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Category: Full Moon Fridays

  • The Day Time Ended (1980)

    The Day Time Ended (1980)

    [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=”{}”]Writers Steve Neill, Paul Gentry, and Wayne Schmidt came to producer Charles Band with an ambitious concept. Neill and Gentry had a working relationship with Band, having done effects work on End of the World and Laserblast. Their concept was, as Schmidt described, “an intergalactic Death Race 2000“, but Band turned it down, deeming it too expensive. However, Band offered to produce a film for them if it could be done cheaply using one or two locations. They quickly banged out a script called Vortex, and they hired director John “Bud” Cardos from Kingdom of the Spiders. The script was rewritten twice: once by David Schmoller and J. Larry Carroll and again by someone Cardos had hired. At some point, distributor Irwin Yablans insisted that the title be changed after receiving a cease-and-desist from Disney. Finally, in late 1980, the film was released as The Day Time Ended.

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    Synopsis

    The Williams family has relocated to the Sonoran Desert to stay with grandparents Grant (Jim Davis) and Ana (Dorothy Malone). While there, the young Jenny (Natasha Ryan) finds a mysterious object glowing green behind the farm, but nobody believes her. That night, a UFO lands near their house, and mysterious aliens start making their way to the house. Turns out a triple supernova that exploded 200 years ago has opened a rift in time and space. Soon, giant alien monsters start invading the house, many of them with the intent to kill the family. Meanwhile, Richard (Christopher Mitchum) tries to make his way back to the house after hearing the reports of the supernova. Soon, Jenny is taken away by the extraterrestrial visitors, and the family must fight to survive against the strange monsters. What will become of the Willams family during this, the day time ended?

     

    Review

    It should come as no surprise that The Day Time Ended is near impossible to summarize given the synopsis. There’s hardly any kind of explanation given as to why anything is happening, who/what the aliens are, etc. Ordinarily, not having everything explained to you can work if what’s presented is interesting enough that you can follow along. Here, unfortunately, there is so much dead air and filler that makes it hard to really care what’s going on. Given this film was written by visual effects guys, it’s clearly meant to be more of an effects showcase. In their defense, the effects are the best part of the film, mixing stop-motion animation and optical effects. The stop-motion was done by the late great David Allen, who also did the stop-motion on Laserblast. His effects, as well as the many opticals, help carry the film despite the literal nothingness on screen.

    The cast does the best they can given how little material and direction they’re given to work with. Jim Davis, who sadly passed away shortly after filming, is a consummate professional despite delivering some laughable dialogue. Dorothy Malone gives little to no reactions to all the crazy stuff going on around her, even the gigantic aliens. Natasha Ryan is ok as a precocious young child, but she can get aggravating at times with her high-pitched voice. Christopher Mitchum and Scott Kolden are alright if somewhat bland, though they have some decent scenes with Davis. Marcy Lafferty, who starred in Kingdom of the Spiders with then-husband William Shatner, is above average even with little material. In terms of Band’s 70s output, it’s somewhere between Laserblast and Tourist Trap, so take that for what it’s worth. Overall, The Day Time Ended has ambition but is otherwise a confusing mess.

     

    Buy The Day Time Ended 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 The Day Time Ended (1980)

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  • Puppet Master 5: The Final Chapter (1994)

    Puppet Master 5: The Final Chapter (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 mentioned in my review of Puppet Master 4, Charles Band originally wanted to produce Puppet Master: The Movie. It would’ve been a huge theatrical release, but for whatever reason, the project fell through, though the script stayed. They decided that the one script would be divided into two movies, and Jeff Burr was hired to direct both. Both films were heavily padded to be feature-length, Burr saying that you could trim them into one 90-minute film. The films had a combined budget of under $1 million and were shot back-to-back, though there was a delay. The fourth film was released in November 1993, but the fifth film sat on the shelf for eight months. Finally, the film was quickly edited together and released direct-to-video in September of 1994, as was dictated by Paramount. So, with the backstory covered, let’s discuss Puppet Master 5: The Final Chapter.

