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  • Little Nicky (2000)

    Little Nicky (2000)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review was requested by YouTuber Rogue, Internet Man. If you’d like to subscribe to Rogue’s YouTube channel, click the buttons below.” text_orientation=”center” button_one_text=”Rogue on YouTube” button_one_url=”https://www.youtube.com/@RogueInternetMan” logo_image_url_last_edited=”off|desktop” _builder_version=”4.22.1″ _module_preset=”default” title_level=”h2″ background_color=”#ff0000″ background_enable_image=”off” background_size=”contain” custom_button_one=”on” button_one_bg_color=”#ff0000″ custom_button_two=”on” button_two_bg_color=”#E02B20″ custom_margin=”||||false|false” custom_padding=”15px||15px||false|false” global_colors_info=”{}” logo_image_url__hover_enabled=”off|desktop”][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]After the financial success of Billy Madison and Happy Gilmore, Adam Sandler became one of Hollywood’s most prominent comedic actors. Even though he wasn’t a hit with critics, audiences lined up to see the latest Sandler comedy. Between 1998 and 1999, Sandler’s movies grossed over $100 million, with Big Daddy making $235 million alone. In 1999, Sandler started his production company, Happy Madison Productions, to produce movies for himself and his SNL friends. The studio’s first film, Deuce Bigalow: Male Gigolo, was a hit, making over $92 million against a $17 million budget. For his next project, Sandler wanted to do something more ambitious that retained elements from his earlier comedies. With a budget of around $80-85 million, Sandler hired Steven Brill, who previously helmed 1995’s Heavyweights, to direct. In November 2000, Sandler’s most expensive production at the time, Little Nicky, debuted on theater screens across the globe.

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    Synopsis

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

     

    Review

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

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

     

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

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

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  • The Prey (1983)

    The Prey (1983)

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

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

    Synopsis

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

     

    Review

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

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

     

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

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

    [/et_pb_text][et_pb_code _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch The Prey (1983)

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  • 10 to Midnight (1983)

    10 to Midnight (1983)

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

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

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

     

    Review

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

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

     

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

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

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    Where to watch 10 to Midnight (1983)

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  • Gran Turismo (2023)

    Gran Turismo (2023)

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

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

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

     

    Review

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

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

     

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

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

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  • The Final Terror (1983)

    The Final Terror (1983)

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

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

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

    Synopsis

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

     

    Review

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

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

     

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

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

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    Where to watch The Final Terror (1983)

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  • Demonic Toys: Jack-Attack (2023)

    Demonic Toys: Jack-Attack (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]While not as popular as the Puppet Master series, Demonic Toys still proved to be a Full Moon hit. After the crossover, Dollman vs. Demonic Toys, the SciFi Channel released a loosely connected sequel, Puppet Master vs. Demonic Toys. In 2010, nearly 20 years after the original, Full Moon released Demonic Toys 2, written and directed by William Butler. However, it wouldn’t be until a decade later that the series got a soft reboot with a spin-off. In 2021, William Butler directed Baby Oopsie, which focused on the evil baby doll from the original movie. Initially released in parts as a mini-series, the film proved popular enough that two sequels were released the following year. During a Full Moon Universe video, Charles Band announced another spin-off focusing on the evil Jack-In-The-Box toy, Jack-Attack. Now comes the latest chapter in the killer puppet series, Demonic Toys: Jack-Attack!

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    Synopsis

    After witnessing the death of her foster mother, young Lily (Sofia Castellanos) is staying at an orphanage. CPS agent Audrey Haines (Mabel Thomas) informs the director, Mrs. Culver (Donna Steele), that Lily will be moving out. Despite Mrs. Culver’s warning about Lily’s arrested development, Audrey takes her to live with the Yost family. Tyler (Sean Ramey) and his wife Kate (Christine Brunner) welcome the mute Lily into their home with open arms. Lily soon meets her new siblings, Mike (Carson Polish) and Dewey (Taylor Abigail Rice), who’s a would-be influencer. Despite the warm welcome, Lily is still traumatized and keeps seeing images of an evil clown with a Jack-in-the-box. Unfortunately, the toy of her nightmares ends up at her new home, releasing the demonic toy, Jack Attack. As Audrey rushes to save her, Lily must learn to confront her fears and survive against the tiny terror.

