After experiencing a creative flame-out with 1985's "Avenging Angel," co-writer/director Robert Vincent O'Neil taps out of the franchise for 1988's "Angel III: The Final Chapter," replaced by Tom DeSimone, who brings his experience in the adult film business to the B-movie needs of the third Angel adventure. Any trace of L.A. grime has been wiped away for the second sequel, which delivers a flashier, shiner descent into the horrors of sexual exploitation, never straying far from formula. Read the rest at Blu-ray.com

In January, 1984, New World Pictures released "Angel." Not expecting much from the feature, it turned out to be a minor hit for the company and wildly profitable for its producer, Sandy Howard, who wanted a sequel right away. Exactly 12 months later, "Avenging Angel" was hurled into cinemas, with returning screenwriters Joseph Michael Cala and Robert Vincent O'Neil (who directs once again) tasked with recapturing the same box office levels, only without the same type of movie, inching the franchise toward actioner interests, while losing star Donna Wilkes, replaced here with Betsy Russell. "Angel" went to dark psychological spaces, laboring to avoid becoming just another sexploitation romp in a saturated marketplace. "Avenging Angel" is quick to become junk food, turning the main character into a Pam Grier type as the series quickly becomes traditional VHS fodder. Read the rest at Blu-ray.com

Sexploitation goes kind of sad in 1984's "Angel," which was marketed brilliantly by the folks at New World Pictures, promising audiences a sleazy endeavor tracking the daily life of a "High School Honor Student by Day, Hollywood Hooker by Night." It's quite the come-on, but the screenplay by Joseph Michael Cala and Robert Vincent O'Neil (who also directs) isn't interested in providing cheap thrills with this chiller. It's grittier than it initially appears, with "Angel" concentrating on the suspense of a serial killer story, but also the weariness of the titular character's life as she tries to keep her head above water. There's a certain level of realism to go with B-movie activity, which doesn't exactly welcome viewers to what's truly an incredible downer, but it does make the endeavor compelling to certain extent. Read the rest at Blu-ray.com

Throughout the 1980s and '90s, Peter Berg was a character actor trying to make his way through the industry, acquiring supporting roles and finding success as a cast member on the television series, "Chicago Hope." However, his real dream was to be a director, making his feature-length filmmaking debut with 1998's "Very Bad Things," also claiming credit for the screenplay. While often playing mild men as a thespian, Berg goes hog- wild as a helmer, creating a black comedy with profound depths of bad behavior, always trying to find the darkly humorous potential of characters engaged in destructive antics that involve multiple murders. Berg unleashes his id with "Very Bad Things," trying to make a distinct impression with a manic effort that's not short on macabre incidents, but remains laugh-free as it lovingly details ugliness. Read the rest at Blu-ray.com

Satan was the new black in the 1970s, and Hammer Films wasn't about to let such a trend get away from them without a distinct cinematic offering. "To the Devil a Daughter" is an adaptation of a Dennis Wheatley novel, pitting a writer against forces of evil who want to have their way with a teenage girl. While Hammer is trying to compete with "The Exorcist" and its numerous rip-offs, they also try to play up their particular brand of British horror, with director Peter Sykes in charge of restrained emotions and eerie encounters, bringing in studio legend Christopher Lee to make some macabre magic for the then-ailing company. Unfortunately, there's not enough shock value in "To the Devil a Daughter," which definitely has select moments of superb illness and tension, but also comes across incomplete, watching as a complicated story involving rebirth, protection, sacrifice, and temptation slowly marches toward a rushed ending that isn't the least bit satisfying. The greatest trick the Devil even pulled was convincing Hammer to enter production without a finished screenplay. Read the rest at Blu-ray.com