    [/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

    After the events of the last film, Rick Myers (Gordon Currie) has been arrested and convicted of murder. Thankfully, he’s released on bail thanks to Dr. Jennings (Ian Ogilvy), a scientist working for the same company as Rick. Blade is confiscated by the police, but he escapes and makes his way back to Rick to ask for help. Meanwhile, the demon Sutekh (Jake McKinnon) sends a Totem puppet infused with his power to Earth and confront the puppets. Jennings takes thugs Tom Hendy (Nicholas Guest), Jason (Willard E. Pugh), and Scott (Duane Whitaker) to the Bodega Bay Hotel. Turns out Jennings is interested in finding Toulon’s secrets, so he wants to find the puppets and the life-giving formula. Rick, Blade, and Susie (Chandra West) get to the hotel and are instructed by Toulon (Guy Rolfe) to resurrect Decapitron. This leads to a fight between the puppets and Sutekh’s evil forces!

     

    Review

    Puppet Master 5: The Final Chapter, despite the padding, is another solidly entertaining entry in the long-running franchise. Admittedly, this entry is clearly padded to reach feature-length like the last film, but it’s not enough to ruin it. Jeff Burr does what he can to make the film more dynamic, using titled angles and dynamic lighting/shadows. Like the other films, the puppet work is the highlight of the film, using a combination of puppetry and stop-motion. Sadly, there’s not as much stop-motion as the others, but it still looks great thanks to the late David Allen. Like the last film, Sutekh is an imposing villain, though his voice isn’t nearly as intimidating as the last film. However, unlike the last film, Torch is actually in the movie, though Tunneler only has one scene. Still, it’s great seeing the puppets have more human characteristics, making them more characters than props.

    Once again, Gordon Currie makes a likable hero, and Chandra West works as his girlfriend who’s given more to do. As the human villain, Ian Ogilvy is fun as the cartoonishly pompous Dr. Jennings, almost like a dime-store Tim Curry. Again, while not given much screentime or lines, Guy Rolfe makes the most of it and gives a solid delivery. There are also some notable appearances from actors like Ron O’Neal (Superfly) and Clu Gulager (Return of the Living Dead). Also, Guest, Pugh, and Whitaker have some fun moments between each other, clearly improvising their dialogue and having solid chemistry. Admittedly, it’s kinda funny that this is called “The Final Chapter” when there’s clearly more movies to come. Granted, this could be considered “The Final Chapter” for many reasons, but that’s a story for another time. Overall, Puppet Master 5: The Final Chapter is another solidly entertaining entry.

     

    Buy Puppet Master 5: The Final Chapter 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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  • Intruder (1989)

    Intruder (1989)

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    Growing up in Michigan, Scott Spiegel was good friends with Sam Raimi, his brother Ted, and Bruce Campbell. They worked together on various Super-8 shorts, most notably Within the Woods, which was the precursor to The Evil Dead. Seeing how they were able to raise some money for their film, Spiegel decided to follow in their footsteps. He had filmed a short called Night Crew about the late-night crew of a grocery store being killed off one-by-one. Spiegel wanted to expand it to feature-length, but unfortunately, he struggled with securing financing for the project and it languished. He went onto co-write Evil Dead II, and his work caught the attention of up-and-coming producer Lawrence Bender. Bender agreed to work with Spiegel to co-write and produce the feature, having secured funding from Charles Band’s Empire Pictures. Finally, in 1989, Spiegel’s directorial debut Intruder was released, albeit in a heavily-edited version.

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    Synopsis

    It’s closing time at Walnut Supermarket, and the night crew is working to get everything ready for tomorrow. However, they receive some bad news from owners Danny (Eugene Glazer) and Bill (Danny Hicks), announcing they’re selling the store. Everyone’s understandably upset about losing their jobs, but they’re instructed to mark down the prices to prepare for the close. Meanwhile, cashier Jennifer (Elizabeth Cox) has been getting stalked and receiving calls from her ex-boyfriend Craig (David Byrnes). As time goes by, the night crew starts getting picked off one-by-one by an unknown killer in gruesome ways. There’s death by a trash compactor, death by meathook, death by bandsaw, and plenty more as the bodies pile up. Eventually, Jennifer is the only one left as she stumbles across her co-workers’ and faces off with the killer. She soon learns that the killer is just crazy about this store!

