Facebook

FilmNerd

Category: Reviews

  • Cellar Dweller (1988)

    Cellar Dweller (1988)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Today, Don Mancini is known for creating the Child’s Play franchise, but long ago, he was a UCLA graduate. While coming up with the first film’s screenplay, Mancini caught Charles Band’s attention and got a job with Empire Pictures. As with most of the movies he produced, Band presented Mancini with a poster and a title to work with. Mancini delivered a script that crossed John Carpenter’s The Thing and Woody Allen’s The Purple Rose of Cairo. However, the screenplay as it was written would’ve been too ambitious for Empire, so Band had the script rewritten. After directing the minor hit Troll in 1986, John Carl Buechler adapted Mancini’s story for his second film. Ultimately, Mancini used the pseudonym Kit Du Bois and the film was shot on the sets used for The Caller. After premiering at MIFED in 1987, Cellar Dweller hit theaters worldwide in 1988.

    [/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=”4.21.0″ _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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Comic book artist Colin Childress (Jeffrey Combs) sets himself on fire after one of his drawings spawns a demonic monster. Years later, aspiring artist Whitney Taylor (Debrah Farentino) enrolls in an art school run by Mrs. Briggs (Yvonne De Carlo). It turns out the school was built on the remains of Childress’ old house after burning to the ground. Whitney has come here specifically because she considers Colin her idol and wants to follow in his footsteps. Also attending the art school are Phillip (Brian Robbins), Amanda (Pamela Bellwood), Lisa (Miranda Wilson), and Norman (Vince Edwards). Soon, Whitney discovers that whenever she draws a comic strip with the Cellar Dweller, what she draws happens. Soon, the Cellar Dweller makes quick work of the other art students, whether or not Whitney wills it. Will she be able to stop it, or will she also fall victim to the Cellar Dweller?

     

    Review

    While it’s not on par with classics like Re-Animator or Trancers, Cellar Dweller is a perfectly watchable creature feature. The best thing about this movie is the central monster, designed by John Carl Buechler and played by Michael Deak. Admittedly, the monster doesn’t move much, but it looks fantastic and is among Buechler’s best works. Also, the concept of whatever the artist draws comes to life is pretty unique, though it’s never really explained. Debrah Farentino, credited by her maiden name Mullowney, does an excellent job as an aspiring comic artist. Classic actress Yvonne De Carlo gives a decent performance that’s about on par with her performance in Play Dead. It’s always a pleasure to see Jeffrey Combs in a movie, even for only the first ten minutes. Another noteworthy cast member is Vince Edwards, who starred in Stanley Kubrick’s The Killing and the long-running series Ben Casey.

    Pamela Bellwood is entertainingly bitchy as Debrah’s rival, and her death scene is pretty satisfying. The gore effects are equally strong, with the highlight being a decapitation scene done in slow motion. Cinematographer Sergio Salvati, who previously worked with Lucio Fulci, does a great job emulating a vintage horror comic. The score by Carl Dante, who also scored Slave Girls from Beyond Infinity, isn’t terrible, but it’s not particularly memorable. That’s honestly the best way to describe this film: not wrong by any means, but not all that memorable. With its 78-minute runtime, the movie gets in and out fairly quickly, though the last act feels like a rush. If you’re in the mood for a decent creature feature, this is a decent watch, but there are better options. Overall, Cellar Dweller is an underrated, if unremarkable, gem in Empire’s catalog.

     

    Buy Cellar Dweller from Amazon: https://amzn.to/3PLOxV8.

    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]

  • Indiana Jones and the Last Crusade (1989)

    Indiana Jones and the Last Crusade (1989)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Indiana Jones and the Temple of Doom was a financial hit, making over $330 million against a $28 million budget. Unfortunately, while the first was universally liked, the follow-up received mixed reviews, most criticizing the film’s darker tone. Over time, the film gained a newfound appreciation, but at the time, Steven Spielberg decided to go back to basics. He wanted something more lighthearted that harkened back to Raiders of the Lost Ark to end the planned trilogy. After reviewing numerous scripts, Spielberg and George Lucas hired Jeffrey Boam, who previously wrote The Lost Boys. In addition to Harrison Ford, Denholm Elliot, and John Rhys-Davies returning, Sean Connery joined the cast as Indy’s father. The movie was shot between May and September 1988 in Spain, West Germany, England, and the US for $48 million. Five years after the last installment, Indiana Jones and the Last Crusade hit theaters in May 1989.