     

    Review

    Admittedly, I didn’t know what to expect when I started playing the screener copy of Demonic Toys: Jack-Attack I received. Aside from the original film and the first crossover, I had yet to see the sequel or the Baby Oopsie spin-off. Unfortunately, this movie references the events of that film quite a bit, so you need to see it to understand. Considering the quality of most modern Full Moon movies, I was genuinely surprised at how much I liked this one. The cast performs well, with Sofia Castellanos and Mabel Thomas being the standouts. Admittedly, Taylor Abigail Rice is pretty annoying, but it feels like that’s how her character was written. Also, the film has some decent gore effects, and a few of the death scenes are surprisingly gruesome. Plus, at only an hour long, the movie goes by fast and never feels bogged down with unnecessary padding.

    Sadly, the movie still has some of the same issues as most modern Full Moon films. For one, the overuse of stock music, stock footage, stock sound effects, and fake websites is distracting. Tonally, the movie feels like a Hallmark Channel original drama that has weird horror moments thrown in. This might be more of a technical problem, but there are some odd audio issues with balancing and echo. It doesn’t help that there is some obvious ADR added in post-production. While Jack Attack’s design looks close to how he initially looked, I’m not too fond of his new high-pitched laugh. Also, while I praised the practical effects, some noticeable CGI is sprinkled in. To give William Butler credit, there is some decent camera work and a good use of light and shadow. Overall, Demonic Toys: Jack-Attack has its issues, but it’s a decently entertaining killer doll movie.

     

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

    Buy Demonic Toys: Jack-Attack from Amazon: https://amzn.to/40Otjfd.

    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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  • A Nymphoid Barbarian in Dinosaur Hell (1990)

    A Nymphoid Barbarian in Dinosaur Hell (1990)

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    While working on 1988’s Mutant War, a cast member asked director Brett Piper if they could produce a film together. Piper agreed so long as the actor could raise the money, which they did, so the two started brainstorming. They adapted a script Piper had written years earlier called Dark Sun, which they retitled The Dark Fortress. Piper drew inspiration from classic adventure films, most notably ones that featured effects from legendary stop-motion animator Ray Harryhausen. The movie was shot in and around New Hampshire and Massachusetts with a tiny budget. During production, Piper remembered a conversation with a distributor, who suggested minimal dialogue would make the film more commercially appealing. After filming wrapped, Troma was interested in distributing the movie, but negotiations stalled until both parties agreed. Troma recut the film, shot a new opening, and retitled it A Nymphoid Barbarian in Dinosaur Hell.

    [/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=”30″ bar_bg_color=”#E09900″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After a nuclear armageddon ravages the land, the earth is filled with radioactive mutants and long-dormant dinosaurs. Among those not affected by the radiation is the young nymphoid Lea (Linda Corwin), who is searching for a home. One day, she gets attacked by some barbarians until a local named Marn (Paul Guzzi) saves her just in time. They fall in love and spend the day at the beach when they attract the attention of Clon (Alex Pirnie). With his group of reptilian henchmen, he bests Marn in battle and kidnaps Lea for his nefarious purposes. Marn is nursed back to health by an old man (Al Hodder), who gives him a pistol to fight Clon. While Marn rushes to save Lea, she manages to escape, only to face other mutants and monsters before being recaptured. Will Lea survive or die as a nymphoid barbarian in dinosaur hell?