     

    Review

    While not as much of a classic as Halloween or Friday the 13th, Intruder is an underrated slasher film. Having a slasher set in a grocery store is very unique, instead of the usual summer camp or dormitory. What also makes this stand out is Spiegel’s use of POV shots and unconventional camera angles that add some uneasiness. There are POV shots of a shopping cart, a phone, and even a broom, plus the tried-and-true killer POV shots. Admittedly, the film is very light on the story, but then again, most slashers films aren’t concerned with the story. They’re more concerned about delivering over-the-top and creative kills, which this film has in spades and then some. Designed by the newly formed KNB Effects, the kill scenes are nothing short of spectacularly brutal and vicious. The bandsaw death scene is worth the price of admission alone.

    Acting-wise, everyone does a fine job, Elizabeth Cox and Danny Hicks especially being the standouts. Cox makes for a solid final girl, delivering a wide variety of screams and showing plenty of emotion. Hicks, however, steals the show as Bill, the obsessive co-owner who will stop at nothing to protect his store. What makes his performance so great is how he starts as a nice, very unassuming, and pretty funny guy. This makes the big reveal all the more shocking, especially with how intense and creepy he plays the part. Admittedly, this is somewhat ruined when you can clearly tell that he’s doing the killings even when hidden in shadows. Also, without giving too much away, the film ends on a somewhat dour note, which helps make it stand out. Overall, Intruder is an underrated gem that’s sure to please gorehounds and general horror fans alike.

     

    Buy Intruder on Amazon: https://amzn.to/3qFymsE

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  • Dollman vs. Demonic Toys (1993)

    Dollman vs. Demonic Toys (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=”{}”]As mentioned before, Charles Band grew up reading Marvel comics during the 50s and 60s while living in Italy. One aspect of Marvel comics he loved was the crossover, where characters from one storyline would meet up with another. When he got older and started producing his own movies, Band wanted to incorporate crossovers between his own franchises. He tried doing this with 1986’s Eliminators and the anthology Pulse Pounders, but Empire collapsed before he had the opportunity. Once he founded Full Moon, he started up several franchises in the hopes of them crossing over at some point. Originally, Puppet Master 4 was to be a crossover with Demonic Toys, but they decided to go in another direction. Instead, Charles Band decided to crossover Demonic Toys with the earlier hit Dollman, along with adding elements from Bad Channels. The result was the 1993 crossover film, Dollman vs. Demonic Toys.

    [/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

    Intergalactic cop Brick Bardo (Tim Thomerson) is traveling to the small town of Pahoota looking for a recently shrunken-down woman. Said shrunken-down woman is Nurse Ginger (Melissa Behr), who was left 11″ tall after the events of Bad Channels. Meanwhile, Judith Grey (Tracy Scoggins) has been staking out the Toyland Warehouse despite being suspended from the force. After being forced out of the warehouse by the police, Judith seeks out Brick and Ginger to help her out. Though skeptical, the two decide to tagalong and find security guard Ray Vernon (Phil Fondacaro) working with the demonic toys. A firefight ensues, where Ray’s shot, Judith’s shot by the robot Mr. Static, and Brick shoots Mr. Static in response. After Judith dies, Brick makes it his personal mission to take on the remaining demonic toys and stop their plans. Will the demonic toys succeed, or will Brick be able to stop them?

     

    Review

    Dollman vs. Demonic Toys promises a lot from its title, but unfortunately, it doesn’t quite live up to its potential. Having the Dollman squaring up against the Demonic Toys makes sense and should be awesome, and it kind of is. As per usual, Tim Thomerson shines as the wise-cracking Brick Bardo, spouting off one-liners while blasting toys with his gun. Tracy Scoggins also does a good job, clearly having fun with her role and giving it her all. Melissa Behr, on top of being drop-dead gorgeous, has a fun, snarky, and fierce personality as the shrunken-down nurse. The puppet effects are pretty solid, the design of the new Zombietoid standing out as an exaggerated GI Joe. They even use some suits and inflatables for the scenes where the toys share the screen with Dollman. While there’s a clearly noticeable difference, it works for this kind of movie.

