I remember DEF BY TEMPTATION (1990) seeming like an important indie movie at the time. Robert Townsend and then Spike Lee had created this excitement around the new black cinema in the late ’80s. This one predates Matty Rich’s STRAIGHT OUT OF BROOKLYN by a month and John Singleton’s BOYZ N THE HOOD by a year, and represents the movement extending into the horror genre half a decade before Rusty Cundieff’s TALES FROM THE HOOD.
Writer-director-producer-actor James Bond III made his low budget story of a vampire in the dating scene in New York, with Troma coming in to give him finishing funds. So Lloyd Kaufman provides an introduction with some fun trivia on the crappily transferred 20th Anniversary Edition DVD, including that he had to take over as cinematographer for one of the climactic scenes. That’s notable because the rest of the movie is, as the credits say, “shot by Ernest Dickerson,” who was definitely hot shit because he’d already done THE BROTHER FROM ANOTHER PLANET, KRUSH GROOVE, SHE’S GOTTA HAVE IT, SCHOOL DAZE and DO THE RIGHT THING. (read the rest of this shit…)
FRIGHT NIGHT PART II came out three years later, in 1988. Part I‘s writer-director Tom Holland had moved on to CHILD’S PLAY, bringing Chris Sarandon with him. Makeup FX genius Steve Johnson was doing NIGHTMARE ON ELM STREET 4. It was the year of PUMPKINHEAD, HELLBOUND: HELLRAISER II, THE BLOB, THEY LIVE, MONKEY SHINES, MANIAC COP, THE SERPENT AND THE RAINBOW, PHANTASM II and PAPERHOUSE. Maybe the world didn’t feel the need to rehash FRIGHT NIGHT. But somebody was gonna do it, and they got William Ragsdale and Roddy McDowall to come back as Charley Brewster and Peter Vincent.
In the opening, a quick clip montage (as was the style in those days) and Charley’s narration recap what happened in the first film, only for him to then say that he imagined most of it. Yes, Jerry Dandridge was a serial killer, but “vampires aren’t real.” Charley says he’s returning to “the real world” after three years so I thought he’d been hospitalized, but I guess he just means he’s mentally returning to a world where monsters don’t exist. He says he’s worried he’ll run into Peter Vincent, which is weird because in the next scene he goes to visit him. (read the rest of this shit…)
I remember thinking FRIGHT NIGHT was pretty good in the ’80s, but honestly I was skeptical that it would hold up as well as its reputation. I should never have doubted! Writer and first time director Tom Holland (CHILD’S PLAY) revived the classical style of vampire tale for 1985, now souped up with some of the hallmarks of the era: quirky teen comedy, postmodernism/nostalgia, and most of all imaginative, gooey, wonderful creature effects. I was surprised by how much of that last one we get.
This is the age of home video and having a TV in your bedroom, so our teen protagonist Charley Brewster (William Ragsdale, ROAD HOUSE 2: LAST CALL, Justified) is very familiar with horror movies, having watched many of them as presented by the local horror host and former star of Hammer-esque vampire films Peter Vincent (Roddy McDowall, CLASS OF 1984 [which was written by Holland]). In the opening scene he’s got Vincent’s show “Fright Night” on in the background while he attempts to make out with his reluctant girlfriend Amy (Amanda Bearse, Married… with Children). Then he happens to look out his window and sees his new next door neighbor Jerry Dandridge (Jack Skellington himself, Chris Sarandon) getting it on with a woman who is found murdered the next day. After some spying Charley sees Jerry turn into a bat and have fangs and claws and suck blood, so he determines that Jerry is a vampire who is luring women to his house and killing them. For some reason nobody believes him. (read the rest of this shit…)
A RETURN TO SALEM’S LOT is Larry Cohen’s weirdo theatrically-released sort-of-sequel to Tobe Hooper’s TV mini-series of the Stephen King book. But really it just takes the location – the tiny town of Jerusalem’s Lot, Maine – and the idea of doing a vampire story there. It’s not the same vampire or the same type of vampire. It doesn’t connect, from what I remember. But I like that.
Joe Weber (Cohen’s muse Michael Moriarty) is an anthropologist working on a CANNIBAL HOLOCAUST type documentary when he finds he has to come home to look after his troublemaking teenage son Jeremy (one-time actor Ricky Addison Reed, who IMDb claims was cast to play Robin in Tim Burton’s BATMAN in scenes that were never filmed). Joe brings his son to the old, recently-inherited fixer-upper in his birth-town of Salem’s Lot (as some but not all abbreviate it). (read the rest of this shit…)
“You obviously do not know who you are fucking with!”
