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Category: Full Moon Fridays

  • Zone Troopers (1985)

    Zone Troopers (1985)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]In the mid-1980s, Charles Band scored a deal for his Empire Pictures by acquiring the old Dino De Laurentius studio. Based in Rome, this was where films like Barbarella and Danger: Diabolik were filmed, but it fell on hard times. After acquiring the studio, Band decided to relocate all of his productions to Rome, which continued until the company’s closing. Fresh off of making Trancers, the duo of Danny Bilson and Paul De Meo wanted to make a WWII picture. Specifically, they wanted to make an homage to the WWII-era B-movies made during and after the war. As part of their deal with Empire Pictures, Bilson was allowed to direct one film, so he chose this. Reuniting with some of the same cast as Trancers, they made what became Empire’s first Italian production. The result was the 1985 WWII sci-fi film, The Lost Patrol, which later changed to Zone Troopers.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ _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

    Somewhere in Italy, in 1944, a group of American soldiers led by Sgt. Stone (Tim Thomerson) is behind enemy lines. Unfortunately, they get ambushed by German soldiers, Sarge, Joey (Timothy Van Patten), Mittens (Art LaFleur), and Dolan (Biff Manard) surviving. While exploring the German countryside, the group gets separated as Mittens and Dolan find a German encampment. Meanwhile, Sarge and Joey discover a crashed alien spacecraft with a dead pilot, the co-pilot captured by the Germans. Mittens and Dolan end up getting captured by the Germans, who believe they have some connection to the alien. Sarge and Joey manage to bust Mittens and Dolan out and escape along with the alien after it saves them. They meet up with the alien’s companions, but they don’t prove to be much help, even when the Germans attack. Sarge and his fellow troops must make a last stand if they’re to survive.

     

    Review

    Zone Troopers has a very unique concept that makes it stand out from other Empire Pictures films of the time. While combining WWII with some supernatural element is nothing new, the idea of adding aliens to the mix was solid. For a first-time director, Danny Bilson does a good job, staging some excellent action sequences and capturing some great angles. As always, Tim Thomerson is excellent playing a gruff, no-nonsense character who lets his gun do the talking. Art LaFleur and Biff Manard make for solid comic relief, having plenty of funny moments without throwing off the tone. Timothy Van Patten, in stark contrast to his character in Class of 1984, works as the plucky, wide-eyed young soldier. His New York accent greatly adds to his cocky attitude, though he can come off as a bit stubborn. Nonetheless, the four men have great chemistry together and feel like fellow soldiers.

    The main creature, designed by the late John Carl Buechler, has an impressive design, even without having many expressions. The way it’s designed, the creature looks like something out of the Mos Eisley cantina in Star Wars. There are some more humanoid aliens that show up later on, and though their design is basic, it fits here. Plenty of sci-fi B-movies of the time had human-looking aliens cause of low budgets, and that’s what they went for. The music, composed by long-time composer Richard Band, mixes the standard sci-fi synth score with bombastic 40s era jazz. Admittedly, the mixing of the two genres sometimes doesn’t mix together, often leaning more towards WWII action than science fiction. Those expecting a non-stop barrage of aliens vs nazis will be disappointed, but there’s plenty of entertaining action. Overall, Zone Troopers is a uniquely original offering from the Empire Pictures catalog that’s worth discovering.

     

    Buy Zone Troopers on Amazon: https://amzn.to/4hxFcvJ.

    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 4 (1993)

    Puppet Master 4 (1993)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]Following the release of Puppet Master III: Toulon’s Revenge, Charles Band had something ambitious planned for the series. The next installment would be a theatrical release called Puppet Master: The Movie that served as a sequel/reboot. However, Band decided against this and instead divided the script in half to make two movies as opposed to one. In the director’s chair was Jeff Burr, who previously directed From a Whisper to a Scream and The Stepfather II. Burr previously knew Band from Empire Pictures as they were working on a film called The Vault that never happened. Charles offered Burr the job of directing both Puppet Master movies back-to-back, as well as working on other projects. Burr accepted the job, meaning he had to get both movies cast and shot back-to-back relatively quickly. In 1993, the first of these two films, Puppet Master 4, was released.

