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Friday, August 7, 2026

AGATHA CHRISTIE POIROT: SERIES 1/ AGATHA CHRISTIE POIROT: SERIES 2 -- DVD Reviews by Porfle








Originally posted on 1/26/12


Having been introduced to the British ITV series "Agatha Christie Poirot" through some of the later feature-length episodes, I was surprised to find the earlier seasons (circa 1989-90) of this long-running show to be faster-paced, funnier, and much lighter in tone--in general, more fun.  Not to disparage the more darkly dramatic ambience of the post-2000 ones, which are superb entertainment in their own right, but I like this lighthearted and mischievously sly side of Poirot much better.

The first ten one-hour episodes are collected in AGATHA CHRISTIE POIROT: SERIES 1, beginning with "The Adventure of the Clapham Cook" (which features a brief appearance by a young Danny Webb of ALIEN 3 fame).  Here, we're first introduced to Poirot's associate Captain Hastings (Hugh Fraser), a hale fellow with a boyish enthusiasm for things like automobiles and cricket.  Hastings isn't too quick on the uptake, at least not alongside a genius like Poirot, but he's good at following people, tackling escaping suspects, and serving as an appreciative audience for the vain Poirot's feats of deduction. 

Also on hand is Poirot's prim and efficient secretary Miss Lemon.  As played by Pauline Moran, she's made up to look just plain enough to render her strangely sexy, despite the fact that her character is as properly straitlaced as can be.  In Poirot's office-apartment in a magnificent old hotel complex, the three frequently engage in breezy banter that's often more fun than the mystery plots themselves.  This early incarnation of Poirot, unlike his later self, delights in playfully teasing his associates and exercising his exquisitely dry wit at their expense.

David Suchet's portrayal of the title character is, as always, absolutely impeccable.  His Poirot is an unwavering obsessive-compulsive who's fastidious, fussy, finicky, and mortified at anything that's out of place in his well-ordered world.  This, along with the sheer joy he derives from solving puzzles using his beloved "little gray cells", is what compels him to make right the wrongs that he encounters through his often desperate clients.  Another impetus is his friendly rivalry with Chief Inspector James Japp (Philip Jackson, also seen only in the early seasons of the show), a doggedly by-the-book cop who is continually baffled by Poirot's unconventional deductive skills.

"Murder in the Mews" begins with Poirot's infuriating battle with a Chinese laundry over the amount of starch in his collars and progresses to include a puzzling locked room murder made to look like a suicide.  In "The Adventure of Johnnie Waverly", the parents of a small boy are warned in advance that their son is going to be kidnapped at a particular time and place, which happens despite the presence of several police and Poirot himself.  "Four and Twenty Blackbirds" concerns the suspicious deaths of two estranged brothers within a short time of each other.

"The Third Floor Flat" finds Poirot's little gray cells atrophying during a long stretch between cases, until a murder in his own hotel has him sizing up all the various suspects as only he can.  "Triangle at Rhodes" benefits from gorgeous location photography with a vacationing Poirot getting drawn into the murder by poisoning of a woman whose husband is infuriated by her infidelity with another guest.  Another vacation, this time on board a cruise ship, is marred by a "Problem at Sea" when a wealthy but thoroughly unlikable woman is found stabbed in her cabin with the door locked.  Everyone including the woman's henpecked husband seems to have a strong alibi, giving Poirot a particularly challenging mental workout. 

"The Incredible Theft" is steeped in pre-WWII intrigue as a woman suspected of being a Nazi sympathiser is accused of stealing the plans for a new fighter plane in order to pass them along to German agents.  Old movie fans should get a kick out of "The King of Clubs", as a tyrannical studio boss is murdered in his mansion and the main suspect is a popular actress with whom he's been known to be at odds.  One of the perks of this episode is the use of an old-style glass shot during a soundstage scene, while another is the appearance of a young Sean Pertwee as the brother of the accused actress (Niamh Cusack). 

Finally, "The Dream" has something of an "Avengers" vibe as a crotchety old meat-pie tycoon complains to Poirot that he keeps having a recurring dream of committing suicide in his office at a particular time.  When he actually does just that, and at the precise time of his dream, Poirot finds himself with a real puzzler.  Joely Richardson guests as the man's daughter, while Alan Howard delivers a marvelously theatrical performance as the abrasive old coot.