    Unfortunately, the film has plenty of flaws that drag it down, preventing it from being a Full Moon classic. For one, about half of the film is comprised of stock footage from the earlier films framed as flashbacks. With only 30 minutes of original footage, the film clocks in at roughly an hour and some change in length. Even by Full Moon standards, that length is pretty anemic considering the material they had to work with. They could’ve expanded upon the lore from the previous films, but they don’t do much of anything with it. Not only that, but they screw around with the continuity of the previous films, most especially Bad Channels. Given the period in Full Moon’s history that this was made, this is quite the sore spot in that era. Overall, Dollman vs. Demonic Toys is ok, but there are better Full Moon movies you could watch.

     

    Buy Dollman vs. Demonic Toys 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 Dollman vs. Demonic Toys (1993)

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  • Metalstorm: The Destruction of Jared-Syn (1983)

    Metalstorm: The Destruction of Jared-Syn (1983)

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    After Parasite 3D was a moderate success, Charles Band wanted to make another 3D movie, but in a different genre. At the time, post-apocalyptic movies set in the desert were popular following the success of The Road Warrior. Also, numerous sci-fi epics were released to capitalize on Star Wars, including Krull and Spacehunter: Adventures in the Forbidden Zone. With this in mind, Band decided to combine elements of both to create a new 3D sci-fi epic adventure. In true Charles Band fashion, he raised funding by preselling the film to investors based on a concept and poster. After getting a budget together, they started their three-week shoot at Vasquez Rocks, one of the most famous filming locations. Charles Band was able to get distribution through Universal, who wanted another 3D film to release after Jaws 3D. Finally, August of 1983 saw the release of Metalstorm: The Destruction of Jared-Syn.

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    Synopsis

    On the desert planet Lemuria, ranger Dogen (Jeffrey Byron) is tracking down the intergalactic sorcerer Jared-Syn (Michael Preston). He meets local miner Dhyana (Kelly Preston), who witnessed her father be murdered by Jared-Syn’s son Baal (R. David Smith). She teams up with Dogen to hunt down Jared-Syn, but she gets kidnapped after Dogen is paralyzed by Baal. Soon, Dogen meets Rhodes (Tim Thomerson), a washed-up soldier who reluctantly agrees to help him in his quest. Turns out to defeat Jared-Syn, they must find a crystal mask used by an ancient race called the Cyclopians. They find the mask, only to be ambushed by nomads known as “One-Eyes” led by Hurok (Richard Moll). After challenging Dogen to a duel and losing, Hurok agrees to help him take on Jared-Syn and his forces. It’s high noon at the end of the universe as Dogen must rescue Dhyana and defeat Jared-Syn!

     

    Review

    Metalstorm: The Destruction of Jared-Syn, on top of having a great title, is an enjoyable if somewhat derivative sci-fi adventure. While you can clearly tell what movies they’re taking elements from, they uniquely use them to create their own story. They essentially took the post-apocalyptic look of The Road Warrior and mixed it with elements of sci-fi fantasy films. You’ve got the leather-clad hero, the desert landscape, the vehicles made of recycled parts, and numerous car stunts. Said leather-clad hero is played by Jeffrey Byron, who brings plenty of charisma and likability to the role. Michael Preston makes for a great villain and is taking the otherwise ridiculous material seriously, giving a solid performance. Tim Thomerson, who later starred in the Empire classic Trancers, delivers the same wit and sarcastic attitude he’s known for. As soon as he arrives, the film picks up significantly and becomes much more entertaining.

    Richard Moll gives a very stern and imposing performance as the one-eyed Hurok, though he doesn’t have much screentime. The late Kelly Preston works as the love interest Dhyana, though her and Byron’s romance comes almost out of nowhere. Admittedly, the pacing is a bit sluggish, as there are tons of scenes consisting of characters either driving or walking. Plus, the plot can be somewhat hard to follow at times, especially since not much of what’s happening is explained. The action picks up in the second half, and at slightly over 80 minutes, the film never overstays its welcome. For the budget they had, many of the creature designs are impressive, though some of the composites haven’t aged well. There are some fun 3D sequences and Richard Band’s score adds to the film’s sense of fun and adventure. Overall, Metalstorm: The Destruction of Jared-Syn works as fun ’80s sci-fi cheese.

