Facebook

FilmNerd

Category: Reviews

  • Mutant Hunt (1987)

    Mutant Hunt (1987)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.23″ _module_preset=”default” global_colors_info=”{}”]

    While Charles Band’s Wizard Video label gained popularity in its early days, it was nearing its end by 1987. Combined with the cost of running Empire Pictures and each film bombing, Band was losing more and more money. His cost-saving deal with Tim Kincaid to produce cheap quickies in New York wasn’t proving fruitful as Band had hoped. Substandard movies like Breeders and Robot Holocaust were not flying off the shelves as their licensed European titles. But there was another film Kincaid shot before the previous two that had been sitting on the shelf for years. This would end up being Kincaid and company’s most ambitious project up to this point. Unfortunately, this also was the last film released under Wizard Video before the label shut down. Though filmed in 1985, Tim Kincaid’s Mutant Hunt didn’t hit video store shelves until April 1987.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.23″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Robots have become a daily necessity for everyday life in the not-too-distant future, but that’s about to change. A genetic scientist working for the world’s leading robot manufacturer, Inteltrex, named Z (Bill Peterson), has gone mad with power. He injects his powerful Delta 7 cyborgs with a drug called “Europhon,” which mutates them into bloodthirsty killers who melt. When Z’s colleague Paul Haynes (Mark Umile) discovers the truth, he and his sister Darla (Mary Fahey) try to escape. Paul gets captured, so Darla enlists mercenary Matt Riker (Rick Gianasi) to help rescue her brother and stop Z’s cyborgs. Along the way, they meet Paul’s friends: undercover operative Elaine Eliot (Taunie Vrenon) and weapons expert Johnny Felix (Ron Reynaldi). While Z sends his cyborgs to do his bidding, his business partner Domina (Stormy Spill) has something brewing in secret. The fate of the free world rests on the mutant hunt!

     

    Review

    If you’ve been following my Full Moon Fridays series, you’ll know that I’ve torn Tim Kincaid’s movies apart. Even for low-budget filmmaking, Kincaid’s offerings are usually dull, poorly acted, and incompetent attempts at entertainment. Admittedly, Mutant Hunt has many of the same problems as his earlier efforts, but it’s easily the best. This isn’t some accidental masterpiece or anything like that, but it’s at least got more going for it. The special effects by artists Ed French, John Bisson, and James Chai are incredible, given the meager budget. Each mutant cyborg is given a distinct look as they melt and deteriorate into monsters as the film progresses. The highlight is one cyborg who loses much of his face and jaw, now being played by a puppet. It’s, without a doubt, the best effect in the entire movie, and that’s saying something.

    The music is also worth mentioning, as that late 80s stock synth score seemed to work back then. Also worth noting is that some of the music used was taken from another Wizard Video release, David DeCoteau’s Dreamaniac. It makes sense that they’d use that film’s music since it was undoubtedly the best thing about that movie. A decent variety of locations are also used, particularly a former Navy harbor near Manhattan used for the climax. Since all of Kincaid’s films were shot in mid to late-80s New York, they serve as a time capsule. It’s a peek at New York City before it was gentrified and cleaned up in the 1990s to increase tourism. While this movie would’ve been perfect for a 42nd Street Grindhouse, the fact that it was released direct-to-video is ironic. Regardless of the film’s overall quality, it still has some value for its historical place.

    Sadly, the rest of the movie is the same dull walk through New York alleys we’ve seen before. The acting isn’t as bland as Breeders, and some stand out in unintentionally hilarious ways. For instance, Rick Gianasi’s introduction as Matt Riker involves him fighting a cyborg in his apartment in his underwear. He does have a few funny lines of dialogue, but his true potential wouldn’t be showcased until Sgt. Kabukiman N.Y.P.D. Bill Peterson is weak as the villain, though Stormy Spill has her moments as she plots her revenge on Z. The guys playing the mutant cyborgs make the most of the trim material they’re given and are having some fun. While this isn’t a good movie, I will say that if you have friends and some substances, you’ll enjoy this. Overall, Mutant Hunt is probably Tim Kincaid’s best movie, though that’s not saying much.

     

    Buy Mutant Hunt from Amazon: https://amzn.to/3RAp1mV.

