Author: BO

Peter Rader is best known as one of the screenwriters of "Waterworld," imagining a futureworld of aquatic misery, where a man with gills saves the planet from grimy, smoking baddies tearing around on jet skis. His directorial debut is 1988's "Grandmother's House," introducing himself with a much smaller endeavor, keeping action confined to the limits of a rural Californian orange grove. Rader's just getting started with "Grandmother's House," joining screenwriter Peter Jensen for a horror show concerning the troubles with senior citizens, a mystery woman, and the courtship rituals of oversexed teenagers. Apocalyptic visions of melting polar ice caps and drinkable urine will come later, but for this effort, Rader sticks to the basics of genre moviemaking. Read the rest at Blu-ray.com 

Directors Doron and Yaov Paz set out to create a slightly different haunting with "The Golem." Working through the history of Jewish mysticism, the siblings (along with screenwriter Ariel Cohen) come up with a different take on the average bloodbath, traveling back 400 years to make a period piece about revenge and empowerment. "The Golem" boasts some fine tech credits and a wonderful lead performance from Hani Furstenberg, who delivers powerful work for the helmers, who are always better with defined acts of frustration and rage, searching for subtle ways to provide agitation before the whole picture ends up in a mess of gore and fire. Read the rest at Blu-ray.com 

Director Stewart Sparke and writer Paul Butler love horror movies from the 1980s. Such fandom inspires every frame of "Book of Monsters," which plays like a blend of John Carpenter and "Evil Dead," with the production attempting to whip up a genre mess that's wet with blood, littered with demons, and propelled by act of self-defense. Sparke doesn't have much money to realize his vision, so he keeps things scrappy, endeavoring to pay tribute to the helming gods and define his own sense of anarchy, which gets the picture on its feet, but doesn't take it far enough. Read the rest at Blu-ray.com

After dealing with zombies in his previous film, "The Dead Next Door," writer/director J.R. Bookwalter takes on the world of comic books in 1989's "Robot Ninja." Such a title promises an outrageous camp-fest, but Bookwalter isn't in any mood to screw around, getting past a case of the giggles in the first act of the movie, moving into fairly dire psychological areas as the story unfolds, ending up with an incredibly heavy endeavor about a costumed vigilante. There's tonal bravery and a desire to do something gritty with no-budget entertainment, but consistent tonality eludes the production, which does remarkably well with introductions, but soon doesn't have anywhere interesting to go. Read the rest at Blu-ray.com

1945's "The Body Snatcher" (based on an 1884 short story by Robert Louis Stevenson) is remarkable in many ways, offering a slow-burn but effective chiller concerning blackmail, dead bodies, and moral corruption. It's also an early offering from director Robert Wise, who would go on to helm many large-scale classics (including "The Sound of Music" and "West Side Story"), but here he's dealing only with paranoia and the singular force of star Boris Karloff, who delivers an absolutely sensational performance, portraying the key figure in a terrible scheme of medical experimentation and dormant secrets. Read the rest at Blu-ray.com

Writer/director Gerard Damiano has long strived to bring some sense of artistry to his early adult entertainment, even testing the limits of darkness and sophisticated storytelling. With 1978's "Skin-Flicks," the helmer creates a commentary of sorts on the creation of erotica, writing a scattered but pointed assessment of life in the trenches of adult cinema, where psychological abysses are everywhere, money men remain in control, and a pure creative vision is impossible to achieve. "Skin-Flicks" isn't a cheery overview of the business, as Damiano purges a few demons with the work, which grows increasingly hostile as it goes. Read the rest at Blu-ray.com

In 1989, writer/director Peter Weir made "Dead Poets Society" for Disney. A somewhat intense drama, the film was released during the summer season, with the company scrambling to find a way to get audiences to see it, focusing intently on the star power of Robin Williams, emphasizing his few comedic scenes in the picture. The actor's change of pace and pure, uncut word-of-mouth turned "Dead Poets Society" into a major hit (the 10th highest grossing movie of the year), giving Weir a chance to make whatever he wanted to. And he chose "Green Card" as the follow-up, returning to the comfort of Disney and their willingness to take a chance on the American screen debut of French actor Gerard Depardieu, giving him a shot to portray warmth and mischief in a romantic comedy. While a respected actor, Depardieu is not easily tamed, giving Weir the unenviable task of softening a hardened screen presence. Read the rest at Blu-ray.com 

1986's "Robot Holocaust" is a B-movie that's not terribly concerned with protecting storytelling balance. The first half of the feature is one long exposition dump, with writer/director Tim Kincaid laboring to create a futureworld where the Earth is ruined, robots rule, and a new hope is offered with a band of warriors trying to defeat a series of villains. There's much world-building to sort through, necessitating a narrator to help with the heavy lifting, as Kincaid has no throttle when it comes to the speed of new information whipped at the viewer. The second half of the picture is almost completely devoid of storytelling, with the helmer trying to pay off patience with his extended identification game by issuing battle sequences and lengthy shots of travel around a single location. One side of "Robot Holocaust" has everything, the other has nothing. It's a bizarre effort to begin with, but such top-heavy filmmaking disrupts the obvious fun factor of the low-budget extravaganza. Read the rest at Blu-ray.com

"Curse III: Blood Sacrifice" isn't really "Curse III: Blood Sacrifice." According to the main titles, the picture is actually called "Panga," with the whole "Curse" connection cooked up by shady producers looking for anything familiar to horror fans to help sell their dismal African monster movie. Those expecting a return to the world of "The Curse" are going to be disappointed in the second sequel, which joins the first sequel ("Curse II: The Bite") in a weird display of industry chicanery, where three features bearing the same title having nothing to do with one another. Such a situation of marketing three-card Monte would be more amusing if "Panga" was any good, but director Sean Barton (in his one and only helming gig) doesn't do much with the basics of supernatural and reptilian frights, assembling a largely uneventful chiller that sets some kind of record for most chases in a sugarcane field. Read the rest at Blu-ray.com

In the grand scheme of biker cinema, 1970's "Angel Unchained" is one of the few to present the conflicted nature of a motorcycle-riding menace who finally, after years of troublemaking and violence, just wants to experience life as a hippie. It should be a complex characterization, following one man's desire to leave his past and embrace something of a future, and Jeffrey Alan Fiskin's screenplay almost gets there, helped along by an invested lead performance from Don Stroud. "Angel Unchained" doesn't stay within the boundaries of intense introspection for long enough, often distracted by the needs of the subgenre, which demands lots of roaring motorcycles, dangerous dudes in leather, and, for some reason, a healthy dose of destructive mischief. The picture could use stronger concentration on primary dramatic elements, but as steel westerns go, the effort has a fiery temper and a sense of tragedy, slipping in small offerings of horror between broad action and reactions. Read the rest at Blu-ray.com