Each story is bathed in the nostalgic glow of an old magazine illustration, with finely-rendered production design (art deco fans will be in hog heaven) and ideal locations lending an exquisite period atmosphere to every scene.  Direction is first-rate as are the uniformly excellent guest performances.  Unlike the denser and sometimes meandering plots of the later "Poirot", these episodes are briskly uncomplicated and easy to follow in addition to featuring much delightful character interplay that will be missing (and missed) when Poirot becomes a more solitary and stern character later on.  Captain Hastings and Chief Inspector Japp in particular are the perfect uncomprehending foils for Suchet's brilliant Poirot.

The three-disc DVD set from Acorn Media is in 4:3 full screen with Dolby Digital sound and English subtitles, with the titles newly remastered and in the original UK broadcast order.  There are no extras.  (Also available in a two-disc Blu-Ray version.)

Continuing right where season one left off is AGATHA CHRISTIE POIROT: SERIES 2, with nine more mysteries on three discs.  "Peril at End House" guest stars Polly Walker (PATRIOT GAMES, CLASH OF THE TITANS) as a beautiful heiress whom Poirot meets while staying at a Cornish resort.  The young woman's stories of a rash of recent life-threatening mishaps leads Poirot to believe that someone is trying to kill her, especially when a stray bullet zips through her bonnet as they're chatting by the seaside.  This story boasts some really nice twists and turns along with an appearance by Paul Geoffrey (EXCALIBUR, WUTHERING HEIGHTS). 

"The Veiled Lady" finds the portly detective helping another enchanting young lady, this time a blackmail victim imploring him to recover an incriminating letter.  A highlight of this adventure is Poirot and Hastings becoming cat burglars as they break into the blackmailer's house to conduct a search which results in their being arrested by none other than Chief Inspector Japp.  An imposing Terence Harvey of FROM HELL and PRIME SUSPECT 3 plays the formidable cad here, which seems to be his specialty. 

A foray into Chinatown to solve the murder of a Chinese businessman and the theft of his map to "The Lost Mine" leads Poirot into a winding maze of mystery.  In "The Cornish Mystery", the Belgian detective has a rude awakening when he's too late to save a woman who suspects her husband of trying to poison her.  Her tragic death fires him up big time, and woe to the killer when a fired-up Poirot aims his razor-sharp intellect at him (or her).  Freda Stanton, who played the hapless Princess Elspeth in DRAGONSLAYER, guest stars. 

Kenneth Colley, a familiar face to fans of THE EMPIRE STRIKES BACK, plays a banker who steps out of his house into the fog one day and is never seen again in "The Disappearance of Mr. Davenheim."  Sharp-eyed viewers will guess the secret behind this one pretty quick but it's still fun watching it play out.  "Double Sin" is a real twister with the delivery of some priceless antiques to a potential buyer ending in theft during a bus trip.  Here, Chief Inspector Japp bets the boastful Poirot that he can't solve the mystery without leaving his house, giving Hastings a rare opportunity for some solo detective work. 

"The Adventure of the Cheap Flat" finds a lucky young couple getting a lovely apartment for a steal, unaware that they're being set up for murder.  (The wife is played by Samantha Bond, who was Moneypenny to Pierce Brosnan's 007.)  Poirot and Hastings do a little more cat burglary in this one with similarly unfortunate results, while the search for some stolen submarine plans brings in William Hootkins (Porkins in STAR WARS, Eckhardt in BATMAN) as a visiting FBI agent played in stereotypical blustery "American" style.

A crackerjack mystery ensues surrounding "The Kidnapped Prime Minister" as Poirot infuriates police with his methodical and seemingly nonsensical approach to solving the crime as the seconds tick away before a crucial international arms summit.  Finally, "The Adventure of the Western Star" is the intriguing tale of a pair of priceless diamonds owned by two women who receive letters informing them that the gems are to be stolen in order to return them to the mystical idol from which they were taken.  Sure enough, this occurs--seemingly--but Poirot suspects that there's more to the case than meets the eye, and, as usual, he's right.

The three-disc DVD set from Acorn Media is in 4:3 full screen with Dolby Digital sound and English subtitles, with the titles newly remastered and in the original UK broadcast order.  There are no extras.  (Also available in a two-disc Blu-Ray version.)

