Starring: Andras Jones, Linnea Quigley, Robin Stille, Brinke Stevens, Michelle Bauer, Hal Havins, John Stuart Wildman,
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Most filmmakers are lucky to have a handful of movies they’ve done in their career. Some are even lucky to at least get one. For example, my favorite director John Carpenter has twenty one film credits to his resume. Another filmmaker I love, Frank Henenlotter has ten. Where am I going with this? I was reading some information about a B movie filmmaker by the name of David DeCoteau. He got his foot in the door in the movie business at age nineteen working for Roger Corman and quickly worked up the ranks to where he was directing movies. According to IMDB, DeCoteau has one hundred and fifty directing credits! The movies he directs ranges from horror to science fiction to even Christmas family movies made exclusively for television. To answer as to how DeCoteau has been able to direct so many films is according to Charles Band, filmmaker and founder of such b movie horror companies as Empire Pictures, Urban Classics and currently Full Moon Features is that DeCoteau is, “hard, fast and stays under budget.” DeCoteau has directed many films for Charles Band throughout the years. His most famous film is Puppet Master III: Tulon’s Revenge which is regarded as the best movie in the Puppet Master franchise (I concur. It’s my favorite). For this edition of “Guilty Pleasure Cinema Review” we’re going to look at another popular movie of his that has had a huge cult following for the last thirty years. That movie is 1988’s Sorority Babes in the Slimeball Bowl-O-Rama (try saying that five times fast)!
I know what you’re thinking about the title and let’s get this out of the way now. This is not a softcore adult film! This could be described as a sexy horror comedy that bounces all over the walls, or in this case bumpers. The story is about three nerds who sneak over to the Tri-Delta Sorority House. They are watching the initiation of two new members getting spanked by the head of the chapter named Babs. The boys enter the house and watching the initiates hose down after getting a whipped cream spraying. Essentially they are caught by Babs. As punishment, they have to go with the two initiates named Lisa and Taffy to steal a bowling trophy from the local bowling alley. If they retrieve a trophy, the boys will not be reported to the police for their voyeurism and Lisa and Taffy will get into the Sorority. Unbeknownst to them, Babs’ father runs the mall where the bowling alley is at so she and the other sisters can watch their every move through the security cameras. Inside the bowling alley they come across a biker looking punk named Spider who is stealing money from the register and the arcades. Spider uses her crowbar to break the chain into the trophy room. From there, the boys and the pledges grab the biggest trophy on the shelf. On accident, the bowling trophy falls to the ground and breaks. Smoke beings to come out from the trophy and out appears an imp. The imp thanks them for releasing him and grants wishes to the group. A couple of them take advantage of this offer. Turns out their wishes would be fake and the imp starts his night of terror among the group by turning two of the sisters into she-demons and electrifying all the doors in the alley to prevent anyone from escaping. Now the survivors must figure out how to either escape or defeat the imp.
This straight to video movie stars Linnea Quigley in her first starring role as Spider. She is another scream queen legend as fans will recognize her from her supporting roles in Return of the Living Dead, Night of the Demons and Silent Night: Deadly Night. The rest of the cast features Andres Jones as Calvin, Hal Havens as Jimmie, John Stuart Wildman as Keith (the three nerds), Robin Rochelle (Stile) as Babs, Kathi O’ Brecht and Carla Barron as Rhonda and Frankie, the other sisters in the sorority, Michelle Bauer as Lisa and Brinke Stevens as Taffy. There is a special appearance from George “Buck” Flower as the janitor of the Bowl-O-Rama. Flower is known for always playing the hobo in such films as the “Back to the Future” movies and in many of John Carpenter’s movies such as The Fog, Escape From New York, and They Live!
Sorority Babes in the Slimeball Bowl-O-Rama is as much of a punk film as Linnea Quigley’s appearance in this. It breaks a lot of rules and lacks consistency. It makes up for it with its sheer delight of goofiness, beautiful looking girls and gore. There’s not much logic in this movie as to why the imp turns two of the girls into demons with one of them a copycat of the bride of Frankenstein and how an imp got stuck in a bowling trophy, although the explanation as to how the imp came to be and its purpose is told through a story by the janitor. If you can ignore all that, you’ll enjoy the movie a little better. DeCoteau made this movie in reportedly nine days which would show why he continues to get directing work.
The imp is a tiny little blue creature with a giant mouth filled with teeth. It reminds me of the donkey from Shrek voiced by Eddie Murphy. Speaking of the voice, the imp does sound a lot like Eddie Murphy. I’ve heard people say he’s sounds like Barry White, but it’s not really a deep of a voice. You don’t see the imp move around. He appears in the same shot for most of the movie with the exception of a few scenes where he is tripping Jimmie or he’s behind the bowling alley taunting Babs. His dialogue and jokes are as stereotypical as they can be.
Speaking of stereotypes, they are in each character. You have two of the nerds (Calvin and Keith) who wear thick glasses and goofy hair and you have Jimmie who reminds me of a mix between Chris Farley and John Candy without the physicality. You have Lisa and Taffy the gorgeous pledges and you have Babs who is the prissy and mean girl of the sorority having her fun at humiliating the pledges. And then you have Spider who you know right away is going to be the heroine of the film. She’s tough and doesn’t have time for games. However, as the movie progresses, Spider shows a sense of vulnerability and confiding with Calvin as to how they are going to get out. That’s a credit to Quigley and the characters she has played previously before this film.
With Quigley being the star, the rest of the cast were decent given the material they were given. You can tell they are playing to the script and the concept of the movie. The dialogue is pure 80s cheese with many one liners and zingers coming from Quigley. Buck Flower also provides comedic relief as he spends much of the film trying to get himself out of a room he locked himself into and when he comes across Spider and Calvin gives the hilarious story of the imp and the person who summoned him.
As I mentioned earlier, the film is not a softcore porn movie, but it does have a lot of sexual overtones. Yes, you have naked women in the beginning and the middle of the movie, but it’s much more than that. First you have Babs spanking Lisa and Taffy and getting a kick out of it. You have the lonely (and presumably virgin) nerds who get a pleasure out of the sheer sight of watching Lisa and Taffy taking a shower. You have the setting of the movie, a bowling alley. There’s so much sexual imagery and thought with the setting. You have bowling balls, bowling pins, gutters……well you get the idea. Finally you have Keith who makes a wish to hook up with Lisa and gets more than what he wished for. What he thought would be exciting in fulfilling a dream becomes a horrible nightmare.
With the exception of the flaws I mentioned earlier the only other gripes I have about this movie is the pacing. It starts to slow down during the third act of the movie. I started to get a little bored and was eagerly waiting for the climax of the movie to be done with. Also, I felt the creative death scenes in the movie could’ve used a little more depth. There’s not much blood and gore in this movie, which is ok. However, you should see the death scene go all the way through. One death scene kicks into another scene just as the victim is screaming for her life.
If you’re looking to watch an 80s horror movie that is out of the ordinary, look no further than Sorority Babes In The Slimeball Bowl-O-Rama. If you’re lucky to find this get a group of friends together along with a few six packs or other preferred drinks of your choice and enjoy this wild and over the top movie. You won’t need to get drunk to understand what is going on in the movie. Don’t be one of those people who tries to use their brain to figure out what David DeCoteau is trying to get out of this movie. You’ll end up giving yourself a headache. Think of it a rule breaking, stereotypical piece of horror comedy that you may end up liking. If you don’t like it, that’s ok. You can blame me. At least I tried to convince you to watch something unconventional.
TRIVIA (Per IMDB):
Director David DeCoteau wanted to work with Linnea Quigley so much that he handed her the script and told her she could play any character she wanted. She eventually decided on Spider.
This was the most popular feature shown on USA Up All Night with Rhonda Shear. The episode was co-hosted by star Linnea Quigley.
Linnea Quigley suggested Hal Havins after having worked with him on Night of the Demons (1988).
In Static-X’s song “I’m With Stupid”, Linnea Quigley’s line from the movie “Yeah, it was…very stupid.” is sampled.
The budget was too low to rent the bowling alley during peak daytime hours, so the cast and crew had to wait till the bowling alley closed at 9pm and shoot all night till 9am.
The script was written in 10 days with only one draft.
John Stuart Wildman (Keith) was originally supposed to have a nude scene in the locker room, but then decided he couldn’t do it. David DeCoteau told him he would at least have to wear tighty whiteys, but then he showed up wearing boxers.
Producer Charles Band held a contest among the employees at Empire Pictures to come up with a new title for the movie, as he felt The Imp was no longer relevant. The title he chose was Bitchin’ Sorority Babes in the Slimeball Bowl-O-Rama, which the entire cast hated (except for Andras Jones, who loved it). Fortunately, the MPAA said they couldn’t use the word “Bitchin'” in a movie title and forced them to drop it.
Shot in twelve days.
The janitor tells a story about a man named Dave McCabe. This was director David DeCoteau’s alternate name when he directed adult films.
Starring: David Carradine, Michael Moriarty, Richard Roundtree, Candy Clark, James Dixon
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Larry Cohen is perhaps my second favorite filmmaker only to John Carpenter. He’s truly an auteur in the film industry. He wrote, produced, and directed his own movies taking on different genres with creative themes and concepts. Cohen was best known for being a guerrilla filmmaker where he shot his movies without permits and got away with them. His risk-taking no-nonsense style has earned him the admiration from many peers and fans. Sadly, he passed away in March 2019, but his legacy will continue to live on. For this week’s review, we are going to be looking at one of Larry Cohen’s most popular movies. It’s an homage to the early monster movies such as King Kong. It takes place in New York City (like King Kong), but instead of seeing the monster on top of the Empire State Building, you’re going to be seeing a monster on top of another landmark building, the Chrysler Building. This week we’re going to be reviewing 1982’s Q: The Winged Serpent!
As the title suggests, Q is a flying monster that has made its home on top of the Chrysler Building. It flies through the skies of New York City snatching up people for food. No one knows where this creature came from or how it got here. As the monster roams the skies, two separate stories are going on. The first story you have is Police Detective Shepard (David Carradine) who is assigned the case of finding the monster and killing it. He believes the monster has something to do with a series of ritual killings he’s also been investigating. Along with his partner Powell (Richard Roundtree), they link the killings and the monster to a secret Neo Aztec cult. The second story involves Jimmy Quinn (Michael Moriarty), a cheap two-timing crook who is an excellent piano player who is involved in a botched diamond heist. He makes his escape by hiding inside the Chrysler Building where he discovers the creature’s nest atop complete with a giant egg. Jimmy uses this knowledge of the creature’s location to lure his fellow mob pursuers to their deaths at the hands of the creature and to extort the city of money and immunity from prosecution in exchange for giving up the creature’s hideout.
Larry Cohen wrote and shot this movie in a little over two weeks. He was working on a project called I, The Jury until he was fired by the studio (he is credited for writing the script to the movie). Not wanting to leave his hotel room that was paid up, he assembled a small crew from the aforementioned project and started shooting all around the city. It took Cohen six days to write the script for Q. The cast was not aware of what they were making when they received a short telegram from Cohen to arrive in the city and be prepared to work.
When I first watched Q, I was thoroughly impressed with the look and style of the movie. It reminded me of the Godzilla movies that I used to watch as a kid on television. There was a look and feel to them that stuck in my brain and this movie did the same thing. It had me engaged from the first scene and I was on the edge of my seat to see how it was going to play out. I was familiar with Larry Cohen’s work at the time, but not enough to know how he shot films and how he edited them.
Q has an excellent cast filled with character actors and method actors. I’ve always been a fan of David Carradine and I was ecstatic when I found out he was in this film. He doesn’t disappoint. He plays Shepard as a traditional detective, trying to find all the clues and piece them together. When he comes up with his final report, it is rejected by his superiors. Carradine continues to believe what he has uncovered and is willing to do what it takes to stop the monster and save the city. His partner, played by Richard Roundtree is a little rougher around the edges. If interrogators were playing ‘Good Cop, Bad Cop’ with a suspect, Roundtree would easily be the ‘Bad Cop.’ There’s even a scene where he plays that on Jimmy Quinn. Speaking of Jimmy Quinn, he’s the surprising hero of the movie played brilliantly by Michael Moriarty. When he first appears on screen he is desperate to get back in the game of stealing. When the diamond heist goes bad he starts to get edgy and paranoid. As the movie progresses you see that Jimmy grow a brain and develop a plan to get rid of the people who are looking for him and a way to set himself up for the failed heist. Many critics and fans have hailed Moriarty’s performance as the best piece of method acting they’ve seen and I echo that sentiment. He pours emotions filled with anger, despair and cockiness. This was the first collaboration between Moriarty and Cohen and it wouldn’t be the last as they would work together on five more movies.