     

    Buy Metalstorm: The Destruction of Jared-Syn from Amazon: https://amzn.to/3pdq2iP

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  • The Pit and the Pendulum (1991)

    The Pit and the Pendulum (1991)

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    Around 1989, Empire Pictures went into bankruptcy and collapsed after many of its assets had been sold off. Thankfully, founder Charles Band was able to bounce back and form a new production company, Full Moon Features. He managed to find success early on with Puppet Master, Meridian: Kiss of the Beast, Shadowzone, and Crash and Burn. Meanwhile, director Stuart Gordon was planning on filming an adaptation of Edgar Allen Poe’s The Pit and the Pendulum. He originally conceived of it as a $6 million film starring Peter O’Toole, Billy Dee Williams, and Sherilyn Fenn. Unfortunately, plans for this fell through, but fortunately, Full Moon picked up the project, though for a reduced budget. This lower budget meant some changes, such as filming in Italy and casting Lance Henriksen in place of Peter O’Toole. Finally, in mid-1991, Stuart Gordon’s The Pit and the Pendulum 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

    In 1492 Spain, the Grand Inquisitor Torquemada (Lance Henriksen) sadistically tortures those he believes are heretics, sinners, and witches. During a public execution, Maria (Rona De Ricci) speaks out against it despite her husband Antonio’s (Jonathan Fuller) pleas. Torquemada is immediately smitten with her, but fears it’s witchcraft, so he has her arrested, leaving her husband behind. With his assistants Francisco (Jeffrey Combs), Mendoza (Mark Margolis), and Dr. Huesos (William Morris), Torquemada tortures Maria until she confesses. During this, Torquemada starts lusting over Maria, which he views as sinful, so he subjects himself to torture. While imprisoned, Maria befriends Esmerelda (Frances Bay), a confessed witch who helps her stay strong against the wicked Torquemada. Meanwhile, Antonio tries breaking into the castle to save Maria, but he ends up getting caught and taken prisoner. What horrors await when our heroes must come face to face with The Pit and the Pendulum?

     

    Review

    Much like their other earlier films, The Pit and the Pendulum is another excellent entry in Full Moon’s catalog. The use of a real Italian castle adds production value and makes the film look more expensive than it was. As with his earlier films, Stuart Gordon’s direction is on-point, using tons of dynamic lighting and shadows to establish mood. Lance Henriksen gives a phenomenal performance as Torquemada, playing the part with such intensity that you’re genuinely frightened of him. Rona De Ricci, who sadly never appeared in a film after this, does a wonderful job giving an emotional performance. The dynamic between her and Henriksen is the film’s highlight, her pure innocence clashing with his harsh religious nature. There’s a brief appearance by Oliver Reed, who gives a great performance as a Cardinal visiting from The Vatican. Also, Frances Bay is great as Esmerelda, slightly hamming it up.

    Jonathan Fuller, though not bad and having decent chemistry with Ricci, comes off a little bland and uninteresting. The biggest problem with the film is that the tone is slightly off at times, flip-flopping between serious and humorous. Ordinarily, Gordon is good at balancing horror with comedy, but here, it doesn’t quite work and it comes off distracting. For instance, Jeffrey Combs, who does a good job, is clearly meant for somewhat comedic relief, albeit slightly dry. William Morris and Stephen Lee definitely add to the comedy, which clashes with the more serious tone going on. Also, the titular “Pit and the Pendulum” doesn’t appear until the last act, and even then it’s not used much. There are some fun swashbuckling action and impressive effects to be had, but the tone clashes hinder the film’s quality. Overall, The Pit and the Pendulum isn’t perfect, but it’s definitely worth a watch.

     

    Buy The Pit and The Pendulum 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 The Pit and the Pendulum (1991)

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  • The Caller (1987)

    The Caller (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=”{}”]Despite releasing some solid sci-fi and horror films, Empire Pictures was facing financial problems and were fearing bankruptcy. Many of their films were either breaking even or losing money, and they were overspending hoping to find a hit. During this time, they were experimenting with different genres, including action with Enemy Territory and comedy with The Princess Academy. Michael Sloan, best known for creating the popular TV series The Equalizer, wrote a screenplay that revolved around two characters. Frank Yablans, who had a working relationship with Charles Band, brought the script to him and he saw potential. Arthur Allan Seidelman, who worked on shows like Hill Street Blues and Murder, She Wrote, was hired to direct. He happily took the challenge of making a film with only two characters and one main set. Originally released in 1987 at Cannes, The Caller wasn’t released in the US until 1989.

