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Category: Full Moon Fridays

  • Last Foxtrot in Burbank (1973)

    Last Foxtrot in Burbank (1973)

    [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=”4.17.3″ _module_preset=”default” global_colors_info=”{}”]After finding success in Italy as a director, Albert Band fell on hard times and moved back to the US. Having grown up in Italy around sets, his son Charles became obsessed with movies and wanted to make his own. Charles had to make a commercial film, and horror was the most profitable genre, so he aimed for that. It was the early 1970s, and, at some point, Band became friends with stand-up comedian Frank Ray Perilli. Perilli suggested that Band should make a spoof of a then-popular movie instead of a horror film. In 1972, Bernardo Bertolucci’s Last Tango in Paris hit theaters and was a massive hit despite all the controversies. Perilli convinced Band that they should make a spoof of Bertolucci’s film with actor Michael Pataki doing a Brando impression. So, in 1973, Charles Band’s Last Foxtrot in Burbank made its way onto the big screen.

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    Synopsis

    In the city of Burbank, France, Paul (Michael Pataki) is grieving the loss of his wife by wandering the streets. Elsewhere, a young woman named Jeanne (Sherry Denton) is looking for an apartment to rent and stumbles across Paul. The two start an illicit affair where neither person knows the other one’s name to maintain anonymity. As their relationship grows, Paul is unsure if he wants to keep Jeanne around anymore or continue the romance. It doesn’t help either that Paul feels inadequate in bed as he cannot fully satisfy Jeanne’s desires. It all comes to a head when Paul finds out that Jeanne has been shooting adult films on the side. Distraught over the perceived betrayal, he confronts her, and she responds by shooting him where he stands. It’s a story of love, death, loyalty, and betrayal that permeates throughout the city of Burbank, France.

     

    Review

    Before going any further, I want to point out just how miraculous it is that I can review this movie. After a disastrous release, Charles Band erased Last Foxtrot in Burbank from history and had several prints destroyed. It was only recently that someone from UCLA was able to find the original negative in their film archives. Frequently, movies that are considered lost tend to stay that way and end up never found. Quality aside, I can appreciate that this obscure piece of cinema history has been uncovered and restored. Admittedly, Last Foxtrot in Burbank isn’t some lost gem, and I can see why Band wanted this buried. It’s not as much of a trainwreck as Big Gus, What’s the Fuss?, but it’s still pretty stupid. Then again, Charles Band was in his early 20s, so I didn’t expect much.

    As a Last Tango in Paris spoof, the movie does hit all the major plot points humorously. Michael Pataki makes a decent Marlon Brando impression, though he goes as over the top as possible with his performance. Even though she doesn’t do much besides getting naked for most of her scenes, Sherry Denton is admirable. The rest of the acting is pretty hit or miss, though everyone acts like they know they’re in a comedy. Admittedly, most of the gags fall flat and are outdated, but the movie made me chuckle every so often. There is a gag where they parody the notorious butter scene, which might seem tasteless, but it made me laugh. At slightly over an hour in length, the movie goes by really fast and will kill time quickly. Overall, Last Foxtrot in Burbank isn’t impressive, but movie completionists will enjoy seeing this previously-lost film.

     

    Watch Last Foxtrot in Burbank on Full Moon Features: https://www.fullmoonfeatures.com/videos/last-foxtrot-in-burbank.

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  • Puppet Master: The Legacy (2003)

    Puppet Master: The Legacy (2003)

    [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=”4.17.1″ _module_preset=”default” global_colors_info=”{}”]Due to financial problems, Charles Band temporarily shut down Full Moon Features in 2002 and rebranded as Shadow Entertainment. Having made a deal with Twentieth Century Fox Home Video, Band tried staying afloat despite the market dying out. Thankfully, he still held the rights to the Puppet Master series, but he had to make sense of the continuity. Much like the Friday the 13th series, the timeline of the movies was all over the place and became confusing. He brought back C. Courtney Joyner, writer of Puppet Master III, to pen a script for a soft reset. Joyner used the pseudonym Gene Yarbrough, while Band went by his Head of the Family credit, Robert Talbot. Fans would have to wait four years for this entry, and what they got was a huge disappointment. In 2003, Puppet Master: The Legacy hit video store shelves across the country.

