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  • Critters 2: The Main Course (1988)

    Critters 2: The Main Course (1988)

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    Released in 1986, Critters was a modest hit at the box office, making over four times its budget back. Also, the film received favorable reviews, Siskel and Ebert giving it both thumbs up and rating it 3/4 stars. Naturally, with that kind of success, New Line Cinema asked for a sequel, given their penchant for franchises. Unfortunately, the original writer and director, Brian Muir and Stephen Herek did not return to helm the sequel. Instead, up-and-coming writer David Twohy was hired alongside co-writer Mick Garris, who would be making his directorial debut. Garris was chosen due to his work on the Steven Speilberg produced Amazing Stories series and *batteries not included. Much of the original cast and crew returned, including the Chiodo Brothers fresh off of making Killer Klowns from Outer Space. So, two years after the original, we got Critters 2: The Main Course.

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    Synopsis

    Two years after the last film, Brad Brown (Scott Grimes) has returned to his hometown of Grover’s Bend. Meanwhile, alien bounty hunters Ug (Terrence Mann) and Lee, alongside Charlie (Don Opper), learn the Crites are still on Earth. Once there, Lee takes on a female form (Roxanne Kernohan) and they set out to find and destroy the Crites. Elsewhere, Brad is visiting his grandmother (Herta Ware) when he attracts the attention of young reporter Megan Morgan (Liane Curtis). Turns out Brad is pretty well-known for what happened years ago, and she wants to learn more. Soon enough, the Crites make themselves known, going on a rampage through the town and killing everyone in their path. With some help from former sheriff Harv (Barry Corbin), Brad leads the townsfolk in taking out the carnivorous critters. Can they be stopped, or will Grover’s End be their latest feast?

     

    Review

    Whether or not it was made to ride off the coattails of Gremlins, Critters was an enjoyable time. And while Critters 2: The Main Course is also enjoyable, it’s missing much of what worked in the first film. For instance, the first film was a blending of horror and comedy, whereas the sequel feels more comedic than scary. Granted, there are some shockingly gruesome sequences here and there, but there are just as many goofy moments. On the one hand, the emphasis on comedy does make this a more fun film than the previous installment. On the other hand, the weird shift in tone makes this feel like it’s not even in the same universe. That being said, much of the comedy here does work, partially because the actors are playing it straight. Plus, the more comedic moments never get in the way of the more serious scenes.

    Like the previous film, the Chiodo Brothers did excellent work in bringing the Crites to life, perhaps more so here. The puppets seem more articulated, more expressive, and they even have different characteristics to make them stand out. Cast-wise, everyone does a great job, with returning actors Grimes, Mann, Opper, and Lin Shaye turning in solid performances. Admittedly, it is distracting not having M. Emmet Walsh back as Harv, but Barry Corbin makes up for this. For a first-time director, Mick Garris does a fine job, giving the film a slick studio picture look. While Muir and Herek are missed here, the work by Garris and Twohy is sufficient enough here. While this lacks the more low-budget feel of the previous film, this still is enjoyable enough to warrant a recommendation. Overall, Critters 2: The Main Course lacks the predecessor’s bite but is still work a look.

     

    Buy The Critters Collection from Shout! Factory: https://bit.ly/3dSwczC

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  • Critters (1986)

    Critters (1986)

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    In the early 1980s, filmmaker Stephen Herek got his start working as an editor for B-movie king Roger Corman. He was the assistant editor on Android, The Slumber Party Massacre, and Space Raiders, where he met Brian Muir. The two began a friendship while working on 1984’s City Limits, and Brian presented Stephen with a script he wrote. Seeing the potential in the screenplay, Herek decided this would be his next project as well as his directorial debut. They pitched their concept to Sho Films, who agreed to develop the film with New Line Cinema as the distributor. For the creature effects, they hired The Chiodo Brothers, who previously worked on Tim Burton’s Vincent and Pee-wee’s Big Adventure. Brian Muir decided to be credited as Dominic, his middle name, which he later regretted due to the confusion. After a six-week filming schedule and post-production, Critters was finally released in 1986.