Like all of his movies, Larry Cohen shot the film with no permits and used real life police officers, construction workers and window washers which gives the movie an authentic feel. The movie is shot in the streets of New York, over the skies of New York and of course the inside and outside of the Chrysler Building. When you watch the people of New York look above when they are getting splattered with blood falling from the sky or taking cover when bullet cases are raining down, those aren’t paid actors, those are real people who are quickly reacting to the situation that they are in. The only permission he received was from the owners of the Chrysler Building. At the cost of $15,000 Cohen was able to shoot inside the building all the way up to the top where no ordinary citizen has gone before. From there you will be amazed by what the top of the building looks like and becomes the set piece for the climatic showdown between the monster and the police which is this reviewer’s favorite scene in the whole picture.
Now let’s get to the character of the monster itself, Quetzalcoatl! The special effects for Q were done using stop-motion animation by Randall William Cook and David Allen. It is custom for stop motion sequences to be shot as they are happening. This was not the case (nothing is ever coherent in a Larry Cohen movie). When Cohen hired Cook and Allen to do the stop motion animation, he had already finished shooting the movie. His plan was to add the creature into shots already taken. This results in the monster looking like he was pasted onto an existing shot. It brings a sense of unevenness when watching the monster when it appears or has moments of action such as plucking the heads off people. The effects are no different from what you would see in a b movie involving a monster, but don’t let the cheapness distract you. You will easily bypass it as you continue to be engrossed in the movie and enjoy the effects for the sheer fun.
There’s not much more I can say about Q: The Winged Serpent without giving too much away. It’s one of the best B-Movies to come out within the last forty years. It continues to have an impact and has inspired other filmmakers to make their own monster movies using this concept. I rank this as favorite film of everything Larry Cohen has done, even The Stuff! It’s example of a film which proves you can make a crazy concept and can execute it with a great story and characters.
TRIVIA (Per IMDB)
A young Bruce Willis wanted to star in David Carradine’s role but wasn’t a known name at the time that Larry Cohen could depend on to be bankable. Bruce later met Larry again when Moonlighting (1985) was a hit.
Pre-production for the movie lasted just one week. The film was conceived after Larry Cohen was fired from a big budget film shooting in New York. Cohen, determined not to waste the hotel room he had paid for, hired the actors and prepared a shooting script within six days.
In an interview on NPR’s “Fresh Air”, Michael Moriarty described the scene in which he auditions as a piano player. The music he played was a self-composed and unrehearsed improvisation, and the dog’s reaction was genuine.
The building in the opening scene of the movie is the Empire State Building. In this scene, a window cleaner loses his head to the monster. His name is William Pilch, and was the actual window cleaner for the Empire State Building at the time of the movie’s filming.
The French movie poster incorrectly shows the monster covered with feathers, a wavy dinosaur frill along its back, and with large white teeth. This is because it was illustrated and printed up before copies of the film were imported into France.
David Carradine agreed to play Shepard even though he didn’t receive a script to read prior to his first day of working on the film.
The jewel store that the bad guys rob in the early part of the film is called “Neil Diamonds” a pun on the name of Neil Diamond.
Cohen stated about the monsters death at the ending, “It’s the exact same scene as the end of the $150 million Godzilla picture. Gee, if I had that money I could have made 150 movies.”
Shepard’s (Carradine) wife is played by Carradine’s actual wife at the time.
Writers: John Carpenter (Story & Screenplay), Desmond Nakano & William Gray (Screenplay)
Starring: Tommy Lee Jones, Linda Hamilton, Robert Vaughn, Lee Ving, Bubba Smith
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Hope you enjoyed the batch of movies that have been presented on “Guilty Pleasure Cinema!” I have a handful of movies ready to go and trying to write as many reviews as I can in between working my day job, writing and editing a food blog I’m preparing to launch and pursuing other artistic ventures. But enough of my time management issues, let’s get to the next non-horror movie review which will be the 1987 cult film Black Moon Rising!
Released in 1987 and written by horror auteur John Carpenter (ironic since I said I’m not going to mention horror movies for a while on this page), the film features Tommy Lee Jones in a rare leading role as Sam Quint, who is a former thief that is hired by the FBI to steal a computer disk which contains incriminating evidence against a company called the “Lucky Dollar Corporation.” On his tail is a former acquaintance of his Mavin Ringer (Lee Ving) who works for the company. Quint crosses paths with Earl Windham (Richard Jaeckel) at a gas station. Windom just tested a new prototype vehicle called the Black Moom, which can reach speeds of 325 MPH. Quint hides the disk in the Black Moon which makes its way to Los Angeles. Upon intercepting the Black Moon, a group of auto thieves led by a woman named Nina (Linda Hamilton) steal the car along with some other vehicles at a restaurant. Now Quint needs to retrieve the disk to complete his task.
John Carpenter wrote Black Moon Rising during the time he was working on Escape From New York. The script floated around until it was picked up by New World Pictures, which hired Desmond Nakano and William Gray to re-write parts of it and tasked Harley Cokliss to direct.
The movie is essentially a “got to get back a stolen car” story filled with some great chase sequences, ample amounts of action and solid performances from the cast. It’s too bad Carpenter didn’t direct the movie because it does have a style that is suited to his work. Black Moon Rising reminds me a lot of Knight Rider considering the car looks like if KITT had a son.
As previously mentioned, this is a rare lead role for Jones who doesn’t disappoint as Sam Quint. His charm and witty sense of humor is displayed all throughout the move even in the most dire situations. He is observant of his surroundings and uses his skills as a thief to elude his pursuers. Linda Hamilton does a stellar job as Nina. Her story is developed right as she appears on the screen. Throughout the run time, you understand Nina’s background and why she chose the profession she chose. Any bitterness you have towards her in the movie turns into sympathy. She becomes an intriguing partner to Jones’ Quint whose relationship also moves as quickly as the Black Moon car. Other noteworthy performances include Lee Ving as Marvin and Bubba Smith as FBI Agent Johnson, whom Quint reports to.
Director Harley Cokeliss has been a B-movie filmmaker for most of his career, although he has credits directed numerous action sequences for The Empire Strikes Back. That experience paid off as he creates some thrill-seeking action sequences most notably with the car. I could feel my toes curl and my heart race when Jones gets into the car and presses all the buttons to get it to do certain things kind of like the various cars James Bond has used to get out of sticky situations.
The only thing I didn’t care for in the movie is the love scene between Jones and Hamilton. I don’t think the term ‘Awkward’ cuts it when describing the scene. You could easily list it in a top 10 list for “Worst Lovemaking Scenes!” I understand its part of the movie and trying to fit a romantic dynamic in the movie, but they probably could’ve shown it another way.
Despite some of the predictability, Black Moon Rising is still a fun picture that is a wink and a nod to many classic action movies. I appreciate it for its technicality, style and a cast that works together. It’s a perfect viewing for a rainy Saturday afternoon or if you’re looking for a thrilling low budget affair. It impressed me the first time I watched it and it hasn’t changed my opinion since re-watching it again not too long ago.
TRIVIA (Per IMDB)
This is actually the first screenplay that John Carpenter ever sold. The film had been in development for over 10 years.
Linda Hamilton despised working with Tommy Lee Jones. Jones had been struggling with alcoholism at the time.
Tommy Lee Jones did most of his own stunts.
A lot of Tommy Lee Jones’ wisecracks were improvised by the actor himself.
The stunt driver of the Black Moon had virtually no idea where he was going as he was in a semi-recumbent position whilst driving. His windshield was also made of Plexiglass that reflected every single surface, obscuring his vision even more.
The Black Moon was based on a Canadian car prototype design called the Wingho Concordia II which was first unveiled to the public in 1980. Only one of these were ever actually built so the car seen in the film is a copy cast from molds.
Tommy Lee Jones uses an original H&K P7 9mm pistol in the film. He carries the pistol without a round in the chamber, even though it is widely known to be among the safest handguns ever built and purposely designed to carried with a round in the chamber. He also used an identical P7 in Under Siege (1992).
Disclaimer: The rankings are based on my personal viewings, thoughts and opinions. I have not been influenced by outside parties as to where to place certain movies in these rankings.
Most of you readers may have never heard of Al Adamson. You will be familiar with him after this posting. Al Adamson was the son of early Australian film actors. He joined his father, actor Victor Adamson’s (known professionally as Denver Dixon) production company to learn the business. Eventually, Adamson would go on to make his own movies starting his own independent production company where the only person he answered to was himself. Adamson’s films were based on trending genres in the movie world. His eclectic filmography includes Westerns, Horror, Blaxploitation, Sexploitation, Martial Arts and even two Children’s films that spanned three decades. Adamson was known for making his films fast and cheap with very little money and allowing only two takes per scene. He would have his friends and collaborators play multiple roles from acting to set design, performing their own stunts, etc. While his movies aren’t anything revolutionary, they did find an audience. Adamson saw the Drive-In theater trend as a marketing opportunity and took every advantage of it. He along with his producer pal Sam Sherman would re-release their own movies under different titles based on what was hot at the Drive-In. Adamson’s career would come to an end near the mid 80s. Tragically his life would be cut short as he was murdered in 1995 by a contractor working on his home in Indio, California. While Adamson may not be remembered as a great nor influential filmmaker, his works continue to live on thanks to a devoted fanbase along with a new generation of viewers thanks to a recent box set that was released.
Last April Severin Films released the most comprehensive Blu-Ray box set dedicated to Adamson. Al Adamson: The Masterpiece Collection features all thiry-one of Adamson’s films inlduing the critically acclaimed documentary Blood & Flesh: The Reel Life and Ghastly Death of Al Adamson. Severin released the movies based on the available prints they could find through original negatives, 16mm prints or VHS prints. The box set included Commentary Tracks for each movie, Trailers, Promo Reels and Early Interviews. The Box Set was completed with a one hundred twenty six page booklet chronicling Adamson’s career and information on which version of film you would be watching. The Box Set sold out quickly as it was a limited print.
I acquired the Al Adamson Masterpiece Collection in late January and spent the past month watching all of his films. For this special edition of “Guilty Pleasure Cinema,” I decided to rank all of Al Adamson’s movies based on my viewings and impressions. I started at the bottom listing my least enjoyable viewings all the way to the one film I found to be my favorite. For this list I excluded the Blood & Flesh documentary. This is strictly on Adamson’s films. For those who are familiar with Al Adamson’s filmography, you may be shocked as where I have certain movies listed. So without further rambling, let’s get the rankings started:
30. Hell’s Bloody Devils
The worst movie on this list happens to be a previously released Adamson film with new footage and this will not be the last movie on this list with this cut and paste concept. Hell’s Bloody Devils takes the previously released film The Fakers, which is about a government agent who infiltrates a Neo Nazi organization in California in hopes of retrieving some counterfeit plates from Germany the Nazis plan on using for a counterfeit scheme and adds a biker gang to the mix. There are only a few scenes of these bikers in Nazi garb and they add nothing to the plot of the film. What’s worse is that this film is shorter than The Fakers. The question that I keep asking in my head while watching these films is why didn’t Adamson turn these concepts into stand alone films? I’m sure he would’ve been able to secure the money to do so. Hell’s Bloody Devils is an example of a filmmaker and a studio trying to capitalize on a merging trend and doing it in the laziest way possible.
29. Nurses For Sale
From the opening scene you would think this is another Al Adamson skin flick, but then it goes downhill from there. Nurses For Sale is a culmination of two films smooshed together. The essential plot of the movie deals with a stolen drug cargo that was supposed to arrive in West Germany. The nurses’ involvement is not very clear as they seem to be helping out with the shipments thinking that they’re medical supplies. Nurses For Sale is one hot mess (no pun intended). This was originally a German film made by Rolf Olsen and then Adamson somehow got the rights to it and added some nude scenes to try to pass it off as a Sexploitation movie. The story is incoherent, and the characters are laughably dumb. Thank goodness this movie clocked in at 67 minutes, otherwise I’d be pulling my hair out in frustration until I became bald. Easily the worst movie of Al Adamson’s filmography, if you would even consider crediting this to him. I had to flip a coin to see whether this film or Hell’s Bloody Devils would be placed at #30. Obviously, this squeaked out…barely.
28. Five Bloody Graves
If Social Justice Warriors created a list of Culturally Inappropriate Films, Five Bloody Graves would be on the very top. Of course, you have to remember this was filmed in the sixties and during a period where white actors would be cast as different ethnic characters. You would think that the filmmakers would do some research about Native Americans and their history rather than choosing the default of all of them being savages and if they’re supposed to be performing as savages, they would learn the correct way of scalping someone. Nevertheless, Five Bloody Graves is a pretty bad Western film. The plot goes in various directions, the action is laughably inept, and the editing is poor. There is a shot of John “Bud” Cardos, who plays the tribal leader raising his spear and screaming that is shown several times including one scene where it’s completely misplaced. There’s also back and forth shots that are mismatched with some missing the sound. The acting leaves a lot to be desired with the exception of John Carradine who plays a preacher. Like the veteran professional he is, Carradine makes a consolidated effort and has a few humours moments as well. The only thing I liked about Five Bloody Graves was that it was shot in Utah with its beautiful countryside. I was in awe as to how clean the rivers were, the gorgeous mountains and Marigold blossoming everywhere. Five Bloody Graves is a prime example of how Al Adamson shot movies cheap and on the fly with little to no effort or care as to the art they are making. I wouldn’t watch this movie again even if it did end up on a Banned Movies List. It belongs in that vault never to see the light of day again.
