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  • Gingerdead Man 2: Passion of the Crust (2008)

    Gingerdead Man 2: Passion of the Crust (2008)

    [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=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]Released in 2005, The Gingerdead Man was a surprise hit for the struggling Full Moon Features. Charles Band was so impressed that he gave William Butler, who wrote the original, the chance to direct the sequel. Previously, Butler made 2004’s Madhouse and 2007’s Furnace, both low-budget movies that ended up being very successful. Seeing an opportunity, Butler agreed to do the sequel but only if given complete creative control. After telling Charles that he wanted to crucify the Gingerdead Man, Charles was entirely on board. Butler brought on Muffy Bolding and Aaron Strongoni, who he worked with on his previous features, to help write the script. Unfortunately, they couldn’t get Gary Busey to return, so they hired the late John Vulich to voice the titular character. On the 4th of July, 2008, Gingerdead Man 2: Passion of the Crust made its way onto video store shelves.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”40″ bar_bg_color=”#E09900″ _builder_version=”4.18.0″ _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

    Times are tough at Cheatum Studios, a once prolific moviehouse known for making low-budget genre films. Kevin Cheatum (K-von Moezzi) has taken to try to keep the studio alive to honor his late father. The studio is currently in production of the 9th entry in their Tiny Terrors series, but things are going downhill. Meanwhile, Heather Crocker (Kelsey Sanders) brings the terminally-ill Tommy Hines (Joseph Porter) to visit the studio as his last wish. During the tour, former scream queen Polly Bonderhoof (Michelle Bauer) bring a box of baked good to the studio. Inside the box is the Gingerdead Man (John Vulich), who wanders the studio searching for victims for a transmigration spell. As the body count rises, Kevin orders everyone to evacuate the studio as he and Heather try to find Tommy. While fending off the Gingerdead Man, Tommy reveals himself as Kevin’s worst fear: an online movie critic!

     

    Review

    While it was no cinematic masterpiece, I thought The Gingerdead Man had its moments and made for decent entertainment. The sequel, on the other hand, was a chore to get through between the lousy acting and dated stereotypes. As much as the absence of Gary Busey hurts, John Vulich does a decent job doing a Busey-like voice. Also, genre fans will enjoy the cameos from people like John Carl Buechler, David DeCoteau, and Greg Nicotero. Speaking of genre veterans, Michelle Bauer has fun delivering corny sexual innuendos and acting like a sexpot. K-von Moezzi is fine as the bright-eyed and bushy-tailed producer trying to maintain his father’s legacy. Though pretty, Kelsey Sanders is bland as the obvious love interest, and Joseph Porter comes off a bit annoying. The cast seems to be having fun in an otherwise ridiculous movie, but it’s too bad the audience isn’t.

    In many ways, the film is similar to Troma’s Terror Firmer, about a movie shoot interrupted by a deranged killer. Both movies take potshots at the studios who made them, but Lloyd Kaufman’s film was much more intelligent and subtle. It also helps that Troma’s movie had more interesting characters, memorable kills, and a rebellious spirit only they could deliver. Here, the filmmakers try taking jabs at Full Moon Features, but it comes off as juvenile and a little mean-spirited. They even take jabs at people who criticize them, but they go for all the stereotypes you can think of. Also, for a movie called Gingerdead Man 2, the actual Gingerdead Man doesn’t factor much into the plot. At 82 minutes, the film feels padded as it struggles to reach feature length with its half-baked ideas. Overall, Gingerdead Man 2: Passion of the Crust isn’t very good. Go figure!

     

    Buy Gingerdead Man 2: Passion of the Crust 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 Last Horror Film (1982)

    The Last Horror Film (1982)

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    In 1978, New World Pictures released Starcrash, an Italian Star Wars knock-off featuring Caroline Munro and Joe Spinell. Two years later, they starred in the controversial 1980 horror film Maniac, a surprise box office hit. Around this time, Munro’s husband Judd Hamilton was making deals with Cannon Films to produce a sequel to Starcrash. While trying to find interest at the Cannes Film Festival in 1981, Hamilton and actor-turned-filmmaker David Winters had an idea. Using Cannes as the backdrop, they decided to make a film meant to bring Munro and Spinell back together. However, much of the filming was done guerilla style since the festival was going on and they couldn’t secure permits. After a limited theatrical run in 1982, the film faded into obscurity until Troma acquired the rights. In 2009, Troma released a restored director’s cut of the film, The Last Horror Film, on DVD.

