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Category: Full Moon Fridays

  • Cannibal Women in the Avocado Jungle of Death (1989)

    Cannibal Women in the Avocado Jungle of Death (1989)

    [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 better known for writing the romantic comedy Pretty Woman, J. F. Lawton struggled in LA back in the day. The son of famous novelist and journalist Harry Lawton, J. F. got his first taste of filmmaking in his childhood. In 1969, his father’s book was adapted into the film Tell Them Willie Boy is Here, starring Robert Redford. J. F. got to visit the set and was mesmerized by the filmmaking process, and decided to become a screenwriter. After graduating from California State University, he moved to Los Angeles and lived in one of the city’s roughest areas. While trying to find work, Lawton met producer Charles Band, struggling to keep Empire Pictures alive despite the mounting debts. With Band, Lawton got the opportunity to direct his directorial debut, shot in his hometown of Riverside. The result was 1989’s Cannibal Women in the Avocado Jungle of Death.

    [/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” global_colors_info=”{}”]

    Synopsis

    Margo Hunt (Shannon Tweed) is a professor at Spritzer College that teaches feminist studies and advocates for gender equality. The US government recruits her to travel to the mysterious Avocado Jungle and contact a female tribe, The “Piranha Women.” These women tend to have sex with men, kill them, and eat them as part of a sacrificial ritual. Though reluctant, Hunt agrees to go, but one of her students Bunny (Karen Mistal), insists that she go too. Before embarking on their journey, they need a guide and hire Jim (Bill Maher), a chauvinist ex-lover of Hunt’s. They eventually stumble upon the Piranha Women and meet their leader as they make their way through the jungle. Their leader is Dr. Kurtz (Adrienne Barbeau), a former colleague of Hunt’s who the government also sent before going MIA. What follows are explorations of feminism and gender politics, all in the name of avocados.

     

    Review

    Much like Sorority Babes in the Slimeball Bowl-O-Rama, this is a film with quite a catchy title. However, while the former was more what you’d expect, this tries to be much more intelligent and offer some satire. For the most part, it works, but a lack of budget hampers it from being much more. Shannon Tweed, who was 1982’s Playmate of the Year, is funny as the sharp-witted feminist teacher trying to maintain independence. Karen Mistal does come off slightly annoying as the overly ditzy and stereotypical valley girl, but she has her moments. While I’m sure he’d rather people forget about his performance, Bill Maher is appropriately cocky and arrogant in his role. Though she has limited screen time, it’s always lovely to see Adrienne Barbeau pop up in these low-budget shlock films. Plus, the score by Carl Dante is surprisingly catchy and well-orchestrated.

    The film’s satire might put some people off, but it doesn’t diminish the overall goofy nature of the movie. There’s a tribe of women that are literal “man-eaters,” a braggadocious male lead who’s also incompetent, and much more. The film’s set-up revolving around an avocado shortage is so absurd that it must be intentional. What makes the satire work is that the filmmakers poke fun of both groups rather than siding one group over another. While there are plenty of jokes about men and toxic masculinity, there are just as many jokes about feminism. Unfortunately, the lack of a decent budget ultimately hurts the film, though it’s not surprising given Charles Band’s involvement. Still, the fact that they’re filming in the forest near Lawton’s college adds to the movie’s campy charm. Overall, Cannibal Women in the Avocado Jungle of Death is silly, but it’s more intelligent than you’d expect.

     

    Buy Cannibal Women in the Avocado Jungle of Death 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 Cannibal Women in the Avocado Jungle of Death (1989)

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  • Retro Puppet Master (1999)

    Retro Puppet Master (1999)

    [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=”{}”]Curse of the Puppet Master was a massive letdown for many of Full Moon’s established fans, and Band knew this. He knew he had to think of something to get the fans back, so he decided to go back. Looking over the initial art from the first film in 1988, he noticed some puppets that they didn’t use. Charles Band decided to use these puppets and craft a prequel that explored Andre Toulon’s origins pre-WWII. Like many of Full Moon’s films at the time, shooting would be in Romania at Castel Film Studios. David DeCoteau, under the pseudonym Joseph Tennent, was hired to direct after directing two entries, including Puppet Master III. For the role of young Andre Toulon, the filmmakers cast a then-unknown Greg Sestero after considering James Franco. A few months after the last film, Full Moon released Retro Puppet Master in November of 1999.

