Category: DVD/BLU-RAY

Director Rene Cardona III tries to keep his filmmaking family's legacy going with 1989's "Vacation of Terror," which mixes bits and pieces of "Poltergeist" and "Evil Dead" to inspire a new nightmare from the Mexican movie industry. It's a simple tale of malevolence in the form of a doll capable of making things horrible for a family trying to enjoy their summer home, and Cardona III endeavors to do something with his limited budget, laboring to add as much mayhem as possible without the cash to truly do something explosive. Even at 81 minutes, "Vacation of Terror" feels long, with the helmer slipping into repetition to fill the run time, but there are some neat stabs at genre chaos, and Cardona III certainly has a love of the game, pushing to make a little noise with his ode to haunted house cinema. Read the rest at Blu-ray.com

1946's "The Cat Creeps" is credited as one of the last releases from the grand horror cycle from Universal Pictures, who made a fortune trying to frighten audiences with monsters and murder. As with any production dangling at the end of a trend, "The Cat Creeps" doesn't have the benefit of time and money, with the "B" picture looking to slap together a short mystery for the masses, with genre elements muted at best. Director Erle C. Kenton ("The Ghost of Frankenstein," "House of Frankenstein") looks to keep things on the move, investing in snappy dialogue exchanges and a variety of tones, but as a chiller, this endeavor has no evil presence. Read the rest at Blu-ray.com

"Unicorn Wars" is a Spanish-French animated production about the eternal battle between teddy bears and their archenemies, unicorns. It sounds like a comedy, or perhaps a ready-made cult cinema title, but writer/director Alberto Vázquez takes the premise seriously, endeavoring to understand the price of war and the corruption of conflict with the picture, which is not intended for younger viewers. These teddy bears are ready to kill, amputate limps, expose their genitals, and curse, offering R-rated experiences for an audience ready to process the extremity found in the movie. "Unicorn Wars" isn't a particularly commanding viewing experience, but it does register with creative visuals, strong voice work, and commitment to the concept, with Vázquez marching forward with this decidedly violent and wholly bizarre feature. Read the rest at Blu-ray.com

Regional horror gets a hit of weirdness in 1988's "Curse of the Blue Lights," with co-writer/director John Henry Johnson trying to bring a monster mash to Pueblo, Colorado, cooking up a tale of ghouls looking to make a meal out of curious locals. Johnson is a little ambitious with his plot, but he's stuck with a small budget to help realize it, wisely investing in the wonders of makeup, with the production tightly focused on creating various enemies with grotesque appearances, including zombies and a malicious scarecrow. "Curse of the Blue Lights" doesn't win hearts and minds with pacing, as Johnson likes to keep the feature crawling along to best get the run time to a sellable 90 minutes. However, he occasionally scores with his B-movie moves, showcasing some amusing and periodically impressive creations from his crew, who really work hard to make sure the unreal side of the effort is memorable. Read the rest at Blu-ray.com

The ancient art of ninjitsu comes to rural Missouri in 1985's "Justice Ninja Style." It's a shot-on-video endeavor from director Parvin Tramel and star Ron D. White, with the latter hoping to demonstrate his love of martial arts and ninja mystery with the production, which pits a figure of the shadows on the case of a wrongly accused man desperate for a protector. It's the stuff of network television (reminiscent of "The Master" with Lee Van Cleef), but it remains B-movie entertainment, with White aiming to showcase his physical skills while the story deals with corrupt cops and a man on the run. It's not high art, but the production is attentive to pace and action, going beyond typical SOV lethargy to deliver something exciting to help distract from obvious technical and thespian limitations. Read the rest at Blu-ray.com

1985's "Climax" takes viewers to Atlantic City for a study of marital insecurity and carnal appetites featuring a variety of undersexed characters. It's not a comedy, but the material seems primed for some type of farce to breakout, as the story (a loose term here) deals with revolving partners in different beds, setting viewers up for a lively viewing experience highlighting iffy behaviors from odd people. However, "Climax" elects to go a little dark during the run time, with the endeavor more interested in detailing kinks and obsession, which basically throws a wet blanket over what becomes a half-baked tale of manipulation and revenge. Read the rest at Blu-ray.com

Marriage is a big dead end in terms of bedroom satisfaction in 1985's "Wet Dreams," with director Henri Pachard using relationship incompatibility to inspire a study of fantasy experienced by a handful of characters. There's limited story here, with a basic introduction into a bad relationship soon transformed into a series of sexual encounters with heightened circumstances, tracking the growing confidence of a woman who can't get much out of her husband, but can tour all sorts of sensual encounters just by dreaming it up. Read the rest at Blu-ray.com