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    Synopsis

    Vinny Durand (Joe Spinell) is a New York taxi driver who dreams of becoming a filmmaker despite his mother’s objections. Durand aspires to make the ultimate horror film starring the B-movie “queen of horror films” Jana Bates (Caroline Munro). To accomplish this, he buys a plane ticket to France, where Bates is attending the Cannes Film Festival. Unfortunately, every time he tries to reach out to Jana, Vinny is turned away by security and her producers. While this happens, people close to Jana, including her manager/ex-husband Bret (Glenn Jacobson), are murdered. Not only that, but the killer also films all the murders, like how Vinny films Jana wherever she goes. Unfortunately, the attendees think the murders are part of a publicity stunt despite Jana’s pleas for help. Will the killer’s identity be revealed, or will this end up being the last horror film for Jana Bates?

     

    Review

    While the final product is somewhat disjointed, The Last Horror Film is a fascinating mesh of horror and satire. First and foremost, Joe Spinell gives another captivating performance, showing he had the potential to be a leading man. He nails the part of a creepy stalker, but there’s a part of you that makes you sympathize with him. Even though he acts weird and comes off as delusional, his character has the drive to make his film. Caroline Munro is stunningly beautiful, and her scenes with Spinell are great moments of tension and suspense. Also, the filmmakers took full advantage of the location, showcasing the Cannes Film Festival on a grand scale. It’s a fascinating time capsule of what movies were being sold back in 1981 and the French locales. Given the lengths they had to go through to shoot in these locations, it’s impressive what they pulled off.

    However, as ambitious as the film is, this results in an inconsistent tone that makes the film feel disjointed. While there technically is a straightforward narrative, it feels like director David Winters just filmed whatever he wanted. The story of a crazed stalker chasing after his favorite actress would’ve been fine enough, but they try adding commentary. The movie references the attempted assassination of Ronald Reagan by John Hinckley Jr, which inspired the central plot. They also criticize then-modern horror films for being too gory, despite Spinell previously starring in Maniac, a notorious grisly movie. Admittedly, this satire does lead to an ending that comes out of nowhere that adds a clever twist. Gorehounds will probably be disappointed, but those who appreciate movies like Scream might find this interesting. Overall, The Last Horror Film is a slight mess, but it’s got two great leads and plenty of ambition.

     

    Buy The Last Horror Film from Amazon: https://amzn.to/3Tmbtdc.

    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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  • Alone in the Dark (1982)

    Alone in the Dark (1982)

    [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=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]

    Though he initially wanted to be a musician, Jack Sholder decided to switch career paths and become a writer. While attending the University of Edinburgh, Sholder took an interest in film and chose to pursue that further. Unfortunately, his college didn’t have a film department, so he had to train himself to operate various filmmaking equipment. Through some connections, Sholder got a job as an editor for New Line Cinema, a film distributor at the time. He became friends with founder Bob Shaye, who was impressed with how successful Friday the 13th was. After editing The Burning, Sholder came to Shaye with an idea for a slasher about escaped mental patients run amok. New Line Cinema wanted to start producing films rather than distributing them, so this would be their first. Despite some troubles during production, Sholder’s Alone in the Dark hit theaters in November 1982.

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    Synopsis

    Dr. Daniel Potter (Dwight Schultz) has accepted a job at an experimental psychiatric hospital under Dr. Leo Bain (Donald Pleasence). While most patients are free to wander the facility, the third-floor patients are contained behind an electric security door. One of these patients, war veteran Frank Hawkes (Jack Palance), believes that Potter killed the doctor before him. He recruits fellow patients Byron “Preacher” Sutcliff (Martin Landau) and Ronald “Fatty” Elster (Erland Van Lidth) to kill Potter. A freak power outage shuts off the hospital’s security system, allowing Hawkes, Preacher, and Fatty to escape into the night. They find their way to Potter’s house and stalk his wife Nell (Deborah Hedwall) and daughter Lyla (Elizabeth Ward). Soon enough, the patients start attacking, forcing the family to barricade themselves as they try to survive the night. They’ll quickly learn what happens when you’re alone in the dark.