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

    Synopsis

    At the Bodega Bay Hotel, supergenius Rick Myers (Gordon Currie) is working on developing robots with artificial intelligence. While there, he soon discovers the puppets of Andre Toulon (Guy Rolfe) and the serum that gives them life. Unfortunately, he’s made the target of Sutek (Jake McKinnon), an ancient demon whose life-giving powers were used for the serum. Sutek sends his totem minions to hunt down Rick and his colleagues, killing them and absorbing their life-force. Soon, Rick’s girlfriend Susie (Chandra West), his friend Cameron (Ash Adams), and his girlfriend Lauren (Teresa Hill) visit the hotel. They help him bring the puppets Blade, Pinhead, Tunneler, Six-Shooter, and Jester back to life to help fight the totems. Toulon tells Rick that the only way to destroy the totems is to revive his unfinished puppet Decapitron. Will they succeed, or will the forces of Sutek claim their next victims?

     

    Review

    Puppet Master 4 is a solidly entertaining film, even if it’s not as good as the previous installment. One nice thing about the film is how it further expands upon the lore, namely the introduction of Sutek. The character itself has a pretty cool design and has an imposing voice, though he mostly just stands around. While he has very limited screentime, Guy Rolfe once again does a good job as Andre Toulon. The rest of the acting, while fine, doesn’t really stand out and is pretty forgettable, though they’re not the focus. The focus is on the puppets, who are given plenty of time to shine and have some fun fight scenes. You get more of a feel for their personalities and how they interact and work with one another. Unfortunately, despite appearing on the cover, Torch does not appear in the movie at all.

    Gordon Currie works as the lead, coming off as likable and charming, though he does come off a bit bland. Ash Adams fills the role of the snarky jerk you love to hate, and he gets a fairly satisfying death. Directing-wise, Jeff Burr does a solid job of establishing mood through the use of shadow and harsh lights. As with the other movies, the puppets are brought to life through rod puppetry and David Allen’s stop-motion. It still looks good, though there’s some blue screen work that sticks out pretty badly, along with some visible strings. Some fans might be disappointed that not all of the puppets are featured, but we still get the best puppets. Given that this is one whole movie split in two, it does still feel like a complete film in itself. Overall, Puppet Master 4 is another entertaining installment in the long-running franchise.

     

    Buy Puppet Master 4 from:

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

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    Where to watch Puppet Master 4 (1993)

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  • Parasite 3D (1982)

    Parasite 3D (1982)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]In the late 1970s, Alan J. Adler, inspired by Star Wars, moved out to Hollywood to pursue a screenwriting career. He was soon introduced to writers Michael Shoob and Frank Levering, and they started working on a low-budget monster movie. Adler managed to work out a deal with Charles Band, who got funding through Embassy Pictures and producer Irwin Yablans. Having worked together on Tourist Trap, Yablans agreed to a $1 million budget for the film and Band directing. At some point, a decision was made to shoot the film in 3D, which hadn’t been done in 20 years. Special effects artist Stan Winston, who previously worked with Band on Mansion of the Doomed, designed the creature effects. Working with a small cast and crew, they made what became the first major American 3D movie in decades. Finally, in March of 1982, Parasite 3D was released to theaters.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ _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

    In 1992, an organization called The Merchants controls the US government following a nuclear disaster that’s wiped out almost everything. Dr. Paul Dean (Robert Glaudini) was hired by The Merchants to create a parasite to help control the overpopulation. He manages to destroy almost all the parasites once he learns what The Merchants are up to, but gets infected. Dean is now on the run, trying to find a cure for the parasite growing inside him before he dies. Meanwhile, Merchant agent Mr. Wolf (James Davidson) is hunting after Dean because he stole one of the last parasites. While on the run, Dean gets hassled by some punks, led by Ricus (Luca Bercovici), who accidentally release the parasite. Dean soon meets lemon grower Patricia Welles (Demi Moore), who helps him find the cure while the parasite runs amock. Will they succeed, or will they be the parasite’s next victims?

