Seems like everyone I know has gone all wackadoodledoo over “The Walking Dead” television show.

I occasionally watch it, I admit. Enough to keep up with most of the major plot points I suppose, but I can’t say I understand the people that are super-fans of the show.

Yes, as a lifelong horror movie fan it’s interesting and a little weird to see a normally hyper-violent subgenre of horror somehow translate into a huge hit with mainstream audiences.

There is part of me that is uncomfortable with such mainstream popularity. I can admit to myself that part of that may be snobbery, but part of it is the fear that zombie fiction will get messed up if it continues to cater to mainstream tastes. The last thing I want to see happen is zombies to become modernized like vampires have. Between Anne Rice and role playing gothtard nerds, vampire are hardly monsters anymore. Instead they’ve become vinyl clad bisexual superheroes that hang out at underground dance clubs. Shudder.

Vampires got screwed even worse when certain individuals decided that they are actual real life vampires. No, you’re not. You’re either delusional or play acting. Let’s get that straight. While the idea of some losers deciding that they’re “real” zombies and shambling around trying to eat other people is sort of a fun thought, I don’t think that’ll happen.

It seems unlikely that the rotting walking dead could get that kind of shitastic romanticization, but who knows? Anything’s possible when too many people get interested in a certain style of fiction.

I’ve been watching zombie movies of one kind or another since the late 70’s, when as a young child I was lucky enough to catch “The Night of the Living Dead” on TV one Halloween. It was a game changing moment for me. I had been watching horror films from about the time I could talk, but that movie seemed a lot more “real” than anything I’d been allowed to watch previously. Most horror movies that I’d seen featured patently unrealistic monsters or were kind of silly. Nothing wrong with that, but George Romero’s take on the reanimated dead just seemed much more grim and somehow possible than most horror made prior to the late 1960’s. I was probably only 10 when I saw the film the first time, but I could tell there was a lot more going on in NOTLD than in most monster movies I’d seen.

That experience ignited my love of horror movies even further, and to a certain extent it made me try to seek out the “harder stuff” – the films that were more intense and modern in their approach to scaring people. Fortunately for me, I was a kid during an era when horror films were going through a golden age. The late 70’s saw a lot of amazing movies that had a nihilistic realism at their core. That continued into the early 80’s, which welcomed the slasher film into the mix. Some of those being decidedly bad, but a lot were pretty intense for the time, and still are.

Somewhere during that time I was fortunate enough to see the uncut version of “Dawn of the Dead.” I knew that it was the best zombie film ever made, and one of the best horror films ever made. It still is, by the way.

While George Romero made intelligent films that used a background of a zombie apocalypse to tackle serious social issues, a lot of imitators (especially the Italians) just took this new monster and churned out film after film. Some, like Lucio Fulci’s “Zombi 2,” managed to be extremely entertaining and transgressive, even if the subject matter was mostly used to show nudity and extreme violence. I can honestly say that I still haven’t seen much that rivals the underwater scene where a guy in zombie makeup fights a huge and very alive tiger shark. It’s amazing.

So what am I getting at in regards to “The Walking Dead”?

I guess part of my problem is that I hear a lot of super-fans acting as if the series is wholly original and the quality is top notch. They’ll reference that it’s based on these really good comics (I admit, I haven’t read them), and that’s supposed to impress me as being revolutionary for some reason. It’s not. They may be well written, but they’re far from the first comics about zombies. In the late 80’s there was “Deadworld” and even earlier zombie action in comic magazines like “Creepy” and “Eerie” in the 70’s.

When I step away from the irritating fan people that try so hard to convince me that “The Walking Dead” is amazing, I have watched enough of the series to have mixed feelings about it. It IS entertaining from time to time, although I would say that like a lot of episodic television the quality varies greatly from episode to episode. I get that, it’s not rare or necessarily a bad thing.

The acting is mostly good, or at least as good as television acting gets. I can’t say anything bad about the actors involved.

The special effects are top notch. The people at KNB Effects are the best in the business, and that shows.

My main gripes are that the plots I’ve seen explored feel pretty uninspired and unoriginal. I feel like I’ve seen these stories, or ones very much like them before.

So fans? Say what you will about the show being entertaining, but please don’t tell me it’s got an original bone in it’s ravenous and decaying body, because it just doesn’t.

Then there’s the weird way violence is handled. I know it’s aimed for a mainstream audience, but there’s a LOT of graphic violence. I’m cool with that. I like it, actually. But I find it kind of lame that in a series that’s gone multiple seasons and that has lots of people coupling up, sex and nudity is absent entirely, but they will show a person getting their skin torn off by dead people.

It’s not a matter of wanting to see these actors naked exactly, it just strikes me as a very American and stupid take on this subject. Almost every episode features a level of violence that would’ve resulted in an X rating a couple of decades earlier, but no one ever walks around without their incredibly grimy looking clothes. If I were one of these folks, the first thing I’d do upon stumbling into one of the safe houses they always seem to find, is to strip down and hop in a tub, preferably burning my disgusting clothes and finding some new ones.