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

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

    Where to watch Mutant Hunt (1987)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Mutant Hunt” data-year=”1987″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Ferocious Female Freedom Fighters (1982)

    Ferocious Female Freedom Fighters (1982)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}” theme_builder_area=”post_content”][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=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.23″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    In 1966, Woody Allen released What’s Up, Tiger Lily?, a redubbed version of a Japanese spy caper from 1964. Soon, other filmmakers used this technique of taking old foreign films and recutting and redubbing them to make new content. Roger Corman reedited several movies from the Lone Wolf and Cub series to create 1981’s Shogun Assassin. Charles Band cobbled two women-in-prison films together, shot additional footage with Linda Blair, and released it as Savage Island. It was only a short time until Lloyd Kaufman decided to get in on this after acquiring a Filipino movie called Passionate Woman. While the film was shot in English, Kaufman replaced the language track with one scripted by his brother Charles. They attempted to take an unintentionally funny foreign wrestling movie and make it intentionally funny, which horrified the original producer. The result was the retitled spoof Ferocious Female Freedom Fighters.
    ​

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||” theme_builder_area=”post_content”][et_pb_circle_counter title=”Rating” number=”40″ bar_bg_color=”#E09900″ _builder_version=”4.23″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.23″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    Synopsis

    Bambi (Eva Arnaz) is a Judo champion who, despite her fighter prowess, wants to leave the fighting world behind. However, her mother insists she keeps fighting to earn enough money to afford an operation for her little brother. According to the doctor, her brother suffers from a condition where semen rushes to his head when he gets excited. Bambi gets involved with an Elvis-impersonating trainer named Barney (Barry Prima), who gets her into criminal activities. While the money is enough for her brother, Bambi confides in her friend Mia (Leily Sagita) about the degrading wrestling. Barney can also see that this underground wrestling ring isn’t right for Bambi, so he helps her escape. What follows are several poorly staged fight scenes, a jive-talking snake, and a lot of farting. But Bambi is determined because she is a ferocious female freedom fighter! At least, that’s what the dub says.

     

    Review

    If the synopsis sounded incomprehensible just from reading it, imagine watching Ferocious Female Freedom Fighters and making sense of it. Granted, I can’t imagine the movie would make much sense with the original audio, but the “comedic” dubbing hurts it. Part of me wishes I could watch this movie with the original audio, but I doubt it would’ve helped. Troma wasn’t taking the film seriously, considering all the farts, sex jokes, and low-brow humor used in the dubbing. It’s like what the company behind the dub of the anime Ghost Stories did, only with fewer racial jokes. Unfortunately, because of the dub, it’s hard to follow along with what’s happening in the movie, let alone care. I’m not saying the original film was probably some lost masterpiece of Filipino cinema, but its plot could’ve been decent. Instead, what we got is a complete mess.

    It’s hard to gauge the acting in this film, considering we aren’t hearing the actors’ original voices. Going off of their facial expressions and body language, it seemed like they were trying their best. Also, to give the actors credit, some of the fight sequences aren’t half bad, even if sloppily put together. There are some unintentionally hilarious moments from the original film, most notably a random mud wrestling fight. Also, some of the dubbing made me chuckle, mostly the Elvis impersonator and the weirdly out-of-place snake that speaks jive. But aside from some mild giggles, the rest of the movie is dull, and the humor falls flat. Lately, I’ve been trying to write longer reviews to explain things better, but honestly, there’s not much to say here. Overall, Ferocious Female Freedom Fighters is another movie whose title is better than the actual content.

     

    Buy Ferocious Female Freedom Fighters from Amazon: https://amzn.to/46opywm.

    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_column][/et_pb_row][/et_pb_section]

  • Forrest Gump (1994)

    Forrest Gump (1994)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter Kevin Glauber. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.22.2″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]