     

    Review

    Parasite 3D is an enjoyable bit of sci-fi shlock that doesn’t pretend to be anything more than it is. Given that this was his second directorial effort, Charles Band does a good job, photographing the parasite in excellent ways. There’s an odd amount of slow-motion that pops up every so often, but it thankfully isn’t all that distracting. Performance-wise, everyone does an admirable job, even if some of the line readings are a little stilted and lack emotion. Robert Glaudini does a convincing job looking like someone who’s infected with a parasite, always sweating and holding his stomach. This being her first film role, Demi Moore is ok, but her acting isn’t anything to write home about. Luca Bercovici (Ghoulies) makes for a solid gang leader/anti-hero, and James Davidson is effective as the Merchant agent. Also, classic actress Vivian Blaine has a memorable part as the local hotel owner.

    Even with the film’s low budget, the creature and gore effects are surprisingly impressive, though that’s expected with Stan Winston. While the titular parasite is clearly a puppet, it’s a convincing-looking puppet that has a simple yet effective design. Many of the gore effects used are top-notch, and the effects used for victims of the parasite look good. Though the main story is very simplistic, there’s an interesting world surrounding it that would be worth exploring by itself. Richard Band’s score is also effective, adding a creepy sense of dread while also punching up the more action-heavy scenes. Admittedly, there are plenty of filler scenes that drag, but the scenes of the parasite attacking make up for that. Even in 2D, some of the 3D shots still add to the film’s overall charm as a low budget B-movie. Overall, Parasite 3D is a slow but enjoyable watch for B-movie fans.

     

    Buy Parasite 3D from Amazon: https://amzn.to/3YpDqny.

    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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  • Bloodlust: Subspecies III (1994)

    Bloodlust: Subspecies III (1994)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]As stated before, Subspecies proved to be popular enough to spawn a new franchise alongside Puppet Master and Trancers. While there were some difficulties in filming the first installment, Ted Nicolaou and company were more than willing to return. Thankfully, Bloodstone: Subspecies II was a much easier and more enjoyable shoot, turning out to be a stronger entry. Though there were some cast and crew changes, actress Denice Duff proved to be a welcome replacement for Laura Tate. Both parts two and three were shot back-to-back and released one year apart from each other between 1993 and 1994. Things were going well for Full Moon Features thanks to their deal with Paramount and starting their kids’ label, Moonbeam. The next Subspecies film was planned to be the last in a trilogy unless fans requested that more be made. In 1994, Bloodlust: Subspecies III was released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ _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=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Following the last entry, the witch Mummy (Pamela Gordon) performs a blood ritual to resurrect the vampiric Radu (Anders Hove). Mummy believes that Radu’s fledgling Michelle (Denice Duff) has been corrupting him and must be killed at once. However, Radu keeps her around, stating that he is his own master and teaches Michelle how to be a vampire. Radu starts falling more and more in love with Michelle, while she begs for death and expresses her disgust. Meanwhile, Michelle’s sister Rebecca (Melanie Shatner) tries convincing ambassador Mel (Kevin Blair) and Lt. Marin (Ion Haiduc) of the vampires. While Mel agrees to help, Marin is skeptical but changes his mind after noticing villagers have gone missing. Mel recruits his friend, CIA officer Bob (Michael Della Femina), to infiltrate Castle Vladislav, rescue Michelle, and kill Radu. Will they be able to save her, or will Michelle be entranced into Radu’s grip?

     

    Review

    Much like the first two films, Bloodlust: Subspecies III is another fun, well-made, and atmospheric gothic vampire film. As with before, Anders Hove completely steals the show as the sinister yet charismatic Radu, clearly relishing in the role. Denice Duff is also wonderful, fully expanding her character and giving some real emotional depth to her scenes. Pamela Gordon works well as the villainous witch Mummy, and the makeup effects for her and Radu are impressive. While much is devoted to Radu and Michelle’s relationship, a major portion involves Melanie Shatner and Kevin Blair’s characters. They play off each other well, even though Blair can be a bit on the bland side at times. Ion Haiduc does a good job as the disgruntled police lieutenant and Michael Della Femina is a welcome addition. Sadly, Bob the CIA officer doesn’t get much screentime, so he comes off somewhat pointless.