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    Synopsis

    Rogue agent Maclain (Kate Orsini) searches for André Toulon’s secret of resurrecting the dead for a mysterious client. Her search takes her to the Bodega Bay Inn, where she finds Eric Weiss (Jacob Witkin) working on the puppets. It turns out that Weiss knew Toulon before his death and swore never to reveal his secrets. When Maclain threatens his life, Weiss plays a recording left by Toulon explaining how he acquired the magic. Some stock footage later, Weiss reveals that his real name is Peter Hertz, the boy Toulon saved from Nazi Germany. The two begin arguing over whether Toulon was good or evil and whether the puppets justified their killings. Maclain soon learns more than she ever expected, including the war with Sutek and how Toulon’s secrets keep getting discovered. Soon enough, they’ll find just what kind of a legacy has been left by the Puppet Master.

     

    Review

    Admittedly, Full Moon Features was never going to produce a film that would get an Oscar nomination, let alone win. They always maintained at least some level of quality and were generally fun B-movies that knew what they were. With Puppet Master: The Legacy, the company has hit an all-time low for the franchise and Full Moon themselves. At 80 minutes in length, about 15 minutes is original footage, with the remaining 65 being stock footage. It’s on par with Silent Night Deadly Night 2‘s use of stock footage, but at least that was more even. With Legacy, there will be two minutes of original footage followed by ten minutes of clips from the other movies. It feels less like a full-length feature, and more a glorified clip show trying to pass off as a movie. I understand why they did it, but that doesn’t make it less lazy.

    To give them some credit, the filmmakers tried to make sense of the series’ continuity being all over the place. Unfortunately, they leave you with more questions than answers and make the timeline even more confusing. For instance, Rick Meyers, the lead from Puppet Master 4, was killed off-screen after the events of Puppet Master 5. Also, we learn that the puppets hired Maclain to kill Weiss, the new puppet master, which raises tons of questions. If that was their endgame, why didn’t the puppets kill Weiss themselves when they had the chance? Also, how were the puppets able to talk to Maclain when none of them had voices? After the ending, there’s a message thanking all the people who worked over the years on this franchise. Overall, they may have had good intentions, but Puppet Master: The Legacy feels like desperation more than a celebration.

     

    Buy Puppet Master: The Legacy 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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  • Cinderella (1977)

    Cinderella (1977)

    [et_pb_section fb_built=”1″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]After the release of Andy Warhol’s Blue Movie in 1969, a new trend in cinema called “Porno Chic” was born. This trend was a movement where adult films started becoming mainstream and were taken seriously by critics and general audiences. The most successful of these adult films was 1972’s Deep Throat, which grossed a record-breaking $3 million in six months. In the middle of this, there was a mini-trend of adapting children’s stories into adult films, both live-action and animated. Some examples include 1971’s The Erotic Adventures of Pinocchio and 1976’s Alice in Wonderland: An X-Rated Musical Comedy. Seeing the potential at hand, Charles Band decided to make his own adult take on a classic fairy tale. He hired Michael Pataki, who previously directed Mansion of the Doomed, to helm an adult fairy tale including musical numbers. In May 1977, Band’s adult take on Charles Perrault’s Cinderella hit grindhouse theaters.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”65″ bar_bg_color=”#EDF000″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16.0″ _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

    Cinderella (Cheryl Smith) lives with her oppressive stepmother (Jennifer Stace) and her stepsisters Drucella (Yana Nirvana) and Marbella (Marilyn Corwin). While she’s stuck having to tend to their every need, Cinderella longs for the day she’ll be free. Meanwhile, The Prince (Brett Smiley) is wary about marriage, which worries The King (Boris Moris) and Queen (Pamela Stonebrook). With The Prince’s 21st birthday approaching, The King decides to host a ball so his son can find a bride. The stepsisters go to the ball, but not before humiliating Cinderella as she has to stay at home. While sleeping, a cat burglar/crossdresser (Sy Richardson) breaks in and convinces Cinderella he’s her fairy godmother. With his help, she gets to go to the ball and have a night with The Prince. Unfortunately, she runs off before The Prince finds out who she is, so he goes out searching for his bride.

