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Category: Full Moon Fridays

  • Death Streamer (2024)

    Death Streamer (2024)

    [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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]In September 2023, Meta announced a collaboration with EssilorLuxottica to create new Ray-Ban smart glasses. Among its many features, users could livestream everything they saw while wearing the glasses, which caught Charles Band’s attention. These glasses gave him the idea for his second film in his Pulp Noir series: a high-tech vampire movie. He used the Full Moon manor in Cleveland and a rundown church he bought and restored for locations. Despite being told buying this church was a bad idea, Band believed it had potential and continued renovating it. Along with directing, Band co-wrote the screenplay with longtime writer Neal Marshall Stevens, using the pseudonym Roger Barron. After assembling his cast, Band shot in the manor and newly renovated church for roughly six days. Following its announcement in mid-2024, Death Streamer hit streaming services and Blu-Ray/DVD/VHS in October.

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    Synopsis

    Alex Jarvis (Aaron McDaniel) hosts Church of Chills, a true crime podcast with Edwina (Emma Massalone) and Juniper (Kaitlin Moore). While editing their latest episode, Juniper comes across a mysterious livestream depicting a young woman’s bloody death. Little do they know that a vampire named Arturo Valenor (Sean Ohlman) runs the live stream from his hidden lair. Along with his cohorts, Lil Chen (Chili Jean) and Thug (Travis Stoner), Arturo kills beautiful women and streams their deaths. As Alex, Edwina, and Juniper dig further into the streams, they realize that the deaths aren’t staged. Soon, Arturo finds out that the Church of Chills crew knows about his streams and targets them. Alex, Edwina, and Juniper must fend for their lives as they try to tell the world that vampires exist. Will they succeed, or will they be the next victims of Arturo’s death streams?

     

    Review

    Coming off of Quadrant, Death Streamer has much to live up to as the second Pulp Noir movie. I’m happy to say that, while the film has its issues, this is a solid entry in this series. It’s not as strong as the Subspecies franchise from Full Moon’s heyday, but it’s an exciting twist. The idea of a killer live streaming their victims is a unique concept, especially with the killer being a vampire. Sure, in a realistic world, platforms like Twitch, Kick, or TikTok would instantly ban it. However, with the rise of supposed murder streams on the dark web, it’s not out of the realm of possibility. Admittedly, the viewer and sub-count go wildly out of control without rhyme or reason, breaking the immersion. Granted, I can forgive a low budget movie for those mistakes more than a $200-million blockbuster doing the same thing.

    Much like the last Pulp Noir movie, the acting is solid and easily the film’s best aspect. Aaron McDaniel is an enjoyably egotistical and eccentric host that you initially love to hate. As time passes and things worsen, his more human side comes through, and you start liking him more. Emma Massalone and Kaitlin Moore work well off him, providing a mix of sincerity and sarcasm. You can believe that they’ve stuck around for a while despite their bickering and disagreements. While much of their dialogue is exposition-heavy, they at least deliver it in a way that makes it entertaining. Even with the goofy glasses, Sean Ohlman makes for an intimidating vampire that you can believe is a master seducer. Even the side characters, played by Chili Jean and Travis Stoner, have their standout moments.

    Thomas L. Callaway’s cinematography adds plenty of mood and atmosphere to the production, especially with the colored lighting. The lighting reminds me of the look of early Dario Argento movies or Joe Dante’s The Howling. While the title theme gets played a bit too much, Jonathan Walter’s score goes a long way to provide ambiance. Effects-wise, there are some decent practical effects, but there’s also some wonky CGI that sticks out badly. Also, for all the boobs and blood on display, the kills are pretty routine, and none stand out in particular. Despite its 72-minute runtime, some scenes go for slightly longer than necessary, but it’s an otherwise breezy watch. While I wouldn’t call this a modern horror masterpiece, it’s still a decent watch for Full Moon fans and newcomers. Overall, Death Streamer is a decent hi-tech vampire flick and a good sign for future Pulp Noir movies.

     

    Buy Death Streamer from Full Moon Horror: https://bit.ly/3UwPDWu.