    In 1986, novelist and non-fiction writer Winston Groom wrote the novel Forrest Gump about a savant’s life and upbringing. While not a huge hit, selling 30,000 copies, the book caught the attention of producers Wendy Finerman and Steve Tisch. After a bidding war, Warner Bros. acquired the rights and paid Groom $500,000 to write the script. Unfortunately, the release of 1989’s Rain Man made Warner Bros. reconsider and let the rights relapse while the producers scrambled. They contacted Columbia Pictures, who rejected it, but after a rewrite by Eric Roth, Paramount Pictures bought the rights instead. After numerous directors and actors were considered, Robert Zemeckis and Tom Hanks were chosen, and filming started in August 1993. Made on a budget of $55 million, filming lasted for four months before ILM handled the post-production. After years of development, Forrest Gump finally hit theaters in July 1994.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Forrest Gump (Tom Hanks), a dimwitted yet well-meaning person, tells his life story while waiting for a bus. He talks about growing up with his single mother (Sally Field), who wanted him to live an everyday life. While everyone else made fun of him, he took solace in his friendship with Jenny Curran (Robin Wright). Through a series of events, he gets a football scholarship and then enlists in the army after graduating. He befriends shrimping enthusiast Benjamin Buford “Bubba” Blue (Mykelti Williamson) and catches the ire of Lt. Dan Taylor (Gary Sinise). While Bubba dies, Dan survives, though he loses his legs, and Forrest acquires a knack for ping pong. He carries on Bubba’s legacy by becoming a shrimp boat captain, making millions through a stroke of luck. Despite the progression of time, only one thing keeps Forrest awake at night: his girl, Jenny.

     

    Review

    Almost thirty years after its release, Forrest Gump has been examined, deconstructed, and evaluated by critics and scholars several times. Honestly, there’s not much I can say about the film that everyone and their grandma haven’t already said. So, all I can offer is my honest opinion, discuss what works and doesn’t, and leave the rest to you. First, the cast is terrific, with everyone delivering, from Tom Hanks and Robin Wright to Gary Sinise and Sally Field. Hanks plays the part with a somewhat child-like innocence as he navigates the world during history’s most significant moments. Despite everything around him, he remains optimistic, hopeful, and determined even when everyone says no. Robin Wright also does a great job as Jenny, who looks innocent but has a tragic arc throughout the film. She has excellent chemistry with Hanks, and it’s genuinely heartwarming seeing her pick herself back up.

    Gary Sinise steals the show as Lt. Dan Taylor, who initially comes off mean but softens up. His is another interesting character arc, from needing to carry on a family legacy to accepting what he’s been given. While her screen time is limited, Sally Field also does an excellent job as Forrest’s well-meaning mother. Robert Zemeckis does a great job as director, filming some dynamic shots to make the action feel much more extensive. The effects used to place Tom Hanks in stock footage of John F. Kennedy and Richard Nixon are also impressive. Admittedly, the noticeable lip movements to match the dialogue and some weird composites break the illusion. On the flip side, the effects of removing Gary Sinise’s legs are so amazing that they look natural. Granted, it helps that Sinise put in the performance needed to make the effects look convincing.

    While I think this is a good movie and understand why it’s beloved, I have some issues with it. It can be hard to follow the story since a new plot starts every 15 minutes. For instance, writing the synopsis was hard since so much happens in the movie that it’s hard to condense. Also, at just under two and a half hours, the film feels long, not helped by some slower filler scenes. But my biggest issue with the movie is that it feels overly sentimental, like a sanitized version of American history. It doesn’t help that Forrest gets out of every bad situation relatively unscathed and with a smile on his face. Still, despite my complaints, I can’t discredit this movie’s impact, and I can appreciate it for what it is. Overall, Forrest Gump may be slightly overrated, but it’s still a powerful film worth watching.

     

    Buy Forrest Gump from Amazon: https://amzn.to/3Lp7qKA.

    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 Forrest Gump (1994)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Forrest Gump” data-year=”1994″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • AIMEE: The Visitor (2023)

    AIMEE: The Visitor (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]From the Greek legend of Talos to literary works like Mary Shelley’s Frankenstein, people have been fascinated by artificial life. The idea of human thought being mechanized and automated has been researched and tested for centuries. However, the concept of artificial intelligence was fully explored once scientists gathered for what became The Dartmouth Workshop of 1956. Meanwhile, science-fiction writers like Isaac Asimov and Phillip K. Dick were telling stories about the dangers of AI. Similarly, filmmakers like Stanley Kubrick, James Cameron, and The Wachowskis expressed similar fears of machine learning. As technology continued to evolve throughout the 20th century, more research was being done into how effective AI could be. Ever the opportunist Charles Band of Full Moon Entertainment decided to explore this by creating the first AI-generated femme fatale. The result was the 2023 sci-fi thriller AIMEE: The Visitor.