     

    Review

    Cinderella is undoubtedly a product of its time, for better or for worse, which will affect your enjoyment. First off, if you’re uncomfortable with gratuitous nudity and copious amounts of sex, this is not the movie for you. However, if you have an affinity for 70s adult entertainment, this is one of the more entertaining ones. For one, Michael Pataki’s energetic direction keeps the film upbeat and full of energy, so you’re never bored. What also helps is the cast, who all play their parts well and have fun with the material given. On top of being gorgeous, the late Cheryl “Rainbeaux” Smith brings an undeniably sweet charm to her role. Sy Richardson is hilarious in his debut role as the loud-mouthed, snarky, and devious fairy godmother. Admittedly, his character is one of the many elements that date the film considerably and would not fly today.

    The musical segments are surprisingly catchy and will stick in your head quickly, particularly “Snapper” and “Do It To Me.” The rest of the cast gleefully chew through the scenery as they prance about and constantly get naked. Given that this was the 1970s, be prepared to see more bush than a topiary garden that hasn’t been trimmed. Going back to the humor, most of it consists of sexual innuendos and puns, which can get stale fast. Also, while there isn’t much of a plot aside from the original story, this simplicity works in its favor. It serves its purpose of stringing together sex scenes and musical numbers without bogging things down with unnecessary subplots. At slightly over 90 minutes in length, the movie gets in and out quickly and doesn’t overstay its welcome. Overall, Cinderella won’t be for everyone, but fans of oddball adult entertainment should check it out.

     

    Buy Cinderella from Amazon: https://amzn.to/43ncJnf.

    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 Cinderella (1977)

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  • Crash and Burn (1990)

    Crash and Burn (1990)

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    After the collapse of Empire Pictures, Charles Band returned to the US and started its successor company: Full Moon Entertainment. While most of the Empire library went to other studios, Band released some under his new studio. The first three films released under this new company were Puppet Master, Meridian: Kiss of the Beast, and Shadowzone. Unfortunately, one of the films Band lost when Empire collapsed was Robot Jox, which went to Triumph Pictures. Since it took so long for Triumph to release the movie, Band decided to capitalize on it. Much like how Roger Corman made movies capitalizing on his previous successes, Band took a similar approach with this. Using much of the same crew as Stuart Gordon’s giant robot epic, Band churned out his own big robot movie. While Gordon’s movie hit theaters in November 1990, Band’s Crash and Burn arrived on video store shelves in September.

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    Synopsis

    In 2035, the powerful corporation Unicom is controlling the world after a massive economic collapse. Most of the earth is desert, and massive “thermal storms” caused by a depleted ozone layer are a daily hazard. A Unicom agent named Tyson (Paul Ganus) is delivering some freon to one of the last remaining TV broadcast stations. He meets the station manager Lathan Hooks (Ralph Waite), who instantly distrusts Tyson due to his resentment towards Unicom. Tyson also meets Lathan’s granddaughter Arren (Megan Ward), schoolteacher Parice (Eva LaRue), and technician Quinn (Bill Moseley). Unfortunately, Tyson has to stay the night at the station due to a thermal storm, trapping everyone else inside. To make matters worse, Unicom sent a “synthoid” to kill the station manager and anyone who gets in its way. Who is this mysterious killer, and who will be left alive to fight off the assailant?

     

    Review

    While not one of the better early Full Moon titles, Crash and Burn is a pretty entertaining mash-ups of genres. At its core, it’s a slasher film with a cyborg, a cross between Friday the 13th and The Terminator. What makes it stand out is its post-apocalyptic setting and how an economic collapse causes it, which is unique. You can tell that this was when Full Moon had extra capital through Paramount, given the production values. Despite its low budget, the set design and visual effects are surprisingly effective, though it helps they had talented artists. Future Oscar winner Greg Cannom, who also worked on Vicious Lips, Cherry 2000, and Meridian, designed the makeup effects. Empire/Full Moon regular David Allen handled the stop-motion alongside Chris Endicott, who later managed visual effects on Avengers: Endgame. It shows that a talented crew can compensate for a meager budget.