    Once again, Nicolaou’s direction is on point, taking advantage of the Romanian landscape and using tons of fog and shadow. The makeup effects from effects artist Wayne Toth are impressive, given the low budget they were working with. Some fans might be disappointed that the titular characters, the subspecies, only appear during the last five minutes. Honestly, I’m ok with this since the focus of the story is the vampires, with the subspecies just being there. It’s interesting seeing the power struggle between Radu and Mummy, with Michelle being caught in the middle of it all. There’s also more of an emphasis on action, which is a nice change of pace, though some may disagree. While it’s not perfect, this film and its predecessors stand tall as some of Full Moon’s finest offerings. Overall, Bloodlust: Subspecies III continues what made the other films work, even with some of its shortcomings.

     

    Buy Bloodlust: Subspecies III from:

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

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    Where to watch Bloodlust: Subspecies III (1994)

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  • Tourist Trap (1979)

    Tourist Trap (1979)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]After earning a Master’s degree from the University of Texas, David Schmoeller got an internship working on 1978’s Capricorn One. Following his internship, Schmoeller was developing a screenplay off of his thesis film The Spider Will Kill You. He wrote the screenplay alongside J. Larry Carroll, and they tried pitching it to Sam Arkoff and Bruce Cohn Curtis. Eventually, they pitched their screenplay to Charles Band, who liked it and agreed to produce, with Schmoeller serving as director. He was given a $300,000 budget, $50,000 of which would go towards a name actor, that actor being Chuck Connors. The rest of the cast consisted of relatively unknown actors, though they helped Schmoeller learn working with actors. The crew included production designer Robert Burns from The Texas Chain Saw Massacre and Pino Donaggio as the composer. Finally, March of 1979 saw the release of Schmoeller’s directorial debut, Tourist Trap.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ _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=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Friends Molly (Jocelyn Jones), Jerry (Jon Van Ness), Eileen (Robin Sherwood), and Becky (Tanya Roberts) are traveling through the desert. Unfortunately, their car breaks down, but fortunately, they get help from Mr. Slausen (Chuck Connors), a tourist trap owner. The four follow him to said tourist trap, a museum full of lifelike wax mannequins, some having mechanical movements. Slausen tells the girls to stay in the museum while he and Jerry go off to fix the truck. Eileen, however, ignores his warning and goes to check out a nearby house, where she runs into a masked killer. When they don’t hear back from them, Becky and Molly decide to go find them, only to find something horrifying. Turns out Slausen’s brother, who built the mannequins, has been in hiding and killing any tourists who come by. But not all is as it seems at the local tourist trap!

     

    Review

    Tourist Trap is a very underrated chiller that could be considered a slasher film, releasing one year after Halloween. Admittedly, its plot is nothing special: young people stranded in a deserted area being stalked by a killer. Not only that, but the film borrows elements from other films, including PsychoCarrie, and The Texas Chain Saw Massacre. That being said, this film has plenty to help it stand apart, such as its mood and emphasis on atmosphere. Chuck Connors delivers a phenomenal performance as Mr. Slausen, who seems innocent and charming, but you know there’s something off. The other actors do a serviceable job, Jocelyn Jones, in particular, standing out as our main heroine and final girl. For a first-time director, Schmoeller shows quite a lot of potential here, creating an effectively creepy and unnerving mood throughout. It’s easy to see how he went on to later direct Puppet Master.

    For a PG-rated film, Tourist Trap is surprisingly disturbing, even with the lack of excessive blood and gore. For instance, there’s a death scene where a woman suffocates from having plaster applied to her face without breathing holes. Also, if you’re freaked out by mannequins, this film will haunt you with all the shots of their blank faces. There are some supernatural elements added in which, while not a detractor from the film, feel somewhat out of place. On the flip side, Donaggio’s score is very unique, at times playful and innocent, and other times haunting and creepy. Even with a 90-minute runtime, the film can be slow at times, but it does work to build up tension. Even with its flaws, it’s a shame this movie is so overlooked as it’s an effectively creepy film deserving recognition. Overall, Tourist Trap is an effective chiller worthy of its cult status.