27. Blazing Stewardesses
The Naughty Stewardesses was a surprise success at Drive In Theaters that Adamson rushed a sequel titled Blazing Stewardesses. Taking inspiration from Blazing Saddles, Blazing Stewardesses brings back the characters from its predecessor and puts them in a crazy story where they stay at a resort of their wealthy friend again from the last movie and then mixes in a western heist element to it. Blazing Stewardesses is a skin flick that never gets started There’s really nothing to like about this movie. except for seeing Lilly Munster Yvonne De Carlo appear in the movie. The plot doesn’t make a lick of sense and there’s too many scenes involving the surviving Ritz Brothers doing their schtick that would only make people the same age as them laugh so hard that they collapse a lung. This is a movie that will be collecting dust inside my Al Adamson Collection until I pass it on to someone else and it will be their decision whether to watch this salty garbage.
26. Mean Mother
Mean Mother is Al Adamson’s first foray into the Blaxploitation genre. This is another patch job as Adamson takes a previously released film, this case Leon Klimovsky’s Run For Your Life from 1971 and adds his own footage. The plot of the movie is two US Soldiers who deserted their platoon during the Vietnam War, go their separate ways and both enter the European Criminal Underworld. The film stars Dobie Gray and Luciana Paluzzi of Thunderball fame. The acting is campy which is what you would expect from a sandwiched film. The Vietnam scenes look like they were shot in a Midwestern location with bare trees, hay, and all kinds of weeds. What little action that Adamson injects in this movie is fun is a nice rush of entertainment before it falls back to the dull, messy plot. Mean Mother is unquestionably the worst Blaxploitation film Al Adamson has done, and this is a genre that seems to be his strongest as you will see quite a few of these films rank higher up on the list.
25. Nurse Sherri
Nurse Sherri is another Al Adamson film combing two film genres into one. The film starts with a cult trying to resurrect one of their members who’s dead and then his spirit somehow enters a nurse named Sherri who then proceeds to go on a murderous rampage in the hospital she works at. Nurse Sherri is a film where the story goes nowhere fast. You see the cult in the beginning of the film, and they don’t return. There’s no explanation as to how Sherri gets chosen to be possessed. The hand drawn animation during the possession scene is so bad it would make the guys in Monty Python laugh. Nurse Sherri includes some outrageous characters including a professional football player who goes blind and suddenly becomes an expert in demonic possessions. Only good thing Nurse Sherri has is the traditional sex scenes in Al Adamson movies and some quality kill scenes. The version in the Al Adamson collection is scanned from the original 16mm print so it’s grainy with some fogginess. Nurse Sherri may appeal to those who love cheese and sleaze, otherwise this would be a candidate for assisted film suicide.
The final completed film of Al Adamson’s career, Lost is about a little girl and her dog getting lost in the desert wilderness of Utah and work together to find their way back home. Lost reminds me of a Hallmark Channel film. It’s a story about friendship and how strong the bond is that they can overcome anything. While the title and premise sounds like this is going to be a sad and depressing film, it’s a painfully frustrating ninety minutes of a poorly written script, characters who don’t seem to know their shoelaces are always untied and moments that make you want to sink your teeth into the skin of your hand. The dog is cute but is useless as all it does is follow the little girl around and be her companion. Lost is a forgettable film and in an ironic way is Al Adamson’s filmmaking career coming full circle.
23. Angels’ Wild Women
Just from one look at the cover of Angels’ Wild Women one would assume that Al Adamson wanted to make his own version of Charlie’s Angels. Only problem with that is that the popular television series would not air until four years after this film was released. The lead women in this film have some flashes of being able to handle themselves against their masculine counterparts, but then they abruptly become vulnerable to the situations they get it. Except for the beautiful women which include Adamson regulars Vicki Volante and Regina Carrol Angels’ Wild Women is another film that doesn’t go anywhere quickly. The story is muddled and falls further deep into the rabbit hole with random subplots added and the characters in the movie are stupid including a naïve farmhand who gets raped by the women in the movie that is sequenced like it came from a bad porno flick. It’s the first movie I’ve seen where a man gets raped by a woman. The bad guy in the movie is some zealous cult leader who allows the women to stay at his ranch only for them to be sickened or killed by the cult. Speaking of cults, Angels’ Wild Women is notable for being shot at the Spahn Ranch where Charles Manson and his family were held up before and after their murder spree. The ranch is where most of the film would take place including a hilarious fight sequence where men are holding onto their beers as they wrestle on the dirt road outside. Again, another film that could have had potential but was poorly executed in the end.
22. Half Way To Hell
Released in 1960, Half Way To Hell is technically regarded as Al Adamson’s directorial debut. He took over for his dad, actor/director Victor Adamson who was known professionally as Denver Dixon (Dixon is shown as director in the opening credits). Half Way To Hell is a simple western shot in black and white. The plot regards a woman Maria San Carlos, the daughter of a wealthy landowner who is an arranged marriage with a Mexican revolutionary general named Escobar. Maria believes in marriage for love, escapes and travels to the US border. She is intercepted by some American outlaws hired by Escobar to bring her back. It’s up to an American cowboy who teams up with Maria’s servant boy and protector also looking for her to save her. The film looks like it was made ten years prior to its actual release. The film is notable for featuring Adamson in a key role as one of the cutthroat cowboys. There’s very little in terms of shootouts or action sequences. The dialogue and performances are what you expect in a low budget film from this era. There is an attempted rape scene that was edgy for its time, but would also be a glimpse of what to expect of an Al Adamson film where taboos are broken in the name of art. Again, it’s a simple black and white western that allowed Adamson to dip his toes into directing and set the blueprint as to how he was going to tell stories through the lens of a camera.
21. Blood of Ghastly Horror
Blood of Ghastly Horror is another film that was previously released as one title and then re-released with a newer title and newly filmed footage. In this case it takes clips from the movies Psycho A Go Go and The Fiend With The Electronic Brain and adds a plot about a mad scientist who experiments on dead bodies and creates zombies in order to find a way to revive his son who was perished in a fall. This film was billed as a quasi-sequel to Fiend, but really makes no sense especially given the ending to both films (which is shown for the third time in this feature). The only thing I liked about this movie is the cheap makeup of the zombies and the appearance of Regina Carroll, the buxom blonde who was Al Adamson’s wife in real life and would appear in the majority of his films. I would not be surprised if Blood of Ghastly Horror was the inspiration for the concept and presentation of Silent Night Deadly Night Part 2 as they took a large chunk of the previous movie and added a new story and newly filmed scenes to make it appealing to viewers.
20. Cinderella 2000
Billed as an out of this world musical sex comedy, Cinderella 2000 doesn’t deliver much on the musical or comedy part but has an overabundance of softcore pornography that will get men googly eyed. Al Adamson out weirds himself by taking a loose version of the fabled fairy tale and setting it in a cyber-Orwellian future where sex is outlawed, and Bid Brother decides who are allowed to participate in this adult activity. The story of Cinderella is the same one we all know and love, but this time the woman who is chosen by the “prince” of the film will have the opportunity to join him in consummating the union. The movie is a trip from beginning to end. Adamson throws so many strange characters and ideas into the plot that make you wonder what kind of grass he was smoking when he made this. A form of punishment for a woman who was caught having sexual relations in violation of the law was she was shrunk down into a miniature sized doll. The characters are boisterous, but don’t have much personality other than they’re all as horny as a three-ball cat. Some dialog made me chuckle especially with the stepmother’s two children taking her for help telling the doctor, “She’s got a case of the hornies!” One of the central characters that is supposed to be the comic relief in the movie is a robot who is programmed to uphold the fornication laws and goes berserk if it catches couples in the act. The robot is so annoying in the movie that surpasses the robot from Lost in Space as the most annoying robot ever shown on film or television. There’s very little musical numbers which is a good thing because the singing is cringeworthy. Again, men will find this movie appealing with the plentiful abundance of T&A in the movie. Cinderella2000 features a fourth wall moment with Snow White wishing she were getting lucky only for her wish to come true thanks to the help of the seven dwarfs…. that’s all I’ll say on that matter. Cinderella2000 is a movie that you could watch in a late-night viewing, but for the most part it will appeal to drunken frat boys looking for cheap thrills or prepubescent boys looking to get their rocks off.
19. Sunset Cove
Sunset Cove is Al Adamson’s first and only attempt at a raunchy teen sex comedy. The film is about a group of teenagers who band together to keep their beach from being bulldozed to make way for a developer to build condominiums. Sunset Cove features the stereotypical characters you would see in these type of teen comedies including an overweight character cleverly named “Chubby,” but are likable for the most part thanks in part to the decent performances from the cast of the movie. They’re working together for a common goal not just for themselves but for their community. There’s a surprise cameo from the great John Carradine who plays the town judge at the climax of the movie. This would be Carradine’s seventh and final appearance in an Al Adamson movie. The film features many tropes you’ll find in a beach movie: jocks, girls in bikinis, bumbling law enforcement officers and a corrupt mayor. Sunset Cove features the most lighthearted fun you’ll see in an Al Adamson movie. Of course, it wouldn’t be an Al Adamson movie if there weren’t any sex or topless women. The film does suffer from a listless plot and some of the locations are left to be desired. Sunset Cove may not be a memorable film of this genre but is one of the pleasantly surprising viewings of this filmography.
18. The Naughty Stewardesses
The Naughty Stewardesses is your typical T & A softcore skin flick. Think of Sex and The City on an airplane. The film wastes no time with the hanky panky between a pilot and a stewardess. Eventually the plot starts to form as the veteran stewardess crew show new hire Debbie the ropes and talk about their sexual fantasies. This leads to them staying with a wealthy man who gets to act out his fantasies with the nymphomaniac bunch while Debbie gets romantically involved with an amateur photographer who uses her to take pictures and start an affair that seems to go back and forth all throughout the movie. The Naughty Stewardesses was another attempt by Adamson to make money and exploit a growing trend. The acting doesn’t leave a lot to the imagination and the plot seems to stray away from its heading. The only good thing about the movie is of course the stewardesses although it’s gross that they are getting themselves involved with a man that thirty years older than them. The kinky happy fantasies of the women take a dark turn at the climax of the movie that gets utterly ridiculous. The Naughty Stewardesses doesn’t hold up today considering the volume of sex and pornography that is found today in film, television and of course the internet. Only the hardcore devotees of B Movies and Drive In Culture would be able to bring this film back from its involuntary celibacy.
17. Black Heat
Black Heat was Al Adamson’s first foray into the merging Blaxploitation genre that emerged during the early seventies. It’s a simple story of a Las Vegas cop, played by Timothy Brown in his first, but not last Adamson films who is out to shut down an upscale hotel that is being used a front for numerous illegal activities including loan sharking, gun running and prostitution. He is supported by his partner Tony, played by Geoffrey Land arrive to diffuse the situation and a TV camerawoman named Stephanie, played by Tanya Boyd whom he strikes a romantic relationship with. The film includes Adamson regular Russ Tamblyn as Ziggy who is the middle man for all the criminal activity going on in the hotel and Adamson’s wife Regina Carrol as a musical performer of the said hotel. The storyline is nothing that we haven’t seen before, but it has a decent cast of characters to keep the film moving. There’s a little more effort into the technical side of the film with a good chase scene and some shootouts. The romance element of the film between Brown and Boyd is humorous and playful. Unfortunately, there are some bizarre moments in Black Heat, most notably a horrendous sexual assault scene involving a woman who is a degenerate gambler who loses everything and is forced into a gang-bang to cover her debts. Finally, Black Heat starts to run out of gas during the third act and drags to where you start to lose interest. After watching this film, I felt this was a learning process for Adamson in this genre as he would continue making more Blaxploitation films and correcting the flaws that are in this.
16. Horror of the Blood Monsters
What do you get when you take footage from three separate films and then add your own footage with a different plot, edit them together and then flood them with various color tints? You get Horror of the Blood Monsters. The film opens with a narration sequence from late legendary actor Brother Theodore about a virus that is turning humans into vampires. From there a space crew travels the farthest reaches of the galaxy hoping to find help to stop the virus. They land on a planet that is filled with every kind of danger from dinosaurs to lobster people to a cannibalistic tribe. Not to mention the planet is filled with heavy radiation (the reason for the shades of colors throughout the film). Horror of the Blood Monsters looks like it was made during a bad acid trip. The opening sequence features several crew members including Adamson dressed as vampires biting the necks of unsuspecting victims. From there it morphs into a Sci-Fi film using footage from an untiled unfinished Filipino film, and an unfinished stop motion prehistoric film (One Million B.C.) with some cheap spaceship sequences and a mission control sequence where the screen is in freeze frame during the broadcasts from the spaceship. The cast includes Adamson regulars Robert Dix and Vici Volante with a special appearance from John Carradine as the ship doctor. There is a moment in the movie where Robert Dix explains to Vicki Volante about how the Spectrum Radiation works and how it changes color, followed by them engaging in a long love making sequence. The color of the film changes based on the time of day in the movie and vary from red, yellow, green and blue. It may not be pretty to look at, but that’s the justification Adamson used as cover to the black and white movies he cut and pasted. Horror of the Blood Monsters would’ve been a great film if they stuck with creating a film based on the opening sequence and could’ve used the jumbled movies and release it as a separate title. Then again, what do I know about cheap filmmaking?