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    Synopsis

    In 1902 Paris, Andre Toulon (Greg Sestero) is running a puppet show called “Theater Magique,” which is quite popular. After a performance of Dante’s Divine Comedy, Toulon meets Elsa (Brigitta Dau), a young socialite wanting to see the country. The two start to hit it off until a man who’s nearly beaten to death arrives looking for help. The stranger is Afzel (Jack Donner), an Egyptian sorcerer who’s stolen the secret of life from the god Sutekh. He passes his knowledge along to Toulon, allowing him to bring life to his puppets with human souls. Meanwhile, Sutekh sends three of his mummified followers to track down Afzel and kill him before passing his knowledge on. Before long, Toulon assembles a puppet army to take on Sutekh’s forces while falling in love with Elsa. An elder Toulon (Guy Rolfe) in 1944 Switzerland shares this story with his puppets.

     

    Review

    Retro Puppet Master is a slight improvement compared to the last installment, but not by a whole lot. The Romanian filming locations add plenty of production value and make the film look more expensive. Also, introducing the new retro puppets is an excellent way to keep things fresh and exciting. It’s interesting to see what Blade, Pinhead, and Six Shooter looked like before getting a new design. Admittedly, the film plays with the continuity from the other movies, but this series never had a consistent continuity. Even though he hardly resembles Guy Rolfe, Greg Sestero does a decent job playing a young Andre Toulon. He also deserves some credit for adding a French accent considering the character’s name, even if it doesn’t match Rolfe. Speaking of, while he’s only on-screen for a few minutes, Guy Rolfe does an excellent job for his final role.

    Brigitta Dau, known chiefly for doing voiceovers for Ranma 1/2, has decent chemistry with Sestero and is quite lovely. The late character actor Jack Donner gives the role of Afzel more dignity than it otherwise deserves. Another notable actor is Stephen Blackehart, who was previously in Tromeo & Juliet and later became a James Gunn regular. In terms of his direction, David DeCoteau does a decent job and takes advantage of the Romanian locations. Like the last film, the lack of stop-motion animation is unfortunate, but the puppets have more screen time here. The puppet effects are decent, though there are quite a few moments where you can see the strings. Sadly, for all the improvements made here, the series would continue to go further downhill from where it started. Overall, Retro Puppet Master does some things right but does plenty more wrong.

     

    Buy Retro Puppet Master from Amazon: https://amzn.to/4mb2Jov.

    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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  • Rawhead Rex (1986)

    Rawhead Rex (1986)

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    After how disappointing Transmutations turned out, Clive Barker had his reservations in working with George Pavlou again. Still, the studio convinced Barker to adapt one of his short stories from the Books of Blood, Rawhead Rex. He agreed and wrote a screenplay that was a straight adaptation of his story, but the troubles started again. Once he turned in his script, Barker was barred from the set and not allowed further creative input. Additionally, the studio decided to film in Ireland during the rainy season instead of the original English summer setting. While Barker’s original story had tons of sexual subtext, the final film turned into a standard monster-on-the-loose picture. Though he did have some kind words during production in interviews, Barker has since disowned the film. Though premiering in the UK in 1986, Empire Pictures released Rawhead Rex to the US in 1987.

    [/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=”55″ bar_bg_color=”#EDF000″ _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    American Howard Hallenbeck (David Dukes) travels to Ireland with his wife and kids, searching for religious artifacts. Meanwhile, a local digs up an ancient column, accidentally freeing an ancient demon called Rawhead Rex. Declan O’Brien (Ronan Wilmott) touches the altar at a nearby church and is driven mad by Rawhead’s influence. Rawhead starts rampaging through the Irish countryside, killing anyone in its path while O’Brien grows more insane. Howard catches a glimpse of Rawhead and tries to explain it to the police, but they don’t believe him. He decides to take his family back on the road when his daughter Minty (Cora Lunny) needs a bathroom break. While Howard and his wife Elaine (Kelly Piper) check on her, Rawhead kills their son Robbie (Hugh O’Conor). Now enraged, Howard takes it upon himself to confront O’Brien and find a way to destroy Rawhead Rex.