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  • Quadrant (2024)

    Quadrant (2024)

    [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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]In the 1980s, Charles Band created a concept for a movie called Quadrant, which he would produce under Empire Pictures. Unfortunately, after the studio went bankrupt, the idea was shelved until the mid-90s, when Full Moon Features was formed. He hired Linda Hassini, who previously directed Dark Angel: The Ascent, to helm the project for a 1995 release. Sadly, this was when Paramount Pictures ended their deal with Full Moon, and the film again sat on the shelf. Decades later, Band decided to start a new label for more extreme horror films called Pulp Noir. He chose to revive the Quadrant concept for the first Pulp Noir film and hired C. Courtney Joyner to write. With a cast of young actors and a small budget, Band shot the movie at his Cleveland studio. After decades of development, Quadrant hit Full Moon’s streaming in August 2024.

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    Synopsis

    Scientists Meg (Emma Reinagel) and Harry (Rickard Claeson) created an experimental device called Quadrant to help people conquer their fears. Their first test subject is a young woman named Erin (Shannon Barnes), who has an obsession with Jack The Ripper. However, the more she uses Quadrant, the more she wants to use it to reenact the notorious murders. Meanwhile, Meg and Harry bring in another test subject, Robert (Christian Carrigan), whose crippling fears affect his livelihood. Erin gets friendly with Robert and manipulates him into being her accomplice as she starts killing real people. Tensions arise when Meg wants to stop the experiments because of their effects, while Harry wants to keep going. Unfortunately, it might be too late, as Erin can now manipulate reality thanks to her bond with Quadrant. Will her reign of terror be stopped, or has Jack The Ripper returned as this troubled young woman?

     

    Review

    Quadrant has its issues but offers plenty of promise for the first film in a new series. To get this out of the way, the film’s use of AI-generated artwork is disconcerting and might upset some people. On the one hand, there’s a lot of discussion about using AI over hiring professional artists. On the other hand, this is a micro-budget film, and Full Moon probably didn’t have the proper resources. Also, you could justify using AI by saying that everything experienced in Quadrant is supposed to be virtual reality. It’s supposed to be a simulation of a real-world scenario, meaning not everything will look 100% realistic. While it would’ve been better if they hired professional artists or built period-accurate sets, they worked with what they had. If AI-generated artwork genuinely bothers you, you’ll probably hate this, but if not, you might enjoy it.

    On the positive side, C. Courtney Joyner’s script is solid, and he does a great job exploring these concepts. The idea of a demented person abusing a virtual reality system to live out their sick fantasies is intriguing. This film goes in some directions you wouldn’t expect from a recent Full Moon movie, and it’s greatly appreciated. The young cast does a good job, with Shannon Barnes being the biggest standout among the group. She plays the part with such devilish charm and demented enthusiasm that you can’t take your eyes off her. Emma Reinagel also does an excellent job as the voice of reason against Rickard Claeson, whose determination is infectious. Christian Carrigan is also solid as a trauma patient trying to overcome his fears, which Erin easily manipulates. Admittedly, some of his line deliveries sound flat, but he and everyone else show plenty of potential.

    There are also a few story details that either aren’t explained well or don’t make sense. For instance, we’re never told how Quadrant came to be, who’s funding it, or how Meg and Harry built it. Also, as the story progresses, Erin can somehow manipulate reality around her, but there’s no rhyme or reason behind it. While the film has some dynamic lighting and great use of shadow, the cinematography feels a little flat. The music also sounds repetitive and doesn’t pick up until the third act, and some of the dialogue seems dubbed. Granted, these technical gripes don’t hurt the film too much, and it delivers the edginess the label promised. Hopefully, some of these issues will get ironed out for future movies, but this is otherwise a solid start. Overall, Quadrant has flaws, but it’s got a strong cast, intriguing ideas, and boobs and blood galore.

     

    Quadrant will be available on streaming, Blu-ray, DVD, and VHS on August 23rd. Visit https://www.fullmoonfeatures.com/quadrant-coming-8-23 for more information.

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  • The Primevals (2023)

    The Primevals (2023)

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    In the late 1960s, stop-motion animator David Allen shot a short promo called Raiders of the Stone Ring. While the promo caught the attention of Hammer Films, the project fell through, and Allen continued working out the treatment. Allen recruited fellow effects artist Randall William Cook to co-write a first draft that became the basis for The Primevals. While working on 1978’s Laserblast, Allen showed his promo reel to producer Charles Band, who agreed to finance the project. Unfortunately, production stalled for another decade until Band started Full Moon Features and acquired funding from Paramount. Allen filmed the live-action sequences and started working on the stop-motion in 1994, but production halted after Paramount pulled out. The film was shelved after Allen’s passing in 1999 until Band and Chris Endicott decided to revive it decades later. After years of development hell, David Allen’s The Primevals was finally finished in 2023.