15. The Fiend With The Electronic Brain
The Fiend With The Electronic Brain is essentially Psycho A Go Go with a few added scenes explaining why the killer in the movie acts the way he acts to give it a Science Fiction twist. The added scenes feature John Carradine as Dr. Howard Vanard who talks to a detective looking into the murders committed by the killer. Vanard explains that the killer was a soldier who returned from fighting in Vietnam with a traumatic brain injury and Vanard experimented with him by implanting an electronic device for him to recover and live a normal life. Instead, it turned him psychotic. Roy Morton who played the killer in Psycho A Go Go areturns in the added scenes to take care of Vanard from further talking to the police. Carradine’s death scene is hilarious when you watch the performance. While it does give a plausible reasoning for the killer, in the end it wasn’t necessary to make Psycho A Go Go any better than it already was.
14. Carnival Magic
Carnival Magic has the honor of being the only film of Al Adamson’s to be featured on Mystery Science Theater 3000 and found its audience through the hilarious riffs and commentary from Jonah, Tom Servo and Crow. Carnival Magic marked a turn for Al Adamson as his first 80s film would not only be his second to last, but his first attempt at making a children’s family film. The story is about a carnival that is trying to keep from going under. A magician that has been the main attraction of the carnival reveals that he has been keeping a talking chimpanzee under his roof named Alex. Alex becomes a part of the magician’s act and becomes an instant crowd pleaser. His popularity catches the attention of a scientist who wants to take Alex and experiment with him to see if he’s the true missing link of human evolution. Carnival Magic in its original non MST3K version is dated for a children’s film but has enough going on to be entertaining. The antics of Alex are funny including him stealing a car and taking a joyride on it. The power of this movie comes from the bond of the magician and Alex as kind of a father/son relationship. Alex makes friends with some of the other carnival workers who look after his well-being especially when he does go missing. It reminded me of another film I liked in my mouth called Dunston Checks In where a monkey escaped his abusive master and made friends with a lonely boy who looks after him. Carnival Magic is a movie that may get the attention of children under 6 but may not be appealing to the other ages. You’re better off watching the MST3K version for a laugh out loud good time.
13. Death Dimension
Jim Kelly returns in another Al Adamson Martial Arts film that while not a direct sequel to Black Samurai but has a lot of familiar elements. Death Dimension is essentially the same storyline as Black Samurai with Kelly trying to find the daughter of a scientist who has a microchip surgically implanted in her forehead that contains instructions on how to create a destructive freeze bomb. She is being pursued by a world-renowned gangster named “The Pig” who is looking to acquire the plans so he can use it to hold the world at ransom. Death Dimension is an odd title considering there’s extraordinarily little in terms of Science Fiction. The film ratches up the Bond elements by adding Oddjob himself Harold Sakata as “The Pig” and one time James Bond George Lazenby as one of Kelly’s contacts which was great to see. The action scenes are fun to watch most notably a boat chase scene with Kelly fighting and knocking his adversaries into the beautiful blue water. While the story of Death Dimension is nothing new, it’s easy to follow along and doesn’t have any twists or things to turn your brain into a pretzel. The film quality of this version is grainy due to the print that Severin Films was able to acquire, but you can still see what’s going on in the frame. Finally, the music is decent with a laughable track during the final chase scene as it sounds like the composer was mashing on a synthesizer. Death Dimension is another fun Martial Arts film that fits in Al Adamson’s Kung Fu Trilogy along with Black Samurai and The Dynamite Brothers.
12. The Fakers
As previously stated in my review for Hell’s Bloody Devils, The Fakers is about a government agent who infiltrates a Neo Nazi organization in California in hopes of retrieving some counterfeit plates from Germany the Nazis plan on using for a counterfeit scheme. Adamson wanted to seize on the success of the James Bond movies by creating a spy thriller of his own. The Fakers has a nice blend of action, story, characters, and music. In traditional James Bond fashion, The Fakers features a romantic sub plot where the protagonist encounters a beautiful young woman caught in middle of the events that are unfolding. Best scene in the movie is where the main character and his love interest are eating at KFC and Colonel Sanders appears in the flesh asking them, “Isn’t that the most wonderful chicken you ever ate?” He refused to say the original scripted line, “Ain’t that chicken finger lickin’ good?” which caused the crew to shoot several takes, which in an Al Adamson movie is a no-no
11. Blood of Dracula’s Castle
Blood of Dracula’s Castle was one of many good concepts from Adamson that doesn’t quite hit their mark. Starring Alexandar D’Arcy as a fangless mustached Dracula he resides in a castle in the middle of the California desert along with his wife the Coutness played by Paula Raymond and their loyal butler George played by John Carrandine. With the use of a henchman named Mango, they kidnap young women who wonder into their property and hold them in the basement to take their blood. Their lives get turned upside down when the original owner of the property passes away and gives the deed to his nephew. He along with his fiancé travel to the castle and meet the squatters. They soon realize that there is something wrong with their new inheritance. There are many things to like about Blood of Dracula’s Castle. The cinematography was good for being an Adamson film apart from a few cuts and scratches from the film translation itself due to it being old and recovered for the box set. I loved the setting and set decorations of the film. While the castle is in the desert, the inside still has that vintage look of Dracula’s original layer settled in Transylvania. John Carradine is the standout performance as George the Butler. Surrounded by amateurs, Carradine’s veteran professionalism and seriousness of the part sticks out. While the story is cohesive, it could’ve been fleshed out more. The biggest thing I didn’t get was why Dracula and the Countess chose to drink blood from a glass rather than bite the necks of their victims the old-fashioned way. One of those mysteries that may never be solved. Blood of Dracula’s Castle may stack at the bottom as a forgettable Dracula movie, but it has enough going on for it to be a decent late night B movie.
10. Psycho A Go Go
Al Adamson’s second feature film Psycho A Go Go is about a jewel heist that goes wrong with one of the burglars tossing the bag of jewels into the back of a pick-up truck driven by an ordinary pedestrian who’s on his way home to celebrate his daughter’s sixth birthday. The thieves track him down and hold his family hostage until they get their stolen loot back. Psycho A Go Go has plenty of zany moments, most notably one of the henchmen who abruptly becomes the main antagonist near the end of the film. The acting is cheesy which includes a doll that sings like Alvin the Chipmunk. There’s enough going on in the film to keep your attention span, most notably the opening heist and the final act. The climax features a long chase scene that starts with the killer stealing a car and going after the wife and daughter of the innocent man and ends up in a snowy mountainside where the final standoff ensures. The cinematography was done by Vilmos Zsigmond who would go on later in his career to win the Academy Award for Cinematography for his work on Close Encounters of the Third Kind. This was his first Director of Photography job and you could see the talent that he had for lighting and framing as his later works would continue to give him much praise and success.
9. Brain of Blood
Brain of Blood is the story of a dictator from a fictional Middle Eastern country who is dying of cancer and arranges with his aides and future bride for his body to be flown to America where a scientist is preparing to transfer his brain into another human body in order for him to continuing living. What he’s not aware is that the Scientist is planning on putting his brain into the body of his acid scarred servant. This is the most comprehensive film from Al Adamson. While not an original idea, it’s well executed. The story is easy to follow along and has some decent performances, most notable Angelo Rossitto in his first Al Adamson film playing the Scientists’ assistant. You could tell he was having fun with his character especially when checking up on the women who are chained in the Scientists’ basement. There’s also a well-choreographed fight scene and a car chase sequenced to keep the film from being too dialogue heavy. Of course, Brain of Blood couldn’t be a horror film without seeing blood and a brain. The surgical sequence is long, but the effects are gruesome. Kudos to the props and effects department for making a realistic looking brain drowned in blood. Brain of Blood is a movie I would watch again and even draw a little inspiration into writing a script with this subject matter.
8. Jessi’s Girls
Starring Sondra Currie in the eponymous role, Jessi’s Girls is a movie about vengeance and female empowerment. Jessi and her husband, who are devout Mormons are attacked by a group of outlaws. Jessi is raped several times and her husband is killed. With very little strength she finds safe haven in a hut of a hermit who nurses her back to health and teaches her how to use a gun. Jessi then goes out in the world to seek revenge on the outlaws. She frees several female prisoners and starts a gang. Jessi’s Girls is a rare film where it feels Al Adamson took his time on and focuses on character development and emotion rather than fast loose gimmicks. The metamorphism of Sondra Currie is amazing how she went from an innocent devout Mormon woman to a vengeance seeking vigilante with a deep hatred for men. The torture scenes are brutal, and the music heightens the tension and pain being inflicted. There’s enough action and shootouts to keep the film from being too preachy on the morals and ethics of what they are doing. Great supporting cast including Regina Carrol, Jennifer Bishop and Ellyn Stern as Jessi’s partners who slowly infight among themselves in the film and it’s up to Jessi to keep her girls in line. Unfortunately, Jessi’s Girls suffers from having an abrupt ending where the credits roll immediately after the climax. It felt like a slap in the face to what was turning into making Al Adamson a mainstream filmmaker. Jessi’s Girls is still a good film on the merits and worthy of a top ten slot.
7. The Dynamite Brothers
Continuing the trend of making movies featuring trending genres, Al Adamson jumped on the success of Bruce Lee’s final film Enter The Dragon by making a Kung Fu film of his own. Released in 1974, The Dynamite Brothers star Alan Tang as Larry Chin, who arrives in America via Hong Kong searching for his brother. While at a stop in San Francisco, he meets Stud Brown, played by Timothy Brown via being handcuffed to each other by a racist corrupt cop named Burke, played by Aldo Ray. After escaping custody, Larry and Stud head to Los Angeles with the help of a driver by named Betty, played by Clare Torao. I loved this movie. The action starts right at the beginning and doesn’t wear out. The fights are perfectly choreographed and the chemistry between Alan Tang and Timothy Brown remind me of the relationship between Jackie Chan and Chris Tucker in Rush Hour. The Dynamite Brothers also features legendary actor James Hong as the antagonist who is quiet, but brutal as you will see in the film where he kills a henchman using a single acupuncture needle. The story is simple and flows easily with an intriguing twist during the final act of the movie. The flaws are little, but rather noticeable especially during a shootout scene where a car flips over and bursts into flames. Nevertheless R. Michael Stringer does a great job with the cinematography with shots overlooking the San Francisco Bay to the mean streets of Los Angeles. Quentin Tarantino has talked in length about The Dynamite Brothers and I could easily see why. It is truly a fun B movie watch for fans of the Martial Arts genre.
6. Satan’s Sadists
Biker films are known for their honest brutality and Satan’s Sadists pulls no punches. Starring Russ Tamblyn as Anchor who leads his gang the Satan’s Sadists on a venture of rape, murder, and revenge. After terrorizing a group of people at a local diner in the desert, a man fresh out of the Marines fights back to defend the waitress against the gang which leads to a chase in the desert where they attempt to hide from the gang finding them. During the search, the gang comes across a trio of college girls working on a project and slowly being to unravel as the day falls into night. The overall presentation of Satan’s Sadists looks like something Quentin Tarantino would’ve made (I believe he mentioned in an interview about really liking this film, but I can’t find the source). The story is easy to follow. The cinematography is gritty and captures the wastelands of the desert along with the long straight roads where the bikers ride in formation. There’s great sixties music that fits the feel and themes of the movie. The performances are solid with Tamblyn being the standout as the quiet but sociopath Anchor and Bud Cardos as the Native American member of the gang Firewater who gets into a power struggle with Anchor. The rest of the gang act like despicable little children due to their antics throughout. The film also marks the feature debut of Adamson’s wife Regina Carrol who would appear in all his films going forward. She has many notable scenes in this including dancing on top of a diner table. It’s something you would see in a Tarantino film. There are some scenes that are hard to watch, most notably the rape scenes involving two women, one at the beginning of the film and one during the middle. It reminded me of the rape scenes in The Last House on the Left. Finally, a biker film wouldn’t be one if it didn’t have any fights. There’s plenty of fights including a great scene where the protagonist takes a snake and hurls it at a biker who gets bitten on the neck and slowly succumbs to the snake’s venom. Satan’s Sadists is without a doubt one of the best films Al Adamson has made and one that was not afraid of pushing the boundaries. It’s the perfect Drive In B movie.