     

    Review

    Considering how poorly Transmutations turned out, it’s shocking that Clive Barker would be willing to try again. To his credit, Rawhead Rex is a much better film, but you can see why Barker wasn’t happy with this. The film takes itself super seriously, but tons of unintentionally campy elements hinder any tension. For one, Rawhead Rex himself looks utterly ridiculous with its bulging eyes, flared nostrils, and misshapen mohawk. From a distance, it looks fine, but whenever you get a good look at its face, it’s too funny. Considering that the original short creature was a 9′ phallus, I can see why they changed it. Admittedly, I would be okay with the creature design if the whole movie was just as ridiculous, but it isn’t. Also, I’m surprised they had any sets left, given all the scenery-chewing Ronan Wilmott was doing with his performance. At least he’s not obnoxiously hammy.

    Speaking of acting, most of it ranges from being decent to being pretty dull and uninspired. David Dukes does a pretty good job in the lead role, even if his character makes some dumb decisions. He and Kelly Piper have some decent chemistry, although she’s not given much to do until the very end. Directing-wise, George Pavlou takes full advantage of the Irish countryside and manages to create an effectively spooky mood. It’s evocative of the look and feel of Hammer films from the 50s and 60s, though not as good. There’s also plenty of bloody and gruesome kills for the average gorehound, and it was risky to kill a kid. Parts of the film work as a cheesy monster movie, but it could’ve used more insane moments. Overall, Rawhead Rex isn’t terrible, but it could’ve been so much better. Thankfully, this led to Clive Barker helming a horror classic.

     

    Buy Rawhead Rex from Amazon: https://amzn.to/3ps0diH.

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  • Weedjies: Halloweed Night (2019)

    Weedjies: Halloweed Night (2019)

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    In 2019, Full Moon Features announced a new project called “The Deadly Ten,” a series of ten brand new films. Each would be either a sequel or related in some way to a pre-existing Full Moon movie. The titles announced included sequels to Sorority Babes in the Slimeball Bowl-O-Rama, Subspecies, and Head of the Family. For the first film in this series, filmmaker Danny Draven decided to work on a spiritual successor to 1985’s Ghoulies. In 2006, Full Moon released the stoner comedy Evil Bong, which started a top-rated franchise spanning eight films by 2018. Draven has a history of working with Charles Band, having directed Horrorvision, Hell Asylum, Cryptz, and Reel Evil. His contribution for The Deadly Ten would combine the stoner humor of Evil Bong with the mischievous monsters of Ghoulies. The resulting film saw its release in late 2019 as Weedjies: Halloweed Night.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”55″ 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

    Friends Madison (Brett Hargrave), Dallas (Victoria Strange), and Frankie (Yo Ying) are planning on throwing the biggest Halloween party ever. Their socially awkward male friend Claude (Johnny Jay Lee), clearly infatuated with Dallas, joins to help them out. Once the party starts, it becomes a huge success, with many people showing up for a good time. The guests are also there for a scavenger hunt to win The Golden Nug, a very special nugget of marijuana. Our heroes meet a mysterious woman known as The Baroness (Denise Milfort), who has something special for our heroes. She breaks out a “Weed-G-Board,” which ends up summoning diminutive creatures known as “Weedjies” to attack the guests. According to the Ganja Ghost (James Adam Tucker), the group only has until midnight to recapture the Weedjies. Will they be able to stop them, or will the Weedjies party our heroes to death?

     

    Review

    Honestly, Weedjies: Halloweed Night is more or less what I expected from a modern-day Full Moon movie. You’ve got a ridiculous plot, questionable acting, and cheesy puppets mixed with some not-so-good CGI effects. It would be best if you didn’t go into a film like this expecting high-quality cinema else you’ll be disappointed. I watched this film cold sober, so I don’t know if getting high beforehand will make watching this better. That said, while I would hardly call this a classic within Full Moon’s library, it’s still fun in a way. The actors know what type of movie they’re in and have fun with their roles, as standard as they are. Denise Milfort and James Adam Tucker are entertainingly hammy with their fake Jamaican accents and larger-than-life personas. None of the four main heroes particularly stand out, but they have decent chemistry with each other.