    [/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=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.21.0″ _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=”4.21.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After retrieving Coronado’s prized crucifix, Indiana Jones (Harrison Ford) learns that his father disappeared while trying to find The Holy Grail. American businessman Walter Donovan (Julian Glover), who financed the expedition, asks Indy to find his father and the grail. Indy and Marcus Brody (Denholm Elliot) meet art professor Elsa Schneider (Alison Doody), who worked with Indy’s father. Using his father’s diary, Indy finds a map of where the grail is hidden, which he gives Marcus for safekeeping. Meanwhile, Indy gets a tip that his father is being held captive in a castle in Austria by the Nazis. While he rescues his father, Henry Jones (Sean Connery), Indy learns that Elsa and Donovan are working with the Nazis. With some help from Sallah (John Rhys-Davies), Indy and his father must find the grail before the Nazis do. Along the journey, Indiana learns to forgive his father and discover his faith.

     

    Review

    Coming off of the last film, Indiana Jones and the Last Crusade is a return to form for the series. Sure, it doesn’t quite get as dark as the first film, but it still has the same sense of fun. What also makes this film stand out is how Indy’s character is further developed, and we learn more about him. The movie opens with a flashback to Indy as a young man, played by the late River Phoenix. On top of being entertaining, the sequence helps to set up the film’s central conflict: Indy reconnecting with his father. Like before, Harrison Ford is still great as the professor/archaeologist Indiana Jones, who’s given much more humanity. The late Sean Connery is phenomenal as Indy’s father, playing off Harrison Ford’s sly wit with a gruff charm. The film’s best scenes are any of the moments they share together.

    Denholm Elliot and John Rhys-Davies are welcome comebacks as their characters from Raiders, with both given more to do. Alison Doody has an excellent femme fatale quality, playing the first Indy girl who turns out to be a villain. Speaking of villains, Julian Glover is delightfully smug as the conniving businessman consumed by greed and desire for power. As with the other movies, the action sequences are spectacular, with the highlight being the scene with the WWI tank. This might be the funniest of the three films, punctuated by some great lines and physical comedy. Some audiences might be disappointed that this film plays things a bit too safe, but it works here. While lacking the edge of the first two films, it makes up for it with tons of heart. Overall, Indiana Jones and the Last Crusade would’ve been a fitting end to the iconic series.

     

    Buy Indiana Jones and the Last Crusade from Amazon: https://amzn.to/46sdU4f.

    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]

  • Indiana Jones and the Temple of Doom (1984)

    Indiana Jones and the Temple of Doom (1984)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    On a $20 million budget, Raiders of the Lost Ark grossed over $380 million worldwide and was 1981’s highest-grossing film. The film also got universally positive reviews and won 5 Academy Awards, including Best Director and Best Picture nominations. Naturally, with all that success, Paramount wanted a sequel, so Steven Spielberg and George Lucas went to work. However, rather than using Nazis as the villains, Lucas decided to make the next film a prequel set in India. Lucas and Spielberg also made this entry darker, much like The Empire Strikes Back, the second Star Wars movie. In place of Lawrence Kasdan and Philip Kaufman, Lucas hired Willard Huyck and Gloria Katz to write the screenplay. Harrison Ford returned to the iconic role, accompanied by a relatively-unknown Kate Capshaw and a 12-year-old Ke Huy Quan. After a five-month shoot, Indiana Jones and the Temple of Doom hit theaters in May 1984.

    [/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=”4.21.0″ _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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Taking place in 1935, Indian Jones (Harrison Ford) narrowly escapes a group of thugs in Shanghai who nearly poisoned him. Accompanied by lounge singer Willie Scott (Kate Capshaw) and his sidekick Short Round (Ke Huy Quan), Indy lands in India. They arrive at the village of Mayapore, where the children are gone, and the people are dying. The villagers beg Indy to retrieve a stolen sacred stone and rescue their children, and he agrees. Indy believes the stone is one of the five Sankara stones, so he, Shorty, and Willie travel to Pankot Palace. They stumble across an ancient cult known as the Thuggee, led by the high priest Mola Ram (Amrish Puri). The cult has three Sankara stones, and they’ve enslaved the children to find the other two in the caves below. It’s up to Indiana Jones to stop the cult, save the kids, and bring back the stone.