Anyway, the comic book hyper-violence seems weirdly out of place in a show where characters can’t even say “fuck,” much less show one of the couples engaging in that activity. It makes me think that the producers of the show have no problem with the graphic violence, but still think American audiences will prudishly freak out if a set of naked breasts were to end up on film.

The only other thing I can think of is that they’re trying to market the show to people of all ages, which makes me wonder why anyone would let a kid see a violent zombie show. I mean, I watched that stuff as a kid, but it wasn’t sanctioned by any responsible adults around. It wasn’t shown on television and relentlessly marketed either.

Mostly, the problem I see in a long running zombie series that’s trying to be gritty and realistic is that we’re going to see the same basic plot setups over and over.

Our band of survivors will stumble across some shelter, then internal conflicts and scumbag outsiders will screw up the sanctuary and they’ll have to flee, probably being scattered in the process. Then they have adventures apart until they eventually find one another again. Repeat. Repeat. Repeat.

Occasionally some semi-beloved character will get killed, and that’s about the drama cycle that will be milked. In the context of a movie, this can work well. But seeing it played out over and over just doesn’t.

There’s also the problem with characters that make obviously stupid decisions. Trust “The Governor”? Sure, that seems reasonable. Go to some outpost called “Terminus”? Why not?

I’m surprised they haven’t milked “Dawn of the Dead” completely and just set up shop in a giant mall, although the boring prison season came close.

So that about covers my gripes. I support the idea of a hyper-violent TV show about the zombie apocalypse. I just don’t think “The Walking Dead” is the masterpiece that so many fans tell me it is.

“Sorceress” has long been a favorite film of mine, for reasons almost impossible to describe to anyone else. It’s almost unbelievably shitty in every measurable way, but boy, is it an entertaining ride if you’re in the right mood (pro tip: the “right mood” might involve a twelve pack of swill beer in this case).

This was legendary B-movie director Jack Hill’s last film from what I can tell, and wow, is it terrible (but awesome). Watching “Sorceress” makes it hard to believe that the same director that brought the world classics like “Foxy Brown,” “Coffy,” and “Switchblade Sisters” somehow spat out this abomination.

But in 1982, the hugely successful “Conan the Barbarian” movie was spawning countless cheap imitators left and right, so it’s not surprising that Jack Hill somehow got roped into service to make this legendary turd of a film.

The action gets started with an army of about six or seven guys in ridiculous-looking armor hunting down a pregnant woman revealed to be the wife of evil sorcerer “Traigon,” who is bent on sacrificing his firstborn to the malevolent god “Calgara.”

After Traigon catches up to his fugitive wife, he discovers that she’s had twins. Rather than doing the prudent thing by just killing both completely helpless infants, Traigon decides to interrogate his wife. He has one of his ridiculous looking henchmen try to torture the woman to find out which baby is the first born. No sooner does the torture begin than there’s a bolt of lightening, and “Krona” appears, sort of the wise old wizard type. He kicks all the evil baddies’ asses, and as Traigon lies dying, he tells everyone how he’s got more lives and will be back in a few years. Then he disappears in a failed special effect.

His wife is also dying, and entrusts Krona with the care of her infant daughters before dying. Krona magically bonds the baby girls as the “Two who are one” with his wizard spells, and also grants them powers at fighting skills and sorcery, before handing them off to some farmer couple, instructing them to raise the twins as boys to throw off Traigon when he shows up again. Then, Krona promptly disappears to wherever guys like Krona go to hang out when they’re not being badass wizard guys.

20 years fast forward by, and sure enough Traigon reappears and immediately begins telling his lackeys to find the “Two who are one.” A guy in a terrible ape costume scampers around while some “Princess” shows her titties, and the small army of dudes wearing ridiculous armor cheer together. This scene immediately transitions to the now-adult twins skinny dipping in a lake. This scene makes it very clear just how bad a plan it was to pass off the twins as boys was, because they’re played by real life twins and Playboy centerfolds Leigh and Lynette Harris, and there is no way anyone would ever think the two of them were males. Yet, we are to believe that somehow no one has been tipped off by their obvious Playmate attributes, because they wear matching “male” clothes. Despite being raised by a woman and having a sister neither of them seem to have ever compared their bodies to them, and noticed any similarities. OK…moving forward.

Their naked shenanigans are being secretly watched by “Pando,” possibly the ugliest and most fake looking Satyr in movie history. Seeing that the lusty manbeast has a “horn” dangling between his legs and assuming it’s some sort of weapon, the two “brothers” beat the shit out of the pathetic goat man. Pando beats a steady retreat and the twins return home to discover Traigon’s forces attacking their home. Their father and mother are both murdered by Traigon’s paltry army, while their sister is raped and then also killed, so the twins kill a bunch of the evil doers, although a handful escape to tell Traigon. The sister’s display an awkward fighting style at best, but they do glow blue at some point, so perhaps that gives them the edge they needed. Afterwards, Pando returns, this time with “Valdar” the Viking, who must be the worst looking movie Viking in history.