     

    Review

    While it may not be as well-known as Halloween or Friday the 13th, Alone in the Dark is a gem. Jack Sholder shows a lot of promise for a first-time director, and it’s no surprise he had a successful career. He manages to create a real sense of dread and tension through the use of darkness and shadows. What helps to sell the fear is the cast, which includes some of the greatest character actors ever to live. Jack Palance dominates every scene he’s in as a hardened war veteran who will get his hands dirty if necessary. Martin Landau gives a wonderfully manic performance as a deranged former preacher who believes he’s doing God’s work. While he doesn’t say much, Erland Van Lidth also stands out as a lumbering creeper who seems to play dumb. These three make for some very effective slasher villains, especially Palance.

    As always, Donald Pleasance delivers an excellent performance as a psychologist with some odd treatment methods for mental illness. Dwight Schultz makes for a likable lead as he tries to use rationality and logic to stop the psychopaths. Like any good slasher, there’s some gore and nudity, but not as much as your typical slasher film. The minimal gore usage makes the more gruesome scenes even more shocking, and nudity doesn’t equal a good slasher film. The movie also has some dark comedy, including a scene where the psychopaths kill a guy just for his hat. Without giving too much away, the ending is a brilliant twist that goes in a direction you’d never expect. Sure, the concept of escaped mental patients killing people was cliche by then, but Sholder manages to make something unique. Overall, Alone in the Dark may not be a classic, but it’s worth a watch.

     

    Buy Alone in the Dark from Amazon: https://amzn.to/3QSUayG.

    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 Alone in the Dark (1982)

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  • Fairy Tales (1978)

    Fairy Tales (1978)

    [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=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]Released in May 1977, Charles Band’s Cinderella proved to be an unexpected hit for the burgeoning producer. Seeing the potential, Band decided to make another adult musical comedy film version of a classic fairy tale. He reunited with co-writer Frank Ray Perilli, who also wrote Mansion of the Doomed, Laserblast, and Last Foxtrot in Burbank. However, Michael Pataki had since moved on to have a recurring role in the 1970s The Amazing Spider-Man TV show. In the directing chair was Harry Hurwitz, using the pseudonym Harry Tampa, whose prior credits include The Projectionist and Richard. Notably, the director of photography was Daniel Pearl, who previously shot The Texas Chain Saw Massacre and its remake. Band and company decided to include various fairy tale characters in this film rather than adapting one story. After a brief one-to-two-week shoot, Fairy Tales hit US theaters in August 1978.

    [/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=”#EDF000″ _builder_version=”4.18.0″ _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

    The Prince (Don Sparks) has turned 21, and his doctors (Irwin Corey, Robert Harris, and Simmy Bow) have an announcement. His father, the king, declares that his son will only inherit the kingdom if he can produce an heir. The only problem is that The Prince is only interested in his dream girl, and no other woman will suffice. He quests for the perfect woman, taking him to the old lady in the shoe, Gussie Gander (Brenda Fogarty). Here, she’s the madam of a whorehouse featuring Little Bo Peep (Angela Aames) and Snow White (Anne Gaybis). Unfortunately, none of the women do it for The Prince, so Gander has her cohort Sirus (Sy Richardson) try helping. He takes The Prince to see Aunt La Voh (Martha Reeves), who can create a love potion to help him. But will our prince ever come, or is he doomed to be a peasant?

     

    Review

    While Cinderella had its charm and was a fun time, Fairy Tales lacks what made the earlier film special. Compared to Michael Pataki’s energetic direction, Harry Hurwitz films the sequences in a flat, dull fashion that feels tired. Watching it, you get the sense that Hurwitz didn’t care for the material and just saw it as another job. However, despite how flat the direction is, Daniel Pearl’s cinematography adds a dreamlike quality that helps sell the picture. It’s easy to see how Pearl transitioned from this to shooting music videos for The Police, Billy Idol, and Animotion. Sadly, the same can’t be said for the poor choreography, where the actors are either standing still or flailing about. Andrew Belling returns to compose the score, but unfortunately, the songs here lack the energy of the previous film. The one exception is “You’ll Feel the Magic in Me” by Martha Reeves.