     

    Review

    Since its release, Indiana Jones and the Temple of Doom has been the subject of much criticism and controversy. The film was so dark and macabre that the MPAA created the PG-13 rating at Spielberg’s request. On the one hand, it’s commendable that Spielberg and Lucas made this entry so dark and twisted. On the other hand, they might’ve lost sight of what they were doing in trying to make it so dark. Part of the issue is that the tone is wildly inconsistent, going from dark to light-hearted without a moment’s notice. It also doesn’t help that some of its darker material, especially in the second half, unintentionally depicted Indian people negatively. To the filmmakers’ credit, most of the criticized stuff was meant to be a joke that subverted expectations. Plus, the only Indians who do this are meant to be villains, so you’re not supposed to like them.

    Aside from that, this is still an entertaining adventure film, even if it lacks the original’s freshness. Harrison Ford is excellent as always as the fearless archaeologist, and we see him turn dark at one point. Future Oscar winner Ke Huy Quan is fun as Indy’s sidekick, and he has fantastic chemistry with Harrison Ford. Despite the criticisms she’s been unfairly given, Kate Capshaw is hilarious as Willie Scott, the polar opposite of Karen Allen. Her whining and complaining are so over-the-top that, while it can get annoying, it’s often more funny than bothersome. The action sequences are great, the villains are just as menacing, and John Williams’ score is phenomenal. Admittedly, some blue screen compositing shots stick out negatively, but it’s not enough to deter the movie. Overall, Indiana Jones and the Temple of Doom is an imperfect but entertaining thrill ride that might traumatize your kids.

     

    Buy Indiana Jones and the Temple of Doom from Amazon: https://amzn.to/3XvRMSO.

    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 Indiana Jones and the Temple of Doom (1984)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Indiana Jones and the Temple of Doom” data-year=”1984″ data-theme=”light”>

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

  • Croaked: Frog Monster from Hell (1981)

    Croaked: Frog Monster from Hell (1981)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Originally from Latvia, Ito Rebane, later renamed Bill Rebane, became a staple of cult cinema in the 60s and 70s. After working with producer Adalbert Baltes, Rebane sold his first independent production, the short Twist Craze, to American International Pictures. In 1961, Rebane decided to try his hand at feature filmmaking and started shooting Terror at Halfday in 1963. Unfortunately, he ran out of money and sold his footage to Herschell Gordon Lewis, creating the notorious Monster A Go-Go. In the later 1960s, Rebane purchased a ranch in Gleason, Wisconsin, which became his new studio, The Shooting Ranch. He shot numerous low-budget sci-fi/horror films there, most notably 1975’s The Giant Spider Invasion and 1987’s Blood Harvest. Rebane also made Rana: The Legend of Shadow Lake in 1975, but that film wouldn’t be released until 1981. The film was retitled Croaked: Frog Monster from Hell and eventually sold to Troma.

    [/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=”40″ bar_bg_color=”#E09900″ _builder_version=”4.21.0″ _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

    Kelly Morgan (Glenn Scherer) and his girlfriend Chris (Doreen Moze) go to his childhood home at Shadow Lake. While there, he tells her about how a strange creature attacked him and his family when he was 11. We flashback to young Kelly Morgan (Brad Ellingson) at the homestead with his dad John (Alan Ross). At the lake, they meet a paleontologist named Elli (Karen McDiarmid) and her niece Susan (Julie Wheaton). Kelly brings them a strange bone he found, and Elli deduces that it came from a type of fish creature. Little do they know that said fish creature, locally known as “Rana,” is lurking around the surrounding woods. Rana attacks and kills a couple of sleazy loggers before making his way to Kelly and company. Now an adult, Kelly wants to find the creature’s lair to get revenge, but he’s unprepared for what he’ll find.

     

    Review

    Croaked: Frog Monster from Hell is one of many movies where the cover art is better than the actual movie. You look at the cover and its title, and it sounds like something akin to Humanoids from the Deep. Sadly, we get nothing nearly as gruesome and sleazy as Roger Corman’s movie about human-fish monsters running amok. Sure, some of the acting isn’t half bad, and there are some fun kill scenes, but it’s mostly boring. Much of the screen time is just dialogue, and most of it is either exposition or inane banter. Even when something menacing happens, no one seems to react or even care what’s happening. Granted, things do pick up once the creature shows up and starts killing people, but it doesn’t improve things much. Plus, the framing device ruins any suspense the movie might’ve otherwise had since we know that Kelly survives.