5. Uncle Tom’s Cabin
We’re now down to the final five in the Al Adamson movie rankings. We start with Adamson’s film adaptation of Harriet Beecher Stowe’s immortal novel Uncle Tom’s Cabin. Released in 1977, the film was originally a German production that ran quite long until Adamson bought the film, trimmed it down and added a few of his touches, most notably nude scenes, and a lovemaking scene between the character of Napoleon and the nurse that heals him after he escapes from a riverboat. It’s been a long time since I’ve read the novel so I can’t testify as to how accurate the film is from the novel. The production and filming of Uncle Tom’s Cabin is quite astounding. While Adamson may have not shot the film in its entirety, he took with great care editing and matching the film to create a cohesive narrative to present a dignified film adaptation about the changing attitudes of slavery which would lead to the Civil War. There’s a real authenticity to this film from the settings to the clothes and the music. The performances are top notch, with German actor Herbert Lom playing Simon Legree. He is shown having half of his face scarred reminiscent of the Batman villain Two-Face. There are violent moments in the film that are hard to watch. I had to close my eyes on a few scenes, but you must remember that Adamson put these scenes as context as to how African American slaves were treated. Not as human beings but property. There are not many film adaptations of Uncle Tom’s Cabin out there, but this was the most driven and emotional version I’ve seen that sticks out among Al Adamson’s filmography.
4. Girls For Rent
Starring Adult Film legend Georgina Spelvin, Girls For Rent starts with Spelvin as the role of Sandra escaping from a prison work detail and rendezvous with a woman named Erica, played by Rosalind Miles. There she meets Chuck, played by Preston Price and gets involved in his prostitution business by managing the girls. One of the newer clients named Donna, played by Susie Ewing freaks out and leaves after her client dies of a heart attack. On the lam, Donna hopes to escape from Sandra and Erica who are ordered to track her down and kill her. Girls For Rent is a surprisingly good cat and mouse film. Spelvin delivers a solid performance as the hard-nosed and sadistic Sandra and Susie Ewing as Donna who seems to find herself in one bad situation after another. There are some shocking moments in the film which show how these girls are not here to mess around and they will not let anyone stand in their way. There is a small romance that blossoms between Donna and a man who invites her to camp with him in the mountains and then take her to where she wants to go the next day, but it does not happen until the third act of the movie. Girls For Rent includes plenty of action, surprises and of course sex to keep you engaged and featured a great ending to wrap things up. Girls For Rent easily makes the top of this list for me.
3. Black Samurai
Al Adamson teams up with iconic Martial Arts champion Jim Kelly of Enter The Dragon fame to create Black Samurai. Kelly plays Robert Sand, who is a secret agent for the group D.R.A.G.O.N (Defense Reserve Agency Guardian of Nations) who is vacationing in Mexico is cut short when his superiors assign him to save the daughter of the ambassador of Hong Kong, who just happens to be Robert’s girlfriend. Black Samurai combines Martial Arts, Blaxploitation and Secret Agent genres to create a fast, fun and thrilling film. This is one of Kelly’s finest performances delivering humor, seriousness and of course his fast fists. Black Samurai has a James Bond feel to it featuring Kelly wearing a jetpack and flying around a perimeter, encountering a beautiful but deadly enchantress and stopping an over-the-top antagonist nicknamed “The Warlock.” Of course, there are traps Kelly must escape from most notably a jail cell filled with rattlesnakes. The fight scenes are furious and fun to watch. Kelly takes on all kinds of bad guys notably dwarven henchmen and a giant vulture looking to tear him to pieces. Kelly demonstrates why he is considered one of the greatest in his discipline, which was Shorin-Ryu Karate. The Martial Arts genre was the greatest strength for Adamson as he seemed to know how to frame an enjoyable action flick. Black Samurai easily makes the top three on this list. It is one long roller coaster from beginning to end.
2. Dracula vs. Frankenstein
Who would’ve thought it would be Al Adamson that would bring two iconic monsters in literature and early days of cinema to duke it out on the big screen? Dracula vs. Frankenstein is perhaps the most notable film of Al Adamson since it’s been played at Drive-Ins and on late night television. The major plot of the movie is Dracula uncovers the remains of the Frankenstein monster and convinces Dr. Durea, the last surviving member of the Frankenstein family to resurrect him. The B story of the movie involves Regina Carol who searches for her missing sister and encounters not only a biker gang, but a carnival where one of the attractions is a cover for Dr. Durea’s lab. The film is notable for many reasons. First, there is a veteran cast including J. Carrol Naish as Dr. Durea, Lon Cheney Jr. as his hulking assistant Groton, Angelo Rossitto as the shorter assistant Grazbo who pretends to be the tour guide of the attraction and Russ Tamblyn as biker gang leader Rico. The performances are good with the highlights being the forementioned actors. Roger Engel (credited as Zandor Vorkov) plays Dracula in a stiff monotonal way. Thanks to the bad editing, he appears at times without makeup and fangs and near the end of the film, he appears with fangs and wearing white clown makeup, which is cheesy but strangely appealing. John Bloom plays the Frankenstein Monster whose lips look like they were swollen due to an allergic reaction to a bee sting plays the monster somewhat clumsily with a few grunts here and there. I liked the cinematography in this as the settings of the movie are a mix a beachside carnival with the final sequence being shot in a church and the final battle taking place in the woods. The fight is more of a tug of war but gets entertaining at the end. I thought the cinematography was good for this type of movie with some funny still frame shots of Dracula using his powers to burn someone. For you gore hounds there’s an ample amount of gore including head rolls and an axe to the face that made me squirm. Dracula vs. Frankenstein is the most impressive film of Adamson’s library from a technical standpoint. It’s not as terrible as some people claim it is. I like to think of it as a good Mystery Science Theater 3000 Movie that you could watch late at night with some friends and riff on it.
1. The Female Bunch
The first film I watched in the Al Adamson Masterpiece Collection turned out to be my overall favorite film of this list. It’s a movie I kept thinking back as I was watching the rest of the films and starting my rankings. Released in 1971, The Female Bunch starts with a woman named Sandy, played by Nesa Renet together with a man named Jim, played by Geoffrey Land who are hiding in the mountains from the female gang looking to apprehend them. The movie then goes into a flashback where Sandy goes into narration of the events leading up to this point. She was working as a waitress struggling to make ends meet. One night she tries to kill herself, but is saved by her Co-worker Libby, played by Adamson’s wife and regular contributor Regina Carrol. Libby takes Sandy to a ranch owned by a female gang. After going through an initiation test, Sandy becomes a member of the group. From there they travel to Mexico to party, get drunk and score drugs. As the film progresses, Sandy becomes unsure if this is the life she wants and questions the motives of its leaders Dennise (Leslie McCray) and strung out sexaholic Sharyn (Sharyn Wyntes).
The Female Bunch features an eclectic cast of newcomers and veterans including frequent Adamson collaborator Russ Tamblyn and Lon Cheney Jr. in his final film appearance. The Female Bunch starts with some great western music and aerial shots from a plan courtesy of Bud Cardos, another Adamson regular who had his own plane. From there it’s a cohesive story of a woman looking for something better in life and finding acceptance within a group which is something we’ve all be involved in at one point in our lives. The middle gets a little dull with the almost never-ending partying in Mexico but makes up with it with some hot sex and dancing. The performances are good. Most of the gang members were amateur actresses who didn’t know how to ride horses until they did this movie. For what its worth they did a valiant effort even though you can tell is some shots they did not look comfortable. There’s plenty to humor to cut through the seriousness of the plot. In Lon Cheney’s role as the Stable Keeper Monti, who gets teased by the women thinking he’s going to get laid by one of them. There’s quite a bit of gruesome violence including a scene where Tamblyn gets a permanent marking on his forehead because of his failed attempt to rape one of the women. There are some hiccups during the third act in which the ADR does not sync up with the actresses’ dialog (this is something you’ll see in most Adamson’s movies). The Female Bunch is a film of female empowerment and they show that they’re playing with the boys on their terms. In the end it was no contest that The Female Bunch was my favorite Al Adamson movie. It’s perhaps my favorite underrated Western film.
So what did you think of the rankings? Agree/Disagree with my list? What is your favorite Al Adamson film? Feel free to leave comments/feedback. I’d love to read your responses.
Starring: Rick Hearst, Gordon MacDonald, Jennifer Lowry, Theo Barnes, Lucille Saint-Peter, John Zacherle (Voice/Uncredited)
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
I’ve been wanting to do this review for a very long time. This happens to be one of my favorite Horror/Drive In/B Movies of all time. It was done by the great Frank Henelotter, who did the Basket Case trilogy (See my review of the first Basket Case movie for Halloween) and Frankenhooker. What’s great about Frank is that he’s only made a half dozen movies, but they’re all creative, original and super fun to watch. I rather have a filmmaker I like make six great movies than a filmmaker like Ridley Scott, who’s made fifty plus movies and thirty-five of them are forgettable. So, without further ado, here is the review for Frank’s 1988 movie about drug addiction in a creepy, funny style titled Brain Damage!
The movie is about a guy named Brian who is laying in bed feeling sick. When he gets up, he notices blood on his pillow all the way down to his bedsheet. He feels the back of his neck which is also bleeding. Unsure of what happens, he lays down again. Suddenly, he starts going on a psychedelic trip where he sees bright lights and colors. Knowing that someone or something is causing this, he asks for this person to reveal themselves. From behind his neck appears a long black/bluish phallic looking parasite named Aylmer (pronounced Elmer). Aylmer reveals to Brian that he has a juice in his body when injected directly into the brain will give the person a euphoric feeling. Brian starts to get addicted to Aylmer’s juice which causes him to isolate himself from his girlfriend, Barbara and his brother, Mike. As Brian goes around town dancing and living it up with this aura in his brain, unbeknownst to him Aylmer kills anyone near him and eats their brain. Brian is eventually confronted by an elderly man named Morris, who was Aylmer’s former host and warns Brian that Aylmer is looking to take over him and by continuing to be on his juice, his brain will continue to turn into mush and become dinner for the hungry parasite. Brian must find a way to get control of himself before he becomes Aylmer’s next victim.
As the title suggests, the movie is about drugs, drug addition and the effects it has on the person taking them and their loved ones. According to Frank Henelotter, he came up with this idea after having a bad trip taking cocaine. Henelotter makes a visually compelling monster movie with a strong message. He takes the audience for a ride through the mind and body of a junkie. You go through the highs (pun intended) and the lows of the character. In between the movie you’ll be caked with blood, gore, brains and some dark humor.
Let’s start with the acting. The film is primarily focused on the two characters of Brian and Aylmer. Rick Hearst plays the protagonist, Brian. This was his first movie and does a dang great job of playing Brian. You don’t know much about Brian in terms of what he does for a living, where he came from. Brian gets easily manipulated once he starts getting high which can be common among addicts. When he goes on his trips, he’s very child like as he’s amazed by the colors and lights around him and how he can feel the music. Hearst plays a convincing addict through his physical appearance, his facial expressions and the hallucinations he sees. You’ll laugh, cry and be horrified by what he goes through. Next, you have Aylmer, who is voiced by the great John Zacherle (AKA Zacherle the Ghoul). If you’re not familiar with Zacherle, he was the host of ‘Shock Theater’ back in the late 50s/early 60s when NBC would play the Universal monster movies on television. Zacherle’s voice is soft and sweet which he gives to Aylmer. Aylmer’s voice is soothing to Brian which makes him feel calm around the devious creature. Aylmer is smart in not revealing his intentions to Brian until a crucial scene in the film. He has the characteristics of a snake. He slithers and sneaks around when in hiding but strikes quickly when he is ready to attack. The great use of stop motion animation, puppetry and Zacherle’s voice makes Aylmer one of the best movie monsters I’ve seen in a long time.
Like his first movie Basket Case, Brain Damage has a similar look and style to it. It’s shot on 35MM film. The atmosphere is gritty as you follow Brian through the various locations in an inner city. Henelotter fills every scene with as much detail to look at. No shot is hollow. You’ll be immersed by the transitional shot of Brian looking up at his ceiling fan which slowly morphs into an eyeball, or the blue colored water which fills up his bedroom as he slowly submerges into it. And like his previous film, there is enough blood and gore to make you squeamish. The most powerful scene in the movie (at least to me) is the confrontation Brian has with Aylmer in the bathroom at a cheap motel. After Aylmer reveals that he needs brains to stay alive, Brian refuses to go along with it and will no longer ask to get high which prompts Aylmer to challenge him that if he doesn’t get a brain, then Brian can’t have his juice. Brian agrees thinking he’ll easily win. There are several dissolve shots of Brian going through severe withdrawal symptoms that are common in addicts who haven’t gotten a fix or are detoxing. Each fade away shot shows Brian in more agony than the previous. On top of that you have Aylmer who gleefully taunts him which doesn’t help the situation. It’s heartbreaking to see Brian struggle, but it shows how powerful drug addiction is.
I’m not certain what the budget was for this movie, but Henelotter has always worked with a very small budget. He squeezes every dollar in his budget and this movie is no exception. The visuals and special effects work are so impressive that you don’t believe this was done on the cheap. I’ve always believed that you don’t need hundreds of millions of dollars to create a great movie. If you have the right story and actors and if the filmmaker can generate a coherent story, then you’ve got a great movie.
