Gory Flick – Page 7 – Missile Test

Shitty Movie Sundays: Robowar

Short of watching a mockbuster from The Asylum or its ilk, one would be hard-pressed to find a film that is more of a ripoff of a big time Hollywood production than Robowar, from Italian auteur Bruno Mattei. The victim in this case is Predator. From characters, to plot, to location, to certain scenes, all the way down to individual lines of dialogue, Mattei squeezed everything he could out of Predator short of being sued into oblivion. The only major change was substituting a rogue bionic soldier for the alien hunter

From 1988, Robowar stars prolific b-movie actor Reb Brown as Major Murphy ‘Kill Zone’ Black, the leader of a squad of commandos called B.A.M., for Big Ass Motherfuckers. For real, that’s the name. Black is the analogue of Dutch from Predator. Others include Max Laurel as Quang, the Billy analogue; Catherine Hickman as Virginia, the Anna analogue; Mel Davidson as Mascher, the Dillon analogue; Jim Gaines as Sonny ‘Blood’ Peel, the Mac analogue; and Massimo Vanni, Romano Puppo, and John P. Dulaney as interchangeable analogues to the remaining main characters in Predator. There’s even a general who gives Black and his men their mission, but he was unlisted in the credits. His only significance is a voice that sounds uncannily like Lee Van Cleef’s. Continue reading “Shitty Movie Sundays: Robowar”

Shitty Movie Sundays: Future Kick

What a gloriously stupid movie. Future Kick is a textbook example of a shitty movie of the era. Everything about it is cheap, from its discount action star in Don ‘The Dragon’ Wilson, its discount Kirstie Alley in Meg Foster as the female lead, its bargain-basement special effects and sets, and its grainy film stock. There was even producer Roger Corman’s favorite method of saving money on a production: reusing footage from earlier films.

Once upon a time Corman addressed this oft-used technique. He said, and I’m paraphrasing, that back when he started reusing footage and/or sets, there was no such thing as a home video market. He was making films that would show for a week or two at a drive-in, and that was the last anyone would ever see of them. No one would remember when a few months later a different flick would appear reusing footage from the earlier film. Sure, that’s a fine excuse for his Poe films, to which he was referring, but Future Kick was released in 1991, well after the home video market became a thing. Reused footage in this film comes from a duo of space flicks, Galaxy of Terror and Forbidden World, and erotic slasher Stripped to Kill 2, which gives viewers a healthy dose of gratuitous nudity. Continue reading “Shitty Movie Sundays: Future Kick”

Shitty Movie Sundays: Drive Angry

Saint Nic returns to Shitty Movie Sundays! It’s been just over a year since a film featuring Missile Test’s favorite actor graced these pages. Today’s film is Drive Angry, which is the only over-the-top Nic Cage film I can think of in which Nic Cage is not the most absurd thing on screen.

From way back in 2011, Drive Angry comes to us via director Patrick Lussier, from a screenplay by Lussier and Todd Farmer. At first glance, Drive Angry looks like it’s going to be a car flick. The trailer gives audiences the full muscle car treatment. A Buick Riviera, a Dodge Charger, a Chevy Chevelle, and more, including a female lead in Daisy Dukes. It’s a car flick, right? Nope. There are not nearly enough decent car chases for this to be a car flick. This is a revenge flick. Continue reading “Shitty Movie Sundays: Drive Angry”

It Came from the Camcorder: Redneck Zombies

According to Lloyd Kaufman, so some of it is probably true, Pericles Lewnes and George Scott wandered into the offices of Troma one day in the late 1980s with a finished movie they wanted Troma to distribute. Kaufman and his business partner Michael Herz agreed, on the condition that Lewnes take on unpaid work at Troma to work off the money Kaufman was sure this movie would lose for the company. And, thus, Redneck Zombies was unleashed upon the world.

Directed by Lewnes from a screenplay that has to be a pseudonym for either he or Scott, Fester Smellman, Redneck Zombies is one of the more ambitious efforts, gore-wise, that has been featured in It Came from the Camcorder. In tone, it fits right into the Troma stable, as Lewnes was very much a fan of their work. As the title implies, this movie is about zombies, who happen to be rednecks. Continue reading “It Came from the Camcorder: Redneck Zombies”

October Horrorshow: Alligator

If one is going to do a Jaws ripoff, this is how it should be done — with tongue planted firmly in cheek, and none of the dour mood that pervades a film like Orca.

Directed by Lewis Teague from a screenplay by the immortal John Sayles, Alligator tells the tale of a mutated alligator that lives in the sewers of Chicago and likes to munch on any hapless person who wanders by.