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    Synopsis

    A group of Nepalese natives fends off a Yeti when an avalanche crushes the creature and kills it. Months later, Dr. Claire Collier (Juliet Mills) displays the beast’s body at a university, which stuns the audience. After the presentation, fellow scientist Matthew Connor (Richard Joseph Paul) asks Collier to accompany her on an expedition to Nepal. They travel to Calcutta to recruit rugged tracker Rondo Montana (Leon Russom) to lead them through The Himalayas. Once in Nepal, Connor, Collier, and Montana meet with scientist Kathleen Reidel (Walker Brandt) and local Siku (Tai Thai). As they travel further into the mountains, they encounter a hidden world with primordial hominids and other secrets. Soon, they discover a race of alien/human hybrids who have enslaved a Yeti to do their bidding. Mysteries will be uncovered, and our world will never be the same when our heroes face off with The Primevals!

     

    Review

    Given its production history, it’s wild to think that The Primevals is available to watch, let alone review. Over almost half a century, this film went through financiers pulling out, companies going bankrupt, and its director dying. The efforts of Charles Band, Chris Endicott, the IndieGoGo backers, and the Full Moon team resurrected this nearly lost film. Thankfully, unlike Last Foxtrot in Burbank, which was a bit of a slog, David Allen’s dream project is fantastic. It’s nothing groundbreaking or innovative, but it’s a fun, old-school adventure film that’s cheesy in the best way. While the characters aren’t fully three-dimensional or nuanced, the actors play their roles well, and there are some standouts. Character actor Leon Russom shines as the rugged Rondo Montana, and classic actress Juliet Mills excels as Dr. Collier. Richard Joseph Paul from Oblivion is similarly bland, but he does a decent job.

    Of course, this movie’s real star is the fantastic stop-motion animation, which is impressive and adds to the charm. It’s very striking, from the rampaging Yeti at the beginning to the lizard men in the climax. Though sparse, the stop-motion is jaw-dropping and on par with the best of Ray Harryhausen’s work. Also, I’m impressed at how Chris Endicott and his team seamlessly blended the new animation with the original effects. It helps that the stop-motion is integral to the plot rather than feeling like breaks in between the talking parts. Adding to the old-school charm is the rich score by composer Richard Band, which gives the film a majestic feel. The music has a similar flair to Bernard Hermann’s scores while including some of Richard’s trademark beats. In a world dominated by cartoonish-looking CGI, this movie is a time capsule of classic cinema.

    Though some of the production designs look cheap, you can tell that Full Moon spent plenty of money back then. In 1994, this must’ve looked like something that could’ve played in theaters instead of getting a direct-to-video release. Sadly, the high quality of this early Full Moon effort highlights how much the company fell by the wayside. While there have been surprises like Subspecies V: Blood Rise, those are few and far between. I mean no disrespect to Charles Band and Full Moon, but I wish they’d make more movies like this. Then again, that might be a pipe dream, considering they don’t have nearly the budgets they had in the 90s. It’s impossible to say how David Allen would feel about what’s happened, but I’d like to think he’s happy. Overall, The Primevals is a testament to the power of perseverance and a damn good adventure movie to boot.

     

    Watch The Primevals on Amazon: https://amzn.to/4clW31o.

    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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  • Bad CGI Gator (2023)

    Bad CGI Gator (2023)

    [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=”4.23.1″ _module_preset=”default” global_colors_info=”{}”]Love it or hate it, computer-generated imagery or CGI has been a tool in filmmaking for decades that won’t go away. While CGI had been experimented on since the 50s, the technology wasn’t fully realized until the early 90s. Blockbusters like Terminator 2: Judgement Day and Jurassic Park revolutionized visual effects and showed what CGI could do. However, even as the technology continued to grow, there’s always been some pushback by people who found the effects unrealistic. This isn’t helped by how most movies made in the last 20 years have mainly used digital effects. Plenty of low-budget studios crank out movies with intentionally poor digital effects, most notably The Asylum with their Sharknado series. Wanting to capitalize on this trend, Charles Band’s son Zalman wrote a screenplay based around a digital lizard. With Danny Draven directing, Bad CGI Gator premiered on Full Moon’s streaming service in late 2023.