    On top of having a sweet mullet, Paul Ganus makes for a decent leading man and has plenty of charisma. Future Full Moon regular Megan Ward is fun as the young Arren and has tons of charm to spare. Cult actor Bill Moseley easily steals the show, especially when he goes full Nicolas Cage in the second act. Jack McGee is appropriately gross and slimy as the movie’s Rush Limbaugh stand-in, and he works as the comic relief. Ralph Waite brings some class to the production and Eva LaRue has decent chemistry with Ganus. While not exceptional, Band’s direction works, using low lighting and shadows to create an effective mood. Despite teasing some giant robot action, we only get five minutes worth towards the end of the movie. Overall, Crash and Burn isn’t quite as good as later Full Moon productions, but it’s a decent ninety-minute watch.

     

    Buy Crash and Burn 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 Crash and Burn (1990)

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  • Eliminators (1986)

    Eliminators (1986)

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    While working as an AD on David Schmoeller’s The Seduction, Peter Manoogian met Charles Band on Parasite 3D. Since Embassy Pictures produced both films, Manoogian worked with Band on his 3D monster movie as first assistant director. He was so impressed with Manoogian’s work that he hired him to work on Metalstorm: The Destruction of Jared-Syn. After founding Empire Pictures, Band gave Manoogian his directorial debut by helming a segment of The Dungeonmaster. While shooting Ghost Warrior, Band asked Manoogian to direct a script written by Danny Bilson & Paul De Meo. The two previously wrote Trancers and Zone Troopers, but they had another story they presented before those two. Manoogian jumped at the opportunity, and he worked very hard to make it as good as possible. After an arduous shoot, Eliminators hit theaters in January 1986, around the same time that Troll came out.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”65″ bar_bg_color=”#EDF000″ _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    The evil scientist Abbot Reeves (Roy Dotrice) has been using a Mandroid (Patrick Reynolds) to steal artifacts through time travel. After the most recent assignment, Reeves orders his assistant Takada (Tad Horino) to dismantle the Mandroid, but he refuses. Instead, Takada helps the Mandroid escape the facility and tells him to find Colonel Nora Hunter before dying. The Mandroid finds Hunter (Denise Crosby), who agrees to join him and stop Reeves from taking over the world. Along the way, they hire riverboat captain Harry Fontana (Andrew Prine) to be their guide to Reeves’ hideout. Soon, the group gets attacked by Reeves’ men and even runs into cave dwellers brought to the present day. They also run into Kuji (Conan Lee), Takada’s son, seeking revenge against Reeves for his father’s death. With a cyborg, a scientist, a mercenary, and now a ninja, they make up The Eliminators!

     

    Review

    If nothing else, the poster for Eliminators is probably one of the best B-movie posters ever made. While it has elements from the movie, it doesn’t quite match its overall quality, though not in a duplicitous way. This film had tons of crazy ideas, but the budget wasn’t enough to fully realize them. For instance, the Mandroid has a mobile unit he uses during his initial escape but abandons soon after. Also, we only ever see the Mandroid go back in time once during the opening sequence. If the film had more money, I’m sure they could’ve done something even crazier, but what’s there works just fine. Even for such a low budget, the effects are surprisingly decent, and there are some well-staged action sequences. More importantly, it manages to be fun and have some heart without being stupid or overly sappy.

    Patrick Reynolds is great as the Mandroid, managing to squeeze some humanity into a robotic character. It’s eerily similar to Peter Weller’s character in Robocop, right down to him trying to regain his humanity. As the cocky and arrogant Harry Fontana, Andrew Prine is fun, though part of me wishes they cast Tim Thomerson. Denise Crosby is likable as the scientist Colonel Hunter, and she has some good back-and-forths with Prine. Roy Dotrice is having fun playing an over-the-top villain, and some minor characters like Bayou Betty (Peggy Mannix) also shine. There are plenty of explosions, laser fights, and chase scenes to keep any action movie fan entertained. In a way, it’s like watching an 80s cartoon come to life, and sometimes that’s all you need. Overall, Eliminators is a fun, cheesy, and exciting sci-fi/action movie that’s enjoyable for what it is.

     

    Buy Eliminators from Amazon: https://amzn.to/3MbG3CC.