     

    Buy Tourist Trap 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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  • Trancers III: Deth Lives (1992)

    Trancers III: Deth Lives (1992)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]C. Courtney Joyner has had a long working relationship with Charles Band all the way back to Empire Pictures. In 1987, Joyner wrote the horror film Prison for Empire, which was directed by a then up-and-coming Renny Harlin. Unfortunately, Empire Pictures collapsed some years later, and Joyner went off to work on other projects, including Class of 1999. One day, a friend of Joyner’s went with him to the Full Moon offices, and Joyner reunited with Charles Band. While there, Band offered Joyner the chance to write three screenplays, including Puppet Master III: Toulon’s Revenge and Doctor Mordrid. For the third screenplay, Joyner wrote a Trancers sequel, but since Band wouldn’t return to direct, Joyner wanted the opportunity. Luckily for Joyner, producer Albert Band and lead Tim Thomerson supported him, so he was given the chance to direct. So in 1992, Joyner’s directorial debut, Trancers III: Deth Lives, was released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ _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=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Jack Deth (Tim Thomerson), the cop from the future, has been working as a private detective in 1992 Los Angeles. While working a case, Deth is visited by an android named Shark (R. A. Mihailoff), who takes him to 2252. Jack meets up with wife Alice Stillwell (Megan Ward) and Cmdr Raines (Thelmas Hopkins), who tell him what’s happening. At some point, some new trancers emerge and start a war, so Jack must travel back to stop them. He’s sent to 2005, where he meets up with ex-wife Lena (Helen Hunt), who reported on a top-secret government operation. Turns out these trancers are the result of experiments performed by Col “Daddy” Muthuh (Andrew Robinson) to create super soldiers. Jack teams up with R.J. (Melanie Smith), who escaped the military compound where the trancers are bred, to stop them. Will Jack and R.J. be able to stop Col Muthuh’s trancer operation?

     

    Review

    While Trancers II was enjoyable, Trancers III: Deth Lives is a major improvement that feels more like a legitimate sequel. Whereas the last film felt like a disposable but fun sci-fi action film, this one has more of an edge. The scenes in 2252 have a dark and gritty tone reminiscent of the future scenes from The Terminator. Megan Ward even goes from waifish and demure last film to being like Linda Hamilton in Terminator 2: Judgment Day. However, this film remembers that humor was a big staple of the series, though it’s more subtle here than previously. As Jack Deth, Tim Thomerson is just as much a cocky smart-ass as before, and he’s still great at it. While Richard Lynch made for a decent villain last time, Andrew Robinson is a much more intimidating villain here. His performance is both intense yet subdued at the same time.

    Of course, Helen Hunt had started becoming a big star, but it’s still nice she came back for this. Thankfully, she’s written out in a way that feels justified, and there are some great scenes between her and Thomerson. Relative newcomer Melanie Smith does a good job as R.J., and she has some fantastic chemistry with Thomerson. The production design is top-notch, the military compound being the highlight with a futuristic look that could possibly exist. With KNB doing the make-up effects, they look fantastic, possibly even being the best make-up effects in the whole series. My only complaints are that there are very few action scenes that stand out, and the film feels somewhat rushed. With a 74-minute runtime, not a whole lot of what’s happening is explored, so some may find that disappointing. Overall, Trancers III: Deth Lives is another high point in Full Moon’s history.

     

    Buy Trancers III: Deth Lives from:

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  • Creepozoids (1987)

    Creepozoids (1987)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]In my review of Sorority Babes in the Slimeball Bowl-O-Rama, I talked about the early career of filmmaker David DeCoteau. After directing his first mainstream film, 1986’s Dreamanic for Charles Band, DeCoteau presented him with two pitches for his follow-up. With the popularity of post-apocalyptic movies and the recent release of Aliens, DeCoteau pitched Mutant Spawn 2000, which combined both. His other concept was a Ghoulies knock-off called Creepozoids, the film’s title being inspired by the Midnight Star song “Freak-A-Zoid”. Charles Band liked the concept of Mutant Spawn 2000 and the title Creepozoids, so he decided to combine the two. On a budget of roughly $150,000, DeCoteau assembled a small crew and filmed in a small studio in LA. Though casting Linnea Quigley fresh off of The Return of the Living Dead, most of the cast was relatively unknown. Finally, in 1987, Creepozoids was released both theatrically and direct-to-video.

