VOODOO BLACK EXORCIST -- Blu-ray Review by Porfle

 

Originally posted on 5/23/17

 

It sounds like they put all their eggs-ploitation elements into one basket with the title VOODOO BLACK EXORCIST (aka "Vudú sangriento"), but this wonderfully awful 1974 Euro-horror potboiler, now available on Blu-ray from The Film Detective, is actually pretty short on exorcism (there isn't any) and black people (two of them are actually white actors in dark body makeup). I guess VOODOO WHITE NON-EXORCIST just didn't have the same ring to it.

They didn't skimp on the voodoo, though--the opening flashback sequence, which is revisited several times throughout the film, was filmed in real Caribbean locations such as Jamaica and Haiti, and there's a frenzied voodoo ceremony during which the beautiful Kenya (Eva León) is beheaded.  After everyone tosses her noggin around like a beach ball at a rock concert, her lover Gatanebo (Sergio Leone regular Aldo Sambrell) is entombed alive as punishment for their illicit love. 

Kenya turns up again centuries later, reincarnated (sans body makeup) as Silvia, assistant and mistress to archeologist Dr. Kessling (Alfred May).  As fate would have it, the newly-unearthed mummy they're traveling with via cruise ship is none other than the undead Gatanebo, who not only stalks the ship killing descendants of those who buried him alive, but discovers his lost love right there on board with a new identity and complexion.

 

It's pretty much a shipboard retelling of THE MUMMY but with voodoo instead of Egyptian curses.  The buff, bald, and now inexplicably Caucasian Gatanebo passes for normal most of the time but occasionally reverts back to mummy form with a makeup job that resembles crinkled papier-mache', whereupon he either murders people or pokes them with his golden asp-ring to make them his slaves. 

He kills a bartender descended from the man who beheaded Kenya, then leaves the guy's head on Silvia's pillow for her to find, Godfather-style, when she wakes up.  (He's like a cat bringing home a dead mouse to its master as a present.)  Later, he intercepts a visiting professor at the airport in order to assume his identity, squishing the poor sap under a steam roller.

Production values for this low-budget Spanish effort are fair to poor--direction and camerawork are slipshod at best (but with the odd flash of style now and then), the script is half-baked and filled with howlers ("In infinite time, what must happen happens"), and much of the acting and dubbing are below par.  SPFX and makeups are fake-looking but fun, including some man-to-mummy (and vice versa) transformations.

The Caribbean locations are nice, and the cruise ship is actually at sea during the on-deck exteriors, adding much to the film's ambience.  (Is it just me, or does the recurring island musical theme sound just like the first bars of "Ferry Cross the Mersey"?)  Animal lovers will find the killing of an actual chicken during the voodoo ceremony distressing.

The cast of characters can be a real hoot, especially an excitable lady named Mrs. Thorndyke who reads cards and tells the future (her visions about what's happening aboard the ship are totally accurate yet nobody takes her seriously).  Some of the exchanges between her and henpecked husband Alfred are hilarious:

"Alfred! I would like to get a sarcophagus like this to rest in eternally."
"I'll do my best, honey."

There's also an exotic dancer who's the very definition of "overripe" (I mean that in a really good way) constantly being courted by a world-famous hamburger tycoon, and a portly police inspector who makes like he's Hercule Poirot by deducing that since the first murder occurred at sea, then the culprit must be someone on board the ship.  "It's a shame," he opines after the hamburger guy is killed.  "The best hamburgers in the world."

After more mindnumbing mayhem, the finale has the inspector and his dangerously callow assistants tracking the mummy and the kidnapped Silvia to a cave where they manage to cause more chaos than they avert, leading to a startlingly abrupt ending that slams a sarcophagus lid on the whole shebang. 

The Blu-ray from The Film Detective is widescreen with an aspect ratio of 2.35 and Dolby digital sound.  English captions are available.  No extras.  The film itself is "in HD with a brand new 2K scan from a rare 35mm archival print.”  The picture quality is likely the best this film has seen since the 70s, although there's still a lot of blemishes here and there which I assume couldn't be helped. 

To be fair, many will find this film about as boring as...well, actually being a mummy.  But for those hardy souls who seek out bad movies to willingly subject themselves to, VOODOO BLACK EXORCIST may prove as pleasantly entertaining as it is woefully inept.



Release date: May 23, 2017

(Stills used are not taken from the Blu-ray disc)

VOODOO BLACK EXORCIST -- Blu-ray Review by Porfle

PLANET TERROR / DEATH PROOF -- Movie Reviews by Porfle

 

Originally posted on 10/21/09. Contains spoilers.

 

If you grew up going to big, dark, seedy movie theaters or rundown drive-ins that showed battered, tattered, spliced-and-diced prints of cheap exploitation flicks--and loving every minute of it-- then Robert Rodriguez' incredibly well-rendered homage to all that great stuff, PLANET TERROR (2007), just might be more fun than you can handle. 

 Originally part of the Rodriguez-Tarantino team-up GRINDHOUSE, which also featured QT's roadkill thriller DEATH PROOF, PLANET TERROR now stands alone on DVD in an extended, unrated version that is pure adrenaline-fueled goofy fun from beginning to end. 

The movie plunks us smack-dab into the old grindhouse atmosphere right off the bat with original "prevues of coming attractions" and "our feature presentation" clips, along with a kickass, spot-on trailer parody for a fictitious flick called MACHETE starring the ever-popular Danny Trejo as a blade-wielding badass for hire. It's only a couple of minutes long, but it contains enough outrageous action clips and gravely-intoned taglines ("If you're going to hire him to kill the bad guy--you'd better make damn sure the bad guy isn't YOU!") to make us wish it was a real movie. (Which it soon will be, apparently--according to IMDb, Rodriguez is preparing MACHETE for an 2010 release.) 

After a vintage clip informing us that the following movie is intended for adults only, PLANET TERROR kicks in full blast with a title sequence featuring scantily-clad star Rose McGowan doing a very energetic pole-dance in a seedy Texas club. Holy G-strings, Batman! I don't know how you'll react, but it got my full attention. Rose is definitely lookin' good these days. 

Her character, Cherry Darling, quits the club in the not-too-likely hope of becoming a stand-up comedian. On the walk home she's almost run over by a convoy of vehicles on its way to an abandoned military base. Here, a shady deal goes down between greedy scientist Abby (Naveen Andrews, "Lost") and a group of renegade soldiers led by Lt. Muldoon (Bruce Willis) concerning a mysterious toxic gas called DC-2. The soldiers, it turns out, have been exposed to the gas and now need to inhale it in measured doses to counteract its horrific effects. But the deal erupts into a bloody gunfight, and before long a cloud of DC-2 is headed toward town. 

Meanwhile, Cherry runs into her old lover Wray (Freddy Rodríguez, "Six Feet Under") in a roadside barbecue joint called The Bone Shack, which is run by the grizzled J.T. Hague (an almost unrecognizable Jeff Fahey). Cherry bums a ride home in Wray's wrecker truck, but they're attacked by some flesh-eating DC-2 zombies who make off with Cherry's right leg. 