    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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  • Lurking Fear (1994)

    Lurking Fear (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=”{}”]After the success of 1985’s Re-Animator, director Stuart Gordon and writer Dennis Paoli wanted to adapt another Lovecraft story. They wanted to film Lovecraft’s 1923 short story The Lurking Fear, but Empire Pictures’ collapse canceled the project. Years later, C. Courtney Joyner, who previously wrote Prison for Empire Pictures, directed Trancers III: Deth Lives for Full Moon. Studio head Charles Band was pleased with the sequel, so he offered Joyner the chance to resurrect the Lovecraft adaptation. At the time, Band found success shooting in Romania after filming the Subspecies franchise, so they filmed at Buftea Studios. They brought on Empire/Full Moon veteran Jeffrey Combs, alongside Ashley Laurence, Vincent Schiavelli, and Jon Finch. Unfortunately, Joyner and Finch did not see eye-to-eye, as Finch disagreed with Joyner’s direction and made the experience rough. Despite these setbacks, Lurking Fear finally hit video store shelves in July 1994.

    [/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=”70″ 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=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After being released from prison, John Martense (Blake Adams) goes to his childhood town of Lefferts Corner. He meets up with family friend Knaggs (Vincent Schiavelli), a local mortician who’s been holding onto part of a map. The map shows the location of a hidden stash of money left by Martense’s father after his last heist. He follows the map to an abandoned church, where he meets Cathryn (Ashley Laurence) and Dr. Haggis (Jeffrey Combs). It turns out that underground monsters have repeatedly attacked the town, and Cathryn lost her sister to the creatures. Soon enough, master thief Bennett (Jon Finch) and his accomplice Ms. Marlowe (Allison Mackie), arrive looking for the stash. Soon enough, the underground dwellers make their way into the church, and the group has to make a stand. Who will survive the onslaught, and who will be the next victim of the lurking fear?

     

    Review

    Compared to other Lovecraft adaptations from Charles Band, Lurking Fear isn’t as good as Re-Animator or From Beyond. That said, this film has plenty going for it, from the moody atmosphere and the solid cast. Blake Bailey, who later starred in Head of the Family, gives a good performance as a rugged ex-con. Ashley Laurence stands out as the formidable female lead who’s willing to show some vulnerability without seeming weak. On top of looking good with a beard, Jeffrey Combs is fun as the snarky and pessimistic chain-smoking doctor. Vincent Schiavelli has some good moments with Blake Bailey, but his role is more like an extended cameo. Even if he was awful to work with, Jon Finch still makes for a great and imposing villain. Allison Mackie, who was also Joyner’s cousin, has a great femme fatale look and works well along with Finch.

    The movie has a similar “mobsters vs. monsters” vibe as 1985’s Transmutations, but Joyner does a much better job. While that film ruined its approach to combining horror with film noir, this one manages to balance the tone out. Even before the monsters show up, Joyner manages to create a foreboding mood that’s reminiscent of old gothic horror films. Once the monsters show up, it becomes a gruesome onslaught similar to the climax in From Dusk Till Dawn. If there are any problems with the film, I’d say that we don’t get to know our main characters much. We’re given just a basic setup for them before they’re thrown into an explosive climax with copious amounts of gore. While this doesn’t have the lasting power of Stuart Gordon’s adaptations, this one will provide enough entertainment for 75 minutes. Overall, Lurking Fear is an underrated gem that’s worth uncovering.

     

    Buy Lurking Fear from:

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  • The Dungeonmaster (1984)

    The Dungeonmaster (1984)

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    Charles Band was known for promising directing jobs to people he worked with during the past. Some of the people he offered jobs to included John Carl Buechler, David Allen, Peter Manoogian, and Ted Nicolaou. They worked with Band as editors, make-up effects artists, stop-motion animators, and production managers, but they all wanted to direct. In 1983, Band finally gave them a chance to produce segments of an anthology film called Ragewar. Some of the cast and crew from Metalstorm: The Destruction of Jared-Syn, including Jeffrey Byron and Richard Moll, returned here. The film was initially released as Ragewar but didn’t gain much traction, not even when the studio retitled it Digital Knights. Around this time, the game Dungeons & Dragons exploded in popularity, so Charles Band decided to capitalize on this. The movie finally hit theaters as The Dungeonmaster in the UK in 1984 and the US in 1985.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.14.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#E09900″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.14.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Paul Bradford (Jeffrey Byron) is a technical wiz who’s developed a super-smart computer called “X-CALBR8”, aka ‘Cal.’ His girlfriend Gwen (Leslie Wing) isn’t too fond of ‘Cal’ as she thinks Paul cares more for it than her. One night, Gwen mysteriously disappears, and Paul finds himself in another dimension, where he sees Gwen chained to a boulder. Their captor is Mestema (Richard Moll), a powerful sorcerer who wants to battle Paul and his supercomputer. Mestema has Paul compete in a series of challenges to see if he can use his technology to overcome them. These challenges involve frozen terrors, zombified warriors, a giant stone golem, a heavy metal band, desert raiders, and a slasher. In between each challenge, Mestema keeps taunting Paul and telling him how he’ll fail and Gwen will be his. Will Paul succeed, or will Gwen fall prey to The Dungeonmaster?