He has a habit of saying gems like, “By Yggdrasil, tis sorcery,” so we know this guy is legit.

Valdar totally believes the Playmates are male, and agrees to help them wreak vengeance upon Traigon, who he also hates. The Viking suggests that they seek out his bro Erlik who might also be up for some Traigon-bashing, and off they go to a nearby “city.”

The city is as sad looking as Pando and Valdar, resembling Mortville from “Desperate Living,” or maybe a really low rent renaissance fair. They find Valdar’s pal Erlik getting in bar fights and biting the ass of a scantily clad wench, basically acting like a slimy bastard.

After heading to a room, Valdar witnesses the twins undressing, and then tries to creepily explain to them the differences between men and women while they let their boobs get some screen time. In short order the twins end up captured, and one of them is revealed to be the first born, pleasing the evil team to no end. The extra twin is offered to a guy in a terrible ape suit for his amusement (shudder), but fortunately for the twins, their male buds show up and bust up the party.

Erik and one of the twins are quickly recaptured by a group of the ape men, and Erik is stripped naked and sentenced to the painful-looking “death by sliding down a greased pole as a ten foot spike is shoved up his ass.” Fortunately for our leading man, there’s a ridiculous plot development that identifies him as some sort of prince, and it’s understood that the sacrifice of the first born will be better if Erik and her get it on, so he’s spared the death by ass-kabob.

What follows is a grotesque scene where Erik and one of the twins (I can’t tell them apart, and it doesn’t matter) get it on, and the other twin who is off somewhere hanging out with Valdar, reacts as if she is the one getting nailed. So, an awkward and creepy orgasm by proxy.

The sacrifice is about to proceed when the orgasmic twin and Hagar the Horrible (“Valdar” – same difference) show up to ruin the party. Traigon waves his hand, and the ground gives way under them, and they fall into some sort of underground tomb. A bunch of corpses reanimate (as they do) and close in. So things are looking bad for all of the hero characters, when suddenly we hear the voice of ‘ol Krona commanding them to “Use the name Vitaan!” The twin does, and weird shit ensues.

Erik and the sacrificial twin suddenly shake off their drugged stupor, the zombies below give up on their prey and decide to storm Traigon’s temple instead. Then they decide to haul off and rape the temple women.

Valdar remarks on that development “It’s been a thousand years, you know?” Classy guy.

Anyway, at some point during all of this, two of the most badly-executed special effects “gods” I’ve ever seen appear.

One looks like a Hispanic woman’s head with half of her face rotting off, just floating way up in the air occasionally shooting fireballs at people. The other is even worse, looking like an extremely fake lion monster made of foam rubber. They do battle, and the evil floating head explodes.

Traigon disappears again, claiming he’ll return (probably for a sequel that never came to be for some unknown reason) and the heroes battle his remaining forces, until they’re all vanquished.

Then, the heroes all group laugh like the end of a bad sitcom, and that’s the end.

Seriously, find this film and watch it. It’s awesomely bad. Lots of bad special effects, gratuitous nudity, and an all around low production values.

I’d give it 7 floating lion puppets out of 10.

 

 

 

 

 

 

 

I caught “Hatchet 2” on Netflix, not knowing exactly what to expect. I knew that it was supposed to be a gory slasher film, and it looked derivative of the 80’s formula: a hideously deformed monster of a man haunts a desolate Louisiana swamp, butchering anyone stupid or unlucky enough to stumble into his killing grounds.

Frankly, I’ve seen that movie quite a few times before, but I had heard the first “Hatchet” film has fans, so I thought I’d give it a chance.

The film begins right where the first one seems to have left off, with final girl Mary Beth left as the lone survivor of murderous bogeyman Victor Crowley’s wrath.

After escaping the swamp, it’s pretty obvious she is haunted by the experience, and will soon be back battling Crowley again. The plot involves Mary Beth contacting a local Voodoo Priest and scam artist named “Reverend Zombie,” who is played by Tony Todd, recognizable to any horror fan that’s seen him in “Candyman.”

What follows is a dumb setup involving the good Reverend gathering a group of low-lives and promising them each $500 to go into the swamp and help retrieve a boat of his. His real plan is to confront Victor Crowley. Several of the men he enlists have a link to his past, and Zombie thinks that if Crowley (actually it’s Crowley’s ghost that comes back every night) anyway, he thinks that if Crowley’s ghost murders those guys, then he will cease to return, freeing the swamp up so Zombie can claim it.

It’s all completely silly and stupid, but hey, we wouldn’t have a movie if no one agreed to go into the swamp. Tagging along of course is Mary Beth, and another woman. We know the moment this disposable blonde is introduced that her sole reason for being there is to show her boobs and then get murdered later in the film. It’s sort of a tradition in these things.

The group goes into the swamp, intent on spending the night, or something like that. It doesn’t really matter. The plot is secondary to other factors in a low achieving slasher film like this one. There’s a ridiculous back story for Victor Crowley of which we get a flashback, and Zombie explains his theory that if Crowley’s head is severed his ghost will disappear forever. That’s about all the plot we need for a movie like this one.