    [/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=”50″ bar_bg_color=”#E09900″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

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

     

    Review

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

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

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

     

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

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

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

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Parts of the Family (2003)

    Parts of the Family (2003)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    1989’s Rabid Grannies became a popular title for Troma Entertainment, so Lloyd Kaufman formed a partnership with producer Johan Vandewoestijne. The following year, Vandewoestijne produced Maniac Nurses Find Ecstacy, which was directed by Belgian filmmaker Léon Paul De Bruyn. When Troma acquired the distribution rights, they considered retitling it to seem like a sequel to 1976’s Bloodsucking Freaks. Instead, they used the original title, and the film ended up being another small hit for Troma. Vandewoestijne also produced 1994’s State of Mind, which featured American actors Lisa Gaye, Fred Williamson, and Jill Scholen. A decade later, Vandewoestijne reunited with De Bruyn to produce a Belgian zombie movie called Parts of the Family. When Troma acquired the movie for distribution, they found the final product unwatchable and decided to “fix” it. When they released the film on DVD in 2003, they included the original and an “improved” version with questionable results.

    [/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=”50″ bar_bg_color=”#E09900″ _builder_version=”4.22.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _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=”4.22.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After pulling off a bank heist, Jason Goodis (Bob Dougherty) is fleeing from the cops and looking for a hideout. While on the run, he kidnaps young model Elle (Cecilia Bergqvist) and holds her up in an old mansion. As the police try talking Jason down and bringing in a negotiator named Carl Ressler (Lloyd Kaufman), things turn dark. Through flashbacks, we learn that Elle knew the family who previously lived in the mansion and was their maid. She was having an affair with the son but was found by the father, and she killed them both. When the mother and daughter came home, Elle killed them and buried the bodies, vowing to keep them safe. In the present, the family rises as zombies and goes on the hunt, attacking Jason and the police outside. Who will survive, and who will become a part of the family?

     

    Review

    I should mention that the version of Parts of the Family I’m reviewing is the original, not the Troma-edited version. From what I understand, the main changes made were a mocking commentary by Lloyd Kaufman and some stock footage. Having seen the original version, I can see why Troma wanted to “fix” it since the film is plodding. I don’t mind a slow-burn movie if it produces a good payoff, but unfortunately, this one doesn’t. It almost feels like the filmmakers tried taking a cue from From Dusk Till Dawn with its genre switch. However, the characters and the writing kept you engaged before the vampires showed up, making the Rodriguez/Tarantino collaboration work. With this, we know so little about the characters, and the dialogue is so dull that it’s hard to care. Sometimes, it feels like watching a soap opera with nudity and blood.

    In terms of acting, everyone does a serviceable enough job with the material, though no one stands out. Cecilia Bergqvist, while not terrible, was most likely hired because she looks good naked rather than her acting ability. Her delivery is flat, lifeless, and more laughable than believable when she tries to show emotion. Bob Dougherty isn’t much better, as he tries to play a tough guy but fumbles around and doesn’t offer much. Aside from Lloyd Kaufman as a police negotiator, everyone else might as well have been a cardboard cutout. Even the actors playing the family, when they’re living and undead, blend into the background and offer nothing. It doesn’t help that all these elements – crime thriller, erotic drama, and zombie horror – don’t mesh well together. It’s like Léon Paul De Bruyn had all these ideas but didn’t know how to make them work.

    Admittedly, the only things that held my attention were the nudity, the gore, the decent soundtrack, and the gloomy atmosphere. As I said, Cecilia Bergqvist looks great when she’s naked, and we see her like that constantly. Also, the movie is full of blood and guts, especially in the last act when the family returns as zombies. The makeup for the zombies is crude but effective, and there’s enough blood spray to make Sam Raimi blush. While repetitive, the score adds a creepy, almost haunting feel to the film, and there’s some decent cinematography. It’s clear the director tried making more of an arthouse horror film, so it’s a shame that it didn’t work. Even at 85 minutes, the movie’s so slow and tedious, and it’s only worth seeing for the few trashy elements. Overall, Parts of the Family isn’t the worst Troma movie, but there are much better ones.

     

    Buy Parts of the Family from Amazon: https://amzn.to/3Zed34e.