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    Synopsis

    Years after a nuclear war, a group of survivors are wandering through a post-apocalyptic cityscape looking for supplies and shelter. Led by Jake (Richard Hawkins), the group finds an abandoned facility that they decide to hold up in for now. Jesse (Michael Aranda) checks the computer logs to see what happened to the people who were previously there. Meanwhile, Jake, Blanca (Linnea Quigley), Butch (Ken Abraham), and Kate (Kim McKamy) explore and find food, beds, and running water. Unbeknownst to them, however, a strange and deadly creature is lurking throughout the facility, along with some killer rats. One by one, the creature picks off the crew members and sprays them with acid turning them into radioactive mutants. As their numbers continue to dwindle, the remaining crew members have to find a way to survive against the creature. Who will be able to survive and fight against the Creepozoids?

     

    Review

    Creepozoids is a movie that clearly “borrows” from more popular films, not the least of which being Ridley Scott’s Alien. The film also uses the trappings of post-apocalyptic films, but that’s more so for the setup rather than the plot. That said, Creepozoids is still a fine example of B-movie thrills made on a shoestring budget with plenty of creativity. The cast all put plenty of enthusiasm into their performances, even if many of them don’t do much. The main creature, though it’s clearly a knock-off of the Xenomorph, looks impressive and has a memorable design. DeCoteau is able to work around his low budget to create an effective mood using moody colors and dynamic lighting. Plus, at seventy-two minutes, the film never outstays its welcome and won’t take up too much of your time. Plus, Linnea Quigley’s in it, so you get to see her get naked.

    Probably my biggest issue with the film is how padded it is, even with its relatively short runtime. There are several reused shots and alternate takes used, and the end credits are stretched out for so long. Also, while DeCoteau is able to mostly mask the low budget, there are moments where you can see the cheapness. For instance, you can tell that they only had a few filming locations that they constantly reuse and redress. Also, some of the puppets that are used are obvious, namely, the giant rat puppet used every now and then. We’re never given much backstory other than some brief text at the beginning, and even that’s never fully explored. Still, this is the kind of movie that’s more concerned with delivering B-movie thrills than having a compelling story. Overall, Creepozoids knows exactly what kind of movie it is, and it mostly succeeds at that.

     

    Buy Creepozoids from:

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  • Puppet Master III: Toulon’s Revenge (1991)

    Puppet Master III: Toulon’s Revenge (1991)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]After helming several projects during the Empire days, director David DeCoteau worked as a producer during Full Moon’s early years. He produced Crash and BurnTrancers II, and Puppet Master II when he got a call about directing again. Paramount, who was distributing Full Moon’s films, was happy with how Puppet Master II did and immediately wanted a sequel. For the installment, they hired writer C. Courtney Joyner, who previously wrote the Charles Band produced Prison in 1987. They decided that rather than a straight-up sequel, this third film would be a prequel set in WWII Germany. After filming Subspecies in Romania, they wanted to film there but decided against it due to political turmoil. Instead, they shot for two days at the Universal Backlot, while the rest was filmed at their Los Angeles studio. Released months after IIPuppet Master III: Toulon’s Revenge hit video store shelves in 1991.

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    Synopsis

    In 1941 Berlin, puppeteer Andre Toulon (Guy Rolfe) and his wife Elsa (Sarah Douglas) are entertaining children with their shows. However, during their shows, they make fun of Hitler, which catches the attention of Major Kraus (Richard Lynch). Kraus has Lieutenant Stein (Kristopher Logan) investigate, and he discovers that Toulon has found a way to animate his puppets. This catches the attention of Dr. Hess (Ian Abercrombie), who’s been researching reanimating dead soldiers to create an immortal army. Kraus and his men raid Toulon’s home, kill his wife, and capture him with his puppets to be executed. The puppets manage to kill some of their captors, and Toulon makes his escape with them, plotting his revenge. Meanwhile, Kraus’ superior, General Mueller (Walter Gotell) orders him to find Toulon at once while Hess wants Toulon’s help. Will Toulon succeed in avenging his wife’s death, or will the Nazis kill him first?