Sure enough, Crowley shows up after the large group intelligently decide to split into pairs, and starts brutally murdering everyone. The kills are the real reason this film got made, and its main appeal. Make of that what you will.

There’s a lot of gore throughout, and it’s all pretty well executed if not realistic. Early on, Crowley tears out a guy’s entrails and after pulling him around by his intestines, he wraps then around the dude’s neck and tears his head off. Geysers of blood follow. So yes, lots of pneumatic blood spraying everywhere through this movie.

Another guy gets his face shoved into the spinning blades of a boat motor, two more simultaneously have a comically large chainsaw blade split them in two from the crotch up. The blade seems to get stuck in their groins for horrific effect, before ripping through the rest of their bodies.

Crowley’s signature weapon is his hatchet (which really looks more like a small two headed battle-axe to me) and he lops off heads left and right. People’s noggins seem to pop off of their bodies with almost no effort at all, with enough blood to fill ten people spraying out afterwards.

The most memorable kills are the doomed blonde I mentioned earlier, and one of the guys on the expedition. He’s fucking her from behind when Crowley chops his head off without the woman noticing. Her paramour’s headless body spasms wildly, which she seems to enjoy, until looking back and seeing the guy fucking her no longer has his head. She then tries to crawl away from Crowley, who buries his hatchet/axe right into her naughty bits. Can’t say I’ve ever seen this particular variation of murder in a slasher film.

Finally, Mary Beth and Reverend Zombie confront Crowley, with predictable results for all parties involved.

“Hatchet 2” doesn’t have an original bone in its body, but that’s not necessarily the kiss of death for a film like this. The acting ranges from “Second rate community theater” to “Entry level professional,” also not unexpected for an independent horror film. I found the actress playing Mary Beth to be a bit on the shrill side, which was off-putting, but I can’t bash her acting too much.

The movie appears to have been shot on video and not film, which makes sense. It doesn’t look “bad” exactly, but film, or better video filters, might have made things look a little better. A lot of the latex prosthetics ended up looking a little too much like makeup due to the harsher look of video, but it doesn’t look terrible or anything.

The design of Victor Crowley looked pretty bad to me. He’s your standard deformed and retarded killer, in the mold of Jason Voorhees or Madman Mars, but he looks lousy. Played by horror veteran Kane Hodder, he could’ve looked awesome, but instead Crowley looks like a rubber headed jack-o-lantern with fake looking crepe hair. He just doesn’t look real. Oh well.

On the positive side of things, the gore is extreme, and that’s probably what most people interested in watching “Hatchet 2” really care about anyway. It’s not realistic, but it gets points for creative and nasty death scenes, and enough blood to fill a lake. The film’s pacing is also pretty good. Even good slasher films tend to bog down during the middle, but “Hatchet 2” somehow keeps things moving at a decent pace.

I’ll also give the movie points for using “Just One Fix” by Ministry for the music during the title credits.

So, if you’re looking for a modern slasher film with no surprises, but a good pace, and unrealistic but brutal kills, “Hatchet 2” might make a good time waster.

I’d give this one 6 spurting head stumps out of 10.

“The Tall Man” is a 2012 thriller starring Jessica Biel. I caught it on Netflix, and the description sounded at least potentially promising. A down on it’s luck mining town is being menaced by a creepy bogeyman called “The Tall Man” who has been stealing young children, presumably murdering them.

However, and I will just start with the spoilers right away, this is not in any way a horror film. However, that is how it’s presented, and the direction the film seems to be going in for about the first half of the film.

In actuality, this movie is one of those mystery thrillers that directors like M. Night Shyamalan usually make. If you really like his movies, you’ll probably like “The Tall Man.”

If, however, you were hoping for a horror film dealing with something supernatural, perhaps using a legend like “The Slender Man” as a focal point, then you are shit out of luck.

I won’t get into a synopsis of the film other than to say that we are led to believe that these kids have been snatched by the local bogeyman, and that’s not the case. Jessica Biel plays a local doctor that seems like the film’s protagonist up until the plot twists start to twist away, and then she comes off like the movie’s villain, and then is vindicated again.

This movie reminds me a lot of “The Village,” and not in a good way.

Here’s my take: It isn’t automatically clever to just trick audiences with weird and unrealistic plot twists, unless that twist makes the film better.

In the case of “The Tall Man” the twists are just a form of cheap misdirection. “Oh, you thought this was that type of movie? Well it’s not! Isn’t that clever of us?”

No, it’s frustrating and lame.

What is presented as a horror film ends up being about an almost inconceivably unlikely organization of people that steal kids from abusive families, and then sort of brainwash them, and place them in loving homes. Does that sound like a fun horror film or thriller to you? Me, either.

Generally, when I feel like a movie has tricked me, that’s not a good thing.

“The Tall Man” is very well-filmed, for the most part looking great, and the acting is top notch too, so the effect is that the audience might think it’s watching a good film. It looks good doesn’t it? The acting is great, right?

