Without Warning (1980) – Blu-ray + DVD Combo Pack

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***/**** Image B- Sound B+ Extras A-
starring Jack Palance, Martin Landau, Tarah Nutter, Christopher S. Nelson
written by Lyn Freeman, Daniel Grodnik, Ben Nett, Steve Mathis
directed by Greydon Clark

by Bill Chambers A slasher movie in spirit, Greydon Clark’s Without Warning sure opens like one, in that some cannon fodder is swiftly dispatched to establish the bogeyman and the threat he represents. But instead of the typical frisky coeds or vacationing couple, the first victims are a father (Cameron Mitchell) and his adult son (Darby Hinton) on a hunting trip, and their dialogue is freighted with an impressive amount of history and subtext. The son is rudely awakened at the crack of dawn by his angry father; he proceeds to criticize the taste of the local water, which the father stubbornly hears as girlish griping rather than the anvil it actually is. Though they’re archetypal opposites (the Great Santini and his sensitive offspring), the son does try to call a truce of sorts and is soundly, sadly rebuffed. The father’s macho anti-intellectualism–the boy brought books on a hunting trip!–makes theirs an unbridgeable generation gap, and there’s an unsettling moment where he trains his rifle on his son, sniper-style, before thinking the better of it. Then suddenly, the father is attacked by flesh-eating disks that burrow into his skin, and what can he do except cry out for his kid, who soon suffers the same tragic fate.

sex, lies, and videotape (1989) – Blu-ray Disc

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**½/**** Image A Sound B Extras C
starring James Spader, Andie MacDowell, Peter Gallagher, Laura San Giacomo
written and directed Steven Soderbergh

by Walter Chaw Appearing in 1989 at the very end of the blockbuster decade and on the cusp of a digital revolution, Steven Soderbergh's micro-budgeted sex, lies, and videotape heralded a doomed renaissance in independent film that would find it melded, ultimately and inseparably, with mainstream concerns. It posits that people only tell the truth when they're captured on celluloid–that when the video camera starts running, the assumption of roles begins. By the end of the '90s, precisely a decade later with American Beauty, there's another character with a video camera, but in that one, everything has turned: the lies are on film, and the truth is digital. (See also: Michael Almereyda's endlessly rewarding Hamlet (2000) and the still-incomparable The Blair Witch Project (1999).)

The Final Terror (1983) – Blu-ray + DVD Combo Pack

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*/**** Image B+ Sound B- Extras B+
starring John Friedrich, Rachel Ward, Adrian Zmed, Mark Metcalf
screenplay by Jon George & Neill Hicks and Ronald Shusett
directed by Andrew Davis

by Bryant Frazer Of all the lousy, Z-list horror films that flooded American multiplexes in the wake of the success of Friday the 13th, The Final Terror may have the most incongruously A-list IMDb profile page, which explains its failure to languish in well-deserved obscurity. It is exemplary of the 1980s horror boom as opportunistic folly–horror movies were being made by people who had no interest in making horror movies, simply because that’s where the easy money was. Horror buffs know this, but still, how can any self-respecting 21st-century genre cultist resist the siren call of a little-known slasher starring Rachel Ward, Daryl Hannah, Mark Metcalf, Adrian Zmed, and Joe Pantoliano and directed by Andrew Davis?

Deadly Eyes (1982) – Blu-ray + DVD Combo Pack

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Night Eyes
**/**** Image B+ Sound B- Extras B+
starring Sam Groom, Sara Botsford, Lisa Langlois, Scatman Crothers
screenplay by Charles Eglee, based on a screenplay by Lonon Smith and the novel The Rats by James Herbert
directed by Robert Clouse

by Bryant Frazer There's really only one thing you need to know about Deadly Eyes, and I'm going to tell you right here in the lede. Deadly Eyes is a film in which hordes of giant killer rats terrorizing downtown Toronto are played by dachshunds wearing rat costumes. That's it. A monster movie is only as good as its monster, and this monster is wiener dogs in drag. If you don't find that off-putting–perhaps you raised your eyebrows, gasped in delight, and leaned in a little closer to your computer screen upon reading those words–then it's quite possible Deadly Eyes is the terrible horror movie you've been waiting for.