On one hand, it’s hard to believe that BLADE II was fifteen damn years ago. I mean – I reviewed it when it came out. And I’d already been around for a few years. Am I really that old? On the other hand, an awful lot has changed since the movie came out.
My actual ticket stub from opening night. Also my actual ticket stub from a week and a half later. I never figured out how the abandoned subtitle BLOODHUNT showed up on the tickets.
Let’s start with Wesley Snipes (“Blade”). He made a part 3, had a falling out with the writer, they made a Blade TV show without him, he got relegated to DTV, got busted for tax evasion, did time, got out, now is sort of back and still the Man and hopefully will achieve more greatness. Guillermo del Toro (director) became better known and beloved for his specific visual style and obsessions, was nominated for a best screenplay Oscar for PAN’S LABYRINTH, continued to alternate between Spanish language art films and Hollywood productions, but never did a for-hire gig again, unless you count THE HOBBIT, which he toiled on for a few years before quitting. David S. Goyer (writer) directed part 3, co-wrote Christopher Nolan’s DARK KNIGHT trilogy and went on to mastermind the DC movie universe, as if trying to earn the extreme hatred many comic fans had long held for him for some reason. Donnie Yen (martial arts choreographer, “Snowman”) had a huge career resurgence at home in Hong Kong, particularly with the IP MAN series, and recently finally had success in English language movies playing the best characters in ROGUE ONE and xXx: RETURN OF XANDER CAGE. Norman Reedus (“Scud”) also became a geek icon by playing Daryl on The Walking Dead, as did Ron Perlman (“Reinhardt”) by reteaming with del Toro to play Hellboy in two live action films and two animated (plus starring in many seasons of Sons of Anarchy). Luke Goss (“Jared Nomak”) was a former pop star from the boy band Bros who had been in a few movies. This breakthrough role led to playing the elf equivalent of Nomak in del Toro’s HELLBOY 2 and eventually being a frequent face of DTV, including starring as Frankenstein in DEATH RACE 2 and 3. Matt Schulze (“Chupa”) – okay, he didn’t become a big thing, but to me he’s an icon because he’s the villain in Seagal’s OUT OF REACH and Vince in THE FAST AND THE FURIOUS and FAST FIVE.
Maybe more notably than any of this, the techniques del Toro pioneered to combine live action stunts with animated doubles for super-powered fights and camera moves evolved into the modern style of comic book action (and blockbusters in general). His smart ways of adding digital effects to practical ones have also been influential. Getting a genuine visionary to do the sequel to a movie like BLADE is one of those things you always wish for as a movie fan but shouldn’t hold your breath for. This time you could’ve, though. It happened. (read the rest of this shit…)
“I remember everybody, kid. Most of ’em are dead.”
After finally watching STAKE LAND six years after the fact I looked it up on IMDb and was surprised to learn that they already made a sequel that just premiered on SyFy last week and was free on-demand through the 30th. Pretty good timing.
It’s directed by Dan Berk and Robert Olsen, who wrote the upcoming Dolph Lundgren picture DON’T KILL IT. Don’t worry. Part 1’s Jim Mickle did produce it along with Larry Fessenden’s Glass Eye Pix, and Nick Damici returns as screenwriter and starring as Mister, as does Connor Paolo as Martin. It’s not some bullshit TV exploitation of the title, it’s a legit sequel that they made and then must’ve gotten more money from SyFy than they would’ve going the normal VOD-then-video route. So more power to them.
(On the other hand, there seem to be virtually no reviews of it and not even poster art available online. Does anyone even know it came out?) (read the rest of this shit…)
I’m real late to figuring out that STAKE LAND is good. I mean, I saw good reviews in Fangoria or somewhere but, not being familiar with director Jim Mickle (COLD IN JULY, MULBERRY STREET) or co-writer/star Nick Damici at the time, I pictured a different type of low budget zombie-apocalypse-except-with-vampires-instead-of-zombies movie. I must’ve thought it would be something more poser-y, more SyFy-y, more guy-trying-to-be-Bruce-Campbell-or-somebody. I saw Damici with his sunglasses on the cover and imagined a regular guy overreaching in the badass department, when in fact he’s a great character actor being given proper respect as a lead badass without having to leave behind any of his actorly chops.
This is cheap but not at all cheesy. It’s artfully moody, takes place in a fully-realized post-apocalyptic world, is thoroughly grim and serious but not without its fantastical flourishes. It’s not one of those genre deconstructions that deconstructs out all the ingredients you paid for – it has cool monsters and gore. What it lacks in humor it makes up for in the warmth of strangers bonding, working together in a disaster and hoping for a promised land. It’s a good balance of THE ROAD with John Carpenter’s VAMPIRES. (read the rest of this shit…)
VAMPIRES is a cocky asshole of a horror-western strutting into John Carpenter’s filmography late, not giving a shit, rubbing everybody the wrong way. I’ve always dug it, though, and I think these days it’s more widely appreciated than it used to be.