    [/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

    A young woman (Madolyn Smith) is living alone at a cabin in the woods waiting for someone to arrive. One night, a mysterious stranger known only as ‘the Caller’ (Malcolm McDowell) arrives asking for help after his car crashes. She invites him inside to contact a tow truck, but she becomes suspicious of his intentions almost right away. Over the next few days, the two keep running into each other and engage in a battle of wits. He accuses her of murdering her husband and daughter, while she thinks he wants to torture and kill her. As he keeps asking her questions, she reveals more about her past, including her daughter Allison and her dead husband. Soon, she starts plotting to kill him and put an end to his games once and for all. It all culminates in a finale that you won’t see coming.

     

    Review

    Compared to Re-Animator, Trancers, and Ghoulies, The Caller is an atypical film by Empire standards, but that’s a good thing. This film plays as more of a straight psychological thriller that’s surprisingly sophisticated and keeps you guessing throughout. Malcolm McDowell gives a great performance as always, coming off as charming while also having a dark side to him. Madolyn Smith also gives a solid performance, balancing off of McDowell really well and showing plenty of emotional range. Given that they’re the only actors in the film, they carry the film and have great back-and-forths throughout. Seidelman’s direction is fantastic, taking full advantage of the single set and using fluid camerawork to keep the visuals interesting. Some scenes take place near an auto shop and on a hilltop, but it’s mostly just the cabin set. It’s a challenge that Seidelman managed to tackle effectively.

    At slightly over 90 minutes long, the film manages to maintain a sense of tension and dread throughout the runtime. Even in scenes where nothing is happening, you get the sense that anything could happen at any moment. This is also a film that doesn’t give the audience a lot of information, which can be frustrating. Without giving away the ending, let’s just say that you’ll have more questions than answers before the movie’s over. Effects maestro John Carl Buechler contributed some effects to the film, and they look fantastic as per usual. Unfortunately, I can’t say what effects work he did on the film without giving away the big twist. If you consider yourself a Charles Band fan and have seen all the well-known movies, you should consider watching this. Overall, The Caller is an effective thriller with two great performances and a strong story.

     

    Buy The Caller from Amazon: https://amzn.to/3CkEL7M.

    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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch The Caller (1987)

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  • Subspecies 4: Bloodstorm (1998)

    Subspecies 4: Bloodstorm (1998)

    [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 early 1990s, Full Moon Features enjoyed great success thanks to their partnership with Paramount Pictures as their distributor. Unfortunately, in 1994, Paramount ended their partnership with Full Moon, which put an end to many titles they had announced. Thankfully, Full Moon Features were saved by Kushner-Locke, a production company founded in 1983 by Donald Kushner and Peter Locke. While they helped save Full Moon from bankruptcy, they weren’t able to provide the budgets that Paramount offered. Under Kushner-Locke, Full Moon could expand their MoonBeam line of children’s films and branch into softcore films with Torchlight. While many Full Moon regulars were starting to jump ship, Ted Nicolaou stuck around to direct Dragonworld and Vampire Journals. Four years after Bloodlust: Subspecies III, Nicolaou decided to revisit the series with one final installment, providing a definitive ending. 1998 saw the release of Subspecies 4: Bloodstorm.

    [/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

    Following the end of the last film, Radu (Anders Hove) is severely burned and makes off with the Bloodstone. Meanwhile, Ana Lazar (Ioana Abur) finds the car driven by Rebecca and Mel having crashed, leaving no survivors. However, Michelle (Denice Duff) survives, so Ana takes her to Dr. Ion Niculescu (Mihai Dinvale) to treat her. Niculescu discovers that Michelle’s a vampire and promises to cure her, only it turns out Niculescu is also a vampire. Meanwhile, Radu makes his way to Bucharest to reclaim his fortune from one of his fledglings Ash (Jonathon Morris). Turns out Ash has his own fledgling, Serena (Floriela Grappini), and she wants Ash to help her destroy Radu. The Bloodstone at stake, Radu is pursued by Niculescu and Ash while Michelle is torn between Radu and her humanity. It’s the ultimate vampiric showdown in what’ll surely be the final installment in the series.