    [/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=”40″ bar_bg_color=”#E09900″ _builder_version=”4.23.1″ _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” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    College grads Chad (Ben VanderMey), Sarah (Rebecca Stoughton), Pearce (Cooper Drippe), and Paisley (Sarah Buchanan) are celebrating Spring Break. They rent a cabin in the Georgia bayou along with buzzkill Sam (Michael Bonini) and Chad’s sister Hope (Maddie Lane). To try to go viral on social media, Sarah leads the others in throwing their school laptops into the lake. Little do they know that a miniature digital alligator starts growing when it comes in contact with their computers. As the group continues drinking and trying to get lucky, the gator lurks outside, looking for its next victim. Before long, the gator eats the college grads one by one, with those left scrambling for a way out. While the gator moves around unnaturally, flies through the air, and continues growing, our heroes try to stay together. It’s terror rendered too cheaply when our heroes face the Bad CGI Gator!

     

    Review

    If nothing else, Bad CGI Gator lives up to its title: it’s got a gator made from bad CGI. Like Cocaine Bear, the movie gives you exactly what the title promises, so you can’t accuse it of false advertising. Unfortunately, that’s where anything positive I can say about this movie ends since it doesn’t have much else to offer. Aside from its titular gimmick, this is another feeble excuse for a film that Full Moon seems fine with releasing. For one, this barely qualifies as a movie since its runtime is just slightly under an hour. Granted, I’m glad they didn’t add pointless filler to increase the length artificially, but it’s still worth pointing out. It feels like Charles and Zalman had an idea for something that could be amusing but didn’t think much further. Well, at least father and son are working on movies together.

    The cast seems to follow the Eli Roth school of acting, which means being as unlikeable as possible. I’m sure they’re trying to make fun of younger generations obsessed with social media, but it falls flat. Just because most of these characters are going to die doesn’t mean they should speak only in stereotypical bro talk. It doesn’t help that almost everyone plays their part as if they’re in a comedy, which often doesn’t work. It’s much funnier when the cast acts like they’re in a serious drama, contrasting with the silliness around them. Michael Bonini plays the stereotypical nerdy guy, but he is more like a football player trying to be a loser. My favorite character in the movie is Hope, played effectively by Maddie Lane, who seems just as annoyed as me. Thankfully, she’s one of the few survivors, so the movie’s got that going for it.

    Despite my criticisms and issues with the film, this is one of those movies that’s almost critic-proof. Much like the Sharknado series or movies like Llamageddon, this was intentionally made as a bad movie. While there’s undoubtedly an audience for this kind of bad movie, I’m not part of that audience. To me, the best bad movies are the accidentally bad ones, either due to incompetence or the filmmakers not caring. For example, The Room is infinitely more entertaining despite being poorly made, horribly written, and badly acted. You can tell Tommy Wiseau tried making a great drama but failed in the best way possible due to incompetence. Danny Draven’s film may provide a few laughs, but it will be quickly forgotten within a month or two. Overall, Bad CGI Gator has nothing much going for it besides a funny title and a cheesy gimmick.

     

    Buy Bad CGI Gator from Amazon: https://amzn.to/3UwKzkY.

    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.

    [/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=”4.23″ _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=”4.23″ _module_preset=”default” global_colors_info=”{}”]

    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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  • AIMEE: The Visitor (2023)

    AIMEE: The Visitor (2023)

    [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=”{}”]From the Greek legend of Talos to literary works like Mary Shelley’s Frankenstein, people have been fascinated by artificial life. The idea of human thought being mechanized and automated has been researched and tested for centuries. However, the concept of artificial intelligence was fully explored once scientists gathered for what became The Dartmouth Workshop of 1956. Meanwhile, science-fiction writers like Isaac Asimov and Phillip K. Dick were telling stories about the dangers of AI. Similarly, filmmakers like Stanley Kubrick, James Cameron, and The Wachowskis expressed similar fears of machine learning. As technology continued to evolve throughout the 20th century, more research was being done into how effective AI could be. Ever the opportunist Charles Band of Full Moon Entertainment decided to explore this by creating the first AI-generated femme fatale. The result was the 2023 sci-fi thriller AIMEE: The Visitor.