     

    Review

    With a title like A Nymphoid Barbarian in Dinosaur Hell, you’d expect a fun, if dumb, sci-fi B-movie. Sadly, the movie doesn’t live up to its ridiculous title and poster but instead is a dull excuse for entertainment. Granted, Troma has a history of retitling their films to make them sound more exciting than they actually are. To his credit, writer/director Brett Piper wanted to make a low-budget Ray Harryhausen-style movie, and he did it. The occasional stop-motion dinosaur/creature is a treat, even if it’s not the best-looking stop-motion I’ve seen. Also, the costumes and variety of monsters are impressive, given the limited budget, so kudos to the filmmakers there. It’s a shame that more work was put into these aspects than the script, the acting, and the pacing. Again, I wasn’t expecting much, but I didn’t expect this.

    As mentioned in my introduction, Piper intentionally included minimal dialogue to reach potential overseas markets. Sometimes, having very little conversation can work if the film’s visuals and pacing are handled well. Sadly, the visuals are about what you’d expect from this budget, and the pacing is beyond glacial. To emphasize this, I had to rewind the movie at least two or three times to remember what happened. The movie clocks in at 82 minutes, but the sluggish pacing makes it feel like the longest 82 minutes ever. There’s nothing to say about the acting since hardly anyone talks, and when they do, it’s okay but nothing special. While it’d be easy to lambast Brett Piper for making such a dull movie, I blame Troma for misrepresenting it. Overall, A Nymphoid Barbarian in Dinosaur Hell is too dull of a movie to have such a hilariously awesome title.

     

    Buy A Nymphoid Barbarian in Dinosaur Hell from Amazon: https://amzn.to/45tucsr.

    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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  • Blue Beetle (2023)

    Blue Beetle (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.0″ _module_preset=”default” global_colors_info=”{}”]In 1939, comic book writer Charles Nicholas Wojtkoski introduced audiences to The Blue Beetle in Mystery Men Comics #1. While originally published by Fox Comics, the character would move to Charlton Comics, which DC Comics purchased in the 1980s. The first Blue Beetle was Dan Garret, followed by Ted Kord’s introduction in Captain Atom #83 in 1966. In 2006, DC introduced audiences to the third and final Blue Beetle, Jaime Reyes, in Infinite Crisis #3. In late 2018, Warner Bros. and DC started developing a Blue Beetle movie with Gareth Dunnet-Alcocer writing the script. The studio hired Ángel Manuel Soto, whose 2020 film Charm City Kings made a splash at Sundance, to direct. Though initially slated for an HBO Max release, the film was given a theatrical release in 2021. After an extensive shooting in mid-2022, Blue Beetle landed in theaters in August 2023.

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    Synopsis

    Returning home from graduating college, Jaime Reyes (Xolo Maridueña) finds his family has been struggling while he was away. It turns out his father, Alberto (Damián Alcázar), lost his car mechanic job, and the house is being foreclosed on. Unfortunately, the best job Jaime gets is working as wait staff at the mansion of Victoria Kord (Susan Sarandon). While he and his sister Milagro (Belissa Escobedo) are fired, Jaime’s luck changes after meeting Victoria’s niece Jenny (Bruna Marquezine). She promises to meet him at Kord Tower, but when he does, she hands him a box to guard. Despite her warnings, Jaime opens it upon returning home, releasing a blue scarab that forms a suit around him. Victoria wants the scarab for her OMAC project and sends her bodyguard, Ignacio Carapax (Raoul Max Trujillo), to get it. With everything at stake, Jaime must accept his role as The Blue Beetle!

     

    Review

    Between Shazam! Fury of the Gods and The Flash, 2023 has not been a good year for DC. And now comes Blue Beetle, a movie based on a niche superhero that only hardcore comic readers are familiar with. I didn’t have high expectations going into this one, especially given how recent superhero movies have been. While there’s nothing here that we haven’t seen before, I was surprised by how much I enjoyed this one. For one, Xolo Maridueña makes for a stellar lead, having a quiet yet relatable charm that makes him instantly likable. You genuinely want to see him succeed, and he goes through a great arc of learning to be a hero. The rest of the family do a fine job, with the biggest standouts being George Lopez and Adriana Barraza. Lopez effectively balances the humor and drama, and Barraza has some memorable moments.