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    Synopsis

    In the far-off reaches of space, a group of aliens known as Crites escapes from an asteroid prison. Two bounty hunters are sent to find and destroy the Crites, and they chase them down to planet Earth. They end up in the small town of Grovers Bend, where the bounty hunters assume human forms and start searching. Meanwhile, the Crites start making their way through the town and wind up at the home of the Brown family. The family consists of Helen (Dee Wallace), Jay (Billy “Green” Bush), Brad (Scott Grimes), and April (Nadine van der Velde). As the Crites and bounty hunters run rampant, local Sheriff Harv (M. Emmet Walsh) is having to deal with this. Once the Crites arrive at the Brown family’s house, it becomes a fight for survival against the diminutive creatures. Will the family survive, or will they be the Crites’ next meal?

     

    Review

    First and foremost, I should mention how Critters has been compared to Gremlins since its release and labeled a knock-off. While they share a similar premise of tiny monsters attacking people, the two are completely different from one another. Plus, Herek and Muir have refuted that Critters was written before Gremlins and was rewritten to avoid comparisons. Much like Ghoulies, this may have gotten greenlit because of the success of Gremlinsbut wasn’t a direct rip-off. That being said, Critters is easily the best if not one of the better films spawned after Gremlins. The cast is excellent, featuring veteran actors Billy Bush and M. Emmet Walsh, as well as genre favorite Dee Wallace. Plus, younger actors Scott Grimes and Nadine van der Velde give exceptional performances and are fully dedicated to the film. Also, there are some early appearances from Billy Zane and Lin Shaye.

    While not as intricate or detailed as the Gremlins, the Critters are still impressive given the low budget. As designed by the Chiodo Brothers (Killer Klowns from Outer Space), they have a unique look and plenty of movement. For a first-time director, Herek does a good job behind the camera, making effective use of shadow and low lighting. Admittedly, after the opening scene of the Crites escaping from prison, the film takes a while to get going. Thankfully, the characters are fun to watch, and there’s plenty of humor and character development to keep you invested. Once it gets going, it’s a great thrill ride as the family tries fighting off the Crites and surviving. Plus, at a brisk 86 minutes, the film never outstays its welcome or feels like it’s dragging to the end. Overall, Critters is a solid creature-feature made with tons of talent and heart.

     

    Buy The Critters Collection from Amazon: https://amzn.to/3X406JU.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Critters (1986)

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  • Bad Channels (1992)

    Bad Channels (1992)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]The early 1990s were a golden time for Full Moon Features, pumping tons of low budget direct-to-video classics. Of course, their biggest hit was the Puppet Master series, but they had plenty of other titles in the mix. Charles Band always had a steady stream of filmmakers to turn to, including David DeCoteau, Stuart Gordon, and Ted Nicolaou. I’ve covered the works of Ted Nicolaou in past Full Moon Fridays, namely TerrorVision, Subspecies, and Bloodstone: Subspecies II. While working on his vampire series, Nicolaou was working on a more out-there project, something outside Full Moon’s comfort zone. This film would incorporate Nicolaou’s three favorite things into one: UFOs, rock and roll music, and comedy. It would feature various rock groups of the time and seem to go after the MTV crowd. What we finally got was the 1992 oddball sci-fi comedy Bad Channels.

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    Synopsis

    Shock jock DJ “Danger” Dan O’Dare (Paul Hipp) has taken a job at radio station 666 KDUL in Pahoota, California. He’s scheduled for an interview with reporter Lisa Cummings (Martha Quinn), but she blows him off over a rigged contest. While continuing his radio broadcast, the station is invaded by an alien named Cosmo (Mike Deak) and their robot companion. Dan and the station’s engineer Corky (Michael Huddleston) find themselves trapped while trying to warn the outside world. Unfortunately, no one believes them and thinks it’s all an elaborate stunt despite their desperate pleas for help. Soon, Cosmo’s plan is revealed: he’s using the radio to capture women, shrink them, and put them in glass jars. Meanwhile, Sheriff Hickman (Victor Rogers) thinks Dan is up to something, and station manager Vernon Locknut (Aaron Lustig) gets nervous. Will the alien be stopped, or will the girls forever remain trapped and shrunk?