    Of course, the real stars of this movie are the Weedjie puppets, all creations of Tom Devlin’s 1313fx studio. Compared to the puppet work of the late great John Carl Buechler, they’re about on par with those from Ghoulies. While they don’t show up until halfway into the movie, their appearance does make the film more fun to watch. Each of them has a distinct look and personality, similar to the creatures from Gremlins 2: The New Batch. As decent as the puppets look, what took me out of the movie was the cheap-looking CGI. It does add to its campy charm, but once they start using CG blood, that’s when I draw the line. It helps that the movie’s only 75 minutes in length, which means you’ll be in and out before too long. Overall, Weedjies: Halloweed Night would be perfect for a Halloween stoner party or something similar.

     

    Buy Weedjies: Halloweed Night 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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  • Transmutations (1985)

    Transmutations (1985)

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    After making a name for himself in theatre, Clive Barker wanted to shift his focus towards becoming a writer. While writing the short stories that would make up Books of Blood, Barker met up-and-coming filmmaker George Pavlou. The two met at a dinner party, where they discussed their shared interest and passion for the film industry. Pavlou wanted to direct, and Barker wanted to write, so the two decided to collaborate on a project together. Barker wrote a screenplay of mobsters versus monsters that included science-fiction, film noir, and horror elements. Unfortunately, the studio had promised their financiers more of a pop-rock-infused tale and was uncomfortable with the horror themes. The studio demanded rewrites that essentially stripped the film of anything horror-related, which led to Barker disowning the project. Initially released in the UK as Underworld in 1985, Empire Pictures released it in the US as Transmutations in 1986.

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    Synopsis

    After underground mutants kidnap high-class prostitute Nicole (Nicola Cowper), the Docklands Mafia hires their best man to find her. Said man is Roy Bain (Larry Lamb), a private investigator who has since retired. He’s convinced by mob boss Hugo Motherskille (Steven Berkoff) to rescue her, given Bain’s past relationship with her. Meanwhile, the mutants abducted Nicole uses her as a bargaining chip for an antidote to the drug “Whiteman.” Created by Dr. Savary (Denholm Elliot), the drug is known to expand the mind and cause deformities. However, Nicole is a rare case in that she’s remained physically normal despite having taken Whiteman consistently. As Bain continues his search, he eventually finds the mutants and Nicole, and he helps them take on Savary. Unfortunately, Motherskille is working with Savary, so Bain betrays his former employer to protect the mutants and Nicole. It’s mobsters versus monsters in the London underworld!

     

    Review

    Whether you call it Underworld or Transmutations, this film had the potential to be good only to waste it all. The concept of mobsters versus monsters offers many creative ideas, but this movie has almost none on display. Given Barker’s future work, it makes me wonder what his original script was like compared to the mess we got. The cast has huge names like Denholm Elliot, Steven Berkoff, Miranda Richardson, and Ingrid Pitt, but the film wastes them. Elliot and Berkoff, in particular, give off that sense of “I’m only doing this just for the extra money.” Larry Lamb tries to come off as a relaxed and rugged detective, but he lacks the charisma of Tim Thomerson. Then again, Trancers knew what it wanted to be and stuck with it instead of missing any of its personality. Honestly, this film is almost as bad as the later Trancers sequels.

    If there are any positives here, I will say that the production design has a decent 80s punk look. It probably helps that their art director was Len Huntingford, who worked on the Oscar-winning 1981 film, Chariots of Fire. The makeup effects, while certainly cheap-looking, help the movie stand out with all the different mutant designs shown. Also, the score by the band Freur has some solid tracks, though much of it is instantly forgettable. George Pavlou doesn’t inject anything special in his direction and shoots the film with a bland style. Though the widely available version is 88 minutes long, the version released in the US is 15 minutes longer. Honestly, I can’t imagine if those extra 15 minutes would’ve improved the overall quality of this forgettable mess. Overall, Transmutations is what happens when a good idea is compromised and stripped of what made it special.