    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_column][/et_pb_row][/et_pb_section]

  • Little Nicky (2000)

    Little Nicky (2000)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review was requested by YouTuber Rogue, Internet Man. If you’d like to subscribe to Rogue’s YouTube channel, click the buttons below.” text_orientation=”center” button_one_text=”Rogue on YouTube” button_one_url=”https://www.youtube.com/@RogueInternetMan” logo_image_url_last_edited=”off|desktop” _builder_version=”4.22.1″ _module_preset=”default” title_level=”h2″ background_color=”#ff0000″ background_enable_image=”off” background_size=”contain” custom_button_one=”on” button_one_bg_color=”#ff0000″ custom_button_two=”on” button_two_bg_color=”#E02B20″ custom_margin=”||||false|false” custom_padding=”15px||15px||false|false” global_colors_info=”{}” logo_image_url__hover_enabled=”off|desktop”][/et_pb_fullwidth_header][/et_pb_section][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=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After the financial success of Billy Madison and Happy Gilmore, Adam Sandler became one of Hollywood’s most prominent comedic actors. Even though he wasn’t a hit with critics, audiences lined up to see the latest Sandler comedy. Between 1998 and 1999, Sandler’s movies grossed over $100 million, with Big Daddy making $235 million alone. In 1999, Sandler started his production company, Happy Madison Productions, to produce movies for himself and his SNL friends. The studio’s first film, Deuce Bigalow: Male Gigolo, was a hit, making over $92 million against a $17 million budget. For his next project, Sandler wanted to do something more ambitious that retained elements from his earlier comedies. With a budget of around $80-85 million, Sandler hired Steven Brill, who previously helmed 1995’s Heavyweights, to direct. In November 2000, Sandler’s most expensive production at the time, Little Nicky, debuted on theater screens across the globe.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After 10,000 years of reigning over Hell, Satan (Harvey Keitel) must choose one of his sons as his successor. There’s the conniving Adrian (Rhys Ifans), the brute Cassius (Tommy “Tiny” Lister Jr.), and the meek Nicky (Adam Sandler). When Satan tells them he’ll still rule Hell, Adrian and Cassius are furious and decide to flee to Earth. Unfortunately, their exit freezes the gates of Hell, preventing souls from entering, which causes Satan to start disintegrating. Satan sends Nicky to Earth with a flask that imprisons anyone who drinks from it to bring his brothers back. With help from a talking dog named Mr. Beefy (Robert Smigel), Nicky has to learn to navigate the human world. He meets aspiring actor Todd (Allen Covert), metalheads John (Jonathan Loughran) and Peter (Peter Dante), and designer Valerie (Patricia Arquette). Will Nicky stop his brothers, or is Hell coming to The Big Apple?

     

    Review

    While Little Nicky was a financial flop when it was released, it’s since gained a cult following and critical reevaluation. Having revisited it after many years, I can see why the film has its fans and continues to find more. In terms of production value, this is one of Sandler’s more ambitious films, with its elaborate sets and makeup effects. It helps that artists like Norman Cabrera, Greg Cannom, and the three heads of the KNB EFX Group were hired. The Hell sets look impressive, almost like you’re seeing a metal album cover come to life. Admittedly, the digital effects haven’t aged well, but you could say that about most movies around this time. Given that this was his second feature, Steven Brill does a decent job as director and shows plenty of promise. While the film is technically impressive, the humor and story could be better.

    Admittedly, my least favorite Adam Sandler movies are the ones where he uses an obnoxious voice. While the voice he puts on here can be grating, it’s not as bad as The Waterboy or Billy Madison. As usual, his performance comprises him mugging for the camera and making silly faces with occasional pathos. The supporting cast is more interesting than the lead, especially with names like Harvey Keitel, Rodney Dangerfield, and Patricia Arquette. Rhys Ifans steals the show as the devious Adrian and Tommy “Tiny” Lister Jr. does a decent job as Cassius. There are some decent cameos from Henry Winkler, Regis Philbin, Ozzy Osbourne, Reese Witherspoon, and Jon Lovitz. At 90 minutes, parts of the film drag as it tends to get sidetracked, but it gets the job done. Overall, Little Nicky isn’t quite as bad as its reputation, but I wouldn’t call this a misunderstood classic.

     

    Buy Little Nicky from Amazon: https://amzn.to/3CdcRLa.