As with the first set, AGATHA CHRISTIE POIROT: SERIES 2 is the kind of cozy entertainment you can snuggle up with as you would a volume of engrossing short stories on a rainy evening.  With their endlessly appealing blend of sumptuous production design, intriguing stories, and fascinating characters--not the least of which being David Suchet's masterful portrayal of the dazzling and strangely endearing Belgian detective himself--the adventures of Hercule Poirot are a feast for mystery fans. 





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Thursday, August 6, 2026

CHROMESKULL: LAID TO REST 2 -- DVD review by porfle



(NOTE: This review is based on the unrated director's cut. Originally posted on 9/11/11.)


The tall, skinny, bald guy with the chrome skull-mask, the wicked knife, and the video camera perched on his shoulder like a parrot is back in CHROMESKULL: LAID TO REST 2 (2011) and this time, he's got back-up. 

The last we saw of Ol' Chrome-Dome (Nick Principe) back in the first LAID TO REST (2009), he was lying on the floor of a rural convenience store with his face ripped off and his skull smashed in.  Well, you can't keep a good monster down, so when this sequel picks up right where the last one left off, we see his crew sweep in, dispatch the investigating police, clean up the crime scene, and whisk their boss to an operating room where surgeons labor to save his life and what's left of his face.

It turns out that he's one of those multi-millionaires who can afford to do whatever the heck he pleases and pay people to willingly help him do it, even if that includes setting up an elaborate torture chamber for him (in his chrome-plating factory, naturally) and stocking it with kidnapped young girls.  His right-hand woman, Spann (the ever-popular Danielle Harris) even seems to enjoy her job, as does his main fixer, Preston, who is very well played by Brian Austin Greene. 



Green seems to revel in the Preston role, portraying a borderline psycho who wants to follow in his boss' footsteps by adopting the chromeskull mask and performing his first kills with an almost sexual ardor.  Not only do we get a shocking pre-titles sequence that harkens back to FRIDAY THE 13TH PART 2, but we get a little of PART 5 as well with an imitator going around making like the main man.  This not only gives Green a chance to stretch his acting muscles but also gives gore fans a double dose of carnage.

Like a cross between Jason Voorhees and Mason Verger of HANNIBAL, Chromeskull, now sporting a hideous patchwork face, spends his recovery time stalking a new girl to obsess on now that Princess, his previous object of interest, is out of the picture.  Her replacement is Jess (Mimi Michaels), who has an eye disease that's slowly making her go blind.  In one of the film's first startling kill scenes, Jess' best friend is dispatched in imaginatively gruesome fashion and Jess is abucted, waking up in a casket while being taunted by Preston.  Mimi Michaels plays the role to the hilt, screaming very convincingly and emoting her buns off.

Thomas Dekker returns as Tommy (last seen driving away with Princess in the last film) and gets caught up in the whole mess again, this time coming to the aid of Jess.  They both end up in Chromeskull's factory where they witness some of the film's more elaborate kills, including a virtuoso decapitation and a thing with a spring-loaded blade cluster (a chrome-plated custom job designed by Preston) giving another character a really big smile. 

Other death scenes of interest include a nasty disembowelment (with the victim being portrayed by twins in order to achieve a tricky single take), a head sliced vertically in half like a cantelope, the impromptu chrome-plating of somebody else's head, and another impressive single take in which Chromeskull wipes out a number of cops one after the other in gruesome ways.  The gore effects are achieved, as in the previous film, by combining excellent practical effects with some subtle CGI enhancements. 



Speaking of cops, they're a pretty ineffectual bunch here.  Owain Yeoman plays Detective King, who looks a little young to be heading the precinct, and Christopher Allen Nelson (Beatrix' almost-husband Tommy in KILL BILL) is Max, his best detective.  "Best" being a relative term, since the whole squad amounts to little more than kill fodder for Chromeskull.  When they bust into the chrome-plating factory to rescue Jess and Detective King yells, "You're safe now!", I thought, "Yeah, right."  Hot female detective Holland (Angelina Armani) fares no better.

Gail O'Grady appears as Jess' mother and a grown-up Eric Lloyd (of the SANTA CLAUSE series) is billed as "Geeky Lackey."  The actress who played Princess in the first LAID TO REST, Bobbi Sue Luther, is neither seen here (her flashback scenes were reshot with Allison Kyler replacing her) nor mentioned by name (unless I missed it).  

