There’s not a lot of plot to Death Warmed Up, the 1984 horror flick from writer Michael Heath and director David Blyth. There are hints of plot here and there, but any cohesion or sense is tossed away in service of spectacle. That’s not inherently a bad thing. Story, while necessary for most films, would just have gotten in the way of this flick’s many, many, blood-spurting wounds.
A New Zealand production, Death Warmed Up follows Michael Tucker (Michael Hurst). In the film’s intro, we see Michael come under the influence of the evil Dr. Archer Howell (Gary Day), who is conducting experiments into human resurrection and mind control. After injecting Michael with his serum, Howell sends Michael to kill Michael’s parents. Michael’s father is a professional rival who threatens Howell’s experiments. After the deed is done, Michael spends the next seven years in a psychiatric hospital. The main part of the film picks up after his release. Continue reading “October Horrorshow: Death Warmed Up”
Blood, gore, low production values, a little gratuitous nudity, and charm out the wazoo. That’s Nightbeast, the 1982 sci-fi/horror flick from b-movie filmmaker Don Dohler. It’s a simple film with a simple idea: an alien passing by Earth runs into a stray asteroid and crashes in rural Maryland. It’s an angry beast, and it wastes no time slaughtering the locals with its laser gun.
Trying to stop the massacre are the cops and the good citizens of Perry Hall, led by Sheriff Cinder (Tom Griffith). That’s all the plot one really needs to know. There’s very little setup to this flick, and very little character development. That’s a good thing, as Dohler didn’t round up the best talent for his opus. Besides Griffith, there’s Karin Kardian as Deputy Lisa Kent, Jamie Zemarel as local Jamie Lambert, and Don Leifert as local tough guy and murderer Drago (it’s a subplot). None of these performers, or the others listed in the credits, had much work outside of Don Dohler films, and none of them seemed like professionals. But, their lack of acting chops only adds to the appeal. Continue reading “October Horrorshow: Nightbeast”
Dr. Phillip Rothman (Terry Londeree) has a problem. The electronics company backing his neurological research isn’t happy with its pace, so they’re pulling his funding. The research involves showing flashing images to people to stimulate certain areas of the brain. The idea is that the company will incorporate the fruits of this research into its videogames, to give players a mental kick while playing, or possibly to get them hooked on it. The whys of the research are less important than the fact the experiments are turning Rothman’s student test subjects into murderous lunatics.
From way back in 1991, Brain Twisters is a horror/sci-fi cheapie from writer/director Jerry Sangiuliano. Potential viewers won’t find much in his IMDb page, and that’s common for just about everyone involved in this dog. This was Londeree’s first credit, and he wasn’t in another feature film until 2004. The only member of the cast who went on to have a career is Farrah Forke, who plays Laurie Stevens, one of Rothman’s students and work-study assistants. But, just because most of the people involved in a flick are rookies, doesn’t mean it will be bad. A general lack of talent and competence is enough. Continue reading “October Horrorshow: Brain Twisters”
If one is looking for a realistic World War Two movie, look elsewhere. Overlord takes all of its war visuals and scenarios from Saving Private Ryan and Band of Brothers, to the point of thievery, but all that is just backdrop to the story. What this movie is really about are Nazi monster super-soldier experiments, and the small squad of American paratroopers who put a stop to it. It’s bloody, full of gore, and, somehow, works as a serious tale with no absurdity. Continue reading “October Horrorshow: Overlord”
Not every horror film has to be deadly serious. Sometimes, it’s impossible to hide the absurdity of a horror story, so a filmmaker doesn’t bother to try. Such is the case with Waxwork, the 1988 film from writer/director Anthony Hickox.
The film tells the tale of a gaggle of pretty 20-somethings who find themselves in mortal danger inside a wax museum. Putting youth in danger is a formula as old as horror films, and a risky one for filmmakers to take. Young, pretty faces are a dime a dozen in Hollywood. What’s unique is finding the young talent who is pretty, can act, and is capable of lifting mediocre screenplays. So, choose the wrong cast, and one could end up with a stinker. Continue reading “October Horrorshow: Waxwork”
Once upon a time, in the far distant past, AD 1974, filmmaker Bill Rebane asked a simple question. “What if I made an alien invasion movie without the aliens?” I’m joking, but at some point during production, Rebane (who has graced the Horrorshow in the past) had to have noticed that all the action in his film was taking place hundreds of miles away from the plot. What we’re left with are five 20-somethings in an isolated cabin in northern Manitoba, whiling away the time by playing with a ham radio and eating beans. It turns out that it’s important for a filmmaker to place their characters near the action in a film, so that something, anything, happens to ease the pain of the audience. Who knew?
What a gloriously stupid movie. It has it all. Barely sensible plot, bad dialogue, bad acting, cheap filmstock, gratuitous nudity, and all the other accoutrements that make shitty cinema great. Every time the flick threatens to drag, directors Michael Mazo and Lloyd A. Simandi throw in a gunfight and some explosions, and all is well with the world once again. Empire of Ash III is no rare gem, but we shitty movie fans love it when filmmakers just throw shit at the wall to see what sticks. Continue reading “Shitty Movie Sundays: Empire of Ash III, aka Last of the Warriors”
Amazon Prime has a problem with dates on some movies. For films that have been re-released with a restored print or new cut, it’s not uncommon for them to use the date when the new print was released, rather than the year the film originally premiered. This caught me out with The Aftermath, which, according to Amazon, was released in 2018.
The print on Prime is close to pristine. Other than occasional pops and scratches, the picture is sharp and the colors are vibrant. Because of this, and the 2018 date attached to the film, I at first thought I was watching something fairly new. And it was a riot. From the cheap model work, the period costumes, the color reminiscent of a retro digital filter, the analog technology used in the sets, to the music and the cinematography, I thought I was watching a very clever recreation of a 1970s cheapie sci-fi flick or tv movie. Something inspired by Dark Star or any random Italian ripoff. Then I noticed Sid Haig, who plays the bad guy, and realized there was no way this movie was made in 2018. Continue reading “Shitty Movie Sundays: The Aftermath (1982)”
What a bottom-feeding pile of garbage. This reviewer has seen many bad movies — enough bad movies that I’ve ruined any arthouse bona fides I may have had — yet, sometimes, I’m still surprised that something so amateurish manages to get made. This is one of those shitty movies where no one involved, even the professionals, seemed able to capitalize on their work.
Alien Rising, from 2013, is a direct-to-video shitfest brought to viewers by screenwriters Michael Todd and Kenny Yakkel, and director Dana Schroeder. This was Schroeder’s second directing effort, and, if his IMDb page is any indication, it will be his last. Thank goodness. We shitty movie fans may be into flagellation, but everyone has limits. Continue reading “Shitty Movie Sundays: Alien Rising, aka Gemini Rising”