Dennis Hopper was in a strange place during the 1980s. An actor and director who helped to change the course of the film industry with his work on 1968's "Easy Rider," Hopper gradually rode such fame into the ground, embarking on a longstanding battle with alcohol and other vices, sending him on a weird creative path where he worked with top directors (including Francis Ford Coppola, Sam Peckinpah, and Robert Altman) and participated in various B-movies. A plan towards sobriety really returned Hopper to the mainstream, working on himself while offering memorable turns in "Hoosiers" and "Blue Velvet," making himself known to the business in a different way. 1990's "Flashback" is representative of the new Dennis Hopper, with the thespian clearly inspired to work on a studio picture, perfectly cast as an aging countercultural figure reconnecting with his past, dealing with all the baggage involved in such self-reflection. If Hopper had a tail, it would be wagging throughout the feature, delivering an energetic performance that mixes elements of his past with traditional servings of action and comedy, handed a decent scene partner in co-star Kiefer Sutherland. It's difficult to imagine what "Flashback" would've been without Hopper's participation, as he's working hard to make the material work, adding something special to an endeavor that's engaging, but needs his energy to work through some lazy screenwriting from David Loughery (who would go on to disappoint with rough scripts for "Fatale," "Nurse," "The Intruder," and "Shattered"). Read the rest at Blu-ray.com

There was a weird, unsettled vibe to the world as the year 2000 approached, and Hollywood was ready to exploit it, trying to cash in on the unknowns of the Y2K experience, turning to the ways of Heaven and Hell to do so. There was a brief uptick in religious chillers, with 1999's "The Omega Code" and especially Arnold Schwarzenegger's "End of Days" hoping to deliver some unsettling big screen experiences for audiences potentially in the mood to bask in creepiness, watching the forces of good and evil duke it out for control of humanity. While a little late to the party, 2000's "Bless the Child" offers the same idea, with star Kim Basinger endeavoring to cash-in on her Oscar-winning performance in "L.A. Confidential," taking the lead on a chiller involving a special child and her potentially unholy position as Satanists and guardians battle for custody. "Bless the Child" hopes to summon a thunderous level of threat, but ridiculousness wins the war here, finding director Chuck Russell struggling to land even a single moment of genuine suspense and fear while the material grows increasingly ugly to hold attention. Read the rest at Blu-ray.com

"Crazy People" reportedly had some difficulties making it to the screen, with original star John Malkovich exiting the production after weeks of work, joined by co-star Michelle Pfeiffer, while writer Mitch Markowitz was eventually fired from what was meant to be his directorial debut. It's not an easy start for any feature, but this production was cursed, forcing producers to clean up the mess by hiring Tony Bill ("My Bodyguard") to take over as the helmer, while Dudley Moore was brought in to replace Malkovich, joined by co-star Daryl Hannah. This feel of moviemaking panic creeps into "Crazy People," which takes a promising idea for a ripe farce about the world of advertising and slowly sands off all the rough edges, trying to bring warm feelings to an endeavor that should be served ice cold. There are laughs in the film, big ones too, but the whole offering comes across as half-baked, resembling a picture that once had a clear idea of what it wanted to be, only to change almost everything at the last minute, ending up an unsatisfying blend of tones and jokes. Read the rest at Blu-ray.com

There was an effort made in Hollywood to transform comedian Richard Pryor into a leading man during the 1980s. He was an actor for years, but there was something about the decade that inspired a push to make Pryor a major force in movies, including a high-profile co-starring role in "Superman III," and starring vehicles in "The Toy," "Brewster's Millions," and "Bustin' Loose." Some money was made, but his future as a bankable name didn't solidify, and not helping the cause was a gradual decline in creative quality, including 1987's "Critical Condition," which spent two weeks on top of the box office chart, but quickly faded from memory after its initial release. And there's a good reason for that, as the screenplay by Dennis and John Hamill doesn't flow smoothly, offering different tones and styles of comedy, which doesn't help to inspire laughs, and subplots are plentiful, making Pryor's practiced shtick as a Nervous Nellie seem especially forced on material that likely wasn't originally conceived as a showcase of the actor's screen abilities. "Critical Condition" is a non-starter all around, and while it's not without some charms, the picture doesn't have a special sense of mischief to land its humor. Read the rest at Blu-ray.com