Brain Damage ranks very high (no pun intended) on my all-time favorite movies. More than thirty years later, this movie is completely relevant to the issues of drugs and addiction that we face in our world today. This movie gives you a dark, gory and comedic tale of one who succumbs to drugs. While this movie is not kid appropriate, I believe is a good movie to scare straight anyone who thinks drugs are cool. After watching Brain Damage it will make them think twice before doing something that will give them a short ride, but a long wreck in the end.
TRIVIA (Per IMDB)
During the fellatio scene the crew walked out of the production refusing to work on the scene. A similar incident happened during the shooting of Basket Case (1982).
Brian has an unexplained cut on his lip all throughout the film. It was a part of a subplot involving him getting into a fight the night before defending his brother in a bar fight. But due to time restraints the explanation scenes were never filmed.
In a 2016 interview, Frank Hennenlotter said one of his favorite things about shooting in 35mm was that he couldn’t misplace the camera as easily as he did with the 16mm camera he used on Basket Case.
Writers: Irwin Yablans (Story), C. Courtney Joyner (Screenplay)
Starring: Viggo Mortensen, Lane Smith, Chelsea Field, Lincoln Kirkpatrick, Tom Everett
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Well readers, we’ve reached the final review in Guilty Pleasure Cinema’s Horror Movie Month special. Hope you enjoyed reading them up to this point. If you’ve been keeping up with each review this week, you may have realized that I picked a movie based on a genre of Horror Movies. You may have also noticed that all these movies came out in the 80s. For the final film, I decided to go with the old-fashioned ghost story and yes it was released in the 80s. It was a limited release movie and the directing debut of Renny Harlin, the man who would go on to make blockbuster action movies such as Die Hard 2 and Cliffhanger as well as the third highest grossing Nightmare on Elm Street movie in the franchise in Nightmare on Elm Street 4: The Dream Master. It was this film that got Harlin hired to do Nightmare 4. Buckle up because the last film in our special is 1988’s Prison!
The plot is simple and straight to the point. Due to a suspension of funding for a new state of the art prison in Wyoming, the Board of Prisons is left no choice but to re-open the Creedmore Prison, a prison that was shut down twenty years ago. The prison will be run by Ethan Sharpe (Lane Smith), who knows the prison well as he was a corrections officer when it was open. Inmates from all over the state are transferred to this prison and are used as workers to restore the prison to full working capacity. Two inmates Burke (Viggo Mortensen) and Sandos (Andre DeShields) are assigned to break open the Execution Chamber that has been sealed off. As they break through with pickaxes a flash of blue light appears and starts to suck Burke in. Suddenly, there’s flashes of electricity, glass breaking and boilers flaming. The inmates have released a spirit believed to have been the last person executed at the prison and looks to seek his revenge on not only the prison but the man who helped send him to the electric chair, Sharpe.
I heard of this film during Renny Harlin’s interview in the Nightmare on Elm Street documentary Never Sleep Again. He talked about this film as his first film and that he used household effects and tricks to make the movie look good. The movie was a limited theatrical release in the United States and the United Kingdom. Its total gross was a little over $300,000 on a reported budget of $1.5 million. It was released on VHS in 1988. The movie was never released on DVD or Blu Ray until 2013 when Shout Factory acquired the distribution rights and made it available. I purchased the movie last December.
My first reaction when watching this movie was mixed. I thought it felt shallow and bare feeling that there needed to be a lot more meat to the bones. While researching movies to review for this special, I saw Prison in my library of movies and decided to give it another chance to see if this was something worth reviewing. I watched it again and enjoyed it for its atmosphere, use of special effects and creative death scenes. I watched it a third time and I convinced myself that this is a great movie for this special. There’s a certain quality to this movie that I feel has not been replicated when it comes to making a supernatural film.
The mood is everything in Prison. An air of confinement overtakes the film as soon the buses roll into the yard to drop the work crew off at their new home. The look, sound and smell of penitentiary life hangs all over the place. If you’ve watched any of Renny Harlin’s movies he really loves mood when it comes to people and the situations they get themselves involved in.
Lane Smith is billed as the lead in this movie as he is the veteran and recognized actor at the time (Vigo Mortensen was not well known). His performance of Sharpe is a troupe of wardens in movies. He is a hard nose, bug eyed, short tempered warden who is haunted by memories of the executed prisoner who spirit is alive and wreaking havoc on him. It takes a toll on him and his ability to manage the prison and keep things under his control. His paranoia deepens to where he starts to behave irrationally and barks orders that even draw concern looks on the guard captains. Smith has played various characters with strong authority throughout his career and this is no exception.
Vigo Mortensen plays the prisoner who is followed throughout the movie, Burke. Not much is known about Burke only that he is famous for stealing cars and is seen as a sort of “celebrity” within the prison. Mortensen plays Burke as a quiet inmate who keeps to himself in the beginning. He befriends two inmates, his cell mate Cresus (Lincoln Kirkpatrick) and Lasagna (Ivan Kane). During the movie, he becomes a hero when he saves the life of an inmate in solitary confinement from burning alive from the evil spirit when the cowardly guards refused to do so. He is the polar opposite of Sharpe. It’s the perfect role reversal of the criminal being the hero and the law enforcement officer being the villain.
The other lead in the movie is Chelsea Field who plays Katherine Walker who works internally at the Bureau of Prisons and is overseeing the re-opening. She doesn’t like the fact that the board put Sharpe in charge of the prison referring to him as an “Old Dinosaur.” While she has attempted to work with Sharpe, she quickly realizes that she is being shut down by him at every turn especially when the prisoner body count starts to accumulate. She takes it upon herself to find out everything she can about the prisons history and Sharpe’s role in it. Field pops up in the movie from time to time, but I think gives a decent performance.
I love physical special effects and there is plenty of that in Prison. The lightning looks homemade, but authentic and the death scenes are innovative and make great use of the surroundings the impending victims are in. I could tell that the kill scenes in Nightmare on Elm Street 4 drew inspiration from Prison. The only death scene I had a gripe on was the smoking prisoner being burned alive. While it was indeed creative and intense, there were a few shots where you could see a dummy head just rotating its head from side to side.
As I do in most of my reviews, I try not to spoil the ending. I will say that the ending has been done before in a couple ghost themed movies I’ve seen, but I feel is satisfying. It brings a sense of closure to the story. Harlin seems to wrap up his movies by bringing closure or a sense of relief that things are over.
Overall, I would check out Prison. It’s a fine horror movie that doesn’t have all the bells and whistles of a blockbuster horror movie. I’ve watched a lot of Renny Harlin’s movies and if you were to ask me to give a list of his five best movies, this would be on the list. His introductory film showcases his talent for vision and atmosphere that would be seen throughout his filmmaking career. Some good, some bad.
That concludes the Guilty Pleasure Cinema Horror Movie Month special. I hope you enjoyed these reviews. It took a lot of time and effort to watch, write and record these pieces, but I have to say that this was fun to do. The big accomplishment I hope to achieve from these is that you go out and watch these movies and see what you think.
TRIVIA (Per IMDB)
Most of the inmate extras in the film were portrayed by real-life inmates from a nearby prison to add realism to their performances. The armed guards on the towers were, of course, armed with live ammo at the time. Stephen E. Little (Rhino) was a former Hollywood stuntman, who was still a member of SAG, who happened to be serving time for manslaughter that he committed during a bar-room brawl.
The prison where the movie was shot, the former Wyoming State Prison located in Rawlins, Wyoming, has daily tours and much of the set remains intact from when crews filmed there in 1987.
The electric chair (which was never used in Wyoming) was built into the actual gas chamber of the Wyoming Prison and the death scenes were filmed there. The original chair, was carefully removed and an electric chair was built in its place. During the shooting, Viggo Mortensen’s convulsions were so violent the arms of the chair were broken and needed to be repaired.
Chelsea Field was supposed to do a scene in a bathtub but refused to do it.
Viggo Mortensen did the bulk of his own stunts. Moreover, stunt coordinator Kane Hodder gave Mortensen an honorary stuntman’s shirt at the completion of the shooting for this film.
The high-altitude sun in Wyoming caused shooting issues in the scene where the prisoners are stripped to their underwear and forced to stand outside all day. Due to technical issues, the scene was shot over and over and the prisoners in the background become sunburned on one side of their bodies only as extras were not provided sunblock.
The water that Viggo Mortensen runs through in his underwear was real. That part of the prison had been flooded for years, the temperature in the room was below 50F and the water temperature was 46F. Mortensen’s shivering is real. He insisted on shooting the scenes without a double, and only at being forced to relented for some close-up scenes.
Before casting Viggo Mortensen, Thom Matthews auditioned and was being considered for the part of Burke.
Lane Smith remained in character as Warden Sharpe throughout the duration of filming.
Starring: Jason Lively, Tom Atkins, Steve Marshall, Jill Whitlow
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
We’re near the home stretch in Guilty Pleasure Cinema’s Horror Movie Month special. I’m reviewing five films in the Horror genre every week until the last week in October. We’re at Movie #4 for this special. This next film is a homage to the goofy science fiction/horror films of the 50s that is set in the 80s. This was the debut film of Fred Dekker, a man who was rejected into USC and UCLA’s film school program and settled as an English major. He would develop screenplays along with his friend and roommate, Shane Black (best known for writing the Lethal Weapon movies, appearing in the first Predator movie and more recently directing 2018’s The Predator movie with Dekker as the screenwriter). After this movie, he would go on to write several episodes of Tales From The Crypt in addition to writing and directing two more movies, one was the cult following The Monster Squad and the utter failure Robocop 3. Today Dekker focuses more on writing than he does actual filmmaking. His debut film is still the best of his three and one that I continue to enjoy on a frequent basis. Tonight’s review is Night of the Creeps!
Night of the Creeps starts out in 1959 when a college fraternity member takes his sweetheart out for a romantic night out sitting in his car looking at the stars. Suddenly, something from the sky crashes down and he goes to investigate it. When he looks closer, a slug jumps out and enters his mouth and he collapses. The film flashes forward to 1985. It is rush week at Corman University. Two outcasts, Chris Romero (Jason Lively) and his friend J.C. Hooper (Steve Marshall) are looking to get into a fraternity in the hopes of meeting girls, particularly one that catches Chris’ eye, Cynthia Cronenberg (Jill Whitlow). They have a sit down with Brad, who is the president of the Beta Epsilon house. He gives them a quest to steal a cadaver from the medical school morgue and dump it in front of a sorority house. They reluctantly agree. As Chris and J.C. sneak into the medical school after hours, they come across a laboratory. Inside they see a frozen corpse. The corpse is that of the man from the introductory scene. They decided that he would be the body they would deposit to the sorority house. Little do they realize the body is still alive and the boys run off in terror. Meanwhile the body attacks one of the med students and heads to one of the sorority houses only for his head to explode and slugs shriveling their way out of the body. The investigation is led by Detective Ray Cameron (Tom Atkins), a long-time cop who is burnt out. When he interviews Chris and J.C., they admit to the prank and the case is closed. Little do they all realize that the college is in danger as one by one people are turning into zombies thanks to the parasitic slugs that possess them. Now it’s up to the three of them to stop the epidemic before it gets worse.
I can’t remember the first time I viewed this movie, but I enjoyed it on so many levels. It had the look and feel of both a 50s Science Fiction movie and an 80s Horror Movie which was Fred Dekker’s intention. While the concept is nothing original as it takes from Invasion of the Body Snatchers, it is still refreshing to see a take on how the zombies were created. This movie was released in 1986 so prior to that you had Day of the Dead and Return of the Living Dead which had similar concepts. I like the fact that it is a parasite that turns the living into the dead.
The performances are decent. Jason Lively plays Chris as a shy, low self-esteemed kid who can’t seem to find his place in the college world. Steve Marshall plays J.C. as a wiseass, always cracking jokes at the most inappropriate times. Despite that, he is very concerned over his friend and does his best to get him out of his comfort zone and build up some confidence. The real star of this movie is Tom Atkins. Atkins is no stranger to horror films given his performances in The Fog, Creepshow and his most memorable role as the protagonist in Halloween III. Atkins plays Detective Ray Cameron as a drunk, don’t give a shit attitude police officer. He gave us a new phrase to say when answering the telephone. Instead of saying “Hello” when the phone rings, he says, “Thrill Me!” This would become the iconic line of the movie. In addition to his indifferent personality, he is traumatized by the events that happened in 1959. His girlfriend at the time was killed by an escape mental patient during his second week on the force. He comes close to taking his own life but realizes that to find a sense of closure, he needs to help stop the zombie outbreak. I’ve referred to Tom Atkins as “The Pimp of Horror Movies” because he always seems to be getting in bed with a woman he just met. That’s not the case in this movie, but it still doesn’t diminish his title. He has called Night of the Creeps his favorite film that he has done, and I echo that sentiment.
The only performance I didn’t care for was Jill Whitlow as Cynthia. With her soft voice, she is completely wooden with her delivery. There are also times during the movie where she looks like she is in a complete fog or has that look that she is thinking of something else rather than concentration on the situation that she was in. I think she needed to put a lot more life into her.