     

    Buy Transmutations from Amazon: https://amzn.to/40wUaMu.

    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 Transmutations (1985)

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  • Head of the Family (1996)

    Head of the Family (1996)

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    After leaving Marvel Comics in 1986, legendary artist Jack Kirby worked on concept art for potential films at Empire Pictures. The films were a Doctor Strange-inspired story called Doctor Mortalis and Mindmaster, about a paraplegic kid controlling a robot. Unfortunately, neither movie got made since Empire Pictures couldn’t secure financing from Vestron, and they eventually went bankrupt. Charles Band would eventually rework the Doctor Mortalis concept into 1992’s Doctor Mordrid starring Jeffrey Combs and Brian Thompson. Two years after Jack Kirby’s death in 1994, Band went to frequent collaborator Benjamin Carr about a new concept. By pure coincidence, Band’s idea was similar to a Kirby story from 1954 in Black Magic Volume 4 #6. Whether coincidental or not, Carr and Band set to work on what would become one of Full Moon’s weirdest movies. In November of 1996, Head of the Family hit the video store shelves nationwide.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”65″ 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

    Loretta (Jacqueline Lovell) is cheating on her biker husband Howard (Gordon Jennison Noice) with local conman Lance (Blake Adams). While driving after a nightly fling, they witness the Stackpools, a family of misfits, dragging a man into their home. Suspecting foul play, Lance decides to investigate further and learns the horrible truth about the family. Siblings Wheeler (James Jones), Otis (Bob Schott), and Ernestina (Dianne Colazzo) are mind-controlled by brother Myron (J. W. Perra). Also, Myron has a giant head, is confined to a wheelchair, and experiments on his victims for a new body. Seeing an opportunity, Lance hires the Stackpools to dispose of Howard in exchange for him keeping quiet about their exploits. They succeed, but Lance decides to extort them for the prominent fortune they’re sitting on, threatening them with legal action. Unbeknownst to Lance, Myron has something grand in store for him and Loretta.

     

    Review

    Compared to the rest of Full Moon’s library, Head of the Family is by far one of their weirdest movies. Admittedly, its story is pretty basic, but the strange characters and odd mix of campy and creepy elevate it. Right from the opening themes conducted by Richard Band, you know this will be both wacky and weird. In the middle of this tale of extortion and blackmail, you’ve got all these strange beings lurking around. J. W. Perra sells it as the maniacal Myron, acting like a cross between Orson Welles and The Brain. What also helps are the makeup effects and camera tricks used to make him look convincing as this character. While they don’t have many lines, Jones, Scott, and Colazzo stand out in their roles just for their sheer weirdness. Seeing them stand around with their blank expressions is pretty frightening.

    Blake Adams and Jacqueline Lovell work well as the straight players against the strange things around them. Blake is very charismatic and entertaining as the sleazy conman who will stop at nothing to get what he wants. On top of being more than willing to get naked, Lovell is charming and funny in her sardonic role. The effects are surprisingly decent for such a low-budget film, although a few look pretty cheap by comparison. It doesn’t help either that there are times where they have to add fire to some scenes digitally. Directing-wise, Charles Band does a decent job using shadows and lighting to create a compellingly spooky mood. At times, the movie does stretch things out to hit its 82-minute mark, but it gets the job done. Overall, Head of the Family is an oddity, but it’s an oddity worth seeking out for Full Moon fans.

     

    Buy Head of the Family from:

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  • Crash! (1976)

    Crash! (1976)

    [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″ _module_preset=”default” global_colors_info=”{}”]In the 1970s, there was a sort of mini-trend of car movies, usually involving various stunts and wrecks. This decade saw the likes of films including Dirty Mary Crazy Larry, The Gumball Rally, and Smokey and the Bandit. One prominent director who made these car movies was Steven Spielberg, whose early works included Duel and The Sugarland Express. In 1977, Universal planned to release The Car, which would’ve added a supernatural element to the car movie. After producing Mansion of the Doomed, the distributors asked Charles Band to make a similarly themed car movie. Charlie wound up directing this as his second feature, his first being the lost 1973 spoof Last Foxtrot in Burbank. The plan was to shoot this film over the weekends and get it released to theaters before Universal’s movie. In the end, the finished movie hit theaters in late 1976/early 1977 as Crash!