At the hospital, soon-to-become-zombies are pouring into the emergency ward, where Josh Brolin is doing his best Nick Nolte imitation as the burnt-out, hypochondriac Dr. Block. Block is preoccupied by the fact that his wife, Dakota (Marley Shelton, SIN CITY) is having an affair with another woman played by "Fergie" of the Black-Eyed Peas, Stacy Ferguson. But he'll have more pressing concerns on his hands when the hospital begins to fill up with pus-spewing, gut-chomping zombies. 

Wray gets hauled off to jail by Sheriff Hauge (Michael Biehn), who has had previous legal troubles with him. The sheriff is J.T.'s brother, and one of the funniest running gags in the film is him desperately trying to coerce J.T. into sharing his secret barbecue sauce recipe with him. But while he's booking Wray for whatever he can think of, zombies strike the police station in force and there's another extremely bloody battle. Wray eventually makes his way back to the hospital to rescue Cherry, ramming a table leg onto the end of her stump in lieu of a more traditional prosthesis. 

The "Lt. Dan"-style missing-leg effects are awesome here, especially when Wray later replaces the table leg with a machine gun/grenade launcher that turns Cherry into one of the coolest warrior women in movie history. Yet another awesome shoot-em-up scene occurs at the besieged, flame-engulfed barbecue joint, where the non-infected survivors have congregated and we discover that Wray is really El Wray. The significance of this is never explained (not only does the film "melt" during the big sex scene, but there's actually a missing reel!) but it's enough to convince Sheriff Hague, who tells his deputy, "Give him a gun. Give him all the guns." 

The survivors' flight down the highway in whatever escape vehicles they can scrounge up is a thrilling sequence highlighted by the sheriff bashing zombie pedestrians to bloody smithereens in Wray's wrecker while Wray heads the convoy on a tiny pocket bike. The finale occurs at the old military base after they've all been detained by Lt. Muldoon and his renegade soldiers. Tarantino turns up as a lecherous psycho who tries to act out his women-in-cages fantasies with Cherry and Dakota, and ends up "getting the point", so to speak. His performance has been derided by some, but Tarantino knows exactly what kind of character he's playing and does it to a tee. (He also gets to perform the film's biggest gross-out scene, and boy, is it gross.) 

The good guys eventually escape from their cells and battle their way toward a helicopter, and not only does everything blow up real good but Cherry gets a mind-boggling opportunity to display her newly-developed battle skills in one of the coolest scenes ever. All of this weird, wild stuff is wrought with all the directorial skills, grindhouse nostalgia, and giddy Monster Kid glee that Robert Rodriguez can muster. Once this thing gets started, it's non-stop over-the-top action all the way, drenched in gouts of fake blood 'n' guts and brimming with all the wonderful 70s exploitation elements Rodriguez can cram into it. 

Stylistically, it's a near-perfect homage, complete with scratchy film, bad edits and splices to give it the look of an old, battered print that's been shown too many times, arch dialogue, and special effects that are well-rendered while being intentionally cheesy-looking. With the DVD's audience-reaction track activated, which to me is the only way to watch this film, it's like sitting in a cheap theater back in the old days. Rodriguez' conviction to go all the way with this concept has resulted in one of the most fun movies I've ever seen. 

The entire cast is outstanding. Michael Parks returns as Texas Ranger Earl McGraw, a character that has appeared in Rodriguez' FROM DUSK TILL DAWN and Tarantino's KILL BILL and is further developed here. Gore makeup master Tom Savini and the original "El Mariachi" himself, Carlos Gallardo, appear as deputies. Rodriguez' twin nieces, Elise and Electra Avellán, play the Crazy Babysitter Twins, who should definitely be in their own movie. And his son Rebel does a nice job as the Blocks' young son, Tony, who loves tarantulas and scorpions but should never be trusted with a gun. 

This DVD is one of the best Christmas gifts I ever got. Rarely have I had this much pure, unadulterated fun watching a movie. Of course, if you're one of those people who post on IMDb asking puzzled questions like "what's with all the scratches?" or pointing out all the obvious "goofs" and "gaffes", this movie probably isn't for you. But if you're an old-school flick fan who gets what Robert Rodriguez is up to here from the git-go, then chances are PLANET TERROR is an exploitation extravaganza that will be held over for an extended run in your home grindhouse theater.  

 

Having gone ga-ga over PLANET TERROR, I couldn't wait to see the other half of the GRINDHOUSE double-feature he and collaborator Quentin Tarantino unleashed on widely unsuspecting audiences in '07. QT's muscle-car mayhem epic DEATH PROOF, while not as over-the-top awesome as Rodriguez' film, is still a pure, giddy joy that revels in the down and dirty delights of its low-budget inspirations. 

We're first introduced to four lovely young wimmins cruising the Tex-Mex diners and bars of Austin, Texas, yakking endlessly about guys and planning an all-girl party at Lake LBJ. There's the petite blonde, Shanna (Cheryl Ladd's daughter Jordan of HOSTEL PART II and CABIN FEVER), leather-clad tough chick Lanna-Frank (Monica Staggs), sexy Brooklyn gal Butterfly (Vanessa Ferlito), and locally-famous radio DJ Jungle Julia (Sydney Tamiia Poitier, Sidney's daughter). 

Rose McGowan, the star of PLANET TERROR, plays a smaller role here as Pam, Julia's grade-school rival who shows up at the Texas Chili Parlor run by Warren (Tarantino) while the girls are there partying with some horny guys that include a funny Eli Roth (HOSTEL). And, for the record, PLANET TERROR's ever-popular Crazy Babysitter Twins are there as well. 

Also sitting at the bar stuffing himself with nacho platters is the burly, scarfaced Stuntman Mike (Kurt Russell), a washed-up Hollywood stuntman who takes an interest in the girls and, through a series of circumstances, ends up getting a lap dance from Butterfly in a steamy set-piece. While Stuntman Mike seems friendly enough, there's something creepy and vaguely dangerous about him. 

But Pam needs a ride home and climbs into his black '69 Dodge Charger, which, as Mike tells her, is so heavily-reinforced for stuntwork as to be "death proof." This, however, only applies to the person behind the wheel, which Pam finds out to her immense regret as soon as they hit the street. 

The first half of DEATH PROOF has the same battered, scratchy, spliced-to-hell look of PLANET TERROR, which should bring back fond memories to anyone who's actually been in a grindhouse or watched a midnight show where the print was as old as they are. For me, the nostalgic joy began in the very first seconds as soon as I heard that awesome bass line from Jack Nitszche's VILLAGE OF THE GIANTS theme, otherwise known as "The Last Race." Then the title, which, for a split second, is "Quentin Tarantino's Thunder Bolt" until the words "DEATH PROOF" are crudely spliced in, mimicking the look of all those cheap films that have been re-released under different titles. Another jarring splice cuts the title sequence short and dumps us into the movie proper. 