     

    Review

    In some ways, The Dungeonmaster is a perfect encapsulation of what made Empire Pictures what it was. You’ve got action scenes, hideous monsters, stop-motion creations, occasional nudity, gratuitous use of heavy metal, and nonsensical stories. For an anthology film, the segments don’t flow together cohesively and just hop from one to another. It doesn’t help that each segment lasts roughly five to ten minutes without any development or setup. Each sequence does show off that particular director’s style, such as David Allen’s stop-motion and John Carl Buechler’s practical effects. Charles Band’s segment is probably the film’s highlight, even if it’s essentially a music video for WASP. Interestingly, parts of the WASP segment were incorporated into TerrorVision, made by one of The Dungeonmaster‘s directors, Ted Nicolaou. Unfortunately, this movie isn’t nearly as fun or as gooey as that one was.

    The score by regular Empire/Full Moon composter Richard Band is decent, and it adapts to each segment. Like in Metalstorm, Jeffrey Byron is charismatic and likable, even if it’s hard to buy him as a tech wiz. Leslie Wing is ok as his girlfriend Gwen, though most of her screen time is yelling for Paul. Richard Moll is entertaining as the villainous Mestema, as he’s having fun playing such a larger-than-life villain. There are also some appearances from other Empire/Full Moon alumni, including Gina Calabrese (Vicious Lips) and Phil Fondacaro (Troll). Despite the film having seven total segments, it only clocks in at slightly over 70 minutes in length. Even though it’s a bit of a mess, at least it gets in and out relatively quickly. Overall, The Dungeonmaster doesn’t entirely work, but it has some cheesy fun to entertain genre fans and curious onlookers.

     

    Buy The Dungeonmaster on Amazon: https://amzn.to/3Hr3l4x.

    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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  • Killjoy 2: Deliverance from Evil (2002)

    Killjoy 2: Deliverance from Evil (2002)

    [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=”{}”]Alchemy Entertainment/Big City Pictures couldn’t generate enough revenue to sustain itself after only four movies despite its ambitious nature. Following the release of The Vault in 2001, Mel Johnson Jr. left the studio though Charles Band tried sustaining it. With Johnson gone, J.R. Bookwalter of Tempe Entertainment took over to produce a sequel to the label’s biggest hit, Killjoy. Rather than repeating the first film, Band and Bookwalter wanted to take the series in a new direction. Douglas Snauffer wrote the script, adding some inspiration from 1996’s From Dusk Till Dawn, though he later regretted this decision. Unfortunately, the original actor Ángel Vargas couldn’t return for the sequel, so Troma veteran Trent Haaga replaced him. In her directorial debut was actress Tammi Sutton, who appeared in 2001’s Horrorvision and later directed six more films. After a short shooting schedule, Killjoy 2: Deliverance from Evil hit video stores in early 2002.

    [/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=”60″ 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=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Detention officers Denise Martinez (Debbie Rochon) and Lieutenant Harris Redding (Logan Alexander) must escort a group of juvenile delinquents. The group must spend 90 days at this location to help renovate a group home for fellow troublemakers. Unfortunately, their bus gets a flat tire on the way there, and they have no cell phone reception. Redding takes some of the delinquents to find reception when Raymon “Ray-Ray” Martin (Choice Skinner) finds a seemingly abandoned house. However, Ray-Ray gets shot by the home’s owner Lilly (Tammi Sutton), and the group manages to escape with him. They take refuge in the house of voodoo priestess Kadja Boszo (Rhonda Claerbaut), who says she can heal Ray-Ray. At the same time, delinquent Nicholas “Nic” Gordon (Austin Priester) asks Kadja to summon a revenge demon against the locals. She ends up calling the monstrous Killjoy (Trent Haaga), who soon wreaks havoc on our unlikely heroes.