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”65″ 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

    Young Kim Denne (Sue Lyons) purchases a strange-looking idol from a vendor at a flea market before returning home. She’s married to the older Marc Denne (Jose Ferrer), who was in a horrific car accident that left him paralyzed. Marc resents that Kim can walk around fine despite the accident as he constantly treats her like dirt. After she goes for a drive, he sends his trained Doberman to follow and attack her, causing her to crash. Thankfully, Kim survives the crash and wakes up in the hospital, where she’s cared for by Dr. Martin (John Ericson). Unfortunately, Kim has lost her memory, yet she still holds onto the idol as if she’s always had it. At the same time, a mysterious black car is going around killing people and causing car crashes. It turns out the idol is using Kim to control this demon car to exact her revenge!

     

    Review

    Crash! is a film that could only have come out in the drive-in era of the 1970s. You’ve got a completely nonsensical plot whose sole purpose is to try connecting tons of car crashes together. Also, there are tons and tons of real cars crashing into each other for real with real explosions. Keep in mind that this was pre-CGI and made on a low budget, so the stuntwork is pretty impressive. Interestingly enough, one of the film’s cinematographers was Andrew Davis, who went on to direct The Fugitive and Under Siege. The music from composer Andrew Belling also helps this stand out, with a very 70s funk sound. He’d later compose the music for End of the World and Fairy Tales before Richard Band became the go-to guy. Speaking of the Bands, both Richard and Charlie have minor cameo appearances in the film.

    The film has quite an interesting cast, including Sue Lyon (Lolita), Jose Ferrer (Cyrano de Bergerac), and even John Carradine. Admittedly, Carradine only has a few minutes of screentime since he filmed his scenes over a weekend. Lyon makes the best of the albeit light material she’s given and comes off creepy in some moments. Ferrer is fine as the conniving husband, even though it feels like he’s just waiting for his paycheck to clear. Also, John Ericson comes off a little bland as the compassionate doctor trying to help Kim regain her memories. Like many of Charles Band’s early work, this one does suffer from having too much padding, even at 90 minutes. Still, this provides plenty of B-movie thrills, and the car stunts do steal the show, so there is that. Overall, Crash! is that particular kind of schlock that could only come from the 1970s.

     

    Buy Crash! 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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  • Killjoy (2000)

    Killjoy (2000)

    [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=”{}”]Under Full Moon Features, Charles Band had created various sub-labels that would appeal to a specific audience. There was Moonbean Entertainment for kids, Torchlight for fans of softcore erotica, and Monster Island Entertainment for the kaiju fans. In 1999, Band joined actor/producer Mel Johnson Jr. to create Alchemy Entertainment, later changed to Big City Entertainment. The label was geared towards “urban sci-fi, fantasy & horror,” essentially genre films aimed at a black audience. The first two films under this sub-label, Ragdoll and The Horrible Dr. Bones, were made by Subspecies director Ted Nicolaou. Around this time, a young filmmaker named Craig Ross Jr. wrote to Full Moon looking for work. After much persistence, Charles Band met with Ross and pitched him an idea for a killer clown movie. Ross was sold on the pitch, and said killer clown movie became the 2000 direct-to-video effort, Killjoy.

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    Synopsis

    Young and nerdy Michael (Jamal Grimes) is in love with Jada (Vera Yell), so he tries asking her out. Unfortunately, her thug boyfriend Lorenzo (William L. Johnson) and his lackeys T-Bone (Corey Hampton) and Baby Boy (Rani Goulant) arrive. They beat the hell out of Michael and threaten to do worse if he so much as thinks about Jada. That night, Michael uses some black magic to try summoning a clown demon known as Killjoy, only to get shot. Jada has left Lorenzo for Jamal (Lee Marks) one year later, though she’s struggling with her guilt over Michael. Meanwhile, Lorenzo visits his new squeeze Kahara (Napiera Groves), leaving T-Bone and Baby Boy alone to get high. Little do they know that the clown demon Killjoy (Ángel Vargas) has arrived to exact revenge on Michael’s behalf. The circus is in town, and it’s going to be one hell of a show!