     

    Review

    While it’s not one of the more well-known Full Moon movies, Bad Channels is still something of a hidden gem. Like many of his other movies, Nicolaou’s direction is top-notch, using atmospheric shots that incorporate dynamic lighting and shadows. Paul Hipp makes for a decent lead, mixing a fun, smarmy attitude with some more serious moments later on. Martha Quinn’s intentionally exaggerated performance is pretty fun, and it adds to the film’s charm, though it can be grating. Aside from that, the rest of the acting is decent, but no one else stands out aside from the leads. However, Full Moon fans will be happy to see appearances from regulars Sonny Carl Davis and Charlie Spradling. The musical numbers by Fair Game, DMT, and Sykotik Sinfoney are easily the film’s highlights, each better than the last. Whether you like hair metal, grunge, or something slightly weird, there’s something for you.

    As enjoyable as the film is, Bad Channels is still not as good as Nicolaou’s TerrorVision despite having similar themes. For a film that’s under 90 minutes long, many scenes feel padded out to reach feature-length runtime. This isn’t helped by the musical numbers which, though fun, feel like they’re dragging out to cover the entire song. That being said, the film’s soundtrack is still worth a listen, especially with the score done by Blue Öyster Cult. Also, much of Dan O’Dare’s past antics are talked about, but we’re never really shown any of it. The same goes for the alien, who we know virtually nothing about other than he’s after women to take home. Even still, the film is still an enjoyable watch for those who want to dig deep into Full Moon’s library. Overall, Bad Channels is a flawed but fun sci-fi comedy with some rock music added.

     

    Buy Bad Channels from:

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

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  • The Gentlemen (2019)

    The Gentlemen (2019)

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    Born in 1968, British filmmaker Guy Ritchie first arrived on the scene with the 1995 short film The Hard Case. Shortly after, he met up-and-coming producer Matthew Vaughn, who would produce his debut feature, Lock, Stock and Two Smoking Barrels. Released in 1998, the film went on to be a critical and commercial hit, establishing Ritchie as a filmmaker. His follow-up feature, 2000’s Snatch, was another hit, though his next film, 2003’s Swept Away, was a massive flop. After a brief hiatus, Ritchie returned with 2005’s Revolver and 2008’s RocknRolla before hitting it big with 2009’s Sherlock Holmes. Following its 2011 sequel, Ritchie focused more on studio films, including 2015’s Man From U.N.C.L.E. and 2017’s King Arthur. Both were critical and commercial disappointments, and while 2019’s Aladdin made tons of money, it didn’t fare well critically. In 2020, Ritchie finally returns to his roots with The Gentlemen.

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    Synopsis

    Marijuana kingpin Mickey Pearson (Matthew McConaughey) has decided to retire and settle with his wife Rosalind (Michelle Dockery). He plans on selling his business to billionaire Matthew Berger (Jeremy Strong) for the sum of $400 million. However, Asian gangster Dry Eye (Henry Golding) learns about this and tries to persuade Mickey into selling him the business. Mickey turns him down, which leads to one of his drug farms getting raided and a small gang war erupts. This is intercut with sleazy private investigator Fletcher (Hugh Grant) telling the story to Mickey’s right-hand man Raymond (Charlie Hunnam). Along with telling the story, Fletcher is also blackmailing Raymond for the information he’s gathered on Mickey and his dealings. Many twists and turns happen along the way, people are betrayed, and the characters’ real motivations are exposed. Who will come out on top, and who will meet a rather unfortunate death?

     

    Review

    After years of making studio pictures ranging from good to mediocre, The Gentlemen is Ritchie’s successful return to his roots. First off, the cast assembled is phenomenal, each one having their moments to shine and sharply witty dialogue. McConaughey is as cool and charismatic as ever, Dockery is stunning and fierce, and Grant is delightfully sleazy. Hunnam gives probably his best performance here, Golding is wildly over-the-top, and Colin Farrell also gives a solid performance. As per usual with Ritchie’s films, the dialogue is well-written and sharp, and there are some great back-and-forths between characters. Also, the direction is slick and fast-paced, and the editing helps keep that frenetic pace going without overloading you. While a lot is going on plotwise that can be tough to follow, it’ll start to click after a while. In other words, it’s Guy Ritchie being at his most Guy Ritchie.