Yes, but the silly multiple layers of plot twists are ridiculous, and those high production values might have been better used in a straight horror tale.

This film is also guilty of using that blue filter which seems so common these days, and I’m just tired of seeing that. It’s hard on the eyes, and overdone at this point.

If you’re a huge fan of the types of thrillers where the central idea is shown to be nothing like it’s presented, then “The Tall Man” might be worth checking out.

If you’re a horror fan that just wanted a well made horror film, then look elsewhere. This is really an adoption drama disguised as a horror thriller, and that’s a pretty cheap and unsatisfying fake-out in my book.

The first half of the film is pretty suspenseful and seems loaded with promise, but that good stuff all falls away about halfway through.

I would give “The Tall Man” 5 bogus plot twists out of 10.

 

 

“Beach Balls” is a strange 1988 oddity of a film which seems to be a teen beach movie that’s also exploiting the then popular California Hair Metal scene. It stars Philip Paley as protagonist Charlie, a sort of clean cut all American boy that wants to join a band and hook up with beautiful blonde beach bunny Wendy (who doesn’t seem to notice him). Philip Paley played Chaka on the original “Land of The Lost” television show, so that kind of added to the hilarity anytime I saw his face on screen. Other than this movie and a role on the “Airwolf” TV show, he seems to have stopped acting. Pity, he’s not bad at it.

Charlie and his spazzy friend Scully hang out on the beach a lot, which I guess gives the movie its beach theme, but not much real beach related action takes place. Most of the plot involves Charlie trying to get together with Wendy, who seems obsessed with the goofy lead singer in an up-and-coming Hair Metal band that Charlie is acquainted with. He used this connection to the band to befriend Wendy, and the rest of the film’s plot has him and his crew interacting with various locals, including a trio of thugs and a group of evil 80’s-style jocks.

The plot all culminates when Charlie sets up a band showcase for the rockers while his parents are out of town. A record industry guy is coming to check out the band, and they need a place to play.

That’s the film in a nutshell. There’s no really involved plot, which is not surprising for a movie like this one. I’m sure the target audience for “Beach Balls” was more interested in beach-related shenanigans involving sex than anything resembling major plot development.

This is a pretty lighthearted film, and is nowhere as sleazy as the subject matter or film genre could have dictated. For the most part the villains are funny and not sinister or threatening, and the film is competently made. There’s very little nudity, which is puzzling for a rated R heavy metal beach movie. A couple of brief and distant topless shots were all I counted, but maybe I missed something. Generally I don’t think of a few scattered topless scenes as even being nudity anymore. Guess I’m jaded or something.

That and some mildly sexual situations and profanity are about all that marks “Beach Balls” as a rated R film, it could easily have been on broadcast television with about 20 seconds of edits.

The film does capture a lot of the late 80’s goofy rock trends. The horrible rock band does a pretty authentic take on the second or third level Sunset Strip bands that were beginning to dominate MTV at the time. One of the band members is even wearing a old “Rip Magazine” t-shirt, and that seems about right somehow. There’s an early scene in the film that takes place at one of the band’s shows, and they’re playing at Gazzarri’s, a famous Sunset Strip nightclub that catered to the hair metal scene of the time. In any case, it’s hard to buy the band as being up-and-coming based on the sparse audience on display, but whatever, we’ll let that pass.

Near the film’s end, Charlie ends up joining the band to perform at his house for the record industry guy, and it all looks completely silly. The clash between clean-cut Charlie, who has obviously never actually played a guitar in his life, and the rest of the band just looks ridiculous. But films like this aren’t known for their gritty realism, so that’s to be expected.

The soundtrack is full of hair metal songs, mostly by bands that never made it very big, so that also helps to establish the goofy rock and roll vibe of this movie. Without that now-vintage rock goofiness, this film wouldn’t be worth watching at all, but it’s fun enough for anyone that remembers that scene, or just likes watching attractive women in the weirdly dated but still sexy bikinis that seemed to have been standard beach attire back then. Other than a lag in pacing during the middle of the film, “Beach Balls” ambles on quickly enough, and is a fun ride. If you’re expecting a lot of nudity or really sleazy content, this film will disappoint. Please feel free to read some of my other reviews for more intensely sleazy viewing.

I’d give “Beach Balls” 6 high-waisted bikinis out of 10, and would especially recommend it for anyone that has forgotten how strange the late 80’s looked.

 

 

 

 

 

 

 

 

“Rock & Rule” is a 1983 animated feature created by the Canadian company Nelvana. Although it never got a proper theatrical release, and was mainly shown on Canadian television and early American cable channels, it has developed a large cult following in the decades since it came out. For a long time, it was available at comic conventions as a bootleg, and it didn’t get a decent authorized release until fairly recently when it was released on DVD and Blu-ray. Even those releases look like they may have been limited in scope. 