     

    Review

    Killjoy isn’t precisely what I’d call a great start compared to other Full Moon franchises, but it’s not all bad. Much like Trancers 6, this one does its best with its low budget, but it doesn’t have the baggage. This one doesn’t have to go up against several past films that had substantially higher budgets or more talented people. That said, this one feels like early 2000s Full Moon: shot on video, lackluster effects, and subpar acting. However, what makes this film easier to watch is primarily Ángel Vargas’ performance as the titular psychotic clown demon. He’s having fun cackling like a maniac and spouting off some of the cheesiest one-liners you’ll ever hear. Not to mention, he’s got a unique look that makes him stand out from other killer clowns. He doesn’t quite match up to Radu, Blade, or Jack Deth, but he’s certainly memorable.

    Given the low budget and short schedule he had to work with, Craig Ross Jr. makes the most of it. He shoots the film competently enough, employing some colored lighting here and there, as well as the occasional dutch angle. One thing you’ll notice is the overuse of stock sound effects, mainly whenever someone opens the ice cream truck doors. Even a few stock scream sounds are used in one scene, though surprisingly, there’s no Wilhelm scream used. Aside from Vargas, the rest of the acting is pretty stale, almost on par with most softcore pornos on Cinemax. It’s pretty funny seeing Jamal Grimes, who clearly has defined muscles, being a nerd just by wearing glasses. What also helps is that the film’s only 72 minutes long, so while it’s not good, it’s at least short. Overall, Killjoy isn’t anything special, but it’s worth a watch, especially with some drinks.

     

    Buy Killjoy 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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  • Walking the Edge (1985)

    Walking the Edge (1985)

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    While producing their own genre films, Empire Pictures also distributed various films that weren’t in-house or within their wheelhouse. The thought process was that of all the films they’d pick up for distribution, hopefully, one would be a hit. Enter Norbert Meisel, a character actor who starred in TV shows like Combat!, The Rat Patrol, and Mission: Impossible. In the ’70s, Meisel transitioned to directing adult films including The Adulteress, Mafia Girls, and Dreams of Desire. In 1976, Meisel married Asian actress Nancy Kwan, who was one of the most iconic Asian actresses in the ’60s. The two collaborated on 1981’s Dreams of Desire before moving onto an action-thriller with Kwan in a starring role. While the film was produced in 1982, it wasn’t released until it was sold to Empire Pictures in 1985. On January 11, 1985, Walking the Edge was finally released to theaters.

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    Synopsis

    After her family is killed by crime boss Brusstar (Joe Spinell), Christine Holloway (Nancy Kwan) manages to escape. Meanwhile, things aren’t going well for Jason Walk (Robert Forster), a taxi driver and numbers runner, who’s been screwed over. His so-called friends belittle him, he gets cheated out of his money, and he catches his girlfriend cheating on him. While on the job, Jason picks up Christine, who uses him to find the gang responsible for killing her family. After surviving a gunfight with Brusstar and his gang, Jason ends up getting roped into Christine’s revenge quest. Jason decides to have Christine stay at his place as he sets out to finish the job. Having been pushed around and stepped on, Jason finally has the opportunity to strike back and rise to the occasion. It’s a fight for survival as our hero is walking the edge!

     

    Review

    Walking the Edge is an oddity compared to many other films from Empire Pictures like Re-Animator, TerrorVision, and Troll. While their usual output had some fantastical elements, this one is more of a gritty, realistic revenge thriller. Much like The Caller, this is another film from the Empire library that deserves more attention than it gets. Though it’s set in Los Angeles, it has the grit and grime of New York sleaze flicks like The Exterminator. Robert Forster makes for a solid lead, perfectly playing an unlikely hero with many flaws that he has to overcome. He feels like a precursor to Bruce Willis in Die Hard, only a little more broken in some ways. With his disheveled hair, sweat pants, and frumpy build, Forster’s transformation in the second half feels all the more satisfying. He also has one of the film’s best and most quotable lines.