    The goofy-looking Don Sparks is certainly game for the lead role, but he lacks the charm Cheryl Smith had. He’s certainly a sympathetic character, but he’s kind of a weiner who stumbles about from scene to scene. Sy Richardson once again proves to be a highlight of the film as the wisecracking yet dated pimp Sirus. Irwin Corey from Stuck on You has some funny moments, but he’s gone after the first five minutes. Most notably, this film features future scream queen Linnea Quigley, though she doesn’t show up until near the end. The rest of the cast either strip naked or mug for the camera, which can get old pretty quickly. While the film only clocks in at 76 minutes, it feels like a long 76 minutes to endure. Overall, Fairy Tales is a product of its time, but not a very good one.

     

    Buy Fairy Tales 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 Fairy Tales (1978)

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  • Madman (1982)

    Madman (1982)

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    After graduating from Richmond College, Gary Sales and Joe Giannone entered the film business in the late 1970s. With the rise in low-budget horror films like Halloween and Friday the 13th, Sales and Giannone decided to pursue that. While developing the screenplay with Giannone, Sales recalled hearing the legend of Cropsey and chose that as their basis. However, they learned of a similar movie in production around the same time with a similar story, The Burning. Sales decided to rewrite the script to avoid similarities and create a new slasher villain with a unique backstory. Principal photography began in November 1980 on a budget of $350,000 at Fish Cove Inn in Southhampton, Long Island. While most of the cast were unknown, Gaylen Ross from Dawn of the Dead played the lead as “Alexis Dubin.” Despite premiering in October 1981, Madman didn’t get a wide release until early 1982.

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    Synopsis

    At a summer camp for gifted children, head counselor Max (Carl Fredericks) tells an urban legend by a campfire. He tells the kids and other counselors about Madman Marz (Paul Ehlers), a crazed farmer who killed his family. Marz was hanged for his crime but escaped from the noose and now stalks the nearby woods looking for victims. One of the counselors, Richie (Jimmy Steele), doesn’t believe Max and jokingly calls out for Marz, unknowingly getting his attention. While the rest of the counselors and campers leave for the night, Richie wanders off and finds Marz’s farmhouse. After Max leaves, the other counselors in charge, T.P. (Tony Fish) and Dave (Seth Jones), search for Richie. Unfortunately, neither of them returns, so the other counselors search for them, leaving Betsy (Gaylen Ross) to watch the kids. Who will survive, and who will fall victim to Madman Marz?

     

    Review

    Madman is pretty standard compared to many slashers released around this time, though it has some stand-out qualities. For one, the late Joe Giannone manages to capture the look and feel of an old campfire tale. With all the fog, shadows, and minimal lighting, the movie has a very eerie atmosphere that adds to the tension. Even though the film is supposed to take place during the summer, it has an autumn vibe. This vibe adds to the campfire tale feeling of being alone in the woods with a crisp, cool breeze. Admittedly, there are a few out-of-focus shots, but considering the low-budget nature and short schedule, it adds to the charm. Story-wise, there isn’t much more than just a series of kill scenes loosely strung together. Granted, a movie like this doesn’t necessarily need a complex story with many subplots to excel.

    Casting-wise, everyone does a decent job, but many of the lesser-known actors don’t stand out in a particular way. Gaylen Ross, arguably the biggest name in the cast, is probably the biggest stand-out, though she doesn’t do much. Conversely, Paul Ehlers makes for a good slasher villain with his imposing figure, massive size, and menacing walk. On top of that, he’s even got a catchy theme song that adds to his mystique as an urban legend. While the kills aren’t as memorable as those made by Tom Savini or his contemporaries, there is some gruesome slashing. Probably the most creative death is when a character gets decapitated with a car hood, which is undoubtedly unique. At slightly under 90 minutes, this film flies by pretty quickly and provides enough scares to keep you invested. Overall, Madman has its issues, but it’s an underrated gem among a sea of slasher imitators.