Also mucking up the film’s history is the fact that there are two versions of it floating around. The original Canadian version used a different voice actor to play Omar, the film’s male protagonist, and he gives the character a more abrasive and cocky feel than the replacement actor did. There’s also a slightly different ending where a character we think is dead is revealed to have survived. So what’s the deal with “Rock & Rule” anyway?

It takes place in some blighted dystopian future where cats, dogs, and rats have mutated into humanoids. In the small city of Ohmtown, a small band plays to an empty club. The band members are the film’s protagonists – Omar, Angel, Dizzy and Stretch. There is a power struggle going on between Omar, who seems bent on being the band’s leader and singer, and Angel, who wants to be able to perform one of her songs.

Decadent rock star “Mok” has been searching the planet for the right voice, which he needs to open a dimensional portal to summon a demon. Apparently his popularity has waned slightly, and he wants to show everyone he’s still top dog by bringing on the Apocalypse. Sounds sort of short sighted, as dead people can’t buy records or go to concerts, but Mok is more than slightly crazy. He has a ring that his Satanic computer designed that will light up when it senses the correct voice, and guess what? Angel’s voice is the one Mok needs.

Mok, being the suave rock star that he is, invites Angel and the rest of the band to his palatial mansion conveniently located in Ohmtown. They go, but Mok is only interested in Angel, so he zonks out the other members of her band with hypnotic devices called “Edison Balls” and promptly kidnaps Angel. His mansion transforms into a high tech Zeppelin and flies off to Nuke York, where he plans to summon his demon at a concert to end all concerts.

The rest of Angel’s band pursue them, and after the Nuke York concert fails because of a power failure, Mok heads back to Ohmtown which conveniently has a power plant that can create an endless amount of energy.

At the concert, the demon is summoned, but Omar joins Angel in singing it back into the abyss, while one of Mok’s henchmen throws the demented rock star in after it.

The film ends with Angel, Omar, and the rest of the band being hailed as the next big band.

That’s the story in a nutshell. A lot happens, but not a lot happens, if you know what I mean. The story is a simple one, but “Rock & Rule” has a lot going for it. The story has just enough twists to keep things moving briskly, the animation is pretty good, and the dark environments all look pretty nice. Some of it reminds me of the Moebius comics from “Heavy Metal.”

There’s also a definite dark tone to the whole film, with plenty of Satanic and drug references sprinkled throughout, and mild sexual content. It’s hard to believe that this was originally shown on Canadian television. It’s not Caligula by any means, but it’s still pretty edgy. The soundtrack for the film is pretty good too. Mok’s music was done by Iggy Pop and Lou Reed, while Omar and Angel’s material was recorded by Cheap Trick and Blondie. The music fits the film well, with the one exception of a Earth Wind and Fire song used in a scene taking place in a disco.

The characters aren’t developed as deeply as maybe they could have been, but Mok in particular is adequately sinister, and Angel and the rest of her band mates are fun enough to watch. It’s a shame that “Rock & Rule” had such a troubled distribution and never found a larger audience, because it’s a uniquely strange animated film.

The whole thing is currently uploaded on YouTube if you have a hard time tracking down the limited DVD release. Sadly, Nelvana Studios never followed up with anything as cool as “Rock & Rule”, instead finding greater success with “The Care Bears Movie” and other kiddie cartoons. For anyone interested in strange animated films with a decidedly dark and weird tone, this one is worth finding.

If I gave out ratings, I’d give “Rock & Rule” 7 summoned demons out of 10.

I caught this film on Netflix the other night, based on a reference from a friend of mine. It’s a recent Irish horror film, although I never know how to classify movies like this. It’s about monsters that eat people, but the monsters are from space, does that make it more of a science fiction story or a horror tale?

I guess it doesn’t really matter, what matters is that monsters from space have crashed into the sea just off the shore of a remote Irish island. In short order a bunch of dead whales have washed up on shore, fisherman have caught something weird instead of lobster, and an odd couple of cops start to realize something very strange is happening.

Early on we’re introduced to the protagonist cops. Ciaran (Richard Coyle) is a barely functional alcoholic who is fortunate to have an easy gig on an island where nothing particularly cop-worthy ever seems to happen. He is begrudgingly partnered with Lisa (Ruth Bradley) who has signed up for extra duty to impress her superiors back at her job on the mainland. She’s as much of an ambitious workaholic as Ciaran is a drunk.

In typical “meet cute” fashion, they start off on the wrong foot with one another, but there is little doubt that they will end up together by the film’s end. We’re also introduced to several of the island’s more colorful characters, notably Paddy, a drunken fisherman, and the local marine ecologist Dr. Smith.

Weird things quickly begin to take place on the isle. Something seems to be attacking people, leaving only a severed head behind in one attack, and that’s just not a common occurrence. After some basic investigation, the responsible parties are discovered – “Grabbers”, monsters that are so named because they have enormously long tongues that they shoot out to suck the blood from their victims. Turns out that all these Lovecraftian horrors need to survive is human blood and lots of water. Fortunately for them, they landed near an island and a tropical storm is about to hit town.