 Later, reel changes are clearly heralded by splotchy indicators and one of the biggest moments of the film, Butterfly's lap dance for Stuntman Mike, ends abruptly due to missing footage. This is the kind of stuff that will mean nothing to a lot of viewers, and in fact seems to put many of them off--which is probably one of the main reasons public reaction to this movie has been so divided--but it makes me as giddy as a schoolgirl. 

What happens midway through DEATH PROOF is one of the most thrilling and totally unexpected scenes of recent years--I had to rewind and watch it two or three times just convince myself that this flabbergasting event really happened. Then, after a denouement which features yet another welcome appearance by Michael Parks' Texas Ranger character Earl McGraw, who got his brains blown out way back in FROM DUSK TILL DAWN but refuses to die, the movie blinks forward fourteen months and transports us to Lebanon, Tennessee, where Stuntman Mike is up to his old tricks again. 

This time, we meet four more young women who are in town for the making of a softcore "cheerleader" movie. Rosario Dawson (SIN CITY) is makeup artist Abbie, and Mary Elizabeth Winstead is the movie's cutie-pie star, Lee. Their two friends are hardcore stuntwomen Kim (Tracie Thoms) and real-life stuntwoman Zoë Bell, who plays herself. Zoë's dream is to drive a white 1970 Dodge Challenger with a 440 engine, just like the one in VANISHING POINT. 

 Sure enough, there's a guy in town with one for sale, and before long, the girls (minus Lee) are out for a pedal-to-the-metal test drive that includes a hair-raising stunt called "Ship's Mast" with Zoë sprawled across the car's hood. This, of course, is when Stuntman Mike makes a surprise reappearance, crashing into the Challenger and then trying to run it off the road in a prolonged, stunt-packed pursuit over rural roads and highways. 

 Having a real stuntwoman playing a main role adds to the excitement because we see her face the whole time and know she's really doing all of this dangerous and thrilling stuff herself. Tarantino also uses legendary veterans such as Buddy Joe Hooker and Terry Leonard for the driving stunts, allowing him to indulge his imagination with some of the most incredible set-ups ever filmed. "Adrenaline-charged" would be an apt way to describe this harrowing car chase sequence, all the way up to the truly kooky ending in which the girls turn the tables on ol' Stuntman Mike. 

 The battered-print look disappears in DEATH PROOF's second half, as though we're now seeing another kind of exploitation flick--perhaps the more upper-scale stuff (GONE IN SIXTY SECONDS, VANISHING POINT, et al) that Kim and Zoë like to gush about. One thing that remains consistent throughout the movie, though, is Quentin Tarantino's well-known obsession with female feet. If you're a foot fetishist too, you'll love this movie from the very first frame, as this appears to be Tarantino's substitute for the gratuitous "boob shots" often seen in the usual grindhouse fare. 

There's also an abundance of big butts, gorgeous legs, and stuffed shirts, all lovingly photographed by a gleefully leering QT. Sydney Tamiia Poitier, in particular, proves a highly photogenic focus for such directorial indulgence. I'm not complaining. 

I have heard complaints that much of the girls' dialogue scenes in this movie are too ponderous and not as witty or clever as the "royale with cheese"-type stuff from PULP FICTION. Me, I just like to hear Tarantino's characters talk, even when it isn't all deliciously quotable. These long yakkity-yak scenes also help us get to know the characters before they're subjected to extreme terror and peril by Stuntman Mike. As the crazed highway stalker, Kurt Russell is simply wonderful. Relaxed, jovial, but somehow not quite right, Mike is a great character and Russell is obviously having a ball playing him. 

Tarantino has already wowed the mainstream with RESERVOIR DOGS and PULP FICTION--here he's content to give us old-time, pre-multiplex movie fans like himself a thoroughly entertaining thrill ride down memory lane in a souped-up exploitation flick with a defiant get-it-or-don't attitude. Like PLANET TERROR, the other half of this heartfelt love letter to grindhouse fans, DEATH PROOF doesn't need mainstream acceptance to validate it or make it good. It's critic-proof.

 

 

PLANET TERROR / DEATH PROOF -- Movie Reviews by Porfle

The Funniest Scene In "Night Of The Living Dead" (1968) (video)

Authentic-looking news reports lent added realism to George Romero's zombie classic.

Pittsburgh TV personality Bill "Chilly Billy" Cardille played a reporter.

His interview with Sheriff McClelland (George Cosana) was partly improvised.

This led to the film's most unintentionally funny moment...

...which writer/director Romero was happy to leave in.


Video by Porfle Popnecker. I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

The Funniest Scene In "Night Of The Living Dead" (1968) (video)

The Infamous Jump Cut in "Night of the Living Dead" (1968) (video)

In George Romero's classic 1968 zombie thriller, "Night of the Living Dead", there's a glaring jump cut...

...where several minutes of dialogue have been removed.

It comes right in the middle of a shot.

Here is one suggestion for eliminating the jump cut.


Video by Porfle Popnecker. I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

The Infamous Jump Cut in "Night of the Living Dead" (1968) (video)

Dual Roles in George Romero's "Night Of The Living Dead" (1968) (video)

After entering the abandoned farmhouse, Barbra discovers...

...a horribly mutilated dead body upstairs.
Ben later drags the body into a back bedroom. But who plays the corpse?

Answer: it's Kyra Schon, who's also Harry and Helen Cooper's ailing daughter, Karen.

Later, a female ghoul plucks an insect from a tree and eats it.
She's played by Marilyn Eastman, who is also...

...Karen's mother, Helen Cooper.

Those Coopers really get around, don't they?

Originally posted on 12/3/18

I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Dual Roles in George Romero's "Night Of The Living Dead" (1968) (video)

Near-Identical Scenes In "The Killer Shrews" (1959) and "Night of the Living Dead" (1968)(video)

"The Killer Shrews" (1959) has certain elements that showed up again later in "The Birds" (1963) and "Night of the Living Dead" (1968).

The latter film in particular features a scene that's almost a replay of one from "The Killer Shrews", right down to the music.

In "Night of the Living Dead", the scene ends with Ben (Duane Jones) saying: "I ought to drag you out there and feed you to those things!"

In "The Killer Shrews", Thorn (James Best) doesn't just say it--he almost does it!


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Near-Identical Scenes In "The Killer Shrews" (1959) and "Night of the Living Dead" (1968)(video)

Porfle's Trivia Quiz: "NIGHT OF THE LIVING DEAD" (1968) (video)

George Romero's ground-breaking horror epic...

...of reanimated corpses feasting on the flesh of the living...

...remains one of the most horrifying films ever made.

But how much do you remember about it?


Question: Barbara says the day the time changes should be the first day of...?

A. Spring
B. Summer
C. Autumn
D. Winter
E. August

Question: The first person Barbara encounters in the farmhouse is...?