The effects are cheap and dated by today’s standards, but again I think that was Fred Dekker’s intention. There is an ample amount of gore that is ramped up at the very end during the big battle. I do have to give props to the makeup department for giving each zombie a bit of variety and some personality. The slugs were long and beefy, and they slithered quickly going into basements and hiding in bushes as they prepare to infect their next victim. The music is pure 80s synth that weaves in and out of the frames that it is featured in.
Out of the three movies Fred Dekker has done, this is my absolute favorite. This is one that I have on rotation during the Halloween season. I enjoy it for that it doesn’t take itself too seriously and it has enough scares, violence, gore and humor to keep your attention. It’s a great movie that has truly earned its cult status.
Next week ladies and gentlemen is the final review in the Horror Movie Month Special. Stay tuned, you don’t want to miss it!
TRIVIA (Per IMDB)
All the last names of the main characters are based on famous horror and sci-fi directors: George A. Romero (Chris Romero), John Carpenter and Tobe Hooper (James Carpenter Hooper), David Cronenberg (Cynthia Cronenberg), James Cameron (Det. Ray Cameron), John Landis (Det. Landis), Sam Raimi (Sgt. Raimi) and Steve Miner (Mr. Miner – The Janitor).
Graffiti on the wall of the men’s room where J.C. is trying to escape a number of slugs reads, “Go Monster Squad!” The Monster Squad (1987) was also directed by Fred Dekker.
Tom Atkins’s favorite movie of his own.
“Corman University” is a reference to director/producer Roger Corman.
The tool shed sequence was filmed after principal shooting on the movie had wrapped. After a rough cut was shown to a test audience, several people thought that the picture needed more action so this sequence was added to the movie.
Fred Dekker’s roommate, Shane Black, worked on the script. The next year, Tom Atkins starred in Lethal Weapon (1987), Black’s first produced screenplay.
Starring: Michael Moriarty, Andrea Marcovicci, Garrett Morris, Paul Sorvino, Scott Bloom
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Welcome to the second week of Horror Movie Month on “Guilty Pleasure Cinema!” For this week I wanted to review a film from one of my all-time favorite filmmakers. Larry Cohen was a pioneer and maverick in the film industry. He made all his movies his way and didn’t let anyone stand in his way. He was known for shooting movies on location without permits. Cohen’s films contain a diverse range of concepts and narratives that are weaved into storylines with strange creatures and offbeat characters. This is perhaps the most popular film in Larry Cohen’s filmography. It is a movie that is still fresh and relatable almost thirty-five years since its release. The concept may be goofy, but you will enjoy the ride this movie provides once you push the Play button on your remote control. If you ask most movie fans to name one Larry Cohen movie off the top of their heads, the majority will say this title, The Stuff! So, without further ado, here is the review to the 1985 horror cult classic The Stuff!
The movie starts with a railroad worker noticing a white bubbly substance coming from the snowy ground. He takes a taste of it to see what it is. To his delight it tastes very sweet with the texture of yogurt. Soon the substance is being marketed to consumers as “The Stuff” which becomes a phenomenon. “The Stuff” is marketed as being creamy, filling and with no calories. You can find “The Stuff” at supermarkets, small vendor carts and even a Dairy Queen style drive thru. While people are going crazy over “The Stuff” there are people highly suspicious of this addictive edible food. First there’s a young boy named Jason who wakes up in the middle of the night looking for a snack. He opens the refrigerator door to see a container of “The Stuff” moving. He tries to convince his family that there is something alive within it, but they are dismissive of his claims. Jason gets paranoid that he vandalizes a supermarket by destroying the massive amounts of “The Stuff” that is being sold. The other person who is skeptical of “The Stuff” is a former FBI agent turned industrial saboteur named David “Mo” Rutherford (who tells people that he got the nickname from whenever people gave him money he always wanted mo!). He is hired by numerous corporate executives of the ice cream industry to find out what is in “The Stuff” and destroy it. He befriends the head marketer of “The Stuff” Nicole and they set out to investigate the contents. Mo’s efforts reveal that “The Stuff” is a living parasite that takes over people’s brains and then mutates the host into zombies. Mo encounters Jason and the three of them are determined to destroy “The Stuff” before it consumes more and more people.
The Stuff is my second favorite movie in Larry Cohen’s filmography (Q: The Winged Serpent is first). It took me a long time to find interest in checking it out. When I first saw the cover art, it didn’t appeal to me. Mainly because I wasn’t familiar with Larry Cohen’s work nor was I interested in low budget horror movies. After seeing the movie pop up on several streaming services, I decided to give it a chance and boy did I not regret it. I enjoyed every frame, scene, characters and effects. It made me wish I had seen this movie a lot sooner than I did.
Like most of Cohen’s films, The Stuff is not just a horror movie, but a social commentary. Cohen made this movie at a time in the eighties where people consumed everything. The eighties was the birth of many electronics such as video game consoles, Walkman’s, VCRs, etc. It wasn’t just electronics people were craving, it was the current fashion trends, fast food restaurants popping up at every street corner. With these new products came heavy advertising and marketing. This was during Reaganomics where the American economy was booming, and people were spending their hard-earned money of anything they can get their hands on. Cohen based The Stuff off the yogurt craze going on at the time. People were obsessed with yogurt because it was advertised as being healthy, filling and tasty. Add heavy advertising to that and you have people become hooked on it turning them into consumer zombies. They consume and consume while the companies that make it rake in the profits.
Michael Moriarty once again returns in a Larry Cohen picture. He follows up his astounding performance in Q: The Winged Serpent with another memorable performance. I loved his portrayal of Mo Rutherford. He has the smarts of a detective and the tongue of a salesman. He’s smooth talking, confident and keeps his eye on the ball. What starts as a simple job to expose “The Stuff” to his employers turns into a national crisis that he must find a way to put an end. The rest of the cast is convincing in their roles. Andrea Marcovicci plays Nicole, the attractive and smart marketer of “The Stuff” who joins Mo in his investigation and become lovers. Garrett Morris plays ‘Chocolate Chip’ Charlie W. Hobbs, the junk food magnet that Mo befriends while visiting a town that has been desolated by relocation of jobs and the great Paul Sorvino as Colonel Malcolm Grommett Spears who leads the operation into destroying “The Stuff” and warning the public about the dangers of consuming it.
The movie is a pure 80s movie in terms of look, music, effects and overall style. You have the bright neon lights of “The Stuff” logo along with its catchy music and commercials. There’s even an appearance from the old lady in the Wendy’s commercials where instead of screaming, “Where’s the beef?” she cries, “Where’s the Stuff?” The effects of The Stuff creature vary throughout the film. In some parts of the film, it looks like a mix between frozen yogurt and marshmallow. In scenes where it bursts through walls, it milky and watery. Cohen does a great job showing that the creature doesn’t take on a basic form, rather it can come in multiple forms and textures.
The Stuff is a rare find. It should’ve been a much more mainstream film considering the subject matter. This is a movie that still holds up after all this time. You can relate this movie to everything that is going on in our world today as consumerism and Capitalism hasn’t slowed down. It’s an iconic B-Movie that stacks right up there with many of the underrated greats. This is the most recognizable film of Larry Cohen’s work and the one movie that people associate Cohen with.
TRIVIA (Per IMDB)
According to audio commentary on the 2000 Anchor Bay DVD, the scene in the motel where the Stuff comes out of the mattress and pillows and attacks the man on the wall and ceiling was shot in a room that could turn upside down, allowing the Stuff to move up and down the wall. It was exactly the same room used in A Nightmare on Elm Street (1984) when Johnny Depp’s character Glen is sucked into his bed and his blood is regurgitated back out onto the ceiling.
According to Larry Cohen himself, in some scenes in which the Stuff chases characters, a foam made of blended fish bones was used. It stank so much that, as soon as the shots were done, the actors ran to a river in order to bathe and get rid of the stench.
Garrett Morris was asked about this film when he participated in AV Club’s “Random Roles” interview series. He said the production was “crazy,” and when the interviewer noted Larry Cohen’s history as “a character,” and asked Morris what he was like, Morris said that “I was taught growing up that if you don’t have something nice to say about someone, don’t say anything at all,” with no further comment about Cohen
Arsenio Hall was considered for the role of “Chocolate Chip” Charlie W. Hobbs.
David ‘Mo’ Rutherford tells ‘Chocolate Chip’ Charlie W. Hobbs to contact agent Frank Herbert from the FBI. Frank Herbert was an American science fiction writer best known for the novel Dune and its five sequels.
Michael Moriarty (David ‘Mo’ Rutherford) and Paul Sorvino (Colonel Malcolm Grommett Spears) went on to appear in 31 episodes of Law & Order (1990) together from 1991 to 1992 as Executive A.D.A. Ben Stone and Sergeant Phil Cerreta, respectively.
The original cut of the film was said to be much longer and described by Director Larry Cohen as more “dense and sophisticated”. Feeling that the film was too long, it was cut to increase the pace of the film. There was a romantic scene between Moriarty and Marcovicci that took place in a hotel room in the original cut.
Starring: Thom Matthews, Jennifer Cooke, David Kagen, C.J. Graham
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Welcome to Horror Movie Month on “Guilty Pleasure Cinema!” To celebrate the month of October which is of course Halloween season, I will be posting a review each week of a horror film that is one you can watch repeatedly till your heart’s content. I figured I start this special with a familiar movie franchise involving a hockey mask wearing murderer. Of course, I’m talking about Jason Voorhees and the Friday the 13th film series.
The legacy of Friday the 13th spans eleven films (twelve if you count Freddy vs. Jason), a TV series (by name only), merchandise and a successful online video game until a recent lawsuit pulled the plug on any new content. Jason Voorhees has become an iconic horror figure. If you were to place a Mount Rushmore of Horror Movie icons, he would definitely fill a spot there. While the movies may be repetitive with the same concept of teenagers getting killed at a camping ground by first a woman getting revenge for her son drowning then the son actually being alive to the son be risen from the dead, they are fun to watch in part to the original and innovative kill scenes each movie has to offer. Not only that, but the movie managers to show different renditions of Jason. It’s fun to debate with fans on which was the best Jason of the movie series. Another fun debate is which movie was the best movie in the series. There are quite a few movies in the franchise I adore, but for this review there was one that stood out after analyzing it much deeper, which is the sixth movie, subtitled Jason Lives.
‘Jason Lives’ marks the debut of the undead Jason concept that would be a staple for the rest of the films here on out. The film opens immediately with Tommy Jarvis, the hero of the last two installments driving with a friend to Jason’s gravesite. Tommy, plagued by nightmares that he could return wants to make sure he stays dead. When they get to the gravesite Tommy and his friend start digging and open up Jason’s casket to reveal his maggot infested corpse covered in spider webs. Tommy rips a metal bar from the gate and repeatedly drives it into Jason. Suddenly, a storm arrives and lightning strikes the rod still stuck inside Jason, which causes him to be resurrected. As soon as Jason gets out from his grave, he kills Tommy’s friend and Tommy flees. Tommy heads to the police station to warn about Jason’s return, but the Sherriff is not convinced and puts Tommy in a holding cell. Meanwhile, Jason begins his murdering spree once again as he tracks down counselors at Camp Forest Green (the town was renamed from Crystal Lake to Forest Green in order to erase the horrible history of Jason and his mother……like people are going to forget). With the help of the sheriff’s daughter Megan, Tommy realizes that he is the one responsible for bringing Jason back to life and he is responsible to end the nightmare once and for all.
Tom McLoughlin, writer and director of this film did a great job reviving the Friday the 13thfranchise after the dismal performance of Part V : A New Beginning (for many reasons). What better way to revive the franchise than revive the killer of the series (with the exception of the first movie) Jason. Instead of stating to the audience that he is still human, he states that Jason died in The Final Chapter and we’re going to bring him back to life as a real monster. His revival was clever and reasonable. The look of Jason is different for obvious reasons, but he still hangs on to his trademark hockey mask. He provides a plethora of kills ranging from his weapon based kills such as a spear, a harpoon gun and his traditional machete to more physical and creative deaths such as slamming a girl’s face through a wall in the bathroom of an RV to folding up a victim like a lawn chair. Fans won’t be disappointed with the kills this movie has.
The acting is decent with Thom Matthews leading as Tommy Jarvis. If you’re not familiar with Matthews, you may remember him from another iconic cult horror film in the 80s which was The Return of the Living Dead. He played a bumbling employee where he and his boss accidentally release the chemical that brings dead people back to life and eventually turns the both of them into zombies. It was a great comedic performance, however as Tommy Jarvis he is the complete opposite of comedic. He plays Tommy as a man who is constantly tortured by his memories of his encounter with Jason and being the one that ended his existence. When he tries to destroy Jason’s body to make sure he never comes back, a cruel twist of fate happens when he drives that gate bar into him causing it to be a lightning rod when the storm comes. As soon as Jason arises, Tommy is in full panic. He does his best to warn people, but they don’t believe him considering his history and state of mind. It’s only until learning the error of what he did is when he owns up to the mistake and realizes that he brought Jason back into the real world and he is the only one that can send him back to the grave. Matthews’ version of Tommy is definitely the best performance in comparison to John Shephard’s performance in Part V, although I still think Corey Feldman’s portrayal in The Final Chapter is my favorite.
