Remember all the old Roger Corman flicks, where he had some money, props, locations and actors left over from a recently wrapped movie, and he or someone working with him dashed off a quick script to take advantage of the opportunity? Well, SPELLCASTER plays just like one of those...except that producer Charles Band forgot one important ingredient...a storyline that would actually make it entertaining and watchable! You would think that by having a script co-written by Ed Naha (DOLLS) and Dennis Paoli (RE-ANIMATOR, FROM BEYOND), it would've turned out better than it actually did, and maybe the script WAS good. But what's on the page doesn't necessarily make it to the screen, and boy, does it really show here. This was one of those few Empire Pictures movies I didn't catch up to back in the Eighties, and now I can see why. Subconsciously, I must've known it was better to stay away.
Former NYPD BLUE cast member Gail O'Grady was getting her start here, as one of a group of "lucky winners" of a contest sponsored by a rock music channel (think a really low-budget MTV). The prize is getting flown to an ancient castle in Italy, (actually Empire's chief location back then, where many of the films were made), to meet top pop star Cassandra Castle (DOLLS' Bunty Bailey), and participate in a scavenger hunt for a check worth $1 million. The castle, of course, belongs to the mysterious and elusive "Signor Diablo" (Adam Ant), which automatically should tell you that Really Bad Things are about to happen.
Yep. Bad acting, bad direction and ridiculously bad editing. O'Grady and Bailey are probably the two most watchable performers in this whole mess. I'd make it three including Adam Ant, but he doesn't even show up till near the end of the third reel.
The most interesting and fun things about SPELLCASTER are the title and the opening sequence, when Bailey does a music video as Castle that's every bit as engagingly cheesy as the vids you used to see on MTV back in its infancy. After that, folks, it's all downhill from there, as you watch the usual horror stereotypes, (tarty French girl, slutty American floozy, sleazy Italian gigolo punk, fat, greasy, junk-food-eating loser, etc.) fall victim to the best special effects work that John Carl Buechler's MMI could come up with on a non-existent budget.
Fans of Empire's Eighties catalog may actually have fond memories of this movie. Personally, I do have the same sentiments about some of their flicks...but this definitely wasn't one of them.
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