A. Harry
B. Ben
C. Judy
D. Tom
E. Helen

Question: Tom fumbles their escape attempt by doing what?

A. Forgetting the rifle
B. Running over Ben
C. Shooting out a truck tire
D. Driving into a tree
E. Setting fire to the truck

Question: The police chief says of the ghouls, "Well, they're dead--they're... " What?

A. "Beyond our help"
B. "All messed up"
C. "Out to lunch"
D. "Good for nothing"
E. "Dumb as a doorknob"

Question: Who kills Helen Cooper?

A. Her husband
B. Her daughter
C. The cemetery ghoul
D. Johnny
E. Ben

Question: What happens to Ben?

A. Escapes to a rescue station
B. Survives the night, then joins posse
C. Survives the night, is then killed by posse
D. Killed trying to save Barbara
E. Shot by Harry Cooper


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Porfle's Trivia Quiz: "NIGHT OF THE LIVING DEAD" (1968) (video)

BEAST OF BLOOD -- Blu-ray Review by Porfle

Originally posted on 11/11/18

 

Like many horror fans, my first look at the "Chlorophyll Man" was in Dennis Gifford's celebrated book, "Pictorial History of Horror Movies."  Now, with Severin Films' Blu-ray release of BEAST OF BLOOD (1970), we get to see the movie behind that picture in all its gruesome, exploitative glory.

The finale of the "Blood Island Trilogy", which includes "Brides of Blood" and "Mad Doctor of Blood Island" (along with the 1959 prequel, "Terror Is a Man"), this lurid shocker is pure grindhouse goodness for horror lovers who enjoy wandering the dark territory of the grotesque and bizarre.

The story picks up right where "Mad Doctor of Blood Island" left off, with Dr. Bill Foster (the great John Ashley) leaving Blood Island on a boat which, unbeknownst to him, contains a stowaway--none other than the dreaded Chlorophyll Man himself.  When this creature attacks in a frantically-staged scene, the ship ends up sinking and Foster is the only survivor.

He returns to the island some time later to investigate brand new sightings of the "green men" created by evil Dr. Lorca, and discovers that the doctor has also survived the previous film albeit with some severe facial burns and a renewed interest in creating green-blooded chlorophyll monsters using the local island inhabitants as his guinea pigs.

Foster and a hardy crew of local men set off through the jungle to Dr. Lorca's remote subterranean lair, accompanied by plucky lady reporter Myra Russell (Celeste Yarnall, LIVE A LITTLE, LOVE A LITTLE, "Star Trek: The Apple") and even pluckier island girl Laida (Liza Belmonte) who is as handy with a machete as she is beautiful.

Much of the first half of the film covers their trek through the jungle, which tends to drag a bit until finally we rejoin Dr. Lorca in all his mad-doctor glory. "Beast of Blood" kicks into fun-gear at this point, thanks mainly to the fact that Chlorophyll Man's decapitated head is being kept alive while his headless body is strapped to a lab table, also alive.

Lorca's laboratory set and its surrounding cave tunnels look like something out of "The Man From U.N.C.L.E." and give the movie a pleasantly low-rent science fiction vibe. But it's the horror of that really hideous animated head leering back at Lorca and baring its fangs, biding its time for a chance to get revenge, that gives these scenes a satisfying shudder.

As usual, Lorca keeps a fresh stock of native captives caged for his ghastly experiments, with the goriest scenes consisting of some actual animal entrails being sliced and diced by the mad doctor's scalpel under the camera's loving gaze.

The film's sex quotient is filled early on when Foster and Myra have a steamy sex scene containing quite a bit of nudity.  Soon after, Myra is kidnapped by Lorca's men and serves mainly as a damsel in distress, giving Foster and crew added incentive to descend on Lorca's compound bearing spears and guns in the film's delightfully action-packed battle royale.

The machete-wielding Laida is especially fine during this sequence, and even Myra gets a chance to impale a bad guy or two.  John Ashley fans will enjoy seeing him in James Bond/Indiana Jones mode as well.  But the best part is when Chlorophyll Man takes telepathic control of his headless body (in a finale reminiscent of "The Brain That Wouldn't Die") and goes after Dr. Lorca while the laboratory crumbles around them.

Visually, this Severin Films Blu-ray (available only as part of the "Blood Island Collection") is less refined and restored than the rest of the trilogy, but it's a look that I find deeply appealing in a nostalgic way.  Extras consist of the following:

Audio Commentary with Hemisphere Marketing Consultant Samuel M. Sherman
Celeste and the Beast: An Interview with Celeste Yarnall
Dr. Lorca’s Blood Devils: Interview with Actor Eddie Garcia
Super 8 Digest Version (approx. 15 minutes)
Trailer
Poster & Still Gallery

With no arthouse pretensions whatsoever, BEAST OF BLOOD simply wants to shock, appall, and exploit our basest entertainment needs, which it does in shameless earnest.  It's prime, joyfully perverse drive-in fodder, and I'd rather watch it than whatever they threw Academy Awards at this year.   


Buy "The Blood Island Collection" at Severin Films
("Beast of Blood" Available ONLY in Box Set)

BEAST OF BLOOD -- Blu-ray Review by Porfle

ZOMBIE HAMLET -- DVD Review by Porfle

 

Originally posted on 12/21/13

 

If you like madcap mockumentaries,  zombies, and Shakespeare, then ZOMBIE HAMLET (2012) may be just the low-budget indy mish-mash you didn't even know you were looking for.

Filmmakers seem to have fun making movies on shoestring budgets that are about how much fun it is making movies on shoestring budgets.  Here, aspiring writer-director Osric Taylor (Travis Wester) and his producer-partner Kate Spangler (Vanessa Lee Evigan) find themselves stuck with a fraction of the millions originally promised them by sleazy movie mogul Jerry (John de Lancie, best known as "Q" on "Star Trek: The Next Generation"), and are forced to turn their epic Civil War-era version of "Hamlet" into a Southern-fried zombie flick.

Their Louisiana shooting location is the antebellum home of reclusive romance author Hester Beauchamps (June Lockhart) and her blonde granddaughter Annabelle, who wins both Osric's heart and the leading lady role in his movie.  June is one of the film's major delights, displaying a flair for dizzy farce that wasn't called for too often on "Petticoat Junction."

She's matched by "Good Times" vet John Amos as her shrewd, no-nonsense lawyer Edgar Mortimer, whose suspicions about these "Hollywood types" are proven correct when Hester suddenly dies and the filmmakers must pretend she's still alive (with Osric himself dressing in drag to impersonate her) in order to retain access to her bank account.

