One of the best things about these SOV horror flicks (best being a relative term) is that since these movies were never intended for theatrical release, they weren’t subject to censorship imposed by the prudes at the MPAA. Supporters of the ratings system would maintain that ratings exist merely as a guide, and it is the filmmakers themselves that alter their films in pursuit of a favorable rating. That’s the rub, though, isn’t it? The MPAA’s ratings can mean life or death for a film in theaters, as theater owners have proven reluctant to showcase films with an NC-17 rating or no rating at all, and even R-rated films are regularly cut to lower ratings in pursuit of teenaged dollars. Quite frankly, how dare any organization like the MPAA tell a filmmaker what they can and can’t have in a movie, on threat of making it financially unviable? Anyway… Continue reading “It Came from the Camcorder: Splatter Farm”
Tag: 1987 in Film
October Horrorshow: Blood Rage
What a splatterific, nonsensical mess of a horror flick. I loved it.
Blood Rage, the 1987 slasher flick spearheaded by producer Marianne Kanter, is exactly the kind of cheap and sleazy film horror junkies have come to expect from the era. The horror genre has had many golden eras, and it’s little films like Blood Rage, rather than the big franchises, that cement the 1980s as amongst the goldiest of the goldy.
Written by Bruce Rubin and directed by John Grissmer, Blood Rage tells the story of a pair of twins, one murderous, and one not so murderous. Continue reading “October Horrorshow: Blood Rage”
It Came from the Camcorder: Killing Spree
Welcome to the 14th Annual October Horrorshow here at Missile Test, when the site is dedicated to reviewing horror films for an entire month. This year features a mix of random horror films and themed reviews. The theme this year is It Came from the Camcorder, wherein we dive into the strange world of low-budget horror flicks shot on videotape. These movies were never released theatrically, and represent some of the worst moviemaking one is likely to see. But, these movies represent a true cinematic ideal of perseverance. These auteurs and the other people that worked on these movies let nothing, not Hollywood, not money, not expectations, stand in the way of making their movies. Every finished movie represents an heroic effort, and I’m glad to play a small part in helping to spread awareness that these movies exist, and have not simply gone quietly into that good night. The first camcorder flick is a real doozy. Enjoy.
Going into this year’s Horrorshow, Missile Test was aware of how much of a slog a month’s worth of shot-on-video horror would represent. Lucky us, then, that the first SOV horror flick of the month would be so outrageous, hilarious, and watchable, despite it being a mangy mutt of a movie.
From 1987 comes Killing Spree, the fourth feature from writer/director Tim Ritter. Coming right in the middle of the era of SOV horror, Killing Spree is a fantastic benchmark through which a viewer can judge whether or not they appreciate this wild subgenre of film. It has just about everything one could expect or want from the shittiest of horror films. It has the muddled look of being shot on magnetic tape, the muddled sound of a stock microphone attachment, a script that never would have been approved for a Hollywood shoot, a cast full of amateurs, a synthesized soundtrack that could have been made on a toy Casio keyboard, special effects that are outrageous but the opposite of convincing, and no regard for the way movies are supposed to be made. This is outsider art. It may not be good art, but it’s a gigantic middle finger to big time cinema, and we here at Missile Test love nonconformity. Continue reading “It Came from the Camcorder: Killing Spree”
Attack of the Franchise Sequels: A Nightmare on Elm Street 3: Dream Warriors
Horror franchises have a lifespan. And all horror franchises exceed that lifespan, shuffling along like zombies, mere imitations of the life they once had. The third entry in the Nightmare on Elm Street franchise still has life — a shitload, in fact — but the signs of franchise decline are also very apparent.
Wes Craven returns to write after sitting out the previous film, alongside Bruce Wagner, Frank Darabont, and Chuck Russell. Russell also directed. Craven’s participation means the return of the murderous and sadistic Freddy Krueger (Robert Englund) to the realm of dreams, rather than wandering around in the waking world — the expansion of Freddy’s supernatural abilities from the previous film retconned. In fact, this film makes no mention of the previous entry, instead serving as a sequel to the first film in the franchise. Continue reading “Attack of the Franchise Sequels: A Nightmare on Elm Street 3: Dream Warriors”
Shitty Movie Sundays: Malone
Burt Reynolds was paid three million bucks to star as the titular character in 1987’s Malone. He didn’t seem all that impressed with the project, however. Of it, he said, “Let’s be honest. The film is Shane. [Malone] attempts to battle a Lyndon LaRouche character.” He continues, “Just to show you how movies change, Gerard Depardieu and Christopher Lambert at one point were going to play Malone. I wonder how this guy got rewritten into me.” How, indeed? Reynolds may have thought of this film as little more than a Shane ripoff, but I prefer to think of it as Road House without the fun. Continue reading “Shitty Movie Sundays: Malone”
Shitty Movie Sundays: Deadly Prey
What a gloriously stupid movie. I loved just about every minute of it. Writer/director David A. Prior made a shitty movie, but in giving it a solid pace and an absurd amount of violence, he made something entertaining and watchable. I defy anyone who watches not to laugh during multiple parts of this film, usually when the star, David’s beefcake brother Ted, stabs someone with a Halloween store plastic knife, or spouts out one-liners that would have left Sylvester Stallone blushing.
From way back in 1987, Deadly Prey is a direct-to-video Rambo ripoff. Ted Prior stars as Mike Danton, a Vietnam vet whom David places into an arena and allows to go kill crazy. Danton’s antagonist is Colonel Hogan (David Campbell), his former commanding officer, who has set up a mercenary training camp outside of Los Angeles. Ted Prior may play the main character, but he doesn’t get top billing. That goes to Cameron ‘Discount Shatner’ Mitchell and Troy Donahue, who were slumming it for an easy paycheck. Their scenes in this film looked as if they were filmed in a day. Continue reading “Shitty Movie Sundays: Deadly Prey”
October Horrorshow: The Lost Boys
To some movie fans, filmmaker Joel Schumacher is still paying penance for Batman and Robin. This page reconsidered that film a few years back, and concluded the problem lay more with viewers’ expectations than Schumacher’s final product. Still, no matter how people feel about that film, Joel Schumacher will be forever associated with putting nipples on the batsuit, when his greatest contribution to film was this operatic gem from the 1980s. Continue reading “October Horrorshow: The Lost Boys”
Shitty Movie Sundays: Strike Commando
Who wants to watch some bottom-feeding trash? I do! And we all should. Films like Strike Commando, the 1987 shitfest from Italian filmmaker Bruno Mattei, make serious film and art house fodder all the better. How would we be able to gauge excellence were it not for films like Strike Commando giving us a baseline of inferiority? Continue reading “Shitty Movie Sundays: Strike Commando”
Stallone Month: Over the Top
If one happens to be into sentimental crap wrapped in a soundtrack of awful pop ballads, then 1987’s Over the Top might be worth checking out. For the rest of us, should we wish to waste an hour and a half with nothing to show for it but a headache, there’s always a nice game of stud roulette. Continue reading “Stallone Month: Over the Top”
Shitty Movie Sundays: Death Wish 4: The Crackdown
When Attorney General Jeff Sessions pictures what life is like in American cities, I think he might be picturing the world of Death Wish 4: The Crackdown. From 1987, this movie plays as both nightmare and caricature of urban America in the 1980s. It’s a place where anyone, at any time, can be the victim of a brutal crime. It’s a good thing that Charles Bronson was still alive and kicking at the time, otherwise none of us would have made it out of that decade alive. Continue reading “Shitty Movie Sundays: Death Wish 4: The Crackdown”