Director John D. Lamond has been open about his inspiration for 1980's "Nightmares" (aka "Stage Fright"), using the screaming success of 1978's "Halloween" to support his concept for a horror endeavor, which follows a shattered young woman's entrance into the predatory ways of the theater scene. Lamond replicates John Carpenter's use of subjective camera sequences, hoping to bring a little Michael Myers magic to his take on slasher entertainment, with this killer making use of broken glass to dispatch various targets. "Nightmares" has the foundation to make something happen with its display of theater-world egos and oversexed males, but Lamond doesn't have enough here to fill his run time, creating an empty directorial exercise that struggles to conjure any sort of scary business. Read the rest at Blu-ray.com

Just over a decade ago, "Magic Mike" rolled into theaters offering a boisterous time to excitable viewers interested in the seductive moves of male strippers, with writer Reid Carolin hoping to support all the gyrating with a sobering look at the personal problems facing the characters. The movie was modestly budgeted and turned into a major hit, giving star Channing Tatum and director Steven Soderbergh a shot at creating a most unlikely franchise. Audiences were a little less interested in 2015's meandering "Magic Mike XXL," but Tatum has managed to make a major business out of this underlit world, overseeing the creation a stage musical and even a reality T.V. show, and now he's ready to return to shirtless, Blue Steel duty with "Magic Mike's Last Dance." Soderbergh and Tatum attempt to turn away from uninspired pranks and general aimlessness with the second sequel, now on the hunt for a "let's put on a show!" vibe with this take on the formation of a stripper-heavy theatrical production, hoping to merge some major physical artistry with grind-happy sequences in what's easily the best installment of this oddball trilogy. Read the rest at Blu-ray.com

When "Envy" was shot in 2002, the project seemed to be a comedy dream come true. There was Ben Stiller, who was riding high on his massive success with "Meet the Parents," also reaching pop culture prominence with "Zoolander," which would go on to become a big deal after debuting mere weeks after the 9/11 terrorist attacks. Stiller's co-star, Jack Black, was working his way up the industry ladder, achieving great notices for his supporting turn in "High Fidelity," turned into a leading man for "Shallow Hal." Things were happening for him, including musical triumphs with his band, Tenacious D. Director Barry Levinson wasn't exactly hot property two decades ago, stuck in movie jail after wiping out with box office busts such as "Sphere" and "Bandits," but the helmer's filmography certainly encountered greatness before, with "Rain Man" and "Good Morning, Vietnam" becoming huge hits during their release years. The package was mighty, joined by "Saturday Night Live" performer Amy Poehler, "The Mummy" actress Rachel Weisz, and habitual kook Christopher Walken. And yet, "Envy" is as close to a wipeout as a picture gets. It's not a disaster or slapped together without care, it just simply doesn't work, offering a bizarre viewing experience where talented performers are stuck with DOA material, while the director tries to generate a farcical tone, but fails to acquire any sort of momentum or inspiration to make funny moments happen. The endeavor just falls asleep as soon as it begins. Read the rest at Blu-ray.com

When "Birdemic: Shock and Terror" was released in 2010, viewers laughed. It was a particularly inept filmmaking endeavor from writer/director James Nguyen, who seemed to have no idea how awful a movie he was making, marching forward with a tale of a bird attack in Half Moon Bay, California, utilizing some of the worst helming instincts imaginable. Cult film fans ate it up, and Nguyen returned to the scene of the crime with 2013's "Birdemic: The Resurrection," where he achieved some level of self-awareness, trying to recapture the vibe of the first installment while leaning into expanding ridiculousness with a larger budget and fan support. Viewers didn't laugh. Ten years later, Nguyen returns to quite possibly his only source of income with "Birdemic 3: Sea Eagle," which basically rehashes "Shock and Terror," only this time around, the helmer is absolutely determined to establish the climate change message of the series, asking viewers to sit through an hour(!) of exposition, speeches, stillness, and Hitchcock appreciation before the birds return to attack humans. Viewers won't laugh. Read the rest at Blu-ray.com