    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_column][/et_pb_row][/et_pb_section]

  • The Prey (1983)

    The Prey (1983)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]Since the early 1970s, Edwin Brown and his wife Summer worked on several adult films for Essex Productions. After working on 1979’s Human Experiments, studio head Joseph Steinman offered the Browns a horror film to write/direct. Edwin and Summer took inspiration from Wes Craven’s 1977 classic The Hills Have Eyes and John Carpenter’s Halloween. Like many low-budget horror films, the cast comprised relatively unknown actors, save for Jackie Coogan of The Addams Family. Though Edwin set the movie in the Colorado Rockies, the actual filming occurred in and around Idyllwild, California. A young John Carl Buechler created the effects, and Don Peake, who composed The Hills Have Eyes, did the score. Despite finishing filming in 1980, the movie sat on the shelf for years before New World Pictures acquired it. It wasn’t until the fall of 1983 that The Prey finally entered US theaters.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Three young California couples are going on a hiking/camping trip through the Colorado Rockies leading to North Point. During their journey, the women meet local ranger Mark O’Brien (Jackson Bostwick), who warns them about trekking to North Point. The couples split up that night for private time, but unfortunately, Gail (Gayle Gannes) and Greg (Philip Wenckus) go missing. The remaining couples – Nancy (Debbie Thureson) and Joel (Steve Bond), and Bobbie (Lori Lethin) and Skip (Robert Wald) – go searching. Meanwhile, O’Brien meets with ranger Lester Tile (Jackie Coogan), who mentions an older couple that went missing in North Point. O’Brien searches for the older couple while the other campers continue their journey, unaware of the dangers ahead. Little do they know that a mysterious figure is stalking them, intending to kill them off one by one. Who will survive, and who will end up as The Prey?

     

    Review

    The Prey is about as primary as possible with early 80s slasher films, but that’s not necessarily bad. Sometimes, less is more; this movie exemplifies that for better or worse, depending on your mileage. The filmmakers added tons of nature stock footage to put the audience in the same setting as the characters. The abundance of stock footage makes it feel like they tried padding out the runtime, which is only 80 minutes. It doesn’t help that there’s little material to work with since it’s primarily characters wandering through the woods. While none of the actors are bad, they’re not particularly memorable, though there are a few standouts. Jackson Bostwick has some entertaining moments, either playing guitar or telling jokes, and Debbie Thureson is a decent lead. It’s also interesting to see veteran actor Jackie Coogan in his final role before passing away in 1984.

    For a movie that had a $150,000 budget, the gore effects, while minimal, are pretty gruesome and bloody. If anything, it’s an excellent showcase for the talent John Carl Buechler later implemented into his work for Charles Band. Also, the score by Don Peake helps add tension and suspense as it gradually builds throughout the film. As slow as the movie is, the filmmakers do a decent job of making it suspenseful until the climax. The film’s last 20 minutes are nail-biting as the remaining characters try to outrun the killer. It all builds up to an ending that, without spoiling, needs to be seen to be believed. The deliberately slow pace and basic setup may put some people off, but I had a decent time with it. Overall, I wouldn’t call The Prey an all-time classic, but I think it’s underrated if nothing else.

     

    Buy The Prey from Amazon: https://amzn.to/3CcpZ3b.

    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=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch The Prey (1983)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”The Prey” data-year=”1983″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • 10 to Midnight (1983)

    10 to Midnight (1983)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After purchasing The Cannon Group in 1979, Israeli filmmakers Menahem Golan and Yoram Globus were ready to conquer Hollywood. While many of their low-budget pictures made money, their release of 1982’s Death Wish II put them on the map. Following the sequel’s success, Golan and Globus wanted to make another film with Hollywood veteran Charles Bronson. Producer Pancho Kohner wished to adapt the 1978 novel The Evil That Men Do, but the rights would’ve cost $200,000. Instead, Golan asked him to develop a new title, which they promoted at Cannes despite not having a story. Upon returning home, Kohner asked his friend Lance Hool for help, and he gave him a script called Bloody Sunday. Besides the title, nothing in the screenplay was changed, and Happy Birthday to Me director J. Lee Thompson was hired. In March 1983, The Cannon Group released the crime thriller/slasher film 10 to Midnight.

    [/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=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Detectives Leo Kessler (Charles Bronson) and Paul McAnn (Andrew Stevens) are investigating a series of murders in Los Angeles. Almost every victim is a beautiful young woman found disemboweled and left to bleed out to death. The killer is an officer repairman, Warren Stacey (Gene Davis), a quiet loner who feels rejected by every woman. Meanwhile, Kessler is trying to repair the relationship with his daughter Laurie (Lisa Eilbacher), whom he abandoned for work. Through the investigation, Kessler learns that Stacey is responsible and makes it his mission to bring him to justice. He goes so far as to plant evidence to try and frame Stacey, only for him to be let out. Now a free man, Kessler and Stacey battle wits against one another until Stacey goes after Laurie. With time running out, it’s up to a weathered detective and his young partner to stop a malicious slasher.