The DVD from Image Entertainment is in 1.78:1 widescreen with Dolby 5.1 surround sound.  Subtitles are in English and Spanish.  Extras include a commentary with director Robert Hall, co-writer Kevin Bocarde, and actor Brian Austin Green, along with a making-of featurette, deleted scenes, bloopers, and a trailer.  There's also a feature which allows viewers to jump to any one of the various kill scenes.  (Stick around through the closing credits for a two-minute epilogue.)

While the film is pretty fast-paced and the additions to the Chromeskull mythology fairly interesting, I prefer the first film with its creepier settings, more enigmatic killer, more likable characters, and more involving story.  This one has none of its dry humor (Sean Whalen and Kevin Gage are especially missed) and the main girl, Jess, is winsome but not really all that interesting.  Still, CHROMESKULL: LAID TO REST 2 is head and shoulders above most of the cheap slasher flicks being churned out lately, continuing the first film's "cavalcade of cool kills" approach with a little style and a lot of enthusiasm.  And Chromeskull is definitely one of the major movie monsters of the last few decades.



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Wednesday, August 5, 2026

LAID TO REST -- DVD Review by Porfle



Originally posted in 2009



"A guy in a mask chasing a girl...that usually works," thought writer/director Robert Hall while thinking up ideas for a follow-up to his '04 debut feature, LIGHTNING BUG. And what a mask--a grinning chrome skull, which fits over the face of tall, lanky, cueball-bald actor Nick Principe. With his imposing stature and graceful, deliberate movements, in addition to being nattily-dressed in a tastefully tailored black outfit, Chrome Skull is one of the most interesting slasher anti-heroes since the 80s. And LAID TO REST (2009) is a glossy, blood-drenched, pedal-to-the-metal throwback to that era.

The chilling titles sequence gives us jagged glimpses of Chrome Skull nastily doing away with several young women. Then we meet our heroine, The Girl (Hall's wife Bobbi Sue Luther in a lively performance), as she wakes up in a closed casket in a funeral home, with no memory of who she is or how she got there. After witnessing the gruesome death of an old mortician (the venerable Richard Lynch) at the hands of Chrome Skull, she flees down the highway until she's picked up by a kindly redneck named Tucker (Kevin Gage, best-known by me as the vile "Waingro" in Michael Mann's HEAT), who takes her home. Tucker's wife Cindy (Lena Headey, "Terminator: The Sarah Connor Chronicles", 300) isn't too pleased at first, but soon warms up to the poor frightened woman. Then Chrome Skull shows up and pins Cindy's head to a wall with his knife.

We should probably talk about Chrome Skull's knife for a minute. It's a real doozy--in fact, it makes those things carried by guys like Jim Bowie and Crocodile Dundee look like toothpicks. Razor-sharp on one side, with jagged spikes on the other, the massive chrome blade is perfect not only for slicing and jabbing but also for sawing people's heads off. Which seems to be one of the many hobbies that keep Chrome Skull occupied. We never learn much about what happened to screw this guy up, but with a phallic extension like this, he definitely has a sexual hang-up or two rattling around in his shiny skull.

Anyway, Tucker is now on the run with Princess (his nickname for the mysterious girl) and along the way they pick up a geeky nerd named Stephen, who's played by the very familiar and funny Sean Whalen (THE PEOPLE UNDER THE STAIRS, TWISTER). They take refuge in the funeral home, which is troublesome for Stephen since his mother just died, and even more troublesome when he sees her head floating toward him in the dark. After a lot of running around from place to place, and a lot of doing stupid stuff that people in slasher movies always do, the three finally end up barricaded in a small grocery store with a couple of rave-bound party boys named Tommy and Johnny (Thomas Dekker, Johnathon Schaech). But they can't keep Chrome Skull out for long, and before you know it he's in there making mincemeat out of anything with a heartbeat.

This is the kind of eye-popping, knuckle-baring slasher flick I was looking for back in the old days whenever I'd trudge to the latest FRIDAY THE 13TH crapfest or rent yet another piece of dreck like THE BURNING or THE PROWLER, ever hopeful that the next one would actually turn out to be worth watching. With LAID TO REST, Robert Hall has taken the old formula and done it up with all the bells and whistles--state-of-the-art gore effects from his own renowned makeup studio Almost Human, a sharp script that lovingly reprises all the old cliches while giving us a few new twists, a top-notch cast, and a cool monster who videotapes his kills with a shoulder-mounted camera (an element which will later provide clues to Princess' mysterious origins). Hall proves himself a very capable director, and the cinematography, done with a Panasonic HPX-3000 high-definition 1080p camera in the AVC Intra Mode (I don't know what any of that means, but it sounds awesome), makes this one of the best-looking indy slasher flicks you'll ever see. Hall's own band Deadbox contributes to the exciting heavy metal musical score.