Final Exam (1981) – Blu-ray Disc

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*½**** Image B- Sound B- Extras C
starring Cecile Bagdadi, Joel Rice, Ralph Brown, DeAnna Robbins
written and directed by Jimmy Huston

by Bryant Frazer Beware the toothless horror film–it’s no fun being gummed to death. That’s how you feel, more or less, by the climax of Final Exam, a low-budget Halloween knock-off crossed with a dopey frat-boy comedy. Written and directed by Jimmy Huston, who had made a series of southern-fried features for the drive-in circuit with North Carolina-based actor-producer Earl Owensby, Final Exam is a vintage programmer about a handful of students on a mostly-deserted college campus and a serial killer slicing his way through them, essentially at random.

Assassins/Cobra/The Specialist [Triple Feature] – Blu-ray Disc

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COBRA (1986)
*/**** Image C+ Sound C Extras D
starring Sylvester Stallone, Brigitte Nielsen, Reni Santoni, Andrew Robinson
screenplay by Sylvester Stallone, based on the novel Fair Game by Paula Gosling
directed by George P. Cosmatos

THE SPECIALIST (1994)
*/**** Image B+ Sound B+
starring Sylvester Stallone, Sharon Stone, James Woods, Eric Roberts
screenplay by Alexandra Seros
directed by Luis Llosa

ASSASSINS (1995)
*½/**** Image A- Sound B
starring Sylvester Stallone, Antonio Banderas, Julianne Moore, Anatoly Davydov
screenplay by Andy Wachowski & Larry Wachowski and Brian Helgeland
directed by Richard Donner

by Walter Chaw As easy as it is to dismiss Sylvester Stallone as your everyday, run-of-the-mill swinging dick, another in the pantheon of Eighties-into-Nineties box-office meatsticks assembled anew by Sly in his Expendables franchise, it becomes clear in retrospect that Stallone has his finger on the pulse of the zeitgeist in his most personal projects, if not always in his contract jobs. Although an obvious and atrocious failure whose Stallone-authored screenplay, the end-product of a series of rewrites Stallone took it upon himself to inflict on Beverly Hills Cop, Cobra manages still to deliver a few smart genre mash-up moments, a few topical reflections of late-'80s crime-wave paranoia. Sandwiched in there right between his second and third Rambo films and fourth and fifth Rockys, Cobra is the kind of vanity piece that appears now and again in Stallone's repertoire to distract attention away from all the other stuff that only looks like a vanity project. Stallone is sneaky in a very particular way. As a sociologist, intentional or not, he is absolutely brilliant, and just on the strength of his Rocky and Rambo pictures, he's managed as good a diary of the fears and hopes of the last twenty years as any other body of work from any other single artist. He's the Bruce Springsteen of popular cinema. Bruce produced a lot of crap, too.

Sleepaway Camp (1983) [Collector’s Edition] – Blu-ray + DVD Combo Pack

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**½/**** Image A- Sound A- Extras B+
starring Mike Kellin, Katherine Kamhi, Paul DeAngelo, Jonathan Tiersten
written and directed by Robert Hiltzik

by Bryant Frazer Ah, summer camp. Softball games, capture the flag, night-swimming, and life-changing boating accidents. Not to mention killer bees, child molesters, maniacs in the shower, and one kid with a whole lot of baggage, if you know what I mean. Sleepaway Camp is a slasher movie, and it depicts lakeside Camp Arawak as a pressure cooker of hormones and teenage flop sweat. Into this fetid milieu step Ricky and Angela, teenaged cousins united by tragedy: a boating accident that killed Angela’s parents and sibling some years earlier. Ricky (Jonathan Tiersten) might be a little awkward, but he just wants to fit in; Angela (Felissa Rose), meanwhile, seems downright disturbed, spending much of her time dead silent, staring down her fellow campers with a mournful, almost accusatory glare. Before long, some of those campers start dropping dead as surely as the flies that coat the glue strips dangling in Arawak’s kitchen. There’s a soup incident, a shower incident, and an incident involving a toilet stall and angry bees. There’s a bit of business with a curling iron that’s probably inappropriate in a movie starring underage actors. The slasher’s hands appear on screen, but do they belong to unhappy Angela? Overprotective Ricky? Or someone else entirely?