Amos is delectably deadpan while threatening Osric ("I'm a Louisiana lawyer--I can do anything I want!") lest he try to take advantage of Hester, and much of the fun centers around Mortimer's dogged attempts to get the goods on him.  Voodoo rears its ugly head at one point when Osric seeks a high-risk loan from some scary backwoods types. All of this is taped documentary-style for the eventual DVD by goofy makeup guy  Lester (Brendan Michael Coughlin), a local who sees the film as his ticket out of town.  Coughlin is very likable as the dorky Lester eventually starts taking his "documentarian" duties way too enthusiastically.

Shelley Long turns up as local TV gossip queen Shine Reynolds and proves that she's still a deft comedienne as her character gleefully eavesdrops on the secretive production.  Rounding out this impressive cast is Jason Mewes (JAY AND SILENT BOB STRIKE BACK,  SILENT BUT DEADLY) as action star Zack Buckley, coming to the film's rescue at the request of his former girlfriend Kate.  Mewes handles the role of the self-impressed but not too bright star with just the right measure of drollness, while much fun comes from flashbacks of his previous action flicks. 

Naturally, the main draw of ZOMBIE HAMLET is watching the unholy communion between the Bard and the undead unfold right there on our screens, which does lead to much laughter even though it never achieves the all-out hilarity we're hoping for.  The pace rarely lets up and is helped along by lots of zippy visual exposition and cartoonish editing.

Director John Murlowski (SANTA WITH MUSCLES) and first-time screenwriter John McKinney go for broke with a really big slapstick sequence late in the film that doesn't quite come off, but for the most part they manage to keep things on track nicely and tie up all the loose ends for a satisfying fadeout.

The DVD from Level 33 Entertainment is widescreen with 5.1 surround sound.  No subtitles.  Extras consist of trailers from this and other Level 33 films.  The main titles sequence is a cool montage of scenes from various Shakespeare and zombie films.

This briskly-paced cinematic amusement park ride hits the ground with its wheels spinning furiously and hardly lets up till the end.  ZOMBIE HAMLET proves that while "epic" may cost a lot of money, "funny" is limited only by the filmmakers' imaginations.



www.level33entertainment.com
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ZOMBIE HAMLET -- DVD Review by Porfle

DEAD SEASON -- DVD Review by Porfle

 

Originally posted on 7/25/12

 

With NIGHT OF THE LIVING DEAD, George Romero created a zombie mythology that just won't die.  Filmmakers are still adding their own chapters to the story and exploring various nooks and crannies of the scenario Romero set into motion over forty years ago.  The characters and settings may change, the timeframe may be updated, and the zombies may move a little faster sometimes, but we know that it all stems from that one night when a guy named Johnny taunted his jittery little sister in a gloomy cemetery with the words, "They're coming to get you, Barbara..."

DEAD SEASON (2012) is director Adam Deyoe's contribution to this sub-genre, and, like many of the others before it, it assumes we know the drill and need little or no exposition to get the ball rolling.  Thus, we join a former paramedic named Elvis (Scott Peat) already dodging "walkers" (the script, we learn from the commentary, was written before HBO's "The Walking Dead" popularized the term) in his search for food and shelter, and trying to hook up with a woman who calls herself Tweeter (Marissa Merrill) whom he's met over the airwaves. 

After a wild and woolly escape from over a hundred extras in some pretty passable zombie makeup, Elvis and Tweeter sail to an island off the coast of Florida (actually Puerto Rico) that they think is "walker-free."  It isn't.  The living inhabitants are a paramilitary bunch led by hard-ass Kurt Conrad (James C. Burns) whose philosophy is that if they don't "strip themselves down to the wires" they aren't going to make it.  This means being ruthless and totally unsentimental, and it also means that Elvis and Tweeter must make themselves useful to the group if they expect to eat or, in fact, live.

As in the better zombie movies, the constant menace of the living dead serves as a backdrop for intense interplay between the human characters, with Conrad's increasingly domineering behavior alarming the two reluctant newbies even as they try to fit in.  Elvis' medical skills are put to good use, especially in the treatment of Conrad's listless daughter Rachel (Corsica Wilson), the last link to his more human side.  Meanwhile, Tweeter joins the search and destroy team and gets to kill zombies which have overrun the island ever since a Dutch cruise ship sank nearby (which I thought was a pretty cool touch). 

DEAD SEASON brings lots of good ideas to the table and keeps things interesting most of the time, making up for occasional lulls by offering some surprising and sometimes shocking twists along the way.  While directing and editing aren't always slick, the low-budget film boasts several furious action sequences that are often grippingly suspenseful, in addition to some extremely dramatic exchanges such as the one in which Conrad springs his darkest and most dreadful secret on a stunned Elvis. 

Performances by the leads are exceptionally good, with James C. Burns playing good-guy/bad-guy Conrad to a tee and making us sympathize with his intentions even when his methods seem repellent.  Peat and Merrill are a great team as Elvis and Tweeter--even their brief lovemaking scene manages to convey a sense of erotic desperation rather than being merely obligatory. 

The unglamorous yet tomboy-attractive Merrill in particular shines as a female character who can handle herself impressively in action situations without simply being the stereotypical "strong woman."  Peat, on the other hand, is adept at letting his emotional side show through even when he's smashing zombie skulls with a sledge hammer.

The DVD from Image Entertainment is in 1.78:1 widescreen with Dolby 5.1 surround sound.  No subtitles, though closed-captioning is available.  Extras include a making-of featurette, deleted scenes, outtakes, and a trailer.  The cast and crew commentary track is fun while being casual almost to a fault--in fact, it sounds as though someone's absent-mindedly kicking the microphone during the whole thing. 

As you might expect, the human characters' fragile veneer of civilization begins to fall apart at the seams during the final act as their compound is overrun by zombies and all hell breaks loose.  Nods to Romero abound--some of the grisly gore setups are an obvious reprise of familiar horrors from DAWN OF THE DEAD--but the action-packed, richly character-driven DEAD SEASON stands on its own as a modest but worthwhile entry in the zombie mythos.  

 

DEAD SEASON -- DVD Review by Porfle

MONSTER BRAWL -- DVD Review by Porfle

 

Originally posted on 6/6/12 

 

Remember back in the 80s or 90s when "Fangoria" started trying to incorporate wrestling into their magazine?  Mainly because editor Bob Martin was such a big wrestling fan and thought it would qualify if he dubbed the really fake-bloody matches "horror wrestling"?  And remember what B.S. that was, and how mad I got about it, and how I wrote all those nasty letters complaining about it?  Wait, you wouldn't remember that.  Heh, heh.

Anyway, that wouldn't have been such a bad thing if what Fango called "horror wrestling" had been as much fun as MONSTER BRAWL (2011), writer-director Jesse T. Cook's geeky homage to both monsters and all that WWE stuff that I generally have zero interest in myself. 

Mind you, this movie had to grow on me, and it wasn't until near the halfway point that I started sorta getting into it.  Basically, it's like a slicker version of Ed Wood's ORGY OF THE DEAD only with wrestling monsters instead of strippers.  Barring some flashbacks, it all takes place in a graveyard in Michigan where the pay-per-view battle of the monsters is going out live to viewers in Canada and beyond.  Criswell would've fit right in here, and, needless to say, so would Tor Johnson.  With a drunken Ed Wood in drag cheering them on from the sidelines.