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    Synopsis

    Scott Keyes (Dallas Schaefer) is a computer programmer who spends his days watching porn and eating fast food. He’s hired hacker siblings Hunter (Felix Merback) and Gazelle (Faith West) to steal top-secret software to sell online. The two bring Scott a new artificial intelligence program, which he tinkers with and unlocks AIMEE, an ai-generated woman. Scott is immediately drawn to how seemingly perfect she is: she’s intelligent, funny, does whatever Scott wants, and never complains. Elsewhere, two government agents (Joe Kurak and Tom Dacey Carr) are snooping around when they’re mysteriously electrocuted. While Hunter is perfectly content, Gazelle is suspicious of AIMEE and starts digging into its code. She finds out about AIMEE’s dark secrets and tries to pull Scott away, eventually beginning a romantic relationship with him. Little do they know that AIMEE is willing to do everything and anything to keep Scott all to herself.

     

    Review

    Given AI’s prevalence in the last few years, it makes sense for a movie like AIMEE: The Visitor to emerge. As technology evolves, we find ourselves being pulled further into the digital world and away from the real one. Granted, this concept isn’t anything new, and that’s one of the biggest problems with Charles Band’s sci-fi thriller. In 2023 alone, we had the film M3GAN, which tackled the same issue of an artificial person replacing human contact. Granted, if it’s told well and given some uniqueness, there’s nothing wrong with retelling the same story repeatedly. The only thing that separates this film is that the AI is the titular artificially generated woman. In this movie’s defense, Aimee is terrifying and manipulative, and she makes for a great villain. She does an excellent job of showcasing how dangerous artificial people can be if technology goes too far.

    Dallas Schaefer plays Scott as an arrogant yet lovable jerk who appreciates his colleagues despite constantly mocking them. Granted, he doesn’t fit the bill of someone who spends all day eating junk and using porn to relieve himself. While he comes off a bit unlikable, you also get the sense that he’s confused as Aimee keeps manipulating him. Felix Merback and Faith West also perform well as hacker siblings who put up with Scott’s antics for the money. Admittedly, the romance between Scott and Gazelle comes out of nowhere and isn’t given a proper build-up. While we don’t know the character’s history with each other, how they interact doesn’t suggest a romance blossoming. Considering this is a modern version of a 90s erotic thriller, the romance could’ve been an excuse for some nudity. It doesn’t help that we’re not given much development at only an hour in length.

    Like many recent Full Moon offerings, this one could not have had a large budget, though Band makes it work. The small cast and single location help give a sense of claustrophobia and tension as Aimee spies on our heroes. There’s also a decent use of light and shadow to make the film look more dynamic and suspenseful. While there is some questionable CGI here and there, it’s not distracting enough to take you out of the action. Without giving any spoilers, I will say that the ending genuinely surprised me with how depressing it was. As easy as it would’ve been to end happily, the fact that it ends on a bleak note is commendable. While I wouldn’t call this one of Full Moon’s best, it’s at least one of their more ambitious movies. Overall, AIMEE: The Visitor is flawed but has some fun sci-fi thrills.

     

    Special thanks to Full Moon Features for providing me with an early screener copy for review.

    Buy AIMEE: The Visitor from Amazon: https://amzn.to/4fv3THc.

    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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  • Demonic Toys: Jack-Attack (2023)

    Demonic Toys: Jack-Attack (2023)

    [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=”{}”]While not as popular as the Puppet Master series, Demonic Toys still proved to be a Full Moon hit. After the crossover, Dollman vs. Demonic Toys, the SciFi Channel released a loosely connected sequel, Puppet Master vs. Demonic Toys. In 2010, nearly 20 years after the original, Full Moon released Demonic Toys 2, written and directed by William Butler. However, it wouldn’t be until a decade later that the series got a soft reboot with a spin-off. In 2021, William Butler directed Baby Oopsie, which focused on the evil baby doll from the original movie. Initially released in parts as a mini-series, the film proved popular enough that two sequels were released the following year. During a Full Moon Universe video, Charles Band announced another spin-off focusing on the evil Jack-In-The-Box toy, Jack-Attack. Now comes the latest chapter in the killer puppet series, Demonic Toys: Jack-Attack!