     

    Review

    Of the films in the series so far, Puppet Master III: Toulon’s Revenge is easily the strongest entry. First off, the decision to film on the Universal Backlot greatly enhances the production value and adds to the authenticity. It’s also worth mentioning that the backlot sets used were the same ones used for the 1931 Frankenstein. Cast-wise, this has some of the best actors in any Full Moon film, including veterans Rolfe, Lynch, Abercrombie, Gotell, and Douglas. Much like in Trancers II, Lynch plays a very compelling villain who’s very sinister and determined while also showing humility. Rolfe, who you might remember from Stuart Gordon’s Dolls, delivers another solid performance, and his relationship with Douglas is touching. While he doesn’t have much screen time, Gotell also delivers a strong performance and adds to the pedigree on display. Also noteworthy is a brief appearance by famous scream queen Michelle Bauer.

    While the first two films were enjoyable, they had essentially the same plot of puppets killing people at a hotel. This film, however, stands out by having a plot centered on revenge that also makes the puppets the heroes. The one slip-up with the story is that the film takes place in 1941, while the original opened in 1939. Admittedly, it’s not a huge deterrent, but it’s kind of funny to point out and a glaring oversight. Also, while the puppetry and stop-motion hold up, there are some shots where you can see the strings. Even with that said, this is still an impressive entry in the series and a highlight in Full Moon’s catalog. Though the series would have its ups and downs going forward, this still stands as a milestone for Full Moon. Overall, Puppet Master III: Toulon’s Revenge is the best film in the franchise so far.

     

    Buy Puppet Master III: Toulon’s Revenge from:

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    Where to watch Puppet Master III: Toulon’s Revenge (1991)

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  • Robot Jox (1989)

    Robot Jox (1989)

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    After directing three back-to-back horror films, Stuart Gordon decided his next film would tackle a whole new genre: science-fiction. At the time, he was a fan of the Japanese Transformers toys as well as the Macross anime series. He noted that while giant robots were done in animation, no one at the time tried a live-action version. Following the release of Dolls, Gordon presented his concept to Charles Band, who was initially reluctant due to high costs. Eventually, Band reconsidered after Gordon presented him a demo reel featuring stop-motion animation from David Allen of robots in action. Gordon wrote the script alongside sci-fi writer Joel Haldeman, who clashed with him over their different visions of the film. With a budget of roughly $10 million, it would be the most expensive film Empire Pictures ever produced. After a delayed release due to Empire’s bankruptcy, Robot Jox was released in 1990.

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

    Synopsis

    In the future, war has been abolished, and all global conflicts are settled through one-on-one combat using giant robots. These robots are piloted by robot jox aka robot jockeys, each representing either the Western Market or the Eastern Confederation. The Confederation champion Alexander (Paul Koslo) has killed his previous opponents, and next is the Market champion Achilles (Gary Graham). During their match, Alexander launches a projectile towards some nearby spectators, and Achilles blocks it only to fall, crushing them. Shaken up by this, Achilles announces his retirement, and he is subsequently labeled a traitor and a coward. Genetically-bred jox Athena (Anne-Marie Johnson) replaces him, but Achilles has second thoughts and decides to come out of retirement. It’s soon discovered that there might be a spy in the Market who’s giving secrets to the Confederation. Who is this spy, what will happen to Athena, and will Alexander be defeated?

     

    Review

    Considering Empire Pictures’ state of affairs at the time, it’s impressive Robot Jox got made at all. At the time, Empire was going through massive debt, so spending $10 million on an ambitious sci-fi film was risky. Thankfully, with a talented director, effects crew, and cast, this is quite a fun ride, even if disjointed at times. Like his previous films, Gordon’s direction is top-notch, really giving it a sense of scale and larger than it is. Performance-wise, everyone does a commendable job, even if their characters are more or less stock characters, though it is intentional. Gary Graham works as the hardheaded hero with a heart of gold, and Koslo is fun as the stereotypical villain. Johnson does well as the female lead trying to prove herself, though she becomes Graham’s love interest, which is odd. Also noteworthy are appearances from regulars Robert Sampson, Jeffrey Combs, and Carolyn Purdy-Gordon.