Extras include an enthusiastic audio commentary from husband-wife team Hall and Luther and the half-hour "Postmortem: The Making of Laid to Rest", a very entertaining and well-produced documentary. There's also a look at "The SFX of Laid to Rest", a few deleted scenes, some funny bloopers, and a trailer.

This isn't "torture porn" as much as an homage to the classic stalker-slasher era with suspense sequences punctuated by sudden, flabbergasting death scenes. It's the kind of gore effects that you used to see featured in big full-color spreads in Fangoria magazine, but when you went to see the movie you'd find they'd all been snipped into almost subliminal split-second flashes to avoid an "X" rating. Not in this unrated director's cut, however--everything's as horribly graphic as the most avid gorehound could hope for. Almost Human studios specializes in realistic-looking dead bodies, which are abundant in the aftermath of Chrome Skull's homicidal activities, and they also give us some of the most shocking kill scenes ever created. These are done with good old-fashioned makeup FX (one death scene even uses bladders) which are augmented by CGI to create some pretty convincing carnage. The most jaw-dropping (literally!) effect comes fairly early as one guy gets Chrome Skull's blade right through his cheeks, which our whimsical hero removes by taking the top of the guy's head off. Yikes! If that sounds intriguing to you, then you really should check out LAID TO REST. If not, then I would advise you to stay as far away from this movie as possible.



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Tuesday, August 4, 2026

THE DISAPPEARANCE OF ALICE CREED -- DVD Review by Porfle



Originally posted on 11/11/10



A good old-fashioned nailbiter that keeps you on the edge of your seat, THE DISAPPEARANCE OF ALICE CREED (2009) is one of the most suspenseful and unpredictable thrillers I've seen in quite a while.

The film opens with a brisk montage of former cellmates Danny (Martin Compston) and Vic (Eddie Marsan) working industriously to lay the groundwork for a kidnapping.  Then comes the abduction, with poor Alice Creed (Gemma Arterton, QUANTUM OF SOLICE) wrested from her life as a millionaire's daughter and gagged, hooded, and handcuffed to a bed in a soundproofed room. 

After getting her all trembling and teary-eyed with threats of death, the kidnappers videotape her pleas to pay the ransom and use the message as a persuader for her rich father to come across with the cash.  All that remains after that is for the deal to go through so Vic and Danny can start a new life elsewhere with money to burn.

But you just know that something's going to go wrong with this seemingly foolproof plan somewhere along the way.  The inevitable glitch comes from out of nowhere and is a genuine surprise, setting the whole scheme unraveling in all sorts of interesting ways.  Danny, the inexperienced one who seems to be developing some sympathy toward Alice, can barely keep it together while the intimidating and at times overbearing Vic is unnervingly businesslike.  They're bound to clash sooner or later, especially when Danny screws up so badly that at one point he allows their captive to get the upper hand.

Strangely enough, in fact, I found that much of the suspense comes from worrying about what will happen to Danny if Vic discovers the mess he's made of things.  Added to that is the knowledge that Alice's fate hinges upon the success of their kidnapping scheme, since Vic is clearly prepared to do away with her at the slightest sign of trouble.  And as things get more and more complicated, with suspicions mounting in all directions, we're never sure what either of them is capable of.



Alice, meanwhile, keeps us guessing as well.  Frightened and docile one moment, she acts swiftly and decisively the first time she gets a chance.  Will she manage to escape, or simply give coldblooded Vic a reason to kill her?  And what, exactly, does Vic plan to do once he does get all that money?

That's all I'm going to say about the story, because surprise is the key to enjoying all the twists and turns that unfold during this often riveting tale.  Each character gains the advantage over the others at one time or another, so the final outcome remains a toss-up until the very end.  Suffice it to say that I was caught up in it from start to finish, and would be hard-pressed to recall a single dull spot. 

Writer-director J Blakeson's uncluttered, straightforward style is ideal for this material, especially since the story is so good that any added visual spice would be superfluous.  Since it's strictly a three-character film, a vital element in its success is the excellence of the performances, most notably Gemma Arterton in a gruelingly emotional role.  Martin Compston and Eddie Marsan also do a great job and are utterly convincing throughout.