     

    Review

    Compared to Trancers 4: Jack of Swords, Subspecies 4: Bloodstorm isn’t nearly as bad of a fourth installment. Unlike that film, this one still feels like a proper entry in the series, maintaining the same tone and style. As always, Nicolaou’s direction is solid, taking full advantage of the Bucharest locations to create a gothic atmosphere. Anders Hove and Denice Duff both continue giving solid performances as Radu and Michelle, having established their characters for years. Admittedly, Duff takes a backseat to Hove as Radu is given more emphasis with the addition of Ash and Serena. That said, we do see some character growth with her as she fully accepts her vampiric nature. While Radu’s demise has been done before and in a worse fashion, it does effectively leave a sense of closure. At roughly 90 minutes, the film moves at a decent pace and never gets boring.

    While Nicolaou is mostly able to mask the low budget, there are still moments where it pokes through. For instance, the Radu makeup looks noticeably worse, resembling some sort of cheap plaster rather than looking like natural skin. Also, while Hove and Duff are doing their best with the material, the rest of the acting is pretty uninspired. Dinvale whispers all of his dialogue to make himself sound mysterious and dark, but it comes off more as cliche. Abur lacks the charm that Melanie Shatner brought to the last two films, though Morris and Grappini are somewhat decent. Story-wise, the film has several subplots that go nowhere and retcons because certain cast members were unavailable, though that’s understandable. One bright spot is that the low budget means no more tiny creatures, but this is still fairly lackluster. Overall, Subspecies 4: Bloodstorm is a somewhat disappointing finale to a decent franchise.

     

    Buy Subspecies 4: Bloodstorm from:

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

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    Where to watch Subspecies 4: Bloodstorm (1998)

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  • Ghost Warrior (1984)

    Ghost Warrior (1984)

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    J. Larry Carroll got his start in the film industry working as an editor on The Texas Chain Saw Massacre. He also did additional editing on The Hills Have Eyes and Dracula’s Dog, the latter being directed by Albert Band. Soon, he produced early Charles Band projects like Cinderella, Laserblast, Fairy Tales, and Tourist Trap, which he also wrote. Along with being a production manager on Parasite 3D and The Alchemist, Carroll was becoming a regular for Charles Band. At the same time, he was writing for kids cartoons like Ghostbusters, Dennis the Menace, and She-Ra: Princess of Power. Before too long, Carroll would get his chance at directing for Empire, though it would be his only directing effort. With a script penned by Tim Curnen, who previously wrote the Roger Corman Alien knockoff Forbidden World, Carroll started working. Though made in 1984, Ghost Warrior was released in May 1986.

    [/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

    In Ancient Japan, samurai warrior Yoshimitsu (Hiroshi Fujioka) is betrayed and left to die in the frozen waters. Hundreds of years later, he’s discovered frozen in ice and brought to the US to be thawed out. Anthropologist Chris Welles (Janet Julian) goes to meet with Dr. Alan Richards (John Calvin) to study the recently unfrozen samurai. Upon waking up, Yoshimitsu starts freaking out over future shock before Welles and Richards come to see him. Welles is an expert in “oriental studies”, and she manages to get through the Yoshimitsu despite the language barrier. One night, a security guard tries sneaking into Yoshimitsu’s room to steal his sword, only to be killed by Yoshimitsu. The samurai escapes, Welles and Richards in pursuit, though it turns out Richards has other plans for him. What will become of this ancient samurai in modern times, this Ghost Warrior back from the dead?

     

    Review

    Ghost Warrior is one of the more interesting films in the Empire Pictures catalog, especially with such a unique concept. Admittedly, the idea of someone awakening from a frozen slumber isn’t new, having been done in movies like 1973’s Sleeper. However, what makes this film unique is how it shows what an ancient samurai would be like in modern times. How would he react to seeing a car coming by, or encountering some street thugs, or even watching television? Admittedly, the film doesn’t do much with this other than set up some pretty cool action scenes here and there. Hiroshi Fujioka, best known for his work on Kamen Rider, gives a very stern performance as the ancient samurai warrior. Though most of his dialogue is in Japanese without subtitles, you still get a sense of what he’s feeling. He’s easily the best part of the film.