The key to 2010's "Birdemic: Shock and Terror" was its sincerity. It was a genuinely awful feature from an enormously incompetent filmmaker, a man who thought he could match his idol Alfred Hitchcock in the suspense department, only to make a mind-numbingly tedious, technically disastrous picture about global warming, attacking birds, and young people dealing with vaguely defined vocational triumphs. Of course, it was hilarious to watch, leaning into every last creative pothole writer/director James Nguyen created, encountering a movie that had absolutely no ambition beyond being a movie, and it often failed at that. Molded into a midnight madness phenomenon, sold on its badness, "Birdemic: Shock and Terror" transformed into something of a hit. And with any unexpected cinematic success comes a sequel, whether we want one or not. Read the rest at Blu-ray.com

As bad movies go, 2010's "Birdemic: Shock and Terror" basically came out of nowhere. Writer/director James Nguyen was a struggling filmmaker with a defined Hitchcock fetish, trying to make a career out of "romantic thrillers," channeling "Vertigo" with 2003's "Julie and Jack," somehow acquiring the acting services of Tippi Hedren in the process. The helmer turns to "The Birds" to inspire the violence of "Birdemic," but Nguyen's love of cinema doesn't translate to filmmaking competence, emerging with…well, whatever "Birdemic" is. It's not a fright feature, with attempts to scare viewers with deadly avian attacks using mid-'90s computer effects always ineffective. It's not a heartwarming study of new love, as the acting is amateurish, with the performers struggling to express a single human emotion during the run time. The effort is one huge question mark of intent and execution, with Nguyen aiming to be sincere with his offering of a climate crisis-minded romantic picture with a large body count, adding his bizarre vision to the hall of fame of goofball endeavors. Read the rest at Blu-ray.com

Zalman King was once a young actor trying to build a career in Hollywood, finding his way into television work, eventually graduating to features, including roles in 1977's "Blue Sunshine" and 1981's "Galaxy of Terror." King wasn't a remarkable performer, with career opportunities eventually drying up. A move behind the camera changed everything for him, taking on directorial duties for 1988's "Two Moon Junction," allowed to indulge his interest in erotic entertainment. The effort found its audience on VHS, where it became a staple of mom-and-pop video store selections, giving King an opportunity to keep working the system, returning to a similar study of distress and undress in 1989's "Wild Orchid," which enjoyed tremendous publicity due to the possible all-too-real heat generated between stars Mickey Rourke and Carre Otis, creating another picture perfectly suited for the rental market and late-night cable enjoyment. It was another green light for King's creative wheelhouse, and he jumps right back into the thick of sensual distress with 1991's "Wild Orchid 2: Blue Movie Blue" (aka "Wild Orchid II: Two Shades of Blue"), which carries a head-turning title, but actually has nothing to do with the 1989 endeavor, as King, who returns to write and direct, seeks a new screen adventure featuring an impressionable young woman and the world of predatory men she inhabits. "Wild Orchid 2" isn't a bold leap forward in imagination from King, who mostly rests on his laurels here, once again giving viewers an uneasy mixture of heated encounters and sexual violence, trying to craft a soap opera to give what's basically an exploitation offering some softness, helping the audience digest a story that's quick to dive into unpleasantness. Read the rest at Blu-ray.com

Brandon Cronenberg hasn't been shy about following filmmaking interests associated with his father, David, with the pair looking to tackle societal and emotional issues through surreal storytelling and violence. With 2012's "Antiviral" and 2020's "Possessor," Cronenberg did a wonderful job establishing himself as a helmer to watch, figuring out his own way with tales of diseased minds and severe consequences. With "Infinity Pool," Cronenberg comes dangerously close to self-parody, once again exploring a hazy world of human corruption, only without a sharper sense of storytelling that made his first two endeavors quite memorable. Read the rest at Blu-ray.com

1993's "The Flesh Merchant" is a strange blend of a T.V. cop show and fetish video. Director Mike Tristano and screenwriter Steve Jarvis look to make their own version of a police adventure with the picture, which follows the focus of two detectives on the hunt for a human trafficker who's made things personal, pitting the might of the LAPD against the brutality of goons trying to sell young women around the world. There's a big "been there, done that" vibe to the shot-on-video feature, with Tristano bringing nothing even remotely new to the supercop experience, content to rely on the same old stuff, found most frequently on network television. What's slightly different here is violence, as the helmer takes his time with brutality involving female characters, really lingering on suffering and humiliation in a way that suggests Tristano has some gender issues he needs to work out with a therapist. Promoted as exploitation, "The Flesh Merchant" is dreary and inert, in need of a much tighter edit and less focus on extended sequences of misery, which sucks all the potential bottom-shelf fun out of the endeavor. Read the rest at Blu-ray.com