It’s also soon discovered that the one thing these creatures can’t stand is the blood of drunk people. Alcohol is poisonous to them. That’s good for the humans living on the island, as it seems the local pastime is getting shitfaced every night.

After realizing that the Grabbers are about to be handed the perfect situation in which to eat everyone on the island, the film’s heroes decide to trick everyone in town into getting wasted at the local tavern, essentially hiding out, and rendering their blood into space monster poison.

And so it goes. The film itself is a simple one, and there aren’t any real surprises in store for anyone that’s seen a few formulaic monster-from-space flicks. In a movie like this, it’s not really the simple plot that makes or breaks it, and that’s a good thing, because “Grabbers” is a lot of fun to watch.

First, all of the acting is good, and the characters are likable. This is especially true with the main protagonists Ciaran and Lisa. Ruth Bradley is particularly interesting, and she owns the scenes where she is forced to get loaded for the first time ever to foil the anti-drunk space aliens.

The aliens themselves are well rendered, if not especially original. They’re realized through CGI, but the effects are well done and convincing, and the creature design reminds me of the types of tentacled horrors that H.P. Lovecraft was so fond of writing about. The island location itself is a good one, and adequately gives us the sense that the islanders are effectively cut off from any help from the outside world. “Grabbers” is played straight, but there is ample humor throughout the film, reminiscent of films like “Shaun of the Dead,” although this film tilts a little more towards horror than humor. In a way, I was reminded of formula monster films like “Lake Placid.” A good mix of characters and their chemistry makes films like these seem a lot “better” than they might be without that dynamic. The violence is pretty standard for a film like this, if a bit more restrained than one might expect. Several heads are bitten off, but none of it is extremely gory or graphic. I’ve seen about the same level of graphic violence on an episode of “Buffy the Vampire Slayer.”

There is appeal in watching the straight-laced Lisa get drunk in order to thwart the monsters, and in seeing the normally drunken Ciaran stay sober enough to save the day. “Grabbers” is a simple monster movie, but it has enough laughs and charismatic characters to make it an entertaining film to watch. It’s not frightening at all, but it’s fun enough.

I’d give “Grabbers” six shots of Irish whiskey out of ten. It’s worth checking out on a rainy night.

I’d known about this infamous grindhouse flick for years before I final tracked down an uncut copy to watch.

Ilsa is the Nazi commander of a prisoner of war camp during WWII, and is helping to conduct brutal experiments on her female captives to prove that women are more impervious to pain than men, and would thus make better soldiers. She’s decked out like a Nazi dominatrix through most of the movie, and also has an insatiable sexual appetite. Every night, she forces male prisoners to sexually service her, but when they cum sooner than she wants them to (and they all do) Ilsa has them castrated. In fact, the film opens with one of those castrations.

She meets her match when new prisoner “Wolfe” arrives. An American of Germanic heritage, Wolfe doesn’t climax during sex, thus sparing himself from her cock-chopping wrath.

Eventually the prisoners rise up and the camp is attacked, killing nearly everyone along the way. Cheery film, this one.

“Ilsa” belongs to an inherently offensive sub-genre of Nazi torture sexploitation movies that wound their way from some sleazy hellhole to the screen in the 1970’s. “Ilsa” is not the first of that horrific type of film (that honor(?) would belong to 1969’s “Love Camp 7”, but it movie is probably the most notorious.

Much of “Ilsa, She Wolf of the SS” is devoted to very graphic sexual violence and mutilation. Typical is a scene where female prisoners have an electric dildo forced into them. We don’t see the actual penetration, but we see everything but that penetration, and it’s not fun to watch. There are a lot of scenes like that in this movie.

The plot itself is sparse, and more time is spent showing the graphic torture of naked female captives than things story development. Strangely, I can watch a film like “Bloodsucking Freaks”, which portrays a lot of the same sorts of sexual sadism as the Ilsa film, but is handled with a campy sense of humor. Black as it is, that sense of humor makes watching “Bloodsucking Freaks” much more palatable than “Ilsa, She Wolf of the SS”.

The 1970’s were a really weird time period, and lots of taboos were challenged. Since the end of WII, Nazis have rarely been presented to American audiences realistically. Instead we grew up watching comedic versions in television shows like “Hogan’s Heroes” and comic book villain style movie Nazis.

I deliberately seek out movies that many other people would be horrified or offended by, and usually they don’t bother me. The Nazis in “Ilsa, She a Wolf of The SS” are in no way realistic characters, but the extreme sex and violence in this film portrays the kind of horrors real Nazis inflicted on prisoners. It’s unsettling and unpleasant to see that kind of realistic horror carried out in a cartoony exploitation film. Imagine if Colonel Klink was doing sexual torture experiments on his prisoners in “Hogan’s Heroes”. That’s the kind of uncomfortable tone of this movie.

There really are no conventionally redeeming qualities in “Ilsa, She Wolf of the SS” other than relatively high production values. Even people looking for especially transgressive and shocking movies to watch will probably be disappointed in this one. It’s certainly shocking, but it’s just no fun. It’s not sexy, it’s not funny, and it’s not good. It’s just sort of depressing.