Instead, we get venerable Canadian actors Dave Foley ("Kids in the Hall") and horror stalwart Art Hindle (THE BROOD, INVASION OF THE BODY SNATCHERS) as tipsy Howard Cosell-type commentator Buzz Chambers and his crotchety sidekick "Sasquatch" Sid Tucker.  Foley and Hindle seem to be having fun with their roles, especially after an unfortunate incident with a zombie results in Sid growing increasingly foul-tempered as the night goes on.  Color commentator Jimmy Hart adds his own irrepressible dash of personality from the sidelines with a gorgeous ring girl on each arm.

The monsters themselves are a cross-section of archetypes including Frankenstein ("Technically it's 'Frankenstein's Monster', if you want to be a dick about it"), the Werewolf, the Mummy, Lady Vampire, Zombie Man, Witch Bitch, Cyclops, and a repulsive overweight creature known as Swamp Gut.  Most are played by actual wrestlers so the ring action is as "real" here as it is in the actual WWE events, a fact made clear the first time we see gorgeous Kelly Couture as Lady Vampire get body-slammed into the mat.  The usual stats graphics and trash talk segments are all here, albeit with a Gothic touch, and there's also the expected quota of dirty moves and illegal use of foreign objects such as meat cleavers and wooden stakes. 

Flashbacks to how the monsters got involved in the event take the place of commercial breaks, including a pretty cool creation scene for the Monster.  Lady Vampire's segment was filmed on an overgrown estate which is one of the ideal "found" locations that add much to MONSTER BRAWL's look, as does the extremely well-done graveyard set that was constructed in an abandoned warehouse.  Monster makeups and gore effects are very nicely rendered by the Brothers Gore and look more expensive than they are.  Other major factors in the film's look are good direction and editing along with some above average cinematography.

Humorwise, it's your basic WWE stuff with even more of a satirical twist.  Witch Bitch (Holly Letkeman) had me chuckling with her eyerolling performance and so did the vile Swamp Gut (Jason David Brown, who also plays Cyclops and graveyard caretender Cyril Haggard), a veritable fountain of offensive gases and corrosive substances.  A news report about the Mummy's escape from a museum warehouse, during which he kills a forklift driver, includes graphics such as "Mummy Kills Dummy" and "MILF Alert: Mummies I'd Like to Find."  Proving that even if he can't be in every movie ever made he can at least be heard in them, Lance Henriksen provides the voice of "God" as narrator and occasional fight commentator with concise, throaty quips such as "spectacular" and "phenomenal." 

Wrestling fans will find many of their favorite moves here along with some new ones like a meat cleaver to the ref's throat and the old head stomp, with magic and other supernatural forces coming into play.  Those who felt cheated by FRANKENSTEIN MEETS THE WOLF MAN's non-ending should welcome the sight of the Monster and Werewolf going at it again--this time to the finish--while a full-blown zombie uprising in protest to their graveyard's invasion by pay-TV provides a lively diversion.  I'd also just like to mention again that Lady Vampire (Kelly Couture) is gorgeous, and that if you like strong women wearing black opera gloves, then that's two big fetishes covered right there.

The DVD from Image Entertainment is in 2.35:1 widescreen with Dolby 5.1 surround sound and subtitles in English and Spanish.  Extras include commentary with director Cook and producers Matt Wiele and John Geddes, a "making-of" featurette, some Jimmy Hart outtakes, and a trailer.

Some viewers have opined that MONSTER BRAWL is boring and wonder if it even qualifies as a real movie.  To the first point I would say that, yes, it is slow-paced and will seem pretty boring if you don't really get into the kind of mood the movie's going for.  To the second, I would say...ehh.  If ORGY OF THE DEAD was a real movie, then so is this.  Will you like it?  It's purely a matter of taste.  I had fun with it.

MONSTER BRAWL -- DVD Review by Porfle

VIY -- Blu-ray Review by Porfle

Originally posted on 12/18/19

 

If you ever wondered what a vintage Russian horror movie would be like, look no further than VIY (Severin Films, 1967). This old-country ghost story of a young would-be monk's terrifying supernatural clash against an undead witch with a thirst for vengeance should check that box on your bucket list quite nicely.

In fact, when this well-produced and beautifully-mounted tale really gets cranked up, some scenes easily match those whacked-out Shaw Brothers martial arts/ghost stories such as HOLY FLAME OF THE MARTIAL WORLD and THE BATTLE WIZARD for sheer supernatural weirdness.

But I'm getting ahead of myself. The story begins when a group of rowdy young seminary students are released from the monastery for what amounts to their version of Sprink Break. Three of them, including Khoma (Leonid Kuravlyov), get lost walking to the nearest village and ask for lodging in a secluded house.

When the creepy and rather frightful-looking old crone who lives there begins to come on to Khoma in a (yechhh) seductive manner, he naturally rebels. She then mounts him horseback-style and, swinging her broom and cackling all the way, rides him straight up into the night sky for a harrowing lighter-than-air experience.

Upon landing, Khoma grabs a stick and starts beating her with it. As he does, her features change into those of a beautiful young woman.  Khoma flees from the dying figure and returns to the monastery, only to find the next day that he has been ordered to travel to a house and pray for three days at the deathbed of a woman who, for some reason, has requested him by name. 

After a long wagon journey during which he gets drunk on vodka with his garrulous guides, Khoma arrives at the house to discover two things: one, the woman is dead, and two, she's the same one he beat so savagely the night before. And yes, she was a witch, although her devoted and very imposing father refuses to believe such a thing and threatens Khoma with a deadly lashing if he doesn't fulfill her last wish for him to pray over her.

This, then, results in three successive nights of terror for Khoma which are a grueling ordeal for him and a source of pure, hair-raising entertainment for us horror fans.

After a suspenseful build-up that has us keen with anticipation, directors Konstantin Ershov and Georgiy Kropachyov lock us into that shadowy, decrepit old church with Khoma and the young woman's corpse and then methodically start pulling out all the stops one by one.

The first night is when she initially comes back to snarling, eyeball-rolling life as Khoma furiously recites scripture for all he's worth.  Hastily scrawling a chalk circle around his lecturn, he cowers fearfully as the witch struggles to enter it. The camerawork and direction are wonderfully frenetic here and are matched by the intense performances of the two leads.

And that's just the first night.  At this point we're still in for some of the wildest visuals imaginable, all rendered with fine old-school practical and photo-chemical effects as opposed to the sort of generic CGI that would likely be used today. 

There are ample chills and loads of atmosphere, but on the third night things go from lush Gothic scariness to bizarre, practically Lovecraftian surrealism.  Here, we at last meet Viy (pronounced VEE-Yah) and his repellent minions, and--that's all I'm going to reveal.

