halfadog
Lifetime Total
1+
IMDb Member
22 years
Reviews
Search for Vengeance (1984)
For those sleepless nights...
Z-grade Fillipino action flick about a cop named Vito who's out to get the gangsters who killed his wife. Standard revenge plot notable for referencing Robin Hood and Christ's cruxificion when it's not serving up crudely-edited shootouts and clunky martial arts. Some unintentional laughs for insomniac trash fans.
Simon, King of the Witches (1971)
Incoherent
What IS going on in this film? I dunno, but I kinda liked it. Andrew Prine (BARN OF THE NAKED DEAD) is a storm drain-dwelling modern-day warlock who uses his powers to do bad things. He becomes involved with the district attorney's daughter and low-life drug dealers. In one scene, he faces the QUEEN of the Witches. If you like '70s pseudo-witchcraft nonsense served with a nice dose of psychedelic visuals, incoherent plotting and some nudity, SIMON KING OF THE WITCHES might be well worth your time.
Date with a Kidnapper (1976)
A mini-exploitation-masterpiece
Don't go into KIDNAPPED COED expecting sleazy no-budget bad film ineptitude. Frederick R. Friedel's terse, bizarre, dream-like 76-minute kidnapping-gone-wrong programmer is something of a mini-exploitation-masterpiece. It plays more like an art film, with carefully-framed tracking shots and compositions, focused on building atmosphere and silence rather than action and dialogue, and all sorts of little touches that could only come from the hands of an accomplished auteur with imagination to spare, not a talentless hack. On the minus side, the ending kinda leaves you hanging and wanting for more, and Leslie Ann Rivers' co-ed character is less fleshed out or convincing than John Canon's mummy's boy kidnapper. Canon is like the poor man's Nic Nolte--lotsa facial tics and jittery acting, but it works. If KIDNAPPING COED treads creakingly familiar path, Friedel's innovative direction turns it into something else entirely and makes it worth treasuring as a hidden gem. Cinematographer Austin McKinney also shot Friedel's AXE, the trash classic THE LOVE BUTCHER and Jack Hill's PIT STOP.
The Darker Side of Terror (1979)
A demented little TV movie from the late '70s
THE DARKER SIDE OF TERROR stars Ray Milland and Robert Forster as two scientists tinkering with God's creation and getting more than bargained for. It's not a bad flick, good entertainment for a cold rainy night.
Professor Meredith (Milland) is a university genetics scientist who in his spare time hides out in an abandoned old science block on campus to further his cloning experiments. His best student, lecturer Paul Corwin (Forster)---who's frustrated from having lost his hard-earned promotion to a slimy colleague (David Sheiner)---becomes unwittingly involved in Meredith's latest project: he has stolen some of Corwin's blood cells from a bloodbank and started to create a clone of Corwin. He decides to accelerate the growth of the foetus and within days, there's another Corwin walking around. They quickly educate Corwin #2 through TV visuals and special tests, hoping that he will learn something and become a full-fledged human being. Unfortunately Corwin #2 occasionally gets a bung right eye, and has developed a mind of his own and wants out of the lab. Out in the real world, Corwin #2 doesn't quite know to control his feelings, especially when it comes to women.
Director Gus Trikonis (MOONSHINE COUNTY EXPRESS) brings a terse efficiency to the proceedings, as if counting down the demise of such a brash experiment as fast as its premature growth, and weaves many a tightly-directed suspense sequence to enliven anotherwise straightforward plot. Al (THE ISLAND OF DR. MOREAU, '77) Ramus's script is a cautionary tale warning us of the dangers of cloning, with riffs on FRANKENTSTEIN, but similarly delivers the exploitation goods. The ending may not please everyone but I found it an apt closure. The film isn't overtly scary, but the understated ambiguity of this final shot is quite disturbing, and sent a couple of chills down my spine. In terms of story and special effects, THE DARKER SIDE OF TERROR could be seen as a percursor to DEAD RINGERS. I was quite impressed with the split frames where both Corwin's are on-screen; the effect is mostly seamless, though at times the split is quite obvious.
Forster is surprisingly good in both roles as the man with something toprove to his peers and the monster who doesn't understand where he stands. He's a low-key presence, and carries the scenes where he has to play off himself. The clever editing helps, but even though he's not Jeremy Irons, Forster manages to be very convincing. Milland on the other hand is wooden, a borderline mad scientist, but more cranky than mad. Adrienne Barbeau (THE FOG) offers romantic support as Corwin's neglected wife, who thinks their marriage is improving when she beds Corwin #2. John Lehne sticks around as a cop to add suspense. Shot by Donald Morgan (CHRISTINE).
THE DARKER SIDE OF TERROR would make an entertaining double feature with Ralph Nelson's EMBRYO (1976).
Professor Meredith (Milland) is a university genetics scientist who in his spare time hides out in an abandoned old science block on campus to further his cloning experiments. His best student, lecturer Paul Corwin (Forster)---who's frustrated from having lost his hard-earned promotion to a slimy colleague (David Sheiner)---becomes unwittingly involved in Meredith's latest project: he has stolen some of Corwin's blood cells from a bloodbank and started to create a clone of Corwin. He decides to accelerate the growth of the foetus and within days, there's another Corwin walking around. They quickly educate Corwin #2 through TV visuals and special tests, hoping that he will learn something and become a full-fledged human being. Unfortunately Corwin #2 occasionally gets a bung right eye, and has developed a mind of his own and wants out of the lab. Out in the real world, Corwin #2 doesn't quite know to control his feelings, especially when it comes to women.
Director Gus Trikonis (MOONSHINE COUNTY EXPRESS) brings a terse efficiency to the proceedings, as if counting down the demise of such a brash experiment as fast as its premature growth, and weaves many a tightly-directed suspense sequence to enliven anotherwise straightforward plot. Al (THE ISLAND OF DR. MOREAU, '77) Ramus's script is a cautionary tale warning us of the dangers of cloning, with riffs on FRANKENTSTEIN, but similarly delivers the exploitation goods. The ending may not please everyone but I found it an apt closure. The film isn't overtly scary, but the understated ambiguity of this final shot is quite disturbing, and sent a couple of chills down my spine. In terms of story and special effects, THE DARKER SIDE OF TERROR could be seen as a percursor to DEAD RINGERS. I was quite impressed with the split frames where both Corwin's are on-screen; the effect is mostly seamless, though at times the split is quite obvious.
Forster is surprisingly good in both roles as the man with something toprove to his peers and the monster who doesn't understand where he stands. He's a low-key presence, and carries the scenes where he has to play off himself. The clever editing helps, but even though he's not Jeremy Irons, Forster manages to be very convincing. Milland on the other hand is wooden, a borderline mad scientist, but more cranky than mad. Adrienne Barbeau (THE FOG) offers romantic support as Corwin's neglected wife, who thinks their marriage is improving when she beds Corwin #2. John Lehne sticks around as a cop to add suspense. Shot by Donald Morgan (CHRISTINE).
THE DARKER SIDE OF TERROR would make an entertaining double feature with Ralph Nelson's EMBRYO (1976).