    Nancy Kwan does a great job as the housewife turned vigilante, and she has solid chemistry with Forster. As always, Joe Spinell makes for a menacing villain, having a very cool demeanor while having some outbursting moments. The score by Jay Chattaway (Star Trek: The Next Generation) is instantly catchy with that ’80s synth style. Admittedly, one problem with the film is how it starts as a female Death Wish before Forster takes over. The way it starts, you think the focus is going to be on Nancy Kwan, but that’s not quite true. About halfway through, Forster takes the reigns and it becomes his movie, Kwan being absent for much of the runtime. Even if its plot is somewhat disjointed, this is still an underrated revenge thriller that more people should check out. Overall, Walking the Edge is a solidly entertaining hidden gem in the Empire Pictures library.

     

    Buy Walking the Edge from Amazon: https://amzn.to/3jeNPxQ

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  • Trancers 6: Life After Deth (2002)

    Trancers 6: Life After Deth (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=”{}”]After the release of Trancers 5: Sudden Deth, things were not getting much better for Full Moon Features. In 1995, the company ended its deal with Paramount and turned to fellow independent studio Kushner & Locke for financing. While they were able to stay afloat, the budgets they had weren’t nearly the amount they had in the past. To make matters worse, Kushner & Locke were having their own financial problems and filed for bankruptcy in 2000. Around this time, low-budget filmmaker J.R. Bookwalter moved from Ohio to California to further advance his career. Thanks to his connection with David DeCoteau, he entered a partnership with Charles Band to produce more economical films. C. Courtney Joyner, writer/director of Trancers III: Deth Lives, wrote a script for a potential TV series. When that didn’t happen, the script was reworked and made into 2002’s Trancers 6: Life After Deth.

    [/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=”50″ bar_bg_color=”#E09900″ _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

    In Old Los Angeles 2022, Josephine Forrest (Zette Sullivan) has her body taken over by her time-traveling father Jack Deth. Turns out a member of the council saw footage of her being killed, which would erase Jack from existence. Now in his daughter’s body, Jack/Jo has to investigate what leads to her almost getting killed. Josephine’s boss Mr. Castle (Ben Bar) and his assistant Shauna Wilder (Jennifer Capo) have found a powerful meteorite. Using the meteorite, they’re taking junkies and runaways off the streets and turning them into Trancers to assassinate high-level targets. Jo decides to infiltrate the group taken by Shauna to take down their Trancer operation and save the future. With help from their superior Jennings (Jennifer Cantrell), Jo gears up to hunt down some new Trancers. It’s up to our favorite time-traveling future cop to stop the Trancers and save his daughter while in her body!

     

    Review

    Since the original 1984 film, the series has had its peaks and valleys but has remained relatively consistent. The first was a solid sci-fi/action film, and the second relied more on comedy but was still fun. The third film was easily the best since the first film, while 4 and 5 were massive letdowns. That being said, I think it’s safe to say that Trancers 6: Life After Deth is the worst one. While it’s admirable they were able to make it for only $60,000, maybe they shouldn’t have made this. This series has generally been mid to low budget, but they’ve usually had enough to fully realize their ideas. I usually champion films that try to make the most of their budgets, but this film needed more money. Even by Full Moon standards, this film is shockingly cheap, though it’s more depressing than charming.

    It doesn’t help either that the acting is about on par with a SciFi Channel original movie. Zette Sullivan is clearly trying to emulate Tim Thomerson’s performance, but no one can do Tim Thomerson like Tim Thomerson. We only see him in stock footage from the previous films, and it makes you wish he had come back. Jennifer Capo might as well have been eating drywall given all the scenery-chewing she’s doing here she’s so over-the-top. Jennifer Cantrell is supposed to fill in the McNulty role from the first two films, but it falls flat. Full Moon has always been known for having cheesy-looking effects, but the low-tier CGI used here is embarrassing. On top of all that, this film commits the biggest sin that a film can commit: it’s boring. Overall, Trancers 6: Life After Deth is a disappointing conclusion to such a promising series.

     

    Buy Trancers 6: Life After Deth from Amazon: https://amzn.to/3F0dCZO.

    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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