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    Synopsis

    After witnessing the death of her foster mother, young Lily (Sofia Castellanos) is staying at an orphanage. CPS agent Audrey Haines (Mabel Thomas) informs the director, Mrs. Culver (Donna Steele), that Lily will be moving out. Despite Mrs. Culver’s warning about Lily’s arrested development, Audrey takes her to live with the Yost family. Tyler (Sean Ramey) and his wife Kate (Christine Brunner) welcome the mute Lily into their home with open arms. Lily soon meets her new siblings, Mike (Carson Polish) and Dewey (Taylor Abigail Rice), who’s a would-be influencer. Despite the warm welcome, Lily is still traumatized and keeps seeing images of an evil clown with a Jack-in-the-box. Unfortunately, the toy of her nightmares ends up at her new home, releasing the demonic toy, Jack Attack. As Audrey rushes to save her, Lily must learn to confront her fears and survive against the tiny terror.

     

    Review

    Admittedly, I didn’t know what to expect when I started playing the screener copy of Demonic Toys: Jack-Attack I received. Aside from the original film and the first crossover, I had yet to see the sequel or the Baby Oopsie spin-off. Unfortunately, this movie references the events of that film quite a bit, so you need to see it to understand. Considering the quality of most modern Full Moon movies, I was genuinely surprised at how much I liked this one. The cast performs well, with Sofia Castellanos and Mabel Thomas being the standouts. Admittedly, Taylor Abigail Rice is pretty annoying, but it feels like that’s how her character was written. Also, the film has some decent gore effects, and a few of the death scenes are surprisingly gruesome. Plus, at only an hour long, the movie goes by fast and never feels bogged down with unnecessary padding.

    Sadly, the movie still has some of the same issues as most modern Full Moon films. For one, the overuse of stock music, stock footage, stock sound effects, and fake websites is distracting. Tonally, the movie feels like a Hallmark Channel original drama that has weird horror moments thrown in. This might be more of a technical problem, but there are some odd audio issues with balancing and echo. It doesn’t help that there is some obvious ADR added in post-production. While Jack Attack’s design looks close to how he initially looked, I’m not too fond of his new high-pitched laugh. Also, while I praised the practical effects, some noticeable CGI is sprinkled in. To give William Butler credit, there is some decent camera work and a good use of light and shadow. Overall, Demonic Toys: Jack-Attack has its issues, but it’s a decently entertaining killer doll movie.

     

    Special thanks to Full Moon Features for providing me with an early screener copy for review.

    Buy Demonic Toys: Jack-Attack from Amazon: https://amzn.to/40Otjfd.

    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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  • Arena (1989)

    Arena (1989)

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    After Trancers and Eliminators became minor hits, Danny Bilson and Paul De Meo were assigned more scripts by Charles Band. One assignment he gave them was a sci-fi wrestling movie with aliens, which the duo wasn’t entirely sold on. They took the job anyway and used 1947’s Body and Soul as a reference for their screenplay. Their original concept was more of a spoof of boxing movies from the time, which didn’t sit well with Band. At some point, the script went through many rewrites after Bilson and De Meo left to work on The Flash. Peter Manoogian, who previously helmed Eliminators and Enemy Territory, was given $2 million to film Empire’s most ambitious film. The movie was shot in the old Dino De Laurentiis studios in Rome and finished in 1988. Unfortunately, due to Empire’s bankruptcy, Arena wouldn’t see a release until 1991.

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    Synopsis

    In the year 4038, on a lone space station, alien races battle in a gladiatorial arena for dominance. The reigning champion is the cyborg Horn (Michael Deak), whose promoter, Rogor (Marc Alaimo), is rigging the fights. After Horn pummels her last fighter, Quinn (Claudia Christian) desperately seeks a new one to take on Rogor’s champion. Enter Steve Armstrong (Paul Satterfield), a young man from Earth who’s a cook working with his friend Shorty (Hamilton Camp). He gets into a fight with one of Quinn’s fighters, and she’s so impressed that she offers him a contract. Steve initially turns it down, but once Shorty receives threats over gambling debts, he agrees and becomes a good fighter. Feeling threatened, Rogor sends his henchmen Weezil (Armin Shimerman) and Skull (William Butler) to sabotage Steve’s fight with Horn. Will Horn defend his title, or will Steve become the new champion of the Arena?