     

    Buy Madman from Amazon: https://amzn.to/3AyV4KW.

    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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  • Beast (2022)

    Beast (2022)

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    Since 1992, Icelandic filmmaker Baltasar Kormákur has worked in the industry as an actor, writer, producer, and director. After making his debut with 1996’s Go LazyTown, Kormákur gained much attention for his 2000 feature 101 Reykjavík. The film won numerous awards at the Toronto International Film Festival, Thessaloniki Film Festival, and Pula Film Festival, among others. He made his American directorial debut with 2005’s A Little Trip to Heaven, starring Forest Whitaker and Julia Stiles. Kormákur’s 2012 film, The Deep, was selected as the Icelandic entry for the Best Foreign Language Film Oscar. He followed this up with 2013’s 2 Guns, 2015’s Everest, and 2018’s Adrift, all of which made decent money. In 2020, actor Idris Elba announced he’d star in a new movie directed by Kormákur and written by Ryan Engle. After ten weeks of filming in South Africa, Baltasar Kormákur’s Beast hit theater screens in August 2022.

    [/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=”4.18.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Dr. Nate Samuels (Idris Elba) takes his daughters Norah (Leah Jeffries) and Meredith (Iyana Halley) to Africa to reconnect. Since their mother died, he and his daughters have drifted apart, and he’s trying to mend their relationship. With his old friend Martin Battles (Sharlto Copley), Nate takes his daughters on a safari to see the wildlife. Unfortunately, things go downhill when they come across a nearby village where everyone is dead. It turns out a rogue lion is on the loose and killing any humans it comes across due to poachers. Martin gets attacked by the lion while Nate and his daughters are trapped in their jeep after it crashes. Nate, Norah, and Meredith must stick together if they want to survive against a prowling lion. Will they put aside their differences and work together, or will this fractured family become the lion’s next meal?

     

    Review

    On the surface, Beast is a movie we’ve seen done numerous times before and in much better films. There’s nothing wrong with using a familiar formula so long as the final film is entertaining and well-done. For the most part, the filmmakers managed to take a tried and true formula and make it work. Idris Elba makes for a great leading man that you can root for, which he always does. He’s one of those actors who always delivers a solid performance no matter the movie’s overall quality. While his screen time is somewhat limited, Sharlto Copley does an excellent job as Nate’s longtime friend. Leah Jeffries and Iyana Halley have their moments, but they come off as slightly annoying and incredibly inept. Every time Nate tells them to do something, they do the exact opposite, which is very frustrating. They move the story forward, but they could’ve done better.

    One aspect I can commend the movie for is the cinematography, which Oscar-winning cinematographer Philippe Rousselot handled. There are several moments where the action is filmed as if it’s done in one take, and it’s incredible. These shots put you in the middle of the action and make you feel like you’re there. Unfortunately, there is an occasional shaky cam shot when the action gets too intense, which hurts the experience. Most likely, this was done to hide the imperfections of the CGI lion, which looks decent if somewhat hyperrealistic. Also, the plot is very predictable, with an ending that you’ll see coming from a mile away. Thankfully, the movie clocks in at a breezy 93 minutes, so it won’t take up too much of your time. Overall, Beast is an average survival film with some decent camerawork and a good lead that’s ideal for matinee prices.

     

    Buy tickets to Beast from Fandango: https://fandan.co/3AoOs1L.

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  • The New York Ripper (1982)

    The New York Ripper (1982)

    [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=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]Italian filmmaker Lucio Fulci started his career in the 1950s, mostly directing comedies, musicals, and Spaghetti Westerns. However, in 1969, he switched to horror, beginning with the Giallo film One on Top of the Other. In 1979, Fulci directed Zombi 2, aka Zombie, which forever cemented him as a name in the horror genre. He later made his “Gates of Hell” trilogy: City of the Living Dead, The Beyond, and House by the Cemetery. Around this time, writers Gianfranco Clerici and Vincenzo Mannino wrote a script about a killer with Progeria. While initially written for Ruggero Deodato to direct, Lucio Fulci took over and rewrote the script with Dardano Sacchetti. Though many of Fulci’s previous works were controversial, this one would become the most controversial even to this day. In March 1982, The New York Ripper premiered in Italy before getting a limited US release in 1984.
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    Synopsis

