TRANCERS II: THE RETURN OF JACK DETH is a DTV sequel that came out in 1991, six years after the original TRANCERS, and four years after the at-that-time-unreleased anthology short TRANCERS: CITY OF LOST ANGELS. The cop from the future was now starting to be a relic of the past, like he’d always dreamed.
A new screenwriter, Jackson Barr (BODY CHEMISTRY, SUBSPECIES, ROBOT WARS, MANDROID) joins director Charles Band (PARASITE), but otherwise everybody is back. Tim Thomerson (between an episode of The Flash and an episode of Baywatch) is Jack Deth, the time traveling future cop now well established as an old-timey private eye in 1991 Los Angeles. Despite the subtitle he’s not returning from anywhere, he’s just sticking around in the same place. (And he beat BATMAN RETURNS to it by a year.) He’s married to Lena (Helen Hunt, a year before starting Mad About You) and they live in a mansion with Hap Ashby (Biff Manard, DESERT KICKBOXER), the former MLB player they saved from homelessness. In the intervening years Hap “made a pile of money” on “commodities speculation” and now collects firetrucks (?!).
The biggest tension in Jack and Lena’s relationship is that Lena wants them to buy their own house to settle down and have a kid in. Gone are her punk rock days. She wears bland ‘90s jeans and has regular-colored hair. She looks like Helen Hunt, actually. (read the rest of this shit…)
June 26, 1992
When they call the cops, officers Roy Cole (Roger E. Mosley, 
“Check the booty, yo it’s kinda soft an’ / If you touch it you’re livin in a coffin / I’m in the ‘90s, you’re still in the ‘80s, right / I rock the mic, they say I’m not ladylike”
On May 24, 1991 – exactly as the above-quoted song debuted on the Billboard charts at #87 – a parallel but more wide-reaching pop culture event arrived. Ridley Scott’s THELMA & LOUISE isn’t the type of movie we normally think of as a summer blockbuster, but it was a phenomenon arguably bigger than most of the t-shirt and Slurpee selling spectacles I love to document in these retrospectives. A surprise hit, an Oscar winner, a capturer of the zeitgeist, it inspired months of back-and-forth editorials and feature articles, and was soon declared a watershed moment for women in movies. A genuine cultural moment.
You may not know this, because I’ve worked really hard to keep it on the down low, but Tobe Hooper’s 
A couple years ago I was on one of my bi-annual TEXAS CHAIN SAW kicks, and that led me to track down another old Austin indie movie from 1983 called 
During my recent two-week TEXAS CHAINSAW binge I learned of the existence of this movie I’d never heard of before. It was written by Kim Henkel (co-writer of the original 