    The special effects from David Allen and his team are some of their best work, arguably their best work. The stop motion animation is fantastic, the robot fight sequences being a massive spectacle and easily the film’s highlight. Just the amount of detail put into the models and the range of movement is impressive given the budget. Admittedly, there’s probably only about 15 minutes of screentime devoted to the robot fights, but it’s still fun to watch. Probably my biggest issue with the film is the inconsistent tone, either being too silly or too dark. Admittedly, this can be chalked up to the disagreements between Haldeman and Gordon, each wanting a different tone. Even with its off-kilter tone and somewhat stock characters, this is still a fun movie to watch, especially with friends. Overall, Robot Jox is a solid if flawed attempt for a director to try different genres.

     

    Buy Robot Jox from Amazon: https://amzn.to/2Nvcteg.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Robot Jox (1989)

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  • Dark Angel: The Ascent (1994)

    Dark Angel: The Ascent (1994)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Much like how Empire Pictures would use Italy, Full Moon Features started shooting their films in Romania and Bucharest. They found success shooting Subspecies in Romania, so films like OblivionLurking Fear, and Mandroid would also be filmed there. Around this time, writer Matthew Bright, who frequently worked with Richard and Danny Elfman, found himself working at Full Moon. He started writing a script that involved horror, romance, and vigilantism that drew its influence from Taxi Driver. Originally to be directed by Jeff Burr, relative newcomer Linda Hassani, who previously worked on Silk Stalkings, was hired. Angela Featherstone, who had a small part in Army of Darkness, was cast in what became her first lead role. Produced for a small budget of $350,000, the film would end up being one of Full Moon’s more unique entries. In 1994, Dark Angel: The Ascent was finally released.

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    Synopsis

    In the depths of hell, young demoness Veronica Iscariot (Angela Featherstone) years to venture up to the mortal world. Her father Hellikin (Nicholas Worth) disapproves and threatens punishment, but Veronica escapes and makes her way to Earth. Soon after arriving, she’s hit by a car, taken to the hospital, and tended by Dr. Max Barris (Daniel Markel). Since she has nowhere else to go, Max decides to let Veronica stay with him in his apartment. While he sleeps, she watches TV and catches a broadcast of Mayor Wharton (Milton James), recognizing his corruption and evil. This motivates her to find evil in the city and dispatch sinners, killing muggers/rapists and racist cops. These murders catch the attention of Detectives Harper (Mike Genovese) and Greenberg (Michael C. Mahon) who are on her trail. Will Veronica succeed in dishing out justice, or will the cops manage to stop her?

     

    Review

    Compared to the likes of Puppet MasterDemonic Toys, and SubspeciesDark Angel: The Ascent is certainly a unique experience. Much like Meridian: Kiss of the BeastDark Angel is an interesting mix of horror, romance, and some vigilante justice. The Taxi Driver comparisons are very apparent, including the lead targeting a politician and taking a date to a porno. On top of that, there’s the lead going on a murder spree in what they see as a holy quest. While not as compelling as Robert De Niro’s Travis Bickle, Angela Featherstone delivers a solid performance as Veronica Iscariot. On top of being stunning to look at, she has a nice, quiet charm mixed in with a subtle intensity. Markel is decent, though a bit bland at times, though Genovese and Mahon do a fine job with their material. Also, Worth has some fun scene-chewing moments early on.

    The practical effects, from the demon prosthetics to the gore effects, are impressive considering the small budget they had. There are also some fairly decent optical effects, but they haven’t held up very well over 25 years later. I’d say the biggest problem with the film is the pacing, namely how it takes a while to get going. After the first 10 minutes in hell, it grinds to a halt as Veronica begins learning about the human world. It isn’t until about the 45-minute mark when she starts going on her vigilante spree and things start picking up. For a relative newcomer, Hassani’s direction is pretty good, taking full advantage of the Romanian locations for an effective atmosphere. While I wouldn’t recommend this to Full Moon first-timers, I’d recommend it to someone looking for something a bit different. Overall, despite its flaws, Dark Angel: The Ascent is worth a watch.

     

    Buy Dark Angel: The Ascent from:

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

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    Where to watch Dark Angel: The Ascent (1994)

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