    Bruna Marquezine makes for a decent love interest and has good chemistry with Maridueña, but she can be somewhat bland. Susan Sarandon is ok as the film’s sort-of villain, but Raoul Max Trujillo steals the show, especially with his backstory. Unfortunately, as great as Maridueña is, he loses his human quality once he’s in the suit and behind a mask. It doesn’t feel like he’s there, but more that we’re watching stunt performers or a CGI character with his voice. As fun as the superhero stuff was, the movie’s best parts were all the scenes with Jaime’s family. It helps that, in the film’s climax, the family gets involved in the action and works together to help Jaime. Some of the film’s runtime could’ve been trimmed, but you could say that about many movies today. Overall, Blue Beetle isn’t the next great superhero epic, but it’s a decent watch.

     

    Buy Blue Beetle from Amazon: https://amzn.to/3AoN81H.

    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 House on Sorority Row (1983)

    The House on Sorority Row (1983)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.0″ _module_preset=”default” global_colors_info=”{}”]

    After graduating from NYU’s film program, Mark Rosman got an idea for a movie when he returned home to LA. Before attending NYU, he was part of a fraternity at UCLA, and he based his concept on his college experiences. Rosman’s script focused on sorority sisters being threatened after a prank gone wrong but were more than just victims. After gathering a budget of $300,000, Rosman started casting in New York and Los Angeles before filming began in 1981. The movie was shot on location in and around Pikesville and the University of Maryland, though the production struggled financially. After principal photography wrapped, Film Ventures International picked the film up for distribution and gave additional funds for post-production. Richard Band, who later scored Re-Animator and Puppet Master, composed the score with the London Philharmonic Orchestra. Following a limited 1982 release, The House on Sorority Row hit theaters nationwide in 1983.

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    Synopsis

    A group of sorority sisters is celebrating their graduation when their housemother, Mrs. Slater (Lois Kelso Hunt), spoils it. One of the girls, Vicki (Eileen Davidson), suggests they pull a prank on her that she’ll never forget. Unfortunately, things go wrong, and Mrs. Slater is shot and killed, so the girls hide her body in the pool. While fellow sister Katey (Kathryn McNeil) is distraught and wants to call the authorities, Vicki persuades her not to. Before long, an unknown assailant kills off the girls one by one using Mrs. Slater’s walking cane. Before long, Katey gets in touch with Dr. Beck (Christopher Lawrence), who had been treating Mrs. Slater years earlier. However, Katey soon learns more about her former housemother than she could have ever expected. Nothing can prepare you for what happens when she fights back in The House on Sorority Row!

     

    Review

    On the surface, The House on Sorority Row seems like any standard slasher film that ticks off all the checkboxes. You’ve got an isolated setting with the sorority house, plenty of young women to pick off, and some gruesome kills. What separates this from other slashers is that the victims are, in a way, responsible for what’s happening to them. Sure, you feel bad for the girls getting killed, but you can’t help but feel like they might’ve deserved it. Seeing the rational Katey and the vindictive Vicki argue over how to handle the situation drives this point home. It helps that Kathryn McNeil and Eileen Davidson give solid performances and make these characters feel real. The other sorority sisters also do an excellent job of feeling like a group of girls who’ve been long-time friends. All around, the acting is better than you’d expect from this kind of movie.

    While this is a slasher film, it could almost be seen as a thriller on par with Brian De Palma. Just when you think the girls have gotten away with the murder, something comes along to jeopardize it. Plus, the plot has so many twists and turns that it keeps you engaged and constantly guessing. Admittedly, the movie goes off the rails in the last twenty minutes when the killer’s identity is revealed. Thankfully, Mark Rosman and cinematographer Tim Suhrstedt keep the suspense and tension going as it turns into a cat-and-mouse game. Also, Richard Band’s score is fantastic, adding a surreal, dreamlike quality to the film, enhancing some trippy moments. Though I wouldn’t call this one of the greatest slashers ever, it’s still a well-made and well-acted thriller worth seeing. Overall, The House on Sorority Row deserves its cult status as an underrated slasher classic.