    Given the previous work of Bill Rebane, the fact that the movie looks so cheap shouldn’t come as a surprise. That said, there are plenty of cheaply-made B-movies whose low budget adds to their charm, such as Nightbeast. Sure, the middle act was slow, but the first and third acts were so ridiculous that they compensated for it. In this movie, the few kill scenes with the creature don’t make up for the slow parts. It doesn’t help that many of these scenes are so darkly lit that it’s hard to see what’s happening. Even at 86 minutes, it feels like the movie is dragging its feet to try and reach feature length. While there are certainly worse creature features, this is a dull affair best enjoyed with some substances. Overall, Croaked: Frog Monster from Hell isn’t one of the worst movies ever, but it’s not the best.

     

    Buy Croaked: Frog Monster from Hell from Amazon: https://amzn.to/4pPnoj0.

    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 Croaked: Frog Monster from Hell (1981)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Croaked: Frog Monster from Hell” data-year=”1981″ data-theme=”light”>

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

  • The Flash (2023)

    The Flash (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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]In 1940, Gardner Fox and Harry Lampert created Flash Comics #1, which debuted football star turned superhero, Jay Garrick. The books were canceled in 1951, but DC rebooted the series by introducing Barry Allen in Showcase #4 in 1956. While there have been other versions of The Flash, Barry Allen became the definitive version of The Scarlet Speedster. The character was first adapted in The Superman/Aquaman Hour of Adventure in 1967 before transitioning to Super Friends. John Wesley Shipp was the first live actor to play The Flash in the 1990s TV series. Since the late 1980s, plans for a live-action feature film had been floating around Hollywood with multiple directors attached. David S. Goyer, Shawn Levy, David Dobkin, Seth Grahame-Smith, and Rick Famuyiwa were involved before Andy Muschietti got the job. After numerous delays and behind-the-scenes controversies, The Flash finally hit theaters in June 2023.

    [/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=”4.23.4″ _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

    Barry Allen, aka The Flash (Ezra Miller), is still grieving over the death of his mother, Nora (Maribel Verdú). In his emotional state, Barry starts running faster and faster until he discovers he can travel back in time. Despite several warnings, Barry travels back and stops his mother’s death, only to get knocked into 2013. He meets his past self and gets him to get struck by lightning, which grants him powers but removes his. While Barry tries teaching his past self how to use his powers, General Zod (Michael Shannon) makes his presence known. Wonder Woman, Cyborg, and Aquaman don’t exist in this universe, but the Barrys find Bruce Wayne, aka Batman (Michael Keaton). With his help, they find a Kryptonian imprisoned in Siberia, but it turns out to be Kara Zor-El (Sasha Calle). It’s up to Batman, Supergirl, and The Flashes to stop Zod and save the Multiverse.

     

    Review

    Before going further, I’d like to state my feelings on The Flash are unrelated to the controversies surrounding Ezra Miller. My remarks towards Miller are strictly related to their performance and have nothing to do with the allegations against them. That said, Miller performs well playing a wiser, more sardonic Barry and a younger, more carefree Barry. The effects of conveying two Barrys are mind-blowing, and Miller does an excellent job of making both feel different. Of course, Michael Keaton steals the show, especially if you’re a fan of the 1989 Batman and its sequel. Relative newcomer Sasha Calle shows excellent potential as Supergirl, and I’m curious to see what she does next. Michael Shannon, one of the best aspects of Man of Steel, is solid in his few scenes as General Zod. The supporting cast all do a respectable job, and some fun cameos are sprinkled throughout.

    Speaking of cameos, this movie is loaded with tons of fan service, perhaps a bit too much. Spider-Man: Across the Spider-Verse also had plenty of fan service, but the filmmakers worked it into the story. It doesn’t help that while some of the visual effects are decent, there are some genuinely horrendous CG shots here. Without spoiling too much, much of the CGI looks about on par with Mortal Kombat: Annihilation, and it’s distracting. Also, the final act is another big, explosion-filled action sequence that drags out too long. To give Andy Muschietti credit, there are some fun action sequences, and the emotional scenes hit where it counts. Compared to Shazam! Fury of the Gods, which was a huge letdown, this one’s more of a mixed bag. Overall, The Flash has some glaring flaws but has enough decent performances and heart to keep it engaging.

     

    Buy The Flash from Amazon: https://amzn.to/3ABXbjU.