    That’s not to say the rest of the film is terrible, but it doesn’t quite live up to its premise. Aside from Yoshimitsu fighting some thugs and evading the police, there’s not much action and what’s there is pretty dull. Also, apart from Fujioka and Charles Lampkin as an old man who befriends him, most of the acting is forgettable. Granted, there’s not much material for the actors to work off of, though you shouldn’t expect deep characterization in this. For a low budget film, it’s surprisingly well-made, the opening scenes feeling like something out of a Kurosawa film. Also, as silly as the premise comes off, the film plays it fairly straight, making it more of a drama. Fans of Full Moon and Empire might be disappointed, but it’s still an interesting relic of the 1980s. Overall, Ghost Warrior is worth uncovering for at least a one-time viewing.

     

    Buy Ghost Warrior from Amazon: https://amzn.to/3r5oBoN.

    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 Ghost Warrior (1984)

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  • Trancers 4: Jack of Swords (1994)

    Trancers 4: Jack of Swords (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=”{}”]Much like Puppet Master III: Toulon’s Revenge, Trancers III: Deth Lives was a highpoint in the series. Unfortunately, as good as his entry was, C. Courtney Joyner’s sequel saw diminishing returns despite it being reviewed fairly well. For the next installment, it was decided to take Jack Deth out of his element, more so than the original. Charles Band had started working with Castel Films, a burgeoning studio based in Romania formed after the fall of Communism. Many Full Moon films were produced at Castel Films, including Dark Angel: The Ascent, Mandroid, Oblivion, and the Subspecies sequels. They decided to film the next Trancers film in Bucharest, hiring comic book writer Peter David to pen the script. Additionally, David Nutter, known for TV shows like 21 Jump Street, Booker, and The Commish would be directing the film. In February of 1994, Trancers 4: Jack of Swords was released to video.

    [/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=”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

    Jack Deth (Tim Thomerson) has returned to the 23rd century and is working for the council on various missions. As he prepares for his next mission, a mysterious creature sneaks aboard the TCL Chamber and starts sabotaging it. He arrives in an alternate dimension, an ancient medieval kingdom, where he finds a new kind of Trancers called “Nobles”. Led by the nefarious Lord Caliban (Clabe Hartley), the Nobles suck the life-force out of their victims to sustain themselves. Deth soon encounters a rebel group fighting against Caliban, including Shaleen (Terri Ivens), Farr (Alan Oppenheimer), and Prospero (Ty Miller). He reluctantly agrees to help them fight this new group of Trancers, Farr prophecizing he’s the one to save them. Unfortunately, most of Deth’s weapons don’t work in this dimension, so he’s going to need some help in the fight. Will Caliban be defeated, and what other dangers await Jack Deth?

     

    Review

    Trancers 4: Jack of Swords is a massive drop in quality from the first three films, inconsistent as they are. It’s easy to see that by this point, Charles Band had milked this franchise for all its worth. While admirable that they tried mixing things up by placing Deth in a medieval setting, it doesn’t work here. It worked in Army of Darkness because it felt tonally consistent with the previous films and had a decent budget. This clearly didn’t have the budget needed, and it essentially took away the sci-fi noir of the first three films. In fact, aside from Jack Deth, the opening 10 minutes, and some references, this is a standard direct-to-video sword-and-sorcery movie. While Trancers II: The Return of Jack Deth might’ve been drastically different, it at least felt like a Trancers film. It’s disappointing to see such a cool franchise brought down to this level.

    Tim Thomerson is trying his best given the material, but you can tell his heart’s not in it anymore. With that said, he still has the same smarmy attitude and smart-ass quips we’ve come to know and love. Aside from him, the rest of the acting comes off pretty wooden and stilted, especially from Hartley and Miller. Classic actor Alan Oppenheimer adds some class to the production, but he’s clearly just waiting for when his paycheck clears. David Nutter’s direction, while not terrible, comes across as flat, though that could just be because of his TV background. However, perhaps the film’s biggest flaw is simply that it’s boring, and its flat acting and direction don’t help. As with many Full Moon franchises, this was filmed back-to-back with the next installment, and things don’t get much better. Overall, Trancers 4: Jack of Swords is wasted potential in a cult-favorite series.

     

    Buy Trancers 4: Jack of Swords 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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