If I gave out ratings, I’d give his one 4 castrated dicks out of 10.

Galaxy of Terror – 1981

Galaxy of Terror seems to be one of the more famous Roger Corman produced films from the early 80s. It was one of those movies that my friends with cable always raved about, and I remember liking it when I finally saw it one late night at one of their houses.

The story begins on a stormy dark planet called Morganthus. The last survivor from a crashed spaceship is violently killed by some unseen beastie. Somewhere on a distant planet, two people are playing some sort of game. One is a kind of cosmic seer, and the other is identified as the “Planet Master”, an all powerful being with a red glowing light obscuring his features. They talk vaguely about events being put into motion, and then Mr. Glowing Light Orb For a Head commands his military to send a ship to Morganthus immediately.

So off speeds the “Quest” piloted by Captain Trantor (Grace Zabriskie, – Many viewers will recognize her from lots of other films) who is apparently somewhat mentally disturbed and reckless due to a traumatic space disaster she’d survived in the distant past. The rest of the crew is a colorful bunch, and includes such improbable members as an “Empath” (Played by Erin Moran from “Happy Days”) and a “Crystal Master”… Whatever that is… Played by Sid Haig. Other familiar faces are the ship’s cook, played by “My Favorite Martian” star Ray Walston, and the crew’s “Ranger” played by Robert Englund.

Once the ship nears Morganthus, it goes out of control and crash lands. The crew slowly makes it’s way across the surface of the planet to the other ship, where they discover a terrible massacre happened there. They also discover that something on the planet caused the crash, and upon further investigation, they find a huge pyramid structure, and decide to explore it.

It is at this point that the real purpose of this movie unfolds – Specifically, the crew members are murdered one by one by horrible monsters within the pyramid. These are all set pieces, and what the film is generally remembered for – There is a nasty scene where the generic blonde crew member is stripped naked and raped by a really slimy giant worm… That’s the scene that seems to stick in people’s minds the most, followed in notoriety by the scene where the Empath woman is torn to pieces by tentacles…. Joanie from “Happy Days” meeting that horrible end sticks with you.

Almost everyone is dispatched in gruesome ways within the pyramid, until only the main protagonist “Cabren” is left. At that point, he encounters “The Cook”, who reveals that he’s really the “Planet Master”, and that the pyramid was essentially a game created by a long extinct race to allow them to face their most horrible fears, and to gain mastery over them. Cabren kills the Master, and replaces him… Becoming the new “Planet Master” himself. The end.

So, “Galaxy of Terror” has a few things going on. It’s deeply corny in a lot of ways – there is a lot of use of very dated looking laser affects, and the characters are also silly… The Empath and “Master of Crystals” in particular. I dig Sid Haig in most things, but his character is pretty hard to like in this film. He basically throws around a couple of cheesy looking crystal throwing stars, and looks angry, up until he’s killed by those same throwing stars. Ray Walston as the Cook is also hard to take seriously – there was no way I could shake the feeling that I was looking at “My Favorite Martian” anytime he appeared on screen. That goes double for Erin Moran… I kept thinking of “Happy Days” anytime she showed up. Robert Englund was problematic for the same reason, but I’ll give him a ass, since “A Nightmare on Elm Street” was still a couple of years in his future.

The movie is also completely derivative of both “Alien” and “Forbidden Planet”, borrowing plot devices and production design from both. About the only original ideas in the film are it’s worst ones – The cornball “Planet Master” being the main one.

A lot of low budget movies came out during this time period that ripped off Alien. It was one of those landmark films that changed the way people thought a movie in space could look. And honestly, I’ve seen the atmosphere from Alien ripped off and done worse in lots of other bad movies. Sure, it’s not done REALLY well – The distant shot of the Pyramid looks like a painting on canvass, and some of the sets look as cheap as they undoubtably were. Others manage to look convincing and atmospheric enough… So no originality at all on that front, but it’s effective enough for an exploitation film like “Galaxy of Terror”.

As to the plot… Well, the plot is really just there to get the silly characters into that Pyramid so they can be raped and slaughtered. The killings are really the reason this film is remembered – I can’t imagine that anyone would still remember this film if those hadn’t been in the film. I’ve met people that still remember Galaxy of Terror because of the infamous, and still horrible to watch worm rape scene… Lots of slime in that one. And there are several other graphic scenes in the film, so it’s not surprising that the film has garnered a cult following over the years. The special effects range from very dated and laughable, to moderately well done. I’ve definitely seen a lot worse in Corman movies over the years.

It’s all distasteful and pretty goofy, and a person that over thinks things will be wondering why they combined so many stupid plot elements with the things that they to right about the film…. Did they really need that silly “Planet Master” character at all? Was Ray Walston a wise choice to use? Was Mr. Walston forced into this film because he owed someone money? Did they think that a guy throwing crystal throwing stars was really a good idea? So many questions.

But if you go in with low enough expectations, Galaxy of Terror is not the absolute worst way you can spend an hour and a half.