     

    Review

    Arena has the ingredients to make a fun sci-fi movie: likable characters, unique creature designs, and a decent story. Despite this, the film can’t decide whether to take itself seriously or have fun with the premise. This movie is a standard rags-to-riches boxing story, even with its outlandish setting and otherworldly aliens. It’s Rocky in space but without the heart and soul of John G. Avildsen’s original classic. How differently would the movie have played out if they had used Bilson and De Meo’s original script? Unfortunately, what we got was a predictable boxing movie that happens to have a decent setting and unique monsters. That said, you can see the $2 million budget on the screen with the elaborate sets and alien designs. While John Carl Buechler handled much of it, the highlight is Screaming Mad George’s contribution.

    Paul Satterfield makes for a decent leading man, giving the role plenty of charm and charisma to make him endearing. It helps that he looks like a blonde Christopher Reeve, which makes me wonder why he never got bigger. The rest of the cast includes character actors like Hamilton Camp, Claudia Christian, Marc Alaimo, Shari Shattuck, and Armin Shimerman. Most people will recognize them from roles in shows like Babylon 5 and various iterations of Star Trek. They all do a serviceable job, though Hamilton Camp stands out for his goofy charm and comedic timing. Peter Manoogian’s direction is decent, Mac Ahlberg’s cinematography is good as usual, and Richard Band’s score gets the job done. If the film had more camp and didn’t take itself as seriously, this would be an underrated gem in Empire’s catalog. Overall, Arena isn’t terrible, but there are better Empire movies to check out.

     

    Watch Arena on Amazon Prime: https://amzn.to/3YsTgh3.

    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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  • Blade: The Iron Cross (2020)

    Blade: The Iron Cross (2020)

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    After 2017’s Puppet Master: Axis Termination closed out The Axis Trilogy, the long-running franchise was put on hold. In 2018, the famous horror magazine Fangoria released a soft reboot called Puppet Master: The Littlest Reich with Band producing. The following year, Charles Band announced The Deadly Ten, a series of ten films produced in-house at Full Moon. The first two titles announced, Weedjies: Halloweed Night and Necropolis: Legion, were released in October and November 2019, respectively. Another film announced for The Deadly Ten was a Puppet Master spin-off directed by John Lechago of Killjoy 3 fame. The movie would be a direct continuation of The Axis Trilogy that focused on the iconic puppet, Blade. While initially scheduled for a December 2019 release, the film was pushed back to the following year. In mid-2020, during the COVID-19 Pandemic, Blade: The Iron Cross slashed onto Full Moon’s streaming service.

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    Synopsis

    Young psychic Elisa Ivanov (Tania Fox) works as a reporter while holding onto Andre Toulon’s puppets. Elsewhere, Ingenieur Erich Hauser (Roy Abramsohn) has synthesized Toulon’s life-giving serum to create an army of the undead. Hauser has discovered that he can harness bio-energy to bring the recently dead back to life after experiencing intense drama. Unfortunately for him, his experiments lead to several bodies turning up, which Elisa and photographer Barney (Griffin Blazi) discover. Meanwhile, Detective Joe Gray (Vincent Cusimano) also investigates the bodies and discovers the Nazis’ involvement. With their army of the undead rising, Elisa uses her psychic abilities to reawaken Blade to battle the Nazis. Hauser’s ultimate plan is to transmit a Death Ray to wipe out humanity and turn them into zombies. It’s up to a psychic, a photographer, a detective, and a puppet to save the world.

     

    Review

    While Blade: The Iron Cross isn’t the return to form fans might’ve hoped for, it’s not without its merits. For one, gorehounds will appreciate how bloody this movie is, with every throat slash resulting in gallons of blood. Also, it was wise for them to use Blade as the central figure since he’s arguably the most iconic puppet. The cast all do a decent job, with Tania Fox and Vincent Cusimano being the highlights. Roy Abramsohn makes for a proper lead villain, chewing up as much scenery as possible. Speaking of scenery, while the sets reveal the film’s low budget, they’re unique enough to add variety. Admittedly, the film doesn’t have the flair John Lechago lent to the Killjoy sequels, but it has some moody lighting. Lastly, the movie is short, clocking in at roughly 70 minutes, much less than the last film.