     

    Review

    I’m unsure if 10 to Midnight belongs in this series since it’s more of a crime thriller than a slasher. Then again, when else will I talk about this 1983 Charles Bronson thriller from The Cannon Group? While this is more Dirty Harry than Friday the 13th, 10 to Midnight is exciting, well-paced, and well-made. While he looked like he was coasting and doing the bare minimum, Charles Bronson seemed to enjoy his role here. He has excellent chemistry with Andrew Stevens; the scenes of them bantering back and forth are a highlight. Lisa Eilbacher also does a great job as Kessler’s daughter and manages to hold her own against Bronson. Wilford Brimley fits the role of the cranky police captain to a T, though his screen time is limited. Also, there’s an appearance from Ola Ray, who was also in the music video for Michael Jackson’s Thriller.

    However, the film’s real star is Gene Davis as the cold and calculating serial killer Warren Stacey. He’s putting his all into this role and makes for one of the most intense villains of the 1980s. Seeing him going after women who rejected him, I can’t help but feel like this movie is still relevant today. J. Lee Thompson does a great job building the suspense through harsh shadows and moody lighting. Adding to that is the phenomenal score by Robert Ragland, which adds a lot of energy to the film. Granted, this movie is a product of its time, with its views of justice leaning heavily to the right. Some may scoff at the violence and nudity, but this film is practically tame compared to Michael Winner’s work. Overall, 10 to Midnight is a compelling crime thriller that happens to have some slasher elements.

     

    Buy 10 to Midnight from Amazon: https://amzn.to/3NSox8E.

    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=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch 10 to Midnight (1983)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”10 to Midnight” data-year=”1983″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Gran Turismo (2023)

    Gran Turismo (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]Developed by Polys Entertainment and published by Sony Computer Entertainment, Gran Turismo was released on the PlayStation in 1997. The game received universal acclaim and sold over 10 million copies worldwide, making it the highest-selling PlayStation game. Since its release, the game spawned several sequels and spin-offs, becoming one of the most popular video game franchises ever. In 2008, Sony collaborated with Polyphony Digital and Nissan to start GT Academy, offering players a shot at real-life racing. In 2013, Sony Pictures announced a film adaptation of the games with Joseph Kosinski directing, only to cease in 2018. Development resumed in 2022 with Neill Blomkamp directing, but this time, the subject would be GT Academy graduate Jann Mardenborough. The movie was filmed in Hungary between November and December 2022 with a budget of $60 million. After premiering at the Circuit de Spa-Francorchamps in July 2023, Gran Turismo hit theaters in August.

    [/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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Nissan marketing executive Danny Moore (Orlando Bloom) pitches an idea to the Japanese HQ: make Gran Turismo players real racers. Despite its unconventional nature, the board agrees to fund his project, dubbed The GT Academy, and he starts preparing. After being turned down by several prospects, Moore hires racer-turned-mechanic Jack Salter (David Harbour) to train the would-be racers. Meanwhile, gaming enthusiast Jann Mardenborough (Archie Madekwe) aspires to be a racer despite objections from his father, Steve (Djimon Hounsou). Jann gets his shot when he places first in a qualifying race and enters The GT Academy, eager to succeed. Despite the odds stacked against him, Jann manages to win and graduates as the representative of Nissan Racing. Even after achieving his dream, Jann struggles with getting his license, maintaining his relationship, and dealing with a terrible accident. Will Jann emerge victorious, or will he end up like his father?

     

    Review

    If I’m being honest, the trailers for Gran Turismo did not impress me at all, so I had low expectations. That said, I was surprised with how enjoyable this biopic was, even if it was somewhat predictable. The cast all do a fantastic job, with Archie Madekwe, David Harbour, and Orlando Bloom being the highlights. Madekwe, who was also in Midsommar, makes for a likable lead and comes off as very relatable. Orlando Bloom is also enjoyable, coming off as a business-first guy while showing he genuinely cares. Arguably, the real scene stealer is David Harbour, channeling the same sarcastic energy he brings to Stranger Things into here. Given how he delivers his lines, you sometimes wonder if he was even aware that cameras were rolling. Once again, he’s utilized way better in this than the godawful Hellboy reboot from a few years ago.