    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″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch The Flash (2023)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-url-path=”/us/movie/the-flash”>

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

  • The Creeps (1997)

    The Creeps (1997)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    While many of his decisions stumbled, Charles Band would now and then be at the forefront of something big. He founded one of the first home video companies and was the first to film in post-Communist Romania. In the mid-90s, Band saw that Hi-Def was becoming a big thing, so he decided to jump on the opportunity. He announced a slate of 3D movies ready for the Hi-Def revolution but might have overestimated Hi-Def’s potential. One of these movies, Secrets of the Micromen, never got made, and another called Horrorvision.com came out years later. Band was no stranger to 3D, having previously directed Parasite 3D and Metalstorm: The Destruction of Jared-Syn in the 1980s. Neal Marshall Stevens, who wrote Head of the Family and Hideous! under the pseudonym Benjamin Carr, penned the script. While it was planned for a 3D release, The Creeps got a 2D release in 1997.

    [/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=”4.21.0″ _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=”4.21.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    While working in the Rare Books section of the university library, Anna Quarrels (Rhonda Griffin) is approached by Mr. Jamison. He asks if he could study the original manuscript of Mary Shelley’s Frankenstein, which he switches out for a fake. After discovering the false manuscript, Anna hires David Raleigh (Justin Lauer), a private investigator/video store owner, to investigate. He finds that Mr. Jamison is Dr. Winston Berber (Bill Moynihan), a mad scientist who’s stolen other rare manuscripts. He aims to use them with his “Archetype Inducer” machine to bring four of fiction’s greatest monsters to life. Unfortunately for the doctor, Anna and David retrieve the manuscripts while the monsters are being created, which has unintended results. The Mummy (Joe Smith), The Wolfman (Jon Simanton), Frankenstein’s Monster (Thomas Wellington), and Dracula (Phil Fondacaro) are all pint-sized! Will Berber restore them to full size, or will our heroes stop them?

     

    Review

    If you ever wondered what the Universal Monsters would be like as dwarves, then The Creeps is for you. It’s no secret that Charles Band has an affinity for tiny terrors, usually puppets or miniature demons. Some might find it suspect that the central gimmick is having miniature versions of classic monsters, especially for the time. Thankfully, Charles Band and Benjamin Carr were smart enough not to cram in a bunch of short jokes. Each beast, Dracula in particular, is taken seriously and given familiar but different looks that help set them apart. Phil Fondacaro effortlessly gives the best performance in the film as Dracula, given plenty of monologues to showcase his talents. Unfortunately, the other monsters are given little more than grunts and growls instead of dialogue and deep characterization. They still look like Laurence Olivier when compared to the regular human cast.

    Rhonda Griffin from Hideous! is given the lead but falls short of delivering a quality performance. She comes off as ditzy, whiny, and annoying, making it hard to care when she’s in peril. Justin Lauer plays a stereotypical movie geek/amateur womanizer who mostly spouts off titles of obscure exploitation movies. Bill Moynihan certainly tries as the over-the-top mad scientist, but Phil Fondacaro and his fellow monsters easily overshadow him. Full Moon veteran cinematographer Adolfo Bartoli gives the film style with colored lights and harsh shadows. Given that this was intended to be a 3D movie, there aren’t any moments where objects come toward the camera. At 80 minutes long, the film gets in and out fairly quickly, though it does drag to reach that length. Overall, The Creeps isn’t a bad choice for monster movie fans, but don’t expect anything all that special.

     

    Buy The Creeps from Amazon: https://amzn.to/43YALCK.

    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]

  • Transformers: Rise of the Beasts (2023)

    Transformers: Rise of the Beasts (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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]With a $135 million budget, Bumblebee grossed over $460 million worldwide, making it the lowest-grossing of the series. Despite this, the film was the highest-rated entry in the franchise, earning a 91% approval rating on Rotten Tomatoes. While it wasn’t as commercially successful, Paramount decided to move forward with another sequel, formally announcing it in 2019. Travis Knight chose to return to his animation studio, Laika, so Creed II director Steven Caple Jr. was hired instead. For this installment, the filmmakers incorporated characters from the highly regarded CG-animated series Transformers: Beast Wars. Anthony Ramos and Dominique Fishback played the human leads, with Peter Cullen, Ron Perlman, and Michelle Yeoh voicing the robots. The movie was shot in and around Los Angeles, Peru, Montreal, and Brooklyn from June to October 2021. After premiering in Singapore in May 2023, Transformers: Rise of the Beasts hit theaters worldwide in June.