The DVD from Anchor Bay is in 2.40:1 anamorphic widescreen with Dolby Digital 5.1 sound.  Subtitles are in English and Spanish.  Extras include a director's commentary, a deleted scene, an extended scene, some outtakes, some storyboard-to-film comparisons, and a trailer.

THE DISAPPEARANCE OF ALICE CREED isn't a blockbuster or a rollercoaster ride, and it won't blow you through the back wall of the theater (or livingroom).  It's just a smart, solid, well-crafted little thriller that's a lot of fun to watch. 




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Monday, August 3, 2026

HOUSEWIVES FROM ANOTHER WORLD -- DVD Review by Porfle

 

Originally posted on 3/2/10
 
 
Fred Olen Ray's Retromedia does it again with HOUSEWIVES FROM ANOTHER WORLD, another lighthearted soft-porn romp in the vein of BIKINI FRANKENSTEIN and TWILIGHT VAMPS. This time, the story which serves as a connective tissue for the numerous sex scenes is flimsier than ever, but ultimately that doesn't really matter all that much, does it? 
 
The movie opens, unsurprisingly enough, in the bedroom of Max (Frankie Cullen) and Karen (Heather Vandeven), but that's not Karen whom Max is having furious simulated sex with--it's their ditzy neighbor, Rita (Rebecca Love). 
 
Nicely intercut with this are shots of a meteor headed for a fiery rendezvous with Earth--the simple CGI looks pretty good--which might serve as a metaphor for the fact that Karen is coming home early from a business trip. When she discovers Max and Rita in bed together, she's furious. Rita, we find, was told that Karen had been killed in a freak skateboard accident and that Max needed to be held. 
 
Karen grabs a bottle of Jack and angrily stomps out into the desert behind their house, where she finds the pieces of the fallen meteor. One of the shards shoots a jolt of energy into her head, transferring an alien entity into her body. 
 
Seemingly morphed into a Stepford wife, Karen cheerfully forgives Max and Rita. But she secretly has a new mission--find the plans for a top-secret galaxy-probing satellite that Max is working on for the government and destroy them before Earth discovers her home planet, which will lead to an intergalactic war. (How? It doesn't matter.) 
 
Meanwhile, Max's competitors at work, Tom (Tony Marino) and Carla (Christine Nguyen), are busy trying to steal the plans themselves so they can take credit for them. Using meteor shards in the form of necklaces, Karen zaps Carla and Rita with more alien entities. Their mission, however, is put on hold when the intoxicating carnal sensations of their new human bodies drive them to engage in lots and lots of sex. Betcha didn't see that coming. 
 
 
As in the rest of these Retromedia sex farces, HOUSEWIVES is capably directed and looks really good for its low budget, with a pleasant musical score. Best of all, however, is the fact that the lead castmembers not only look terrific but aren't bad actors, either. Frankie Cullen and Tony Marino continue to display a deft comic sense that sets them apart from the average leering stud muffin, while Christine Nguyen's sex appeal is matched by her own skills in this area. Too bad this particular script doesn't give them much of a chance to be funny. 
 
Heather Vandeven looks about as good as you'd expect a Penthouse Pet of the Year to look and is quite enthusiastic in her sex scenes. (It appears as though she's using the famous Stanislavski method in her shower scene.) My favorite, though, is the adorable and delightfully buxom Rebecca Love, who has now joined my list of future wives which will go into effect just as soon as I become a billionaire playboy and bigamy is decriminalized. 
 
Rounding out the supporting cast are Ted Newsom as Max's boss Mr. Roberts--Ted plays a normal person for a change, and is surprisingly adept at it--and Ron Ford as the shady foreign-type (he wears a fez) who schemes to purchase the satellite blueprints from a debt-plagued Tom. Both actors bring a certain substance to their roles which adds a little weight to this otherwise paper-thin story.
The DVD from Retromedia and Infinity is widescreen with Dolby Digital sound. Extras consist of trailers for this and several other Retromedia releases. 
 
As an entry in Retromedia's growing list of sci-fi and horror-tinged softcore sex comedies, HOUSEWIVES FROM ANOTHER WORLD is extremely light on the comedy and story elements (though it does have a slight ZONTAR vibe at times). But with acres of bare skin on display and a cast that performs like Energizer bunnies at the drop of a hat, it's definitely fun to look at.

 

 


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