    After a severed hand is found by a local, NYC Lieutenant Fred Williams (Jack Hedley) starts investigating the murder. He interviews the victim’s landlady, Mrs. Weissburger (Babette New), who regularly spies on her tenants, including the victim. According to Mrs. Weissburger, the victim got a call from a mysterious stranger who talked with a Donald Duck voice. Soon enough, more women, including a young cyclist and a sex show performer, wind up dead. As the murders continue, Williams keeps getting phone calls from the duck-voiced killer, taunting him about the deaths. One would-be victim, Fay (Almanta Suska), tells Williams that the killer was a scruffy-looking man with two missing fingers. This information pins the murder on Mickey Scellenda (Howard Ross), a Greek immigrant with a history of sexual assault. However, Williams gets another call from the ripper, letting him know the killings will continue until they stop him.

     

    Review

    Lucio Fulci is known for his excessive use of blood and gore, and The New York Ripper is no exception. The kills are even more brutal because of their sexual nature, including stabbing a broken bottle into a woman’s crotch. According to co-writer Dardano Sacchetti, much of the sexual content was added in by Fulci. Also, Sacchetti claimed that Fulci “nurtures a profound sadism towards women,” which has led to much of the film’s controversy. Many critics have labeled this film as being misogynist and shameful due to how the primary victims are women. On the one hand, I can see where they’re coming from, especially with some of the dialogue sprinkled in. On the other hand, the killer isn’t meant to be sympathetic, nor is the audience supposed to root for him. Considering past serial killers have primarily targeted women, it’s more a reflection of real-world events.

    This movie is a prime example of what I call the “New York sleaze era” between the 70s and 80s. This was a period filled with low-budget exploitation films that showed off the sleaze of 42nd Street before its gentrification. It’s a sort of dirty, gritty, and raw feeling that we don’t see anymore with today’s sanitized, safe movies. Francesco De Masi’s score adds to the sleazy feeling with its upbeat tones and fast tempo. As with many Giallos, all the main characters have significant flaws, such as the lieutenant hooking up with prostitutes. Admittedly, the final reveal is pretty apparent, and the explanation they give is thrown haphazardly at the end. This movie isn’t for everyone, but if you enjoy your horror films with some sleaze, this is for you. Overall, The New York Ripper is a viciously sleazy Giallo that succeeds at what it sets out to do.

     

    Buy The New York Ripper from Amazon: https://amzn.to/3JLh9sD.

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  • Mutant Blast (2019)

    Mutant Blast (2019)

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    Fernando Alle is a Portuguese filmmaker who started his career making short films in the late 2000s. His first three short films were 2007’s Lucky Prime, 2008’s O Rim, and 2009’s Papá Wrestling. In 2011, he directed the short film Banana Motherfucker, which won Best Short at the Buried Alive Film Festival. The short caught the attention of Troma’s Lloyd Kaufman, who released the short on DVD and on his streaming service. Kaufman was so impressed that he hired Alle for the special effects on Return to Nuke ‘Em High Volume 1. After working on Return to Return to Nuke ‘Em High Aka Vol. 2, Alle wanted to make a feature. With the support of Lloyd Kaufman and Michael Herz, Fernando Alle directed his first full-length feature film. While the workprint premiered in 2018 at MOTELX in Lisbon, Mutant Blast had its US premiere in 2019.

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    Synopsis

    Undercover super soldier Maria (Maria Leite) helps free TS-347 (Joaquim Guerreiro), a genetically-modified superhuman created by the government. As they escape, a horde of zombies breaks out of the compound and swarm the surrounding area. Meanwhile, Pedro (Pedro Barão Dias) wakes up from a drunken birthday party to find his friends and family dead. He runs into Maria and accidentally gets TS-347 killed, which throws a wrench in her plans. Still, she continues after her contact informs her that a boat will be waiting for her the next day. Pedro tags along, and they encounter rapists, mutants, a giant lobster, and katana-wielding dolphin, and another super soldier. Elsewhere, some government officials launch several nukes to clean up the incident, which causes Pedro and Maria to mutate. As our heroes fight their way through zombies and mutants, they soon learn to come together as friends.