    [/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=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.21.0″ _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

    Noah Diaz (Anthony Ramos) is a tech expert looking for work to support his sick brother Kris (Dean Scott Vazquez). Desperate for money, Noah agrees to steal a Porsche for his friend Reek (Tobe Nwigwe), which doesn’t go as planned. The Porsche turns out to be Mirage (Pete Davidson), one of a handful of Autobots living on Earth. Meanwhile, museum intern Elena Wallace (Dominique Fishback) uncovers a mysterious object that releases a massive energy surge. It just so happens the artifact is part of a key that can open portals through time and space. Its reappearance triggers the arrival of Scourge (Peter Dinklage), leader of the Terrorcons, and the Maximal Airazor (Michelle Yeoh). Airazor leads the Autobots to Peru, where they meet the other Maximals, including their leader Optimus Primal (Ron Perlman). The Autobots and Maximals must stop Scourge before he can restore the key and summon his master, Unicron.

     

    Review

    If you asked me back in 2017 if I was excited about another live-action Transformers movie, I would’ve said “No.” However, after being surprised by how good Bumblebee was, I anxiously anticipated what would come next, hoping for the best. And while it’s not quite as good, Transformers: Rise of the Beasts is leagues above the Michael Bay movies. Like the last installment, the human characters are way more likable and not as insultingly unfunny as the Witwicky family. Anthony Ramos does a great job playing a guy struggling through life and trying to make the most of it. Dominique Fishback can sometimes get annoying, but she gets better and has solid chemistry with Ramos. Like always, Peter Cullen is excellent as Optimus Prime and Ron Perlman gives an equaling commanding performance as Optimus Primal. Michelle Yeoh is also great as Airazor, and Pete Davidson’s Mirage is hilarious.

    Peter Dinklage is virtually unrecognizable as the voice of Scourge, though he does a decent job as the villainous Terrorcon. While the last film was more emotionally driven, this one is more focused on big action sequences. Granted, there are some dramatic moments, such as Noah and Kris’ relationship and the scenes featuring the Maximals. As cool as it is to see Optimus Primal, Cheetor, Rhinox, etc., on screen, they aren’t featured very prominently. Like the other films, this one ends in a big CG-fest of giant robots fighting and blasting each other. Thankfully, you can at least see the action on screen, and it never feels like it’s dragging. Plus, this movie clocks in at two hours and seven minutes, which makes it infinitely better than the Bay films. Overall, Transformers: Rise of the Beasts isn’t perfect, but it’s another step in the right direction.

     

    Buy Transformers: Rise of the Beasts from Amazon: https://amzn.to/3AsX0aF.

    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]

  • Toxic Tutu (2017)

    Toxic Tutu (2017)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    While not a mega-blockbuster, The Toxic Avenger put Troma on the map and established Lloyd Kaufman as a cult figure. But while their landmark superhero horror-comedy became a cult phenomenon, it didn’t seem to do much for actor Mark Torgl. After playing Melvin the Mop Boy, he didn’t act in anything until Citizen Toxie: The Toxic Avenger IV in 2001. To commemorate the original’s 30th anniversary, Torgl was invited as a guest to the Mad Monster Party Convention in 2013. While there, Torgl was accompanied by filmmaker Joe Nardelli, who filmed his time at the convention. This sparked an idea between the two to make a mockumentary about Torgl’s whereabouts after the original film. With the fanbase’s and Troma’s support, they raised $4,500 to shoot their fan project, which took roughly four years. In 2017, Toxic Tutu premiered worldwide at that year’s Mad Monster Party Convention, where it all began.

    [/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=”40″ bar_bg_color=”#E09900″ _builder_version=”4.21.0″ _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=”4.21.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After thirty years of being out of the public light, Mark Torgl makes his first-ever convention appearance. He meets all his loyal fans and is reunited with Lloyd Kaufman, who immortalized him as Melvin the Mop Boy. Unfortunately, before he can take in the sights and sounds, Mark is taken away by armed goons and presumed missing. On The Toxic Avenger, Torgl was exposed to toxic waste, which disfigured his face and has since resurfaced. The sludge has been linked to several deaths, as well as caused heightened sexual stimulation, which makes it highly valuable. At the same time, the kidnappers who abducted Mark are two sisters who specifically want him for their nefarious purposes. As the fans scramble in a panic, a group known as the Tutu Brigade sets out to rescue Mark. What do the sisters want, and what made Mark disappear for so long?