     

    Review

    Killjoy 2: Deliverance from Evil does a lot to distinguish itself from the original, but it suffers from similar flaws. Like the first film, the pacing drags quite a bit, and it takes a while for things to pick up. Killjoy doesn’t show up until roughly 45 minutes in, but it gets much better once he does. Though Ángel Vargas’s performance is missed, Trent Haaga plays the demonic clown well and makes it his own. He doesn’t have the snappy one-liners of his predecessors, but he adds a menacing playfulness to the character. Not only that, but the makeup design is much better than how he looked in the first film. Admittedly, most of Haaga’s dialogue consists of laughing and chuckling, but it’s easy to see why he stuck around. Haaga would go on to play the character at least three more times.

    Unfortunately, the rest of the cast doesn’t stand out much, but they serve their purpose well enough. The four main delinquents are mostly there as cannon fodder for Killjoy, but none of them are particularly annoying. Debbie Rochon primarily acts like she’s pissed the entire time, which fits her character, though she has some human moments. Admittedly, having the story revolve around a group of delinquents being reformed is a nice change of pace. Plus, the forest setting helps this stand out from the primarily urban environment of the original. There are some pretty fun kill scenes, though they’re not as wacky or silly as in the original. At an hour and seventeen minutes, the movie does feel padded at times, but it gets out relatively quickly. Overall, Killjoy 2: Deliverance from Evil slightly improves upon its predecessor while having some of the same flaws.

     

    Buy Killjoy 2: Deliverance from Evil from:

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  • End of the World (1977)

    End of the World (1977)

    [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=”{}”]While hardly a household name, writer/director John Hayes certainly had an oddly fascinating career spanning several decades. His first claim to fame was writing the Oscar-nominated short film The Kiss by future TV director Everett Chambers. Throughout the 60s and 70s, Hayes became known for directing various low-budget drive-in exploitation films of varying genres. His movies included titles like The Farmer’s Other Daughter, The Cut-Throats, Garden of the Dead, and Jailbait Babysitter. Around this time, Charles Band started getting into film production and even dabbled in directing movies. His first film was Last Foxtrot in Burbank, followed by Crash!, which Hayes worked on as a sound mixer. Through his connections with producer Irwin Yablans, Band got Hayes to direct a sci-fi film capitalizing on the disaster craze. With a small budget and some fading genre actors, John Hayes’ End of the World hit theaters in August 1977.

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    Synopsis

    NASA Professor Andrew Boran (Kirk Scott) starts noticing strange radio signals coming from space that carry a foreboding message. Andrew soon learns that the transmissions are coming from Earth, so he and his wife Sylvia (Sue Lyon) investigate. It turns out that the signals are a warning about a series of natural disasters about to hit Earth. During their investigation, Andrew and Sylvia find themselves kidnapped by aliens disguised as a priest and some nuns. The leader Zindar, disguised as Father Pergado (Christopher Lee), explains that Earth has become a hotbed of diseases. They plan on destroying the planet through a series of natural disasters and force Andrew to steal a Variance Crystal. To do this, Andrew must infiltrate the very same lab he works for and betray humanity to save his wife. Will our heroes survive, and will the aliens bring about the end of the world?

     

    Review

    Despite his reverence, the late Sir Christopher Lee is no stranger to starring in movies he later came to regret. For example, he apologized to director Joe Dante for starring in The Howling II, the sequel to Dante’s werewolf classic. I mention this because Lee famously called End of the World one of the worst movies he ever starred in. Honestly, having just seen the film, it’s not hard to see why Lee would prefer people not to remember it. Even by 1970s Charles Band standards, this is an absolute mess of half-baked ideas, flat direction, and dull execution. Acting-wise, everyone seems to be either bored or confused as to what exactly is supposed to be happening. Sue Lyon, who was pretty good in Crash!, comes off demure and somewhat bland here. It doesn’t help that Kirk Scott, as her husband, acts as stiff as a board.