    Unfortunately, that’s where any positives I can glean from this anemic spin-off end, as this is ultimately a disappointment. Sure, the series dropped in quality after Puppet Master 5: The Final Chapter, but some entries were decent. While this one isn’t a glorified clip show, this spin-off shows how much the series has gone downhill. For one, Blade barely appears in the movie, which happens to feature his name in the title. Some technical problems pop up, such as establishing shots featuring a modern-looking city despite the 1945 setting. Plus, some scenes have an actor donning a Blade costume since they couldn’t afford stop-motion, and it sticks out. But what kills this spin-off’s potential is that it’s boring, which is the worst thing a movie can be. Overall, Blade: The Iron Cross isn’t the worst, but this iconic killer puppet deserved better.

     

    Buy Blade: The Iron Cross from Amazon: https://amzn.to/44BQ8Bk.

    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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  • Cellar Dweller (1988)

    Cellar Dweller (1988)

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    Today, Don Mancini is known for creating the Child’s Play franchise, but long ago, he was a UCLA graduate. While coming up with the first film’s screenplay, Mancini caught Charles Band’s attention and got a job with Empire Pictures. As with most of the movies he produced, Band presented Mancini with a poster and a title to work with. Mancini delivered a script that crossed John Carpenter’s The Thing and Woody Allen’s The Purple Rose of Cairo. However, the screenplay as it was written would’ve been too ambitious for Empire, so Band had the script rewritten. After directing the minor hit Troll in 1986, John Carl Buechler adapted Mancini’s story for his second film. Ultimately, Mancini used the pseudonym Kit Du Bois and the film was shot on the sets used for The Caller. After premiering at MIFED in 1987, Cellar Dweller hit theaters worldwide in 1988.

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    Synopsis

    Comic book artist Colin Childress (Jeffrey Combs) sets himself on fire after one of his drawings spawns a demonic monster. Years later, aspiring artist Whitney Taylor (Debrah Farentino) enrolls in an art school run by Mrs. Briggs (Yvonne De Carlo). It turns out the school was built on the remains of Childress’ old house after burning to the ground. Whitney has come here specifically because she considers Colin her idol and wants to follow in his footsteps. Also attending the art school are Phillip (Brian Robbins), Amanda (Pamela Bellwood), Lisa (Miranda Wilson), and Norman (Vince Edwards). Soon, Whitney discovers that whenever she draws a comic strip with the Cellar Dweller, what she draws happens. Soon, the Cellar Dweller makes quick work of the other art students, whether or not Whitney wills it. Will she be able to stop it, or will she also fall victim to the Cellar Dweller?

     

    Review

    While it’s not on par with classics like Re-Animator or Trancers, Cellar Dweller is a perfectly watchable creature feature. The best thing about this movie is the central monster, designed by John Carl Buechler and played by Michael Deak. Admittedly, the monster doesn’t move much, but it looks fantastic and is among Buechler’s best works. Also, the concept of whatever the artist draws comes to life is pretty unique, though it’s never really explained. Debrah Farentino, credited by her maiden name Mullowney, does an excellent job as an aspiring comic artist. Classic actress Yvonne De Carlo gives a decent performance that’s about on par with her performance in Play Dead. It’s always a pleasure to see Jeffrey Combs in a movie, even for only the first ten minutes. Another noteworthy cast member is Vince Edwards, who starred in Stanley Kubrick’s The Killing and the long-running series Ben Casey.

    Pamela Bellwood is entertainingly bitchy as Debrah’s rival, and her death scene is pretty satisfying. The gore effects are equally strong, with the highlight being a decapitation scene done in slow motion. Cinematographer Sergio Salvati, who previously worked with Lucio Fulci, does a great job emulating a vintage horror comic. The score by Carl Dante, who also scored Slave Girls from Beyond Infinity, isn’t terrible, but it’s not particularly memorable. That’s honestly the best way to describe this film: not wrong by any means, but not all that memorable. With its 78-minute runtime, the movie gets in and out fairly quickly, though the last act feels like a rush. If you’re in the mood for a decent creature feature, this is a decent watch, but there are better options. Overall, Cellar Dweller is an underrated, if unremarkable, gem in Empire’s catalog.

     

    Buy Cellar Dweller from Amazon: https://amzn.to/3PLOxV8.

    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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