    While it’s somewhat cliche to say “they don’t make movies like this anymore”, it is the case with The Gentlemen. This movie is rough, tough, gritty, cool, has tons of profanity and offensive language, and doesn’t care about mass appeal. As much as I do praise this film, I will admit it has its shortcomings, namely with its plot. Given the many twists and turns that happen, it can come across as convoluted and feel repetitive after a while. There’s so much information being thrown at you so fast that you need to pay attention and stick with it. It’s better to give it a second watch to pick up on details you may have missed and appreciate more. Most modern audiences probably won’t give it a second watch since they prefer one-and-done movies, but that’s their loss. Overall, The Gentlemen is a welcome return to Guy Ritchie’s directorial roots.

     

    Buy The Gentlemen from Amazon: https://amzn.to/3frTZYP

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  • The Last House on the Left (1972)

    The Last House on the Left (1972)

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    Well before he turned New Line Cinema into “The House that Freddy Built”, Wes Craven was an English professor. After directing some short films, Craven became fascinated with filmmaking and decided to leave teaching for the film industry. Around this time, producer/director Sean Cunningham had just made his first film, 1970’s The Art of Marriage. He followed this up with 1971’s Together, where he hired Craven to synchronize dailies, eventually becoming the assistant editor. They became fast friends, and Together was a hit, so distributor Hallmark Releasing tasked them with making a horror film. Craven and Cunningham decided to make something that had never been seen before, which featured graphic violence that was in-your-face. With a budget of $90,000, and a fairly inexperienced cast and crew, Craven set off to shot his directorial debut. The result was the notorious and controversial 1972 shocker, The Last House on the Left.

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    Synopsis

    Mari Collingwood (Sandra Cassel) is turning 17, and she plans on spending it with her friend Phyllis (Lucy Grantham). They’re planning on attending a Bloodlust concert, but they make a stop in the city to score some grass. They run into Junior (Marc Sheffler), who promises them Columbian weed and takes them up to his place. There, the girls meet Krug (David Hess), Weasel (Fred Lincoln), and Sadie (Jeramie Rain), who’ve recently escaped from prison. Under Krug’s leadership, they kidnap the girls and take them to the woods to torture and eventually kill them. Meanwhile, John (Richard Towers) and Estelle Collingwood (Eleanor Shaw) get worried after Mari doesn’t return home. The local sheriff (Marshall Anker) and deputy (Martin Kove) set off to find the girls but to no avail. Soon, the Collingwoods learn what’s happened after the gang arrives at their home and plan their revenge.

     

    Review

    The Last House on the Left is an effectively shocking film that certainly earns its reputation and controversy. The extremely low budget and lack of recognizable names help make the film feel more authentic and raw. Given his lack of experience at the time, Craven’s direction is still top-notch and you can see the potential. Also, for a cast of relative unknowns, everyone delivers a solid performance, the standouts being Hess, Lincoln, Cassel, and Grantham. Despite having no prior acting experience, David Hess is a force to be reckoned with, exuding charisma and intensity. Fred Lincoln is effectively sleazy as Weasel, and Cassel and Grantham are likable and deserve credit for what they endure. The score, also by Hess, helps set a somber mood, and the oddly upbeat songs offset the more gruesome sequences. Plus, many of the songs are insanely catchy and will stick with you for a while.

    Of course, the filmmakers have admitted to taking the plot from 1960’s The Virgin Spring, but I won’t fault them. Plenty of movies have used similar plots from other films, and it can work if it’s done well. Thankfully, Last House stands on its own very well, though the film isn’t perfect, particularly when it comes to tone. For every disturbing and graphic sequence, there’s an out-of-place comedic scene involving either the parents or the bumbling cops. I get that they wanted to offset the violence with more lighthearted material, but it felt jarring and was distracting. That being said, the violent scenes are presented in such a gruesome and realistic fashion that they stand out more. The film has a message about how we’re desensitized to violence and how good people can be driven to it. Overall, The Last House on the Left is effective if somewhat flawed.