     

    Buy The House on Sorority Row from Amazon: https://amzn.to/47z2blc.

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

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    Where to watch The House on Sorority Row (1983)

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  • The Last Voyage of the Demeter (2023)

    The Last Voyage of the Demeter (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.22.0″ _module_preset=”default” global_colors_info=”{}”]Aspiring screenwriter Bragi Schut Jr. worked at a model shop in Hollywood and became fast friends with the model makers. He loved looking at their past work, but what caught his eye was a schooner used for Bram Stoker’s Dracula. This inspired him to write an Alien-like movie set on the doomed ship, The Demeter, from Bram Stoker’s novel. Unfortunately, the project languished in development hell for decades, with various studios, directors, and actors coming and going. Directors like Robert Schwentke, Marcus Nispel, Stefan Ruzowitzky, David Slade, and Neil Marshall were all attached at some point. It wasn’t until 2019 that André Øvredal, who previously helmed Scary Stories to Tell in the Dark, was hired. The movie was shot in Berlin and Malta between June and October 2021 with a $45 million budget. After languishing for years, The Last Voyage of the Demeter finally hit theaters in August 2023.

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    Synopsis

    The Demeter has docked in Bulgaria to transport valuable cargo to London, though the villagers refuse to help load it. A local doctor named Clemens (Corey Hawkins) overhears that the Demeter needs a crew, so he volunteers. Though initially rejected, the ship’s captain, Elliot (Liam Cunningham), welcomes Clemens aboard after saving Elliot’s grandson Toby (Woody Norman). While investigating the ship, Clemens finds one of the cargo crates has broken open and finds a young woman inside. He uses his medical knowledge to revive her through blood transfusions, but everyone else is skeptical about the stowaway. The young woman, Anna (Aisling Franciosi), wakes up and tries to warn the crew about a monster on board. Soon, a mysterious figure picks off crew members individually, which Anna reveals is the legendary vampire Dracula (Javier Botet). Will the crew survive, or will this bloodsucking monster ensure this is Demeter’s last voyage?

     

    Review

    The Last Voyage of the Demeter is a very atypical Dracula movie in that Dracula isn’t the main character. Sure, Dracula is in the film, but the focus is more so on the crew of the ship. Some audiences might be disappointed that Dracula isn’t the central focus, but it’s an exciting take on the source material. It helps that the crew comprises some fantastic actors, particularly Corey Hawkins, Liam Cunningham, and David Dastmalchian. Hawkins makes for a tremendous lead, Cunningham gives his usual commanding presence, and Dastmalchian shows versatility in his performance. Aisling Franciosi, who was also in Game of Thrones with Cunningham, performs excellently as a victim-turned-hero. Even though he has no lines, Javier Botet makes for an excellent Dracula, and his design is familiar yet unique. Seeing his transformation from a sickly creature to a demonic monster is interesting.

    André Øvredal’s is fantastic, giving the movie a gothic feel reminiscent of old Hammer films of the 50s and 60s. Even the daytime scenes have a sense of dread, especially with the surviving characters reflecting on what happened. Also, the practical effects used to create Dracula are impressive, and I appreciate that they hide him until needed. Admittedly, the climax is hampered by some hastily thrown-in CGI, but it doesn’t ruin the overall tension. Without getting into spoilers, the ending feels out of place, like it clashes with the tone they established early on. Lastly, a few moments could’ve been trimmed from its under two-hour runtime, but the length isn’t a huge deterrent. This is still a unique and bold take on the classic character that horror fans will undoubtedly enjoy. Overall, The Last Voyage of the Demeter isn’t perfect, but it’s better than most movies released in August.

     

    Buy The Last Voyage of the Demeter from Amazon: https://amzn.to/3YOyp9x.

    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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