    That said, even if he did not want to be there, Christopher Lee seems to be at least trying. He is always the consummate professional, and he delivers his lines with eloquence and grace that’s too good for this movie. Unfortunately, Lee disappears for much of the runtime until roughly halfway through despite his prominent billing. The rest of the film is padded out with boring dialogue scenes, endless driving scenes, and many walking scenes. John Hayes’ direction feels flat, not helped by many outdoor scenes being so darkly lit that you can’t see. Every so often, there’s an explosion, but don’t expect the same level of explosiveness as Laserblast. Ultimately, this movie commits the biggest sin in cinema: it’s boring, which is honestly worse than just being terrible. Overall, unless you’re a die-hard Christopher Lee fan, End of the World is best left forgotten.

     

    Buy End of the World from:

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  • The Gingerdead Man (2005)

    The Gingerdead Man (2005)

    [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=”{}”]William Butler started working at Empire Pictures doing make-up effects on films like From Beyond and Ghoulies II. He also had parts in Friday the 13th Part VII: The New Blood, Spellcaster, and Leatherface: Texas Chainsaw Massacre III. Wanting to do more, Butler would submit writing ideas to various studios, but nothing came of them. One idea he had revolved around a killer gingerbread cookie, which he presented to Mad TV, but they said no. Butler decided to take his concept to Full Moon Features, which by the early 2000s was not in good shape. Charles Band liked his ideas, but he wanted to take Butler’s script and rewrite it to be made more affordable. Charlie handed the rewrite to Domonic Muir, who also wrote Critters and worked with him for a few years. After a scrapped 2001 teaser, The Gingerdead Man hit video store shelves in late November 2005.

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    Synopsis

    It’s been two years since Sarah Leigh (Robin Sydney) watched Millard Findlemeyer (Gary Busey) kill her dad and brother. For his crimes, Findlemeyer is taken to the electric chair and vows revenge on Sarah even in death. With her alcoholic mother Betty (Margaret Blye), Sarah runs a bakery and pastry shop that’s on its last legs. One day, a stranger delivers a container full of gingerbread seasoning containing Findlemeyer’s ashes since his body was cremated. Unfortunately, Sarah’s co-worker Brick Fields (Jonathan Chase) gets cut, and some of his blood drips into the seasoning. After the dough’s finished mixing, Sarah makes a giant gingerbread man and cooks it in the oven, which comes alive. The gingerbread man becomes Findlemeyer and stalks Sarah, Amos (Ryan Locke), and Lorna (Alexia Aleman) throughout the bakery. Which of our heroes will survive, and who will fall victim to The Gingerdead Man?

     

    Review

    The Gingerdead Man is one of those movies that you’ll love or hate depending on your taste. The movie isn’t sweeping the Oscars, but it doesn’t need to aspire for anything more. Admittedly, this movie is a drastic drop in quality from Full Moon’s peak in the early to mid-90s. Their movies back then were undoubtedly low budget, but they made the most of the budgets they had. However, this has the trappings of direct-to-video movies from the mid-2000s, including one location, low-grade quality, and shoddy digital effects. The acting is pretty shoddy, though Robin Sydney easily shines as the female lead who steps up to the challenge. Of course, the big draw is Gary Busey, who is surprisingly low-key in his on-screen appearances. When he voices the Gingerdead Man, you can tell he’s having fun spouting some ridiculous lines. Though, I would’ve appreciated it if he was on-screen more.

    The movie does have some similarities to Child’s Play, but that one at least explained things better. In that film, we were shown how the killer used voodoo to become the doll, and it made sense. Here, it’s not made clear exactly how the whole ritual of bringing the killer back as a gingerbread man works. Granted, this isn’t meant to be a serious horror film, but this leaves more questions than answers. The Gingerdead Man puppet itself looks fine for their budget, especially considering the original Pillsbury Doughboyesque design. There are some reasonably bloody kills sprinkled in, but none are particularly memorable or inventive. At roughly 70 minutes, this movie gets in and out very quickly and won’t take too much of your time. Overall, The Gingerdead Man is a movie where its concept is more entertaining than the movie itself. That said, you could certainly do worse.

     

    Buy The Gingerdead Man from:

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    Where to watch The Gingerdead Man (2005)

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