     

    Buy The Last House on the Left from Amazon: https://amzn.to/3aHnYIB

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  • Troll (1986)

    Troll (1986)

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    Well before meeting and working with Charles Band, special effects designer John Carl Buechler got his start with Roger Corman. He’s worked on the special and makeup effects for Corman on films like Forbidden World, Sorceress, Love Letters, and Deathstalker. While working on 1982’s Android, Buechler presented Corman a treatment for a film about an evil troll running amok. Corman passed on the idea, so Buechler held onto it for years until he started working for Band years later. Buechler presented the treatment to Band, saying he wanted to direct, and Band agreed to finance the project. However, Buechler found himself busy working on the effects for other Band productions, including Trancers, From Beyond, and Ghoulies. As such, he handed off scriptwriting duties to journalist/screenwriter Ed Naha, who coincidentally had also worked with Corman. Finally, after so many years, Buechler got to direct the 1986 fantasy horror film Troll.

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    Synopsis

    The Potter family has recently moved into their new San Francisco apartment, and things seem normal at first. While exploring the building, young Wendy (Jenny Beck) is attacked by an evil troll wielding a magic ring. The troll, known as Torok (Phil Fondacaro), uses the ring to disguise himself as Wendy and blend in. While parents Harry Sr. (Michael Moriarty) and Anne (Shelley Hack) are duped, Harry Jr. (Noah Hathaway) is suspicious. Soon, Torok sets his plan in motion, using his ring to turn the tenants into pods that sprout various creatures. Harry Jr. seeks advice from neighbor Eunice St. Clair (June Lockhart), who reveals she’s a witch who fought Torok. Eventually, Torok’s influence starts turning the apartment into a fantasy world that threatens to consume humanity and take control. Harry Jr. must venture into the fantasy world, save his sister, and stop Torok before it’s too late.

     

    Review

    Much like the titular character, Troll is an odd little thing, yet that’s what makes it so interesting. For one, this has one of the most eclectic casts you could ever imagine, especially for the relatively low budget. There’s The NeverEnding Story‘s Noah Hathaway, classic actress June Lockhart, character actor Michael Moriarty, Sonny Bono, and even Julia Louis-Dreyfus! Indeed, years before she appeared in National Lampoon’s Christmas Vacation and Seinfeld, Julia Louis-Dreyfus was turned into a forest nymph. In fairness, everyone in the cast does do a great job, particularly Hathaway, Lockhart, and Phil Fondacaro in dual roles. He plays the titular Torok, as well as a human character named Malcolm Mallory, an English teacher suffering from leukemia. To his credit, Fondacora does an amazing job showing a real depth you wouldn’t expect in this kind of movie. Plus, it must’ve been tough working in that troll costume.

    For a first-time director, Buechler does a surprisingly good job behind the camera, thanks in part to cinematographer Romano Albani. Once Torok’s influence starts spreading, there’s tons of fog and moody lighting that creates a creepy and foreboding atmosphere. The creature effects are also top-notch, Torok’s design, in particular, is a highlight, and there’s some stop motion animation. I’d say my only problem is that Troll doesn’t seem to know what audience it’s made for. It’s too dark for kids, but it’s also too ridiculous for adults, so the somewhat inconsistent tone makes it confusing. Still, the weird tone, the out there creatures, and the eclectic cast makes this stand out all the more. It may not appeal to everyone, but it’s such a weird oddity that it’s worth discovering, preferably with drinks. Overall, Troll is an enjoyably strange film with plenty of charm to be found.

     

    Buy Troll from Amazon: https://amzn.to/3btuFPH

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  • One Hour Photo (2002)

    One Hour Photo (2002)

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    After studying cinema and cinematography at Ithaca College, Mark Romanek got his first job working with filmmaker Brian De Palma. He worked as second assistant director on De Palma’s 1980 film, Home Movies, where he met actor Keith Gordon. The two worked together on what would be Romanek’s first film, 1985’s Static, leading to a music video directing career. Some notable artists he worked with included Red Hot Chili Peppers, Nine Inch Nails, Madonna, and Taylor Swift. His most critically acclaimed music video was for Johnny Cash’s cover of “Hurt”, described as his most personal and moving. Around the same time in 2002, Romanek decided to return to feature films nearly two decades after his debut. Inspired by ‘lonely man’ films like 1976’s Taxi Driver, he decided to create a stalker thriller involving photography. The result was 2002’s One Hour Photo starring the late Robin Williams at his most atypical.