Leonid Kuravlyov does a marvelous job as Khoma, and, although we're meant to feel as though the callow priest deserves all of this, I can't help but sympathize with him. His actions during that first encounter with the witch are understandable, and it isn't his fault that his faltering faith provides him little protection against the supernatural horrors he faces later on.

We also discover at one point that he's an orphan who never knew his parents, leading me to assume that he ended up at the monastery because nobody else wanted him and was simply making the best of it despite his carnal weaknesses. This, if anything, makes his spiritual ordeal all the more tragic and affecting to me in addition to its potent visceral horror.

The Blu-ray from Severin Films is pictorially splendid and a pleasure to look at. Both Russian and English-dubbed soundtracks (with subtitles) are available. Bonus features include an interview with Richard (HARDWARE) Stanley, a featurette entitled "The Woods To The Cosmos: John Leman Riley On The History Of Soviet Fantasy And Sci-Fi Film", a trailer, and three scintillating silent films--"Satan Exultant", "The Queen of Spades", and "The Portrait"--from the early days of Russian fantasy-horror cinema.

In today's world of flashy, noisy, jump-scare-ridden CGI fests, VIY comes as a real old-fashioned horror tale that knows what chills us. It's so finely-rendered and effective, in fact, that when it was over I could only wonder where in the heck it has been all my life.


Buy it from Severin Films


Special Features:

    Viy the Vampire: An Interview with Richard Stanley
    The Woods To The Cosmos: John Leman Riley On The History Of Soviet Fantasy And Sci-Fi Film
    Short Silent Films – Satan Exultant, The Queen of Spades, and The Portrait
    Trailer
    English Track

VIY -- Blu-ray Review by Porfle

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Hot on the heels of ZOMBIE 3, which he co-directed with Lucio Fulci and Bruno Mattei, comes Italian schlockmeister Claudio Fragasso's ZOMBIE 4: AFTER DEATH (Severin Films, 1989), another hot 'n' horrid terror tale of the living versus the undead on a humid tropical island.

This time we're back to basics again, with the zombies being created not by science gone wrong or some natural phenomenon, but by that old bugaboo--voodoo.  Here, a voodoo high priest raises an undead army against the interlopers (scientists again) whom he blames for the death of his wife.

In the first scene, he resurrects her as a real lulu of a zombie--really, this freaked-out hag sets the bar so high that no other creature in the movie can touch it.

They're still a motley bunch, though. In fact, these ambulatory corpses--who mostly wear hoods to save on makeup--are so sleazy-looking you'd think they'd started out as lepers before turning into zombies. 

As in ZOMBIE 3, they like to gang up on their victims and make very messy work of them as the fake blood gushes from every prosthetic gash.  The makeup and gore effects run hot and cold quality-wise, but it's all in good, dumb fun anyway.

It seems as though we've joined the story in progress when the scientists confront the voodoo priest, but just then all the potential protagonists we just got to know a minute ago start getting horrifically offed one at a time. 

In comes a whole new cast twenty years later, and they go tromping around in the jungle for about half an hour before someone finds the usual "book of the dead", stupidly reads the forbidden spell within, and starts the whole thing going all over again.

Two groups--three research scientists and some vacationing mercenaries and their lady friends--are barely around long enough for us to get to know them before it's "Ten Little Indians" time. 

The survivors of the inital carnage barricade themselves in an abandoned science lab against the advancing horde (this is one of the few Romero-esque touches) with the mercenaries--who have fortuitously stumbled onto a box of M-16s--offering some war-movie action along with the horror as everything heads toward a mindblowing finale.

The real fun comes when members of their own combined group get bitten and start to turn.  With all the flesh-eating, supernatural hoo-doo, and blazing gunfire going on, you may enjoy spotting all the references to THE EVIL DEAD, ALIENS, PREDATOR, and various other movies.  The opening scene at times even reminded me of one of the freakier Japanese ghost story movies.

Production values are pretty sparse, but as usual with these Italian jungle potboilers, whether they feature zombies, cannibals, or whatever, that's just part of the charm.  Claudio Fragasso (TROLL 2) has but two goals here, to entertain us and to gross us out, and with ZOMBIE 4: AFTER DEATH he has done both in splattery style.



Release date: May 29, 2018

Special Features:
Bonus Disc: CD Soundtrack (pictured below)
Run Zombie Run! – Interview With Director Claudio Fragasso and Screenwriter Rossella Drudi
Jeff Stryker in Manila – Interview With Actor Chuck Peyton
Blonde vs Zombies – Interview With Actress Candice Daly
Behind-The-Scenes Footage
Trailer

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

ZOMBIE 3 -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Gory, lurid, and just plain nuts, Lucio Fulci's ZOMBIE 3 (Severin Films, 1988) sails over the top from the very first scene and just keeps on going. 

It's definitely not part of the George Romero universe.  Created by accident during a lab experiment to reanimate the dead, these zombies are some of the most groteseque, malicious, and aggressively hostile undead fiends to ever come leaping out of the bushes at you.

As expected, the makeup and gore effects are crude--obvious rubber masks and such--but are so wonderfully extreme that they're effective and fun nonetheless.  Lots of bladder effects are used to good advantage in the facial makeups, with plenty of graphic gore and severed limbs to go around.

The action is confined to a tropical resort island that just happens to have a top-secret military base where the disastrous experiment takes place.  After that, the good-guy scientists struggle to come up with an antidote to the highly-contagious zombie virus while the bad-guy military brass decide to just kill off everyone in the infected area, locals and tourists alike.

This includes a bevy of fun girls and their boyfriends in an RV, a young couple tooling around in their convertible, and three rowdy soldiers on leave, looking for a good time. 

Their trouble really starts when all are attacked by swarms of infected, virus-carrying birds, after which the injured must be protected by the others against growing hordes of horrific zombies intent on turning them all into pulled pork.

The rest of the film is a series of lively setpieces as various protagonists endure harrowing undead encounters which several of them won't survive.  Not only that, but they also must contend with military hit squads in hazmat suits who are machine-gunning anything that moves (which is where our three vacationing soldiers come in handy).

Direction and camerawork are pretty artless as usual, which is part of the film's charm.  ZOMBIE 3 was begun by Italian schlockmeister Lucio Fulci (ZOMBIE, DOOR INTO SILENCE, THE DEVIL'S HONEY) but actually completed by fellow filmmakers Bruno Mattei (ZOMBIES: THE BEGINNING, ISLAND OF THE LIVING DEAD, THE JAIL: THE WOMEN'S HELL, VIOLENCE IN A WOMEN'S PRISON) and Claudio Fragasso (ZOMBIE 4, TROLL 2).

As a result, ZOMBIE 3 is a frenetic conglomeration of so-bad-it's-good fun in which the subpar acting and dialogue, goofy characters, and hokey effects only add to its perverse appeal.  It's a non-stop zombie blowout that fans of the genre are sure to enjoy.



