if this isn’t on par with something like The Ten Commandments. She comes off as menacing while adding some dark humor through her dry delivery and occasionally chews the scenery. Stephanie Dunnam makes for a sympathetic lead, and Glenn Kezer shines as the straight man trying to solve this case. Also, the dog who plays Greta is incredibly well-trained and comes off as both lovable and vicious. All-in-all, the acting ranges from pretty good to decent, though most of the supporting cast is forgettable.

    Considering this was Peter Wittman’s first time as director, he does a surprisingly good job behind the camera. At barely under 90 minutes, the film goes by reasonably quickly, though some slow moments drag the movie down. The kills are relatively tame, though they’re fun in a goofy way just for how absurd they are. There are a few sequences where Wittman uses slow motion to heighten the mood, and they do a decent job. Interestingly, the art director was Robert Burns, whose biggest claim to fame was The Texas Chain Saw Massacre. His other credits include serving as art director on The Hills Have Eyes, Tourist Trap, Disco Godfather, and Re-Animator. I wouldn’t go so far as to call this a lost classic, but it’s worth checking out for cult fans. Overall, Play Dead has some decent performances and is reasonably well-made, but don’t expect something mindblowing.

     

    Buy Play Dead from Amazon: https://amzn.to/3jex0qC.

    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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  • Psychos in Love (1987)

    Psychos in Love (1987)

    [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=”4.19.3″ _module_preset=”default” global_colors_info=”{}”]Growing up in Waterbury, Connecticut, Gorman Bechard became interested in writing after reading Breakfast of Champions and In Watermelon Sugar. After attending a college class on Alfred Hitchcock, Bechard started learning how to shoot using 16mm film. In 1983, he made his first feature film, Disconnected, on a $40,000 budget, which received mixed reviews. He raised the money with fellow Waterbury resident Carmine Capobianco, who had a small part in the film. For their next film, Bechard and Capobianco decided to make a horror-comedy inspired by Woody Allen and The Marx Brothers. On a $75,000 budget, Capobianco co-wrote, starred, and made the music for the film, while Bechard co-wrote, produced, and directed. The film gained much attention when it was screened at the Bleecker Street Cinema, including Charles Band. After acquiring the rights, Band released Psychos in Love under his Wizard Video label in 1987.

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    Synopsis

    Joe (Carmine Capobianco) is a strip-club owner who happens to kill women in between serving drinks at the club. While working the bar, Joe meets Kate (Debi Thibeault), a manicurist who also kills men at random. The two fall madly in love as they each continue their murderous ways, though they’re usually separated when they’re killing. Joe tries bringing women back so he and Kate can kill them together, but it doesn’t quite work. After killing many people, the two start to wonder if they should continue being psycho-killers or retire. Realizing they enjoy each other more, Joe and Kate decide to end their murderous ways and be a happy couple. Unfortunately, a plumber named Herman (Frank Stewart), a killer who eats his victims, tries to blackmail the couple. Will they cave in and work with Herman, or will these psychos in love stand up to him?

     

    Review

    Even by Charles Band’s standards, Psychos in Love is one of the oddest movies from his library. It’s a gory, violent slasher film that’s also a screwball comedy with romantic elements similar to Annie Hall. As bizarre as the movie is, its weird nature almost makes it work despite how disjointed it is. You can tell this was made for very little money, from the reused locations to the cheap effects. Also, the acting isn’t the greatest, with many actors making stuff up on the fly with no rhyme or reason. Plus, the film has an odd Casio keyboard soundtrack that starts to grate on you after a while. Yet, these technical shortcomings give the film a charming, homebrew quality, like you’re watching something some friends made. There’s a lot of heart that was put into this movie, unlike most big-budget Hollywood pictures.

    While not the best actors, Carmine Capobianco and Debi Thibeault work well together and have great chemistry. They genuinely feel like they love each other, and you start rooting for them despite them being serial killers. Also, Frank Stewart is odd as the murderous plumber who randomly shows up only to become relevant near the end. Even with a low budget, the gore effects are decent, and Bechard manages to inject some style into the production. Admittedly, the film doesn’t have much plot and is more of a series of random events. The movie mainly relies on slapstick, but a few gags work, especially whenever grapes are mentioned. At 83 minutes, the film drags slightly, and the ending is somewhat anticlimactic, but it’s worth seeing at least once. Overall, Psychos in Love isn’t the most excellent horror comedy, but it’s one of the strangest.

     

    Buy Psychos in Love from Amazon: https://amzn.to/4khlIfA.

    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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  • Mad Dog Morgan (1976)

    Mad Dog Morgan (1976)

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    In 1974, Australian author Margaret Carnegie wrote Morgan: The Bold Bushranger about the life of notorious outlaw Daniel Morgan. Around this time, documentary filmmaker Phillipe Mora wanted to move into narrative filmmaking and chose to adapt Carnegie’s book. After writing the screenplay, Mora acquired a budget of $400,000 from the Australian Film Commission and some private investors. Mora and producer Jeremy Thomas wanted to hire Stacey Keach, but they ultimately went with Dennis Hopper. Hopper had been blacklisted from Hollywood due to his drug and alcohol abuse, so he took whatever jobs he could. Despite a rough shoot, the film was finished and released in Australia and the US in 1976. Due to copyright technicalities, various low-budget companies were able to license the film for home video, including Troma. After releasing heavily edited versions on VHS and DVD, Troma released Mad Dog Morgan uncut in 2009.