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    Synopsis

    Sy Parrish (Williams) is a loner and perfectionist who’s been working at a one-hour photo kiosk for twenty years. He takes a particular interest in the Yorkin family, going so far as to plaster their pictures on his wall. He manages to develop a friendship between Nina (Connie Nielsen) and her son Jake (Dylan Smith) through subtle manipulation. However, things start going wrong for Sy when his boss Bill (Gary Cole) fires him for several offenses. Also, his idyllic view of the Yorkins is crushed upon learning that husband Will (Michael Vartan) is having an affair. As retaliation, he sends the pictures of Will and his mistress Maya (Erin Daniels) to Nina and photographing Bill’s daughter. Eventually, Sy goes so far as to confront Will and Maya in their hotel room and threatens physical violence. The police are on his trail, but will they be able to stop Sy?

     

    Review

    One Hour Photo mostly succeeds as a psychological thriller largely thanks to Robin Williams’ haunting performance as Sy Parrish. Perfectly treading the line between sympathetic and creepy, you can’t help but feel sorry for him despite what he does. At the same time, the film acknowledges that what he’s doing is wrong, but also makes you understand his reasoning. His performance alone makes the film worth watching, but that’s not to say the rest of the cast is lacking. Nielsen, Vartan, and Smith have great chemistry with each other and come off as a genuinely loving family. Cole also stands out as the manager who’s stern and slightly cold but is just being practical as an employer. Romanek’s writing and directing are solid, the music video style editing and cinematography help give off an unsettling feel. For not directing a feature in so long, Romanek’s work is impressive.

    However, for all of its strengths, One Hour Photo also has plenty of faults that do hamper its overall quality. For one, as unsettling as the film comes off, it also doesn’t quite go far enough with its premise. I’m not saying this film should’ve gone into Saw or Hostel territory, but it feels like a soft R-rated film. Also, we never learn why Sy specifically targets this family and are only given the slimmest of backstories. Granted, such details aren’t entirely necessary, especially when most obsessive behaviors have no rhyme or reason behind them. With all that said, this is still a fantastic psychological thriller with themes of wanting to belong and find happiness. If nothing else, the film shows how dynamic Robin Williams was as an actor, able to tackle more than comedy. Overall, One Hour Photo is a mostly effective thriller about a sympathetic stalker.

     

    Buy One Hour Photo from Amazon: https://amzn.to/3a3xhlY

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  • Bloodstone: Subspecies II (1993)

    Bloodstone: Subspecies II (1993)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ collapsed=”off” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Despite some difficulties behind the scenes, the first Subspecies was another bonafide for the still relatively young Full Moon Entertainment. Much like Puppet Master and Trancers before it, this would be the start to one of their most popular franchises. The next two entries would be shot back-to-back with director Ted Nicolaou returning to helm these and every other entry. Much of the original cast and crew returned except for a few replacements, namely the female lead and effects crew. Makeup effects artist Greg Cannom moved on to bigger projects, including Bram Stoker’s Dracula, Mrs. Doubtfire, The Mask, and Titanic. Lead actress Laura Tate refused to return due to how rough the shoot for the first film was. In her place, they cast relative newcomer Denice Duff, whose prior credits include episodes of Northern Exposure and Matlock. Two years after the first film, Bloodstone: Subspecies II was finally released.

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    Synopsis

    Picking up directly after the first film, the villainous vampire Radu (Anders Hove) is restored thanks to his diminutive minions. Now alive again, Radu kills his brother Stefan while he sleeps, only to retreat when the sun rises. At sunset, Michelle (Denice Duff) wakes up to find her lover Stefan dead, and she takes off with the Bloodstone. Once in Bucharest, she calls her sister Becky (Melanie Shatner), who soon arrives in Romania to help her. Meanwhile, Radu seeks out his “Mummy” (Pamela Gordon) for help, and she tells him to retrieve the Bloodstone from Michelle. Once she arrives, Becky gets help from police lieutenant Marin (Ion Haiduc) and US embassy agent Mel (Kevin Blair). Eventually, Becky learns the truth about Michelle: she has become a vampire and is now Radu’s fledgling. Accompanied by Mel and Professor Popescu (Michael Denish), Becky seeks to hunt Radu and save her sister.