Release date: May 28, 2018

SPECIAL FEATURES:
Bonus Disc: CD Soundtrack (pictured below)
The Last Zombies – Interview With Co-Director/Co-Writer Claudio Fragasso and Co-Writer Rossella Drudi
Tough Guys – Interview with Actors/Stuntmen Massimo Vanni and Ottaviano Dell’Acqua
The Problem Solver – Interview with Replacement Director Bruno Mattei
Swimming with Zombies – Interview with Actress Marina Loi
In the Zombie Factory – Interview with FX Artist Franco Di Girolamo
Audio Commentary With Stars Deran Sarafian and Beatrice Ring
Trailer

ZOMBIE 3 -- Blu-ray Review by Porfle

DREAM STALKER/DEATH BY LOVE -- DVD Review by Porfle

 Originally posted on 4/4/17

 

In THE GOOD, THE BAD, AND THE UGLY, Clint Eastwood tells us: "In this world, there are two kinds of people, my friend.  Those with loaded guns...and those who dig."  Well, he was half right.  There ARE two kinds of people in the world: those who think shot-on-video movies from the 80s and 90s are unwatchable crap, and those who'd sooner watch one of them than anything that won an Academy Award this year. 

I fall into the latter camp--not completely, perhaps, but mainly--which is why I regarded Intervision Picture Corp.'s new DREAM STALKER/DEATH BY LOVE double-feature DVD with a sort of giddy delight instead of flinging it away with a cry of "ICK!" as some less adventurous individuals might be compelled to do.

Granted, these SOV features are a diverse lot which vary wildly in quality from the above-average (PHOBE:XENOPHOBIC EXPERIMENTS) to somewhere in-between (SLEDGEHAMMER, the first-ever SOV movie) to the downright pathetic (I'm looking at you, THINGS).

But however relatively good or bad they may be, they all share one thing in common--the fact that they're such a renegade, "outsider" form of cinema automatically makes them instantly interesting to a lot of people.

In the case of DREAM STALKER (1991), director Christopher Mills does a competent job with a cast that's unpolished but earnest, and comes up with something that resembles an actual movie.  Some of the photography, in fact, is actually rather nice, especially a gorgeous shot of a car crossing Golden Gate Bridge in the rain. Some of the sound, unfortunately, is the pits. (I'm looking at you, leaf-blower scene.)

Scriptwise, there's some perversely amusing dialogue and a glorious mess of a plot about a budding supermodel named Brittney Marin (Valerie Williams) whose dirt-bike-racing, mullet-sporting boyfriend Ricky (Mark Dias) gets killed shortly after their engagement. 

The increasingly troubled Brittney discovers, through the help of the eccentric Dr. Frisk, that her nightmares about Ricky (in which he tries to run her over with his bike before dragging her down kicking and screaming into his grave) have taken on telekinetic properties.

What even he doesn't know, however, is that when Brittney is asleep, Dead Ricky is able to return to this world, kill anyone who bothers or shows any romantic interest in her, and, in a twist on the old "dream lover" fantasy, make some really yucky nocturnal mookie with her. 

By this time, Ricky's looking a little icky, thanks to a nifty makeup job that makes him look like Two-Face only worse.  He hasn't lost his sick sense of humor, though, bemoaning the breakage of his condom in the zombie rape scene and giving a hapless mortuary worker some serious guff for cheaping out on his burial. 

In desperation, Brittney leaves her hot older-Pat-Benetar-looking mom behind and flees to their vacation cabin in the woods, only to find that it's now right next to a camp for "troubled teens" who are all in their 20s and 30s.  These insufferable post-juvenile delinquents could all use a good Jasoning, but after the chicks beat up on poor Brittney and the dudes try to molest her (by now, this movie has elements of NIGHTMARE ON ELM STREET, FRIDAY THE 13TH, and I SPIT ON YOUR GRAVE comin' at ya) they're all prime fodder for Dead Ricky to wade into just as soon as Brittney goes night-night.

Love-starved Brittney finally drives old Rottin' Rick right over the edge when she shows interest in a handsome new neighbor, Greg (John Tyler).  A nice softcore sex scene with brief nudity (bookending the earlier one between Brittney and a pre-dead Rick) sets up the raucous finale in which everybody gets seriously Rick Rolled, with plenty of blood and gore effects. 

All things considered, DREAM STALKER may very well be regarded as a classic of its kind.  The horror scenes are generally well-staged, the drama is pleasingly goofy, and SOV fans should find it as restful and invigorating as a good night's sleep. 


The same can pretty much be said for the follow-up, DEATH BY LOVE (1990), which, while not quite as over-the-top as the previous feature, is still one of the better SOV flicks that I've seen. 

Producer-writer-director Alan Grant stars as Joel Falk, a well-known sculptor who's quite a fit, bronzed figure of a man himself.  At least, enough to attract the interest of several equally attractive young women who, unfortunately, tend to turn up dead after hooking up with him.  And not only dead, but drained of blood, with ugly gashes on their throats.

But is Joel the killer?  Or is it the mysterious, unidentified man (Frank McGill) who's always spying on him from afar?  Every time Joel hooks up with a woman, this guy's peering through a window or hedge, seemingly up to no good. 

So...is he the killer, and if so, why does he seem intent on murdering every woman that Joel shows romantic interest in?  

Like DREAM STALKER, this is a decent-looking enough feature to have been shot on video, and it's about as well-directed.  Since it was shot in Dallas, Texas, almost everyone has a thick Texas accent, which, as a Texan myself, I find to be a definite plus.  The acting, as usual, is much more enthusiastic than refined, and in general the movie is technically adequate and more. 

Whether he's killing these women without being aware of it, or his unknown stalker is disposing of them himself for some ungodly reason, Joel earns our sympathy early on thanks partly to Grant's earnest performance.  McGill comes into his own later as his character makes his way to the fore and the mystery surrounding him is revealed. 

This revelation, in fact, turns out to be a dandy of a twist, which I'd be loathe to expound upon here lest I give it away. Suffice it to say, the second half of the story gets a lot livelier and involves some nifty monster makeup.  Also of interest are the copious amounts of lovingly-shot softcore sex scenes throughout much of the running time, accompanied by the requisite smokey jazz music. 

With the help of a couple of likable police detectives, DEATH BY LOVE builds to a suitably intense climax that viewers should find satisfying.  (Be sure to stay through the closing credits for the final sting.) Together with DREAM STALKER, this double-feature DVD from Intervision should prove quite a tasty treat for shot-on-video connoisseurs who just can't get enough of that funky stuff.

Special Features:

Remembering Ricky: With Actor Mark Dias
Dirtbike Dreams: Executive Producer Tom Naygrow
Alan Grant Remembers Death By Love Via Video Skype
Yvonne Aric and Brad Bishop Remember Death By Love Via Video Skype
English subtitles

Release date: 4/11/17

DREAM STALKER/DEATH BY LOVE -- DVD Review by Porfle