The role of Jason would be portrayed by C.J. Graham, which would be his only movie role (with the exception of his appearance as Jason in the Alice Cooper music video for the main song, which I’ll get to later). From the first kill of punching through a man’s chest to killing a group of paintballers, he portrays Jason as a slow pacing juggernaut who dispatches anyone that stands in his way. On top of that Graham performs all the stunts as Jason in the movie which go to his dedication despite the fact that he was neither an actor nor a stuntman. He also provides a shocking personality to Jason. There is a scene where Jason appears inside a cabin full of young female campers. One of them gets scared, closes her eyes and covers her face with a blanket praying he doesn’t kill her. Jason stands at the side of the bed looking at her with a curious look and doesn’t flinch or give any indication he is going to kill the little girl. It shows a bit of vulnerability and the impression that Jason will not kill someone who is pure or innocent.
The rest of the cast is fodder for Jason. You have you stereotypical counselors and local law enforcement who happen to be in the wrong place at the wrong time. There’s a few great scenes with the caretaker of the cemetery and an angry person who was hit with a paintball which provide some comic relief.
This is one of the more stylistic movies in the series. It has a great blend of darkness, comedy and music. Speaking of music, for the first time in the series, Part VI has a soundtrack which features songs from some notable rock artists including a brand new song specifically for the movie by none other than Alice Cooper. The song “He’s Back (The Man Behind The Mask)” has become the official theme song to Jason. It’s a true 80s song with a great blend of synths along with Cooper’s commanding vocals. The music video features C.J. Graham as Jason as he breaks through the movie screen while spectators are watching Part VI.
Friday the 13th Part VI: Jason Lives is one of the strongest if not the strongest film in the series and has held up nicely unlike some of the other movies. If you believe there is a better entry in the series than Part VI, I challenge you to prove me wrong!
TRIVIA (Per IMDB)
After becoming a born again Christian, John Shepherd who starred as Tommy in Friday the 13th: A New Beginning (1985) did not want to reprise the role, and it went to Thom Matthews instead.
Director Tom McLoughlin took home some props from the film, including Jason’s tombstone – which sits outside his house, made to look like Jason is buried in his yard – and his casket, which sits in his garage. The DVD box set includes a scene in which he shows off these props at his home, and tells of how a city employee refused to enter his yard to read the meter because he thought a body was really buried there.
The film contains numerous references to other horror films and/or people connected with them. Megan mentions Cunningham Road, a reference to Sean S. Cunningham director of Friday the 13th (1980) and creator of the series, while Tommy mentions a grocery store called Karloff’s, an homage to famous horror actor, Boris Karloff , director John Carpenter of Halloween (1978), while the name Sissy is perhaps a reference to Sissy Spacek who starred in Brian DePalma’s Carrie (1976), which is based on a novel by Stephen King. Also, Sissy wears a jacket with the name “Baker” on the back, possibly a reference to Angela Baker from Sleepaway Camp (1983).
The first film in the series to be recorded in Ultra Stereo.
The original actor to play Jason was fired for being too fat. They recast the part with C.J. Graham, a restaurant manager with no stunt experience but a military background as an Army soldier. That made him perfect to take orders and execute stunts with military precision. Bradley’s paintball scenes were not re-shot meaning he does play Jason for a very brief part of the film, after that point it’s C.J. Graham as the masked killer.
Ted White stated in interviews that he was offered the opportunity to return to the role of Jason Voorhees, whom he portrayed in Friday the 13th: The Final Chapter (1984) but he turned the role down. White stated that in hindsight, he should have accepted the offer.
This is the first film in the series in which all teenage roles are played by young adults, none of the actors being teenagers in real life during production.
The final scene to be shot was the crashing of the RV. Director Tom McLoughlin was terrified during filming, as there could only be one take and the crashing made the scene incredibly dangerous for C.J. Graham.
Writers: David Webb Peoples (Story/Screenplay), Jeb Stuart (Screenplay)
Starring: Peter Weller, Richard Crenna, Amanda Pays, Daniel Stern, Ernie Hudson, Michael Carmine, Lisa Eilbacher, Hector Elizondo, Meg Foster
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
1989 was a big year for underwater themed Science Fiction movies. First, you had the highly anticipated The Abyss, namely because it’s a James Cameron movie and the special effects were the most innovative and advanced through Industrial Light & Magic. The second film that premiered in 1989 was the obscure cult classic Deep Star Six, which was directed by famed Friday the 13th director Sean S. Cunningham. Finally, you had Leviathan, directed by George P. Cosmatos who was known at the time for directing not one but two Sylvester Stallone movies, First Blood Part II and Cobra. All three movies did were not financially successful at the box office. The Abyss made $90 million but it had a budget of over $50 million. While it made a teeny profit, it was considered by many in the film industry as underwhelming considering the magnitude of the movie. Deep Star Six sank as fast as the Titanic. Leviathan debut at #2, but quickly drowned the following week. Out of these films, I chose Leviathan as the next review in “Guilty Pleasure Cinema” because it’s indeed a guilty pleasure film for me. It ranks in my Top 10 Guiltiest Pleasure Movies of all time, which I’ll reveal at a future date.
The fist time I watched Leviathan, I reacted in a way most people did when it first came out: mortified (and not in a good way). When I decided to watch this movie again, I forgot everything I watched the first time around. When the second viewing was finished, I thoroughly enjoyed it. Even though it’s a blatant rip-off of Alien, The Thing and The Abyss. it was entertaining. I loved it so much I began playing it several more times. Before I go into more detail as to why Leviathan is a guilty pleasure film, I’ll brief you on the plot.
Leviathan is the story of a group of underwater miners who work for Tri-Oceanic Corp. They’re finishing their last days of a three month operation mining for silver on the Atlantic Ocean floor. The team consists of eight members: Glen ‘Doc’ Thompson (Richard Crenna), Elizabeth ‘Wilie’ Williams (Amanda Pays), Buzz ‘Sixpack’ Parrish (Daniel Stern), Justin Jones (Ernie Hudson), Tony ‘DeJesus’ Rodero (Michael Carmine), Bridget ‘Bow’ Bowman (Lisa Eilbacher) and G.P. Cobb (Hector Elizondo). Their team is led by Geologist Steven Beck (Peter Weller) who reports to Tri-Oceanic CEO Martin (Meg Foster). During a mining operation involving Sixpack and Willie (whom are working as punishment for an altercation between the two), Sixpack falls off a ravine and goes missing. Willie searches for him and discovers a sunken Russian ship named ‘Leviathan.’ She enters through the blown hole of the ship and finds Sixpack along with some treasure. As the crew looks through the contents of what Sixpack found, Doc uncovers a videotape containing a message from the Captain of ‘Leviathan.’ Beck and Doc aren’t sure what the Captain is referring to. The rest of the crew prepares to take a shot of vodka from a bottle they found in the refuge only to discover after tasting it that Beck switched the bottles out and were drinking water. Unbeknownst to the crew, Sixpack hid a flask containing the vodka in his pocket and shares a drink with Bowman. Few hours later, Sixpack starts to feel sick with chills and forming flaky skin on his neck. He succumbs to his illness several hours later which triggers Doc to perform tests on every one of the crew members. When Bowman sees Sixpack slowly mutating into an unknown creature, she decides to take her own life. As the crew tries to dispose of their comrades’ bodies into the ocean, the monster, now fused from Sixpack and Bowman emerges from the body bag and attacks. The crew manages to sink the creature except for its leg which gets severed off during the closing of the hatch. The severed part mutates into a whole new creature and continues the rampage of attacking the crew and grow by consuming blood. The crew declare an emergency, but Martin tells them there is a hurricane approaching them and their rescue is delayed by twelve hours. The crew has no choice but to find a way to destroy the monster.
I’ll start with the cast. Peter Weller is the lead in the film as Beck. He oversees the crew and its mission. He is very commanding and by the book when it comes to company rules. In the beginning of the film, he feels out of place and senses he doesn’t have the respect of the crew. You see his leadership and command develop throughout the movie. I love Peter Weller. He is a person who is dedicated in every role he takes, and this role was no exception. His iconic performance in Robocop groomed him for this part. Richard Crenna who plays Doc is a loner and disliked by the entire crew especially in the beginning of the film. They feel he has something to hide and as the film progresses, he does what he can to not reveal what is happening to the crew except for Beck. Crenna is another actor I’ve enjoyed for a long time. The rest of the characters were great each with their own personalities. I loved the spunky and ambitious portrayal of Williams from Amanda Pays, the practical joker Sixpack from Daniel Stern, Ernie Hudson as the somewhat paranoid Jones, Elizondo as the union steward Cobb and Michael Carmine as DeJesus whom all he wants to do is go skiing after his work is over. Sadly this would be Carmine’s last film role as he died in October of the same year due to a heart attack caused by AIDS complications. I think all the performances were good apart from Meg Foster. I know she is supposed to play the disconcerted corporate executive, but she comes off as wooden and monotone. I’ve seen her play this part before in They Live. I don’t know if that’s her style, but I didn’t care for it.
The film is well paced when you compare it to the other two movies I mentioned. None of the scenes drag out too long which keeps your attention focused. There’s plenty of jump scares and tense confrontations between the crew. Legendary composer Jerry Goldsmith provides the music and it sounds eerily familiar to his composition in Alien. Wouldn’t surprise me if he were influenced by that film since this film takes several elements from it. The special effects were solid. There is a ton of blood, but not too much gore. Any gore that appeared in the movie was either off camera or was in spurts such as in the reveal of the monster in the middle of film or near the end.
Speaking of the monster, that was without a doubt the biggest disappointment of the movie. It borrows from the thing in terms of a small piece or particle can form a new life as it is shown during the scene where they crew attempts to dispose the creature in its first stage. When the monster gets bigger as it consumes the crew, you don’t see much of it with the exception of some flashes which is a call back to the old sci-fi horror concept of not revealing too much of the monster. The concept of the creature is supposed to be a genetic alteration of a sea creature, but fuses with people it has either encounter or has the same genetic mutation in their bodies. One shot you see this gigantic blob with tentacles and faces of the crew members it has merged with. It reminds me of the pillar with all the faces from the Hellraiser movies. And when the monster emerges at the very end, you can see how fake the head is. It was reminiscent of a monster in a Japanese Monster Movie. What boggles my mind is that the creature design and the effects were done by legendary effects man, Stan Winston. This was the guy that created the Terminator, the dinosaurs in Jurassic Park and the Alien Queen in Aliens. What the hell happened here? Did he not have the budget to make something unique and terrifying? Did he run out of ideas? It’s a damn shame. The creature could’ve been something unique and give the film a better lasting impression.
Out of the three movies I mentioned in 1989, I would put Leviathan second behind The Abyss. The problem the movie had as I mentioned in the beginning was that it borrows too much from the other iconic movies I mentioned. It’s not original in terms of concept. I do give it creative points for the source of the disease and the effects that it causes. Don’t let all that take away from the fact that it is an enjoyable B-Movie and it’s a movie I’ve found myself watching repeatedly. That’s always been the strength of George P. Cosmatos’ films. He doesn’t follow a strict genre. He’s willing to take chances and his movies come about as being fun and entertaining.
TRIVIA (PER IMDB)
In designing the creature of the film, Stan Winston and George P. Cosmatos went through a mini-library of marine life pictures and medical reference books. They were inspired by the physiology of the natural world, and came up with the idea of combining human body parts and elements of deep sea marine life into an unnatural creature never seen on film before.
There are very few scenes in the film that were actually shot underwater, as production went for the “dry for wet” look, with most of the scenes inside the Shack taking place on soundstages and a tank measuring 130ft x 270ft.
Chicken feathers were used at one point of shooting the underwater sequences to suggest things were floating around in the water. According to Alex Thomson this did not work because the feathers floating side to side instead of up and down and the idea had to be scrapped altogether.
Hector Elizondo’s character of Cobb is named after the film’s production designer, Ron Cobb. Also, Michael Carmine’s character of Tony ‘DeJesus’ Rodero, shares the same last name of the film’s first assistant director, ‘Kuki Lopez Rodero’.
Second time that Richard Crenna worked with George p Cosmatos after Rambo First Blood Part II, which also had Jerry Goldsmith music.
Once, during the underwater photography, John Rosengrant and other members of the SWS on-set crew were underwater for so long and at such depth, that they were unaware of a violent storm that had come in, threatening to rip the topside boat from its anchor and smash it against nearby rocks. “We had no idea all of this was going on, until we came to the surface and saw all this commotion,” recalled Rosengrant. “We all go out of the water and helped to push the boat away from the rocks and hold it steady in this storm.”
When Doc is analyzing Sixpack’s skin sample, the computer reports back the phrase “of unknown origin”. This is a winking nod to director George P. Cosmatos and star Peter Weller having previously collaborated on the movie Of Unknown Origin (1983).