     

    Review

    Bloodstone: Subspecies II is the rare sequel that not only continues what worked previously but also expands upon it further. Like the last film, this takes full advantage of the Romanian locations, from the ancient castles to the nearby towns. Plus, Anders Hove once again delivers a great performance as Radu, channeling his inner Nosferatu and giving him some pathos. Also, whereas Laura Tate was somewhat flat in the last film, Denice Duff is a welcome change as Michelle. She adds a real human quality to the role, making the character more sympathetic and conflicted with her vampirism. Melanie Shatner also shines as Becky, the sister who’s determined to rescue her sister no matter what happens. Supporting players Haiduc, Blair, and Denish also have their moments, Denish in particular as the eccentric professor turned vampire hunter. All in all, the cast here is a step up from the previous entry.

    As always, Nicolaou is a great director, incorporating dynamic lighting and harsh shadows to establish a foreboding mood. While Cannom’s effects work is sorely missed, the effects done by Wayne Toth and Norman Cabrera are still impressive. Speaking of effects, those expecting the return of the titular subspecies will be disappointed that they’re only onscreen very briefly. Starting with Bloodstone: Subspecies II, the title characters gradually get less and less screentime, which is good in this instance. Aside from bringing Radu back to life, they don’t factor into the plot, so nothing is lost with their absence. I’d say my main critique is that the pacing drags in parts, not much happening for long stretches. Even still, this is not only a fantastic sequel but yet another fantastic vampiric tale with more depth than expected. Overall, Bloodstone: Subspecies II is another highpoint in the Full Moon catalog.

     

    Buy Bloodstone: Subspecies II from:

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

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    Where to watch Bloodstone: Subspecies II (1993)

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  • Dolls (1987)

    Dolls (1987)

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    After the critical and commercial success of Re-Animator, director Stuart Gordon was offered a three-picture deal at Empire Pictures. His next film was From Beyond, which was released in 1986, but it wasn’t exactly his direct follow-up. Before filming his second H.P. Lovecraft adaptation, Gordon went off to shoot a different film based on some real-life experiences. While in college, Gordon found himself locked up in a room full of Victorian-era porcelain dolls, which freaked him out. Also, like most of his productions, Charles Band had presented a concept and a poster for a killer doll movie. Screenwriter Ed Naha turned that concept into a story involving a family trapped in an old house with killer dolls. Much of the cast and crew Gordon had worked with previously returned, though the film wouldn’t be released until 1987. That film would become the underrated gem, Dolls.

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    Synopsis

    On a vacation in England, David (Ian Patrick Williams), Rosemary (Carolyn Purdy-Gordon), and Judy Bower (Carrie Lorraine) get lost. With their car stuck in the mud and a raging storm, they decide to take shelter in a nearby house. They soon meet the residents, eccentric dollmaker Gabriel Hartwicke (Guy Rolfe) and his equally eccentric wife Hilary (Hilary Mason). Before long, hitchhikers Isabel (Bunty Bailey) and Enid (Cassie Stuart), and their driver Ralph (Stephen Lee) show up. The Hartwickes agree to let them all stay for the night, but before long, strange things start happening. Isabel ends up getting killed and dragged off, which Judy witnesses, so she gets Ralph to help her investigate. They discover the secret behind the Hartwickes: they are witches who have brought their dolls to life to kill. Unfortunately, no one else believes them, so it’s up to Judy and Ralph to stop them.

     

    Review

    While lacking the over-the-top gore and dark humor of his previous films, Dolls is still another great Stuart Gordon chiller. For this movie, Gordon went for more of a fairy tale/haunted house vibe, focused on a small child. Like many fairy tales, Dolls is a morality tale, where the bad get punished and the good get spared. In terms of bad, there’s the girl’s hateful father and stepmother, and the two hitchhikers looking to rob the Hartwickes. Each of them gets their comeuppance, and it’s satisfying to see each of them get their just desserts. Ian Patrick Williams and, especially, Carolyn Purdy-Gordon do a great job playing characters that you just love to hate. The two hitchhikers, Bunty Bailey & Cassie Stuart, are fun riffs on 80s punk girls, though they don’t do much. Stephen Lee and Carrie Lorraine make a good and likable pair as well.