     

    Review

    Going into Mutant Blast, I had no idea what to expect, and I have to say that I was impressed. Given the low budget they most likely had to work with, the production values are remarkably well-made. While there are a few CGI blood spurts, the movie uses primarily practical effects that all look impressive. From the zombie make-up and puppets to the gore and mutant designs, there’s something for everyone. The action sequences are well choreographed, and the filmmakers shoot them in a way so you can see what’s happening. The movie makes excellent use of color as they use various filters to help accentuate the scenes. Also, the synth score by Antoni Maiovvi adds to the film’s style, which evokes elements of John Carpenter. It reminds me of a cross between early Sam Raimi/Peter Jackson and Astron-6 movies like Father’s Day.

    As over-the-top as the movie is, what makes it work is that the actors treat the material seriously. Pedro Barão Dias and Maria Leite deliver their lines as if they were in a straight science-fiction movie. Granted, they crack a joke every now and then, but the humor never feels forced or overly self-aware. Everything here feels genuine, which is a refreshing change of pace from most modern B-movies that are purposely bad. Also, Maria Leite fits her role perfectly as a badass soldier who can more than take care of herself. Conversely, Pedro Barão Dias works as the lovable idiot sidekick who means well but fumbles about. While this movie won’t appeal to everyone, fans of low-budget B-movies will get a kick out of this. Overall, Mutant Blast is a fun, exciting, blood-soaked, ridiculous romp whose insanity is only matched by the filmmakers’ passion.

     

    Buy Mutant Blast from Amazon: https://amzn.to/3SAY2FU.

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  • The Slumber Party Massacre (1982)

    The Slumber Party Massacre (1982)

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    With the rise in popularity of slasher films, feminist writer Rita Mae Brown wrote a screenplay called Sleepless Nights. Brown originally wrote the script as a parody of slashers, but New World Pictures chose to make it serious. Around this time, Amy Holden Jones worked as an editor for Roger Corman on movies like Hollywood Boulevard. While she found success as an editor and even got a job editing E.T., she wanted to go into directing. Jones turned to Roger Corman for a chance to be a director, who gave her a copy of Brown’s script. Under the title Don’t Open the Door, Jones rewrote the script and and shot the first eight pages. Corman was so impressed that he gave Jones a $200,000 budget to film the entire screenplay, which took 38 days. Now titled The Slumber Party Massacre, the movie premiered in Los Angeles in September 1982.

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    Synopsis

    When her parents leave for a trip, high school senior Trish Deveraux (Michelle Michaels) decides to throw a slumber party. She invites her friends Kim Clarke (Debra Deliso), Jackie Cassidy (Andree Honore), and Diane (Gina Mari) to the party. Little do they know that mental patient Russ Thorn (Michael Villella) has escaped and is going on a killing spree. Armed with a portable power drill, he kills a telephone worker and a high school student named Linda (Brinke Stevens). That night, the girls go to Trish’s house for the party while new girl Valerie (Robin Stille) babysits her sister. Unfortunately, the party goes wrong when the pizza delivery guy arrives with his eyes drilled out by Russ. The girls arm themselves while local guys Jeff (David Millbern) and Neil (Joseph Alan Johnson) go for help. Unfortunately, they die by Russ’ drill, so it’s up to the girls to stop him.

     

    Review

    Admittedly, The Slumber Party Massacre is a reasonably standard slasher film on the surface, but there’s more to it. While the producers stripped away much of the satire, there are still remnants left that are effective. There are some clever sight gags and moments where the filmmakers reverse the typical roles in slasher films. It shows that women can direct an effective slasher like their male counterparts, such as John Carpenter and Sean Cunningham. Sure, there’s plenty of nudity and blood for the typical audience, but it shows women can make this movie, too. Director Amy Holden Jones creates compelling suspense and tension with subtle camera moments, harsh shadows, and blurry perspectives. Michelle Michaels makes for a likable final girl, though the late Robin Stille stands out as the timid new girl. Her scenes with Jennifer Meyers as her younger sister are highlights of the film.