The idea behind 1991's "Mom" is a good one, with writer/director Patrick Rand (credited as an editor on "Bill & Ted's Excellent Adventure") attempting to make a monster movie with a sympathetic creature, turning a loving matriarch into an unwilling, but bloodthirsty menace. It's one thing to feel bad for Frankenstein's Monster, who was born into a world of pain and confusion, but here the villain is dear old mama, with the screenplay exploring how such a tender force of good is transformed into a big problem for her profoundly disturbed son. Read the rest at Blu-ray.com

1987's "Hotel Colonial" is a forgotten film with known stars, sucked into the black hole of obscurity for features that just weren't strong enough to stand the test of time. It's not a particularly strong endeavor, with co-writer/director Cinzia Th. Torrini lacking an appreciation for pace and tense dramatics, but she's pretty good with oddity, making room for several bewildering moments that should rightfully attract fans of moviemaking strangeness in international offerings. It's not every day a picture comes along offering the sight of Robert Duvall in a blonde wig wrestling a python. There's a cult classic in here somewhere. Read the rest at Blu-ray.com

Armed with $5,000 and two days to make a movie, and director Bob Chinn comes up with "Disco Lady," which tries to provide something dramatically satisfying for the viewing audience, but remains far more confident with bedroom encounters. Well, not exactly bedrooms, as most of the feature delivers sexual encounters in bathrooms and stock rooms, finding Chinn trying to make the most of what he's got. It's not the most inviting scenery, but the helmer is basically making the picture for lunch money, finding whatever corner and gently used mattress he can to get the job done. Read the rest at Blu-ray.com

Director Bob Chinn goes cheeky with 1977's "Hard Soap, Hard Soap," his take on network primetime comedies of the era. Instead of digging deep into the possibilities of satirizing such self-aware content, Chinn and writer John Thomas Chapman have an idea, but they don't develop it in full, aiming for something flatter with the picture, which is boosted by unexpectedly engaged performances, but lacks a defined funny bone. Read the rest at Blu-ray.com

1986's "Omega Syndrome" tries to keep actor Ken Wahl viable as an action star. While not without charm and leading man looks, Wahl is the reluctant hero in the picture, which is scripted by John Sharkey and transformed into something sellable by director Joseph Manduke, tasked with becoming an authoritative bruiser in a film that's not entirely interested in providing a violent thrill ride. "Omega Syndrome" has the "Taken" formula, with a father losing his daughter to kidnappers, forced for fight for her return, and there's a certain entertainment value in the clash between Wahl's hesitant force for justice and the neo-Nazi scum who make the mistake of taking his character's only child. It's a blunt feature, but certain elements of the writing hint at a more detailed assessment of good and evil, giving the endeavor interesting moments of psychological clarity and idiosyncrasy before it plunges back into the escapism of an Italian-produced B-movie unleashed on the back alleys and parking garages of Los Angeles. Read the rest at Blu-ray.com

While 1997's "G.I. Jane" nabbed all the headlines for its then-provocative story about a female struggling to make her mark in the male-dominated military, it's interesting to see 1986's "Opposing Force," which basically explores the same story. Granted, it's a less evolved saga of empowerment and pain, but screenwriter Linda J. Cowgill makes a valiant attempt to address the gender experience in the armed forces, creating a tale of a woman who wants to serve her country singled out by dismissive and predatory men. Because it was created in the 1980s, there's a defined vibe of exploitation to "Opposing Force," which isn't exactly taking a jeweler's loop to the equality issue, with director Eric Karson more interested in suffering and action as he tries to make B-movie with slightly elevated world awareness. Read the rest at Blu-ray.com

Virginal corruption is the primary goal of 1980's "Justine," with director Roberta Findlay creating an interesting mix of perversion and desire for the picture. Detailing the experiences of the titular teen orphan (Hillary Summers) as she's sent to live with her Uncle Steven (Ashley Moore), "Justine" uses the guise of dreamlike innocence to explore some kinky behaviors, with Findlay weaving something of a soft nightmare as Justine finds her way to satisfaction while enduring all sorts of aggressive situations. Read the rest at Blu-ray.com