    Guy Rolfe and Hilary Mason are the real standouts, acting both warm and friendly, as well as dark and sinister. However, the true stars of the show are the dolls themselves, brought to life thanks to stop-motion animator David Allen. Though they don’t have much screentime, it’s impressive to see them move about and go on their killing spree. It’s pretty easy to see how this film led to Charles Band coming up with the concept for Puppet Master. Also, the makeup effects from the always talented John Carl Buechler are quite good, yet some don’t hold up well. Fans of Re-Animator and From Beyond might be disappointed that this lacks the weirdness and crazies of those two films. Even still, this is worth a watch thanks to its chilling atmosphere, solid performances, and ability to make dolls creepy. Overall, Dolls is an underrated gem from a talented cult filmmaker.

     

    Buy Dolls from Amazon: https://amzn.to/2WKS4aR

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    This review is dedicated to the memory of cult filmmaker Stuart Gordon, who passed away on March 24, 2020, at the age of 72.

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  • The Invisible Man (2020)

    The Invisible Man (2020)

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    In 1897, famed science-fiction author H.G. Wells wrote the novel, The Invisible Man, about a scientist who turns himself invisible. Years later, Universal Studios saw great success with their series of monster movies in the 1930s, including Dracula and Frankenstein. As part of this series, the book was adapted in 1933 directed by James Whale and starring Claude Rains. Following its success, many sequels were made during the 1940s, featuring actors like Vincent Price and John Barrymore among others. The character proved so popular that various other film and TV adaptations have been made over the years. Fast-forward to 2017’s The Mummy, which was to be the start of Universal’s Dark Universe, a cinematic universe about monsters. However, the series was built on hold following its critical and financial failure, and focus was shifted to individual films. The first of these is Leigh Whannell’s 2020 film, The Invisible Man.

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    Synopsis

    Cecilia Kass (Elisabeth Moss) has just escaped from an abusive relationship from her ex-boyfriend, Adrian Griffin (Oliver Jackson-Cohen). Now living with her childhood friend James Lanier (Aldis Hodge) and his daughter Sydney (Storm Reid), Cecilia seems safe. However, she’s still paranoid given what she was put through, but things change when it’s reported that Adrian killed himself. Strange things start happening, including Cecilia being drugged, her sister leaving over email, and her being blamed for hitting Sydney. Cecilia tries convincing people that Adrian faked his death and has become invisible, but no one believers her. She starts investigating his house for proof that he’s found a way to make himself invisible and she’s not crazy. Soon enough, Adrian turns up and reveals he’s been using his invisibility to ruin her life after she left him. Will Adrian be stopped, and what will become of Cecilia?

     

    Review

    The Invisible Man is proof that you don’t need a large budget to make an effectively tense horror film. Leigh Whannell, coming off the underrated Upgrade, once again shows his potential as a filmmaker and a name to watch. While his previous outing was more fast-paced and action-packed, this one is much more of a slow burner. Some people might be put off by the much slower pace, but it’s those quieter moments that make it work. Elisabeth Moss gives an amazing performance, perfectly blending fear with raw intensity, and helps keep the film grounded. You instantly sympathize with her and want to see her fend off Adrian despite what’s happening to her. The supporting cast, including Hodge, Reid, Jackson-Cohen, Harriet Dyer, and Michael Dorman have their moments and perfectly complement Moss’s performance. It’s also a clever modernization of the story originally created by H.G. Wells.

    What’s interesting about this version of The Invisible Man is its themes of manipulation, abuse, and psychological effects. It plays on the fear of someone coming after you long after distancing yourself as far away as possible. In an age where abuse victims are more vocal and wanting justice against their abusers, this film is extremely relevant. Thankfully, this film doesn’t focus solely on its message or themes but rather weaves it into the plot. Admittedly, some plot elements don’t make sense or create plot holes, but those don’t ruin the overall experience. This is a very well-written and intelligent psychological horror film that plays on real-world fears that audiences can identify with. Whether or not this starts a new series of Universal monster movies, it’s still successful as its own self-contained story. Overall, The Invisible Man is a fantastic modernization of a classic tale.

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