The premise, taken from the novel Vampire$ by John Steakley, is that a team of vampire hunters funded by the Vatican travels the southwest tracking nests of vampires and exterminating them with professional grade equipment. James Woods (THE GETAWAY) plays the leader of the team, Jack Crow, maybe the only time he gets to be the leather-jacket-wearing asskicker. The Kurt Russell. The guy who struts around and shoots crossbows and punches people and never once wears a suit.
We see how their job works as the team raids a boarded up old house somewhere in the sunny desert, busting in like a SWAT team, sweeping it room by room to find the bloodsuckers, using a spear and pulley system to drag them out into the sunlight where they flare up and explode (all practical fire effects, from the looks of it). Montoya (Daniel Baldwin, KING OF THE ANTS, PAPARAZZI) mans the Jeep and winch, using a hunting knife to pull the charred skulls out of their kills and line them up on the hood as trophies. (read the rest of this shit…)
LIFEFORCE is a crazy fuckin movie, my third or fourth favorite from director Tobe Hooper. Three years after POLTERGEIST and one before THE TEXAS CHAINSAW MASSACRE 2 he made this distinctly weird but effective sci-fi horror film, his first of three Golan and Globus productions.
Based on a 1976 novel called Space Vampires by Colin Wilson, it is about exactly that. Astronauts on a British space shuttle mission to study Halley’s Comet find themselves landing on a weird flower-shaped object and discovering hundreds (maybe thousands) of dessicated corpses of giant space bats. But also they find three naked humanoids hibernating in glass cases, much like the underwear girls behind the front desk at the Standard Hotel.
Most people, including myself, sometimes refer to this as NAKED SPACE VAMPIRES. But another good title would be DON’T BRING SHIT BACK FROM SPACE. But this is a momentous discovery, so understandably the astronauts want to get some samples, including all three of the humanoids. And I don’t want to give anything away so I will just say it is possible that they will come to Earth and scientists will have many great breakthroughs from studying them and there will be numerous benefits for mankind. That is one possibility. (read the rest of this shit…)
THE NIGHT FLIER has a premise that could only really come from a Stephen King short story: a vampire (Michael H. Moss, ROBOCOP 3) – old school, with a Dracula cape and everything – pilots a small plane, and goes around to different small airports drinking people’s blood.
The protagonist is Richard Dees (Miguel Ferrer, ROBOCOP) the star asshole at a shitty tabloid that seems to be a cross between The Weekly World News, TMZ and A Current Affair with a more sick and bloodthirsty edge, as well as an apparent belief in the tall tales they’re selling. He’s introduced checking the new issue, seeing it doesn’t have the photo he wanted, and yelling “WHERE’S MY GOD DAMN DEAD BABY!?” So he’s a purist about his scumbaggery. (read the rest of this shit…)
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I remember DEF BY TEMPTATION (1990) seeming like an important indie movie at the time. Robert Townsend and then Spike Lee had created this excitement around the new black cinema in the late ’80s. This one predates Matty Rich’s STRAIGHT OUT OF BROOKLYN by a month and John Singleton’s BOYZ N THE HOOD by a year, and represents the movement extending into the horror genre half a decade before Rusty Cundieff’s TALES FROM THE HOOD.
FRIGHT NIGHT PART II came out three years later, in 1988. 
I remember thinking FRIGHT NIGHT was pretty good in the ’80s, but honestly I was skeptical that it would hold up as well as its reputation. I should never have doubted! Writer and first time director Tom Holland (
A RETURN TO SALEM’S LOT is Larry Cohen’s weirdo theatrically-released sort-of-sequel to Tobe Hooper’s TV mini-series of the Stephen King book. But really it just takes the location – the tiny town of Jerusalem’s Lot, Maine – and the idea of doing a vampire story there. It’s not the same vampire or the same type of vampire. It doesn’t connect, from what I remember. But I like that.
“You obviously do not know who you are 
“I remember everybody, kid. Most of ’em are dead.”
I’m real late to figuring out that STAKE LAND is good. I mean, I saw good reviews in 
VAMPIRES is a cocky asshole of a horror-western strutting into John Carpenter’s filmography late, not giving a shit, rubbing everybody the wrong way. I’ve always dug it, though, and I think these days it’s more widely appreciated than it used to be.
LIFEFORCE is a crazy fuckin movie, my third or fourth favorite from director Tobe Hooper. Three years after 
THE NIGHT FLIER has a premise that could only really come from a Stephen King short story: a vampire (Michael H. Moss, 