Following a popular urban legend of the day, a young girl receives a baby alligator as a souvenir from a trip to an alligator farm in Florida and, after the family returns home to Chicago, it is unceremoniously flushed down the toilet, landing unharmed, and probably quite annoyed, in the city sewers. Fast-forward to many years later, and the baby gator is now all grown up, and then some. Continue reading “October Horrorshow: Alligator”

It Came from the Camcorder: Ozone

By 1993, when Ozone was released, J.R. Bookwalter had already established himself as Akron, Ohio’s finest filmmaker. That’s not a knock on Jim Jarmusch, just an acknowledgment that Bookwalter actually shot his movies in Akron.

The filmmaker behind such trash horror classics as The Dead Next Door and Robot Ninja, Bookwalter began his movie career shooting on film, before making the switch to video for Kingdom of the Vampire in 1991. After a string of shorter movies, Ozone returned Bookwalter to full feature length production. Continue reading “It Came from the Camcorder: Ozone”

October Horrorshow: Slaughterhouse

All ideas in film grow weary after a while. Lack of new twists, market saturation, declining quality, and a general malaise from viewership are the death knells for once-innovative methods of storytelling. By the late 1980s, it was the slasher subgenre of horror that had grown old and dusty, after only a decade or so of prominence. The result was a film like Slaughterhouse, the 1987 flick from writer/director Rick Roessler.

Don Barnett and Joe B. Barton play deranged father and son Lester and Buddy Bacon, owners of a shuttered hog slaughterhouse in rural California. Market fluctuations and a failure to modernize facilities did in their business, but Lester blames shenanigans from prominent locals for his dire straits. Continue reading “October Horrorshow: Slaughterhouse”

It Came from the Camcorder: Demon Queen

Demon Queen VHS box Before Vampire Cop, before Chainsaw Cheerleaders, and before Bigfoot Exorcist (incredible titles, all), shitty movie auteur Donald Farmer gave us Demon Queen, an SOV quickie that boiled down a simple horror story into its basest elements.

From 1987, Demon Queen tells the tale of Lucinda (Mary Fanaro), a demon, or vampire, or something, who stalks the streets of Fort Lauderdale picking up unsuspecting males and ripping their hearts out while they are in postcoital afterglow.

Her latest victim, whom she strings along for most of this movie’s short 54-minute running time, is Jesse (Dennis Stewart). Jesse is a street-level drug dealer who, in a fit of plot on the part of Farmer, owes money to local gangster Izzi (Rick Foster).

Right after Izzi and his thug, Bone (Clifton Dance), beat up Jesse for the money he owes, Lucinda swoops in to rescue Jesse, making Bone one of her victims. That’s not the last we see of Bone, as he later resurrects as a putrefying zombie for a gooey finale. That sequence alone probably ate up a huge chunk of this movie’s reported $2,000 budget. Anyway…

Jesse is so grateful for being saved that he invites the gorgeous Lucinda to stay at he and his girlfriend’s place, and the girlfriend agrees. Only in a movie, folks. Continue reading “It Came from the Camcorder: Demon Queen”

It Came from the Camcorder: Night Crawlers (1996)

Missile Test has been doing the Horrorshow since 2009, and this year’s theme, It Came from the Camcorder, has been the most difficult, both to watch and to write about. The me that came up with this idea many months ago has placed a burden on current me that I didn’t expect. Even today’s movie, from a pair of moviemakers that I respect, is a low-down dirty dog that probably never should have seen the light of day. Strike that. No movie is too bad to be made or watched (for at least fifteen minutes, anyway), but there is no obligation from any critic, hobbyist or professional, to blow smoke and pretend that it’s an artistic accomplishment. Congratulations, Polonia Bros., you made another movie, and it sucks.

From back in 1996, Night Crawlers is another collaboration between John and Mark Polonia, from a script by Charles Hank. Continue reading “It Came from the Camcorder: Night Crawlers (1996)”

It Came from the Camcorder: Video Violence

According to the internet, so it must be true, central New Jersey community theater fixture and video store operator Gary Cohen was dismayed that customers rented so much trashy horror when there was a wealth of film history available on the shelves. His response was not to refuse to rent horror flicks, but, with friend and writing partner Paul Kaye, to make his very own trashy horror movie. On video, of course.

If one is into SOV horror, Video Violence, from 1987, is essential viewing, as it’s a common entry on various SOV lists. It follows real-life couple Art and Jackie Neill (also longtime players in central New Jersey theater) as Steven and Rachel Emory, a pair of transplants from New York City who have settled in Frenchtown, New Jersey, looking for peace and quiet. Steven gave up his dream job of owning a movie theater to open a video rental store, while Rachel left a job at a law firm to take a position in Frenchtown’s administration. Their town is not as welcoming to the newcomers as they wished, nor is it as quiet. That’s because the residents of the town have become addicted to slasher flicks, and after being desensitized to the fake stuff, they have gotten into the habit of making their very own snuff videos. Continue reading “It Came from the Camcorder: Video Violence”