     

    Review

    Long before I started doing Troma Tuesdays regularly, I was a massive fan of the studio and Lloyd Kaufman. As a fan, I was interested in seeing a mockumentary about what happened to Mark Torgl, thinking it’d be fun. Unfortunately, while the film has ambition, Toxic Tutu stumbles over itself and becomes a disappointingly chaotic mess. I understand this movie had a minuscule budget, but I’ve seen much better-looking movies that cost very little. At first, the film starts like a mockumentary, with Mark Torgl being followed around as he tours the convention. There are some genuinely fun moments, and it’s heartwarming seeing Torgl reunite with Kaufman after all these years. Unfortunately, once Mark gets kidnapped, the movie seems to forget it’s a mockumentary and goes off the rails. What follows is so cluttered and all over the place that it’s hard to know what’s happening.

    We jump from Torgl touring a convention to a conspiracy about the toxic waste he ingested and how it resurfaces. Then, there are subplots about rival sisters, the director trying to uncover secrets at Troma, and overly convoluted backstories. I’m all for guerilla filmmaking, and sometimes what you capture in the moment works better, but it doesn’t work here. It doesn’t help that most of the acting is terrible, except for Torgl, Kaufman, Joe Nardelli, and Genoveva Rossi. Granted, there are some fun cameos from Diana Prince, Jake “The Snake” Roberts, Mel Novak, and Shawn Phillips. We get a few interview segments with some of the original cast, which is a nice touch. Still, unless you’re a die-hard Troma fan, you will most likely hate this rather messy and unfocused mockumentary. Overall, Toxic Tutu is a film made by fans for fans, but that’s about it.

     

    Buy Toxic Tutu from Amazon: https://amzn.to/3WSTFsa.

    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]

  • Spider-Man: Across the Spider-Verse (2023)

    Spider-Man: Across the Spider-Verse (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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]Against a $90 million budget, 2018’s Spider-Man: Into the Spider-Verse grossed over $384 million worldwide and received universal critical acclaim. The film earned a 97% rating on Rotten Tomatoes and the Oscar for Best Animated Feature, among other awards. Sony Pictures Animation officially announced a sequel was in production in November 2019, with writers/producers Lord and Miller returning. Directing duties would go to Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, with Amy Pascal as executive producer. In addition to Shameik Moore and Hailee Steinfeld, almost all of the original cast returned for the sequel. Sony originally planned for an April 2022 release but was pushed back to October due to the COVID-19 Pandemic. That December, Lord and Miller announced the sequel would be split in two, labeled initially as Part 1 and 2. Finally, the retitled Spider-Man: Across the Spider-Verse swung into theaters in June 2023.

    [/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=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.21.0″ _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

    Sixteen months after the last film, Gwen Stacy (Hailee Steinfeld) struggles with being Spider-Woman and being hunted by the police. While fighting a Renaissance-era villain, she runs into Miguel O’Hara/Spider-Man 2099 (Oscar Isaac) and Jessica Drew/Spider-Woman (Issa Rae). Gwen hops throw a dimensional portal with them after revealing her identity to her father, Captain Stacy (Shea Whigham). Meanwhile, Miles Morales (Shameik Moore) is learning to hone his powers while living up to his parent’s expectations. Gwen reunites with Miles one day, but she’s secretly tracking an interdimensional villain called The Spot (Jason Schwartzman). Miles follows her through a dimensional portal and meets the Spider Society, a collection of Spider-People led by Miguel O’Hara. Their mission is to keep the Spider-Verse in working order, but Miles objects when he learns what this entails. What other secrets will be unraveled as Miles Morales tries to untangle this giant web?

     

    Review

    Spider-Man: Across the Spider-Verse had much to live up to, given how phenomenal the original film was. Thankfully, this sequel lives up to the original as another visually stunning superhero epic with love for the source material. From frame one, the animation is a sight to behold with its vivid colors, changes in style, and surreal imagery. Each universe is given a unique style that helps them stand apart from one another, and they look fantastic. Not only is the animation amazing, but there are tons of great action sequences, each crazier than the last. Thankfully, the action never gets in the way of the storytelling, and they move so fluidly that it’s never distracting. The movie balances out the big action scenes with much smaller, more character-driven scenes, which is not always easy. It helps that the acting is impressive, and the story is riveting.