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    Synopsis

    In 1850s Australia, Irishman Daniel Morgan (Dennis Hopper) is looking to strike rich during a gold rush. Failing that, he turns to a life of crime, only to be arrested and sentenced to serve a six-year sentence. After being brutalized and raped in prison, Morgan emerges a broken man and becomes an outlaw looking to plunder. With his aboriginal accomplice Billy (David Gulpilil), Morgan tears through the Australian countryside and becomes a local legend. Meanwhile, Superintendent Cobham (Frank Thring) enlists Detective Manwaring (Jack Thompson) to track down Morgan and bring him to justice. As tensions mount, Morgan’s legendary status continues to grow as more and more people talk about his exploits. However, it’s only a matter of time before the long arm of the law catches up to him. While his grip on reality continues to slip, Daniel “Mad Dog” Morgan continues his rampage in pursuit of fortune.

     

    Review

    Mad Dog Morgan is one of the most beautiful, brutal, and mind-bending movies I’ve ever seen in quite some time. For such a small budget, what Phillipe Mora and his crew accomplished is spectacular, especially given the filming conditions. Much of the film was shot in the eastern Riverina and northeast Victoria to give it some authenticity. With cinematographer Mike Molloy, Mora takes full advantage of the locations and stages some beautiful landscape shots. Contrasting with these gorgeous long shots are scenes of brutal violence that, while not overly graphic, are disturbing. From the Chinese camp early on being burned to the final standoff with Morgan, there are some memorable set pieces. It reminds me of how Heaven’s Gate had gruesome violence set against beautiful landscapes on a fraction of the budget. Thankfully, the shoot of this film was nowhere near as problematic as Michael Cimino’s infamous flop.

    While the rest of the cast does a great job, Dennis Hopper is on a whole other level. Hopper gives one of his best performances as Daniel Morgan, who goes from innocent everyman to a crazed outlaw. Granted, it’s not the most historically accurate depiction of Morgan, but his performance is impressive. His right-hand man, David Gulpilil, has excellent chemistry with Hopper and helps balance out the insanity. Jack Thompson also delivers as the stern police detective hellbent on either capturing or killing Morgan. It’s worth noting that a pre-Mad Max Hugh Keays-Byrne and a pre-Road Warrior Bruce Spence have minor roles. My only main gripe is that, despite its hour and 42-minute runtime, it can sometimes feel slow and disjointed. Despite that, Mad Dog Morgan is an underrated Australian Western that will stick with you long after the movie ends.

     

    Buy Mad Dog Morgan from Amazon: https://amzn.to/3V3PMyk.

    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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  • Lust for Freedom (1987)

    Lust for Freedom (1987)

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    Following the closing of the Robinson Mine, the citizens of Ely, Nevada, formed The Bristlecone Film Committee in 1983. The committee advertised their town as an ideal filming location, which caught the attention of producer/director Eric Louzil. Louzil contacted the committee in 1984 to use Ely as the filming location for a women-in-prison movie, Georgia County Lock-up. Filming started in 1985 on a $1.5 million budget, with many locals serving as cast and crew. About 30% of the film was shot in Nevada, while the rest of the filming took place in California. In 1986, Louzil met with Lloyd Kaufman, who agreed to add $125,000 for sound, additional filming, and converting to 35mm. In exchange, Troma would get distribution rights to the film, which included theatrical and home video. After premiering at Cannes in 1987 as Lust For Freedom, the film hit theaters the following year.

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    Synopsis

    After an undercover drug bust went wrong, police detective Gillian Kaites (Melanie Coll) mourns the death of her partner/fiance. She goes on a road trip to try and forget what happened and is taken to the Georgia County police. Kaites meets with Sheriff Coale (William J. Kulzer), who spikes her drink and frames her for possessing illegal substances. She wakes up in prison with several other women who’ve been captured and thrown in jail for bogus reasons. Coale and his partner, Ms. Pusker (Judi Trevor), subject the prisoners to torture and abuse. In addition, Warden Maxwell (Howard Knight) sells the girls off to the highest bidder and makes snuff porn. Having witnessed all the abuse she and the other prisoners have suffered, Kaites decides to start a jailbreak. She’ll make sure her fellow prisoners have the same lust for freedom that she does.

     

    Review

    Lust For Freedom is as bare bones as you can get with a women-in-prison movie, and that’s not bad. This movie is exactly what you want if you’re looking for gratuitous nudity, massive explosions, and gun violence. Unfortunately, that’s about all this movie offers because the rest is pretty bland and not as bombastic as it promises. To his credit, it feels like Louzil wanted to make a legitimate exploitation film rather than an intentionally campy flick. Like Fortress of Amerikkka, which came out two years later, this movie plays it reasonably straight. All the actors play their parts like they’re in a legitimate drama, with no one going too over the top. This is Melanie Coll’s only acting credit to date, and it’s easy to see why since she’s not very memorable. It’s not that she’s terrible, but she doesn’t stand out from everyone else.

    William J. Kulzer, who gave a stand-out villainous performance in Louzil’s later film, is surprisingly subdued here. What’s more surprising is that he goes from being a bad guy to becoming one of the good guys later. Opposite Kulzer is Judi Trevor, who seems to be trying to stand apart from everyone else with her performance. She tries to be intimidating and over-the-top, but it doesn’t quite work when the rest of the movie is uninteresting. There’s plenty of T&A, but it feels less like a trashy exploitation flick and more like soft-core porn. The soundtrack keeps this movie mildly entertaining, especially the title track and “Rock You To Hell” by Grim Reaper. Combined with all the nudity and explosions, the music enhances this film’s cheesy B-movie quality. Overall, Lust For Freedom has some entertaining elements, but it’s mostly a forgettable watch.

     

    Buy Lust For Freedom from Amazon: https://amzn.to/4jR7ink.

    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 Lust for Freedom (1987)

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