    While much of the film is comedic, Michael Villella plays the part of the killer with the utmost seriousness. He’s a man of few words, primarily relying on facial expressions and body movements to make himself compelling. When he does talk in the third act, he delivers his line with such intensity and mad glee. Even though there’s not much to his backstory, Thorn is an effective slasher with his signature power drill. Speaking of the power drill, it works as the film’s central symbolism, that of the fear of sex. Given the shots of Thorn with the power drill between his legs, the symbolism is pretty on the nose. At 76 minutes in length, the movie is tightly paced and gets in and out without much padding. Overall, The Slumber Party Massacre is entertaining as a straight slasher and a satire of the subgenre.

     

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  • Tenebre (1982)

    Tenebre (1982)

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    In the annals of Italian horror cinema, Dario Argento is one of the most celebrated filmmakers in the genre. In the early 1970s, Argento made a name for himself directing “giallos,” which were Italian murder mysteries with excessive gore. Some of his works included The Bird with the Crystal Plumage, The Cat o’ Nine Tails, and Deep Red. In 1977, he directed what’s considered his most famous film, the supernatural horror film Suspiria, which was remade in 2019. Argento followed this up with the 1980 supernatural horror film Inferno, which wasn’t as successful as its predecessor. Due to the film underperforming, Argento decided to return to his roots with a new Giallo. He based the film on real-life experiences, namely being harassed by a stalker and seeing the violence in the news. After a ten-week shoot in Rome, Dario Argento’s Tenebre hit theaters worldwide amidst a slew of controversies.

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    Synopsis

    American horror writer Peter Neal (Anthony Franciosa) is touring Italy to promote his latest book, Tenebre. His agent Bullmer (John Saxon) and his assistant Anne (Daria Nicolodi) are accompanying him, but his trip hits a snag. After a local girl dies, the killer sends Peter a letter saying his books inspired the killing. Detective Giermani (Giuliano Gemma) and his partner Altieri (Carola Stagnaro) are on the case and watching Peter. Meanwhile, the murders continue, including a lesbian journalist named Tilde (Mirella D’Angelo) and her lover Marion (Mirella Banti). Peter suspects TV interviewer Christiano Berti (John Steiner) of the murders, but he gets killed with an ax. As the killings continue, Peter wants to leave Italy and take a short vacation, though Bullmer wants him to stay. Who is this mysterious killer, why are they obsessed with Peter’s work, and who will be the next victim?

     

    Review

    Even though it’s not as well-known as movies like Suspiria, I’d argue that Tenebre is one of Argento’s best works. Like many of Argento’s works, the violence is as beautiful as it is horrific, which isn’t easy to do. Unlike other Italian directors who go for the jugular and make the violence savage, Argento presents the violence artistically. For instance, there’s a scene where a woman’s arm gets cut off, and a fountain of blood sprays out. How Argento handles the scene, it looks like she’s painting the walls with her blood, contrasting the white with red. For historical context, Tenebre ended up on the UK’s Video Nasties list, which included Bloody Moon, Absurd, and Antropophagus. It’s easy to see why given how vicious the kills are here, even by Argento’s standards. You almost get the feeling Argento uses violence to lash out at his critics.

    Acting-wise, everyone does a good job, with Franciosa and Saxon, in particular, standing out, though Gemma and Nicolodi are memorable. While Argento claims that Franciosa was one of the most challenging actors he’s worked with, he still comes off likable. Saxon is particularly noteworthy as the sleazy literary agent who cares more about the book tour than the murders. While there’s not much to her character, Daria Nicolodi has decent chemistry with Franciosa and they work well together. Another highlight of the movie is the score composed by Goblin members Claudio Simonetti, Fabio Pignatelli, and Massimo Morante. It’s very upbeat and lively and fits with the tone with its blend of rock and disco. Admittedly, the story can be confusing, and the ending comes out of nowhere, but that’s typical of Italian horror. Overall, Tenebre is a stylishly violent giallo with memorable kills, exciting characters, and a great score.

     

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