    Like the last film, Shameik Moore does a great job, this time playing an older yet still naive Miles Morales. Hailee Steinfeld similarly delivers an excellent performance as Gwen Stacy and has fantastic chemistry with Moore. Jake Johnson is a welcome return as Peter B. Parker, and Oscar Isaac is sympathetic and intense as Miguel O’Hara. Some other standouts are Jason Schwartzman as The Spot, Karan Soni as the Indian Spider-Man, and Daniel Kaluuya as Spider-Punk. Also, like the last film, this one is a giant love letter to everything Spider-Man, with cameos and references aplenty. Admittedly, some sequences can get too chaotic, and it can sometimes be hard to see what’s happening. Also, at two hours and twenty minutes, the film does feel a bit too long, but it’s still entertaining. Overall, Spider-Man: Across the Spider-Verse is another wonderfully animated superhero epic that similar movies should aspire to be.

     

    Buy Spider-Man: Across the Spider-Verse from Amazon: https://amzn.to/4efh2U7.

    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 Spider-Man: Across the Spider-Verse (2023)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Spider-Man: Across the Spider-Verse” data-year=”2023″ data-theme=”light”>

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

  • Buy & Cell (1989)

    Buy & Cell (1989)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]

    Originally from New York City, Robert Boris has been a writer/director for TV and movies since the early 1970s. His earliest credits included 1973’s Electra Glide in Blue and 1982’s Some Kind of Hero, starring Richard Pryor. Boris won the WGA Award for Original/Adapted Multi-Part Long Form Series for the 1983 made-for-TV movie Blood Feud. In 1984, Boris made his directorial debut with Oxford Blues, the first starring role for a then up-and-coming Rob Lowe. He followed this up with the 1987 action film Steele Justice, which got the attention of Frank Yablans. In 1987, Yablans and Charles Band produced The Caller, the first of two movies they shot back-to-back at Dinocitta. That same year, Yablans hired Boris to direct a prison-set comedy starring Robert Carradine, Michael Winslow, and Malcolm McDowell. Due to Empire Pictures filing for bankruptcy, Buy & Cell wouldn’t be released until early 1989.

    [/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=”4.21.0″ _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

    Herbie Altman (Robert Carradine) is sentenced to serve 13 years for stock fraud after being framed by his former boss. He meets with Warden Tennant (Malcolm McDowell), who wants him to help make some investments and make him rich. Altman refuses, so he’s placed in his cell with the smooth-talking hustler Sly (Michael Winslow), who has some outstanding debts. Sly owes $25,000 to fellow inmates Cowboy (Roddy Piper) and Raoul (Tony Plana), so Altman offers to help. Not only does he help Sly pay off his debts, but Altman decides to form his own company, Con Inc. With the help of prison therapist Dr. Ellen Scott (Lise Cutter), Herbie and the other inmates become wealthy investors. Soon, the warden wants a piece of the action, so he and Altman join forces to one-up Altman’s old boss. But whether it’s finances or prison, Herbie can’t catch a break.

     

    Review

    Buy & Cell isn’t what you would expect from an Empire Pictures film, which isn’t necessarily bad. Unfortunately, this is a comedy that forgot to be funny since most of the jokes fall flat. This is one of many slobs vs. snobs movies popular in the 80s, like Caddyshack and Police Academy. Sadly, by this point, the formula had gone stale, and they just weren’t as funny as they used to be. It doesn’t help that the “comedy” starts roughly 40 minutes in, as the first act is deadly serious. Just the fact that this supposedly zany comedy begins with a gag involving a suicide attempt is jarring. Even when the humor does kick in, there’s never a moment where I let out anything more than a chuckle. That said, a few lines here and there caught me off guard, so that counts for something.

    It’s a shame the film isn’t funny because the cast can deliver laughs in other movies. Robert Carradine, aka Lewis in Revenge of the Nerds, makes for a decent lead and works as the straight man. As always, Malcolm McDowell plays a great villain, and it’s fun seeing him get his comeuppance at the end. Michael Winslow, famous for his sound effects in Police Academy, has sadly run out of steam here. While he doesn’t always make his trademark sounds, it’s pretty clear it was a one-note schtick that’s run its course. The cast also features great character actors like Roddy Piper, Randall ‘Tex’ Cobb, Ben Vereen, and Tony Plana. They do their best to make this 95-minute comedy work, but the material doesn’t give them much to work with. Overall, Buy & Cell is a forgettable comedy with little to offer besides a decent cast.

     

    Buy Buy & Cell from Amazon: https://amzn.to/3JGQrpM.

    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.

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

    Where to watch Buy & Cell (1989)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Buy & Cell” data-year=”1989″ data-theme=”light”>

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