    Admittedly, as great as the cast is, some actors feel underutilized, namely Djimon Honsou, who disappears for much of it. Neill Blomkamp’s track record hasn’t been the greatest regarding direction, but he did a good job here. While the races don’t have the same intensity as Ford v Ferrari, they’re shot relatively well and do the job. However, several races are condensed into montages, making it feel like they’re just glossing them over. While it would be easy to say this movie is a giant commercial for the games, it isn’t. Sure, there are a few scenes where they go in-depth about the games, but it never feels like product placement. Some of the movie’s two-hour and fifteen-minute runtime could’ve been trimmed, but it never felt dull or overly padded. Overall, Gran Turismo is not the most original, groundbreaking film ever, but it doesn’t need to be.

     

    Buy Gran Turismo from Amazon: https://amzn.to/3NQtFKo.

    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_column][/et_pb_row][/et_pb_section]

  • The Final Terror (1983)

    The Final Terror (1983)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]

    With the rising popularity of slashers in the early 80s, exploitation producer Samuel Z. Arkoff wanted to capitalize on it. Joe Roth, an up-and-coming producer dating Arkoff’s daughter at the time, wanted to make a horror film with him. Arkoff handed Roth a script he had called Three Blind Mice, which Alien co-writer Ronald Shusett wrote. Shusett suggested they hire a young Andrew Davis to direct off the strength of his short films. With little money and relatively unknown actors, the movie was shot in Jedediah Smith Redwoods State Park in late 1981. Unfortunately, because of the low body count, no distributor was interested compared to the other slasher films released. In 1982, Adrian Zmed and Darryl Hannah gained much attention for T.J. Hooker and Blade Runner, respectively. Now, with two big stars in the cast, The Final Terror was finally released to theaters in late 1983.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Dennis (John Friedrich), Marco (Adrian Zmed), Mike (Mark Metcalf), Nathaniel (Ernest Harden Jr.), and Richard (Lewis Smith) are going camping. They meet up with Margaret (Rachel Ward), Windy (Daryl Hannah), Vanessa (Akosua Busia), and Melanie (Cindy Harrell) for the trip. After being driven by bus by Eggar (Joe Pantoliano), the group sets up camp and shares campfire stories. But as soon as they arrive, a mysterious camouflaged figure emerges and starts picking them off one by one. While exploring, the group finds an old cabin that they believe is where the killer is hiding out of. They immediately suspect Eggar is responsible since he was the first to disappear the morning after they arrived. As members of the group wind up either missing or dead, the survivors have to stick together to save themselves. Without knowing they’ve unlocked an unknown force, but can they survive The Final Terror?

     

    Review

    Considering the overall quality, it’s easy to see why it took years for The Final Terror to find a distributor. While most slashers at the time ramped up the body count, this one only has three kills. The producers had to go back and shoot a completely different opening just to add some more kills. That’s not to say the final film is a complete disaster, as there are some excellent qualities to be had. For one, seeing so many talented people get their start behind and in front of the camera is worth watching. Given its meager budget, Andrew Davis made the most out of the locations, creating a feeling of isolation and dread. You feel like you’re with these unlucky campers as they get lost in this gigantic forest. It’s a shame that the film isn’t all that compelling and drags for quite a bit.

    After the tacked-on opening, none of the main characters get killed until at least 40 minutes into the film. Most of the runtime is spent with the cast wandering through the woods, trying to find their way out. Even when a character gets killed, there’s nothing unique or special about their deaths, which I guess is more realistic. I’m not saying every slasher needs crazy, over-the-top kills to be good, but you should give us something. Admittedly, the acting is decent, if unremarkable, but Joe Pantoliano does a great job playing a creepy weirdo. Also, the survival elements help this film stand out from typical slashers, but it never builds any tension or suspense. While I wouldn’t call this one of the worst slashers I’ve ever seen, it’s one of the most unremarkable. Overall, The Final Terror was a good starting ground for future talent, but it isn’t very compelling.

     

    Buy The Final Terror from Amazon: https://amzn.to/3KS1BFm.

    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=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch The Final Terror (1983)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”The Final Terror” data-year=”1983″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]