Evilspeak (1982) – Blu-ray Disc

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**/**** Image B Sound B Extras B
starring Clint Howard, R.G. Armstrong, Joseph Cortese, Claude Earl Jones
screenplay by Joseph Garofalo and Eric Weston
directed by Eric Weston

by Bryant Frazer Consider the pig. Pork is damned near a gourmet food these days. Celebrity chefs will serve you layers of pork belly wrapped around potatoes, figs, even pineapple. They'll dip bacon in chocolate, infuse it in vodka, or drape it across an ice-cream sundae, resplendent in its brown glory. Your local organic market probably sells artisanal bacon cured with dark, fine-grained muscovado imported from Mauritius and flavoured with angel farts and faerie dust. The recent cinema has also celebrated the pig, via two excellent Babe movies and a decent adaptation of Charlotte's Web. It wasn't always that way, though. No less an authority than God Himself went Old Testament on pork back in the day, and it took the famous and completely disingenuous "Pork: The Other White Meat" campaign to rehabilitate swine for the U.S. market. What I mean to say is that the 1982 horror movie Evilspeak, in which a trio of crazed, Satan-possessed porkers burst into a bathroom and disembowel a nude woman taking a shower, couldn't have done the humble pig's reputation any favours.

“Crocodile” Dundee (1986)|”Crocodile” Dundee II (1988) [Double Feature] – Blu-ray Disc

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“CROCODILE” DUNDEE
***/**** Image B- Sound C-
starring Paul Hogan, Linda Kozlowski, Mark Blum, John Meillon
screenplay by Paul Hogan, Ken Shadie and John Cornell
directed by Peter Faiman

“CROCODILE” DUNDEE II
½*/**** Image B Sound B Extras D
starring Paul Hogan, Linda Kozlowski, John Meillon, Hechter Ubarry
screenplay by Paul Hogan and Brett Hogan
directed by John Cornell

by Bill Chambers It’s possible that the monster success of “Crocodile” Dundee–a low-budget Australian import starring the international spokesman for Foster’s Lager and Australian tourism–seems like temporary mass hysteria these days. In America, the film was the second-biggest release of 1986 (after Top Gun), earning more than the combined grosses of eventual perennials Aliens and Ferris Bueller’s Day Off. Paul Hogan even won the Golden Globe for Best Actor in a Comedy or Musical. (The screenplay, co-written by Hogan, was, yes, nominated for an Oscar; Hannah and Her Sisters claimed the prize.) But in the years since, the term “Crocodile Dundee” has become derogatory shorthand for the outdoorsy Australian, and the notoriously generous IMDb voters currently have the movie at a Grinchy 6.5/10. It’s a film that has been curiously immune to ’80s/childhood nostalgia, as the tardy, Razzie-nominated second sequel either confirmed or guaranteed.

The Slumber Party Massacre Collection – DVD|The Slumber Party Massacre (1982) – Blu-ray Disc

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THE SLUMBER PARTY MASSACRE
(1982)

**½/****
DVD – Image C+ Sound C- Extras C+
BD – Image A- Sound B Extras C+

starring Michelle Michaels, Robin Stille, Michael Villella, Debra Deliso
screenplay by Rita Mae Brown
directed by Amy Jones

SLUMBER PARTY MASSACRE II (1987)
**½/**** Image C+ Sound C Extras A-
starring Crystal Bernard, Patrick Lowe, Kimberly McArthur, Atanas Ilitch
written and directed by Deborah Brock

SLUMBER PARTY MASSACRE III (1990)
*/**** Image C Sound C Extras A-
starring Keely Christian, Britain Frye, M.K. Harris, David Greenlee
screenplay by Catherine Cyran
directed by Sally Mattison

by Alex Jackson 1982’s The Slumber Party Massacre isn’t a film so much as a work of film criticism. It was produced and directed by Amy Holden Jones, perhaps better known today as the screenwriter of Mystic Pizza and Indecent Proposal, and written by established Lesbian Feminist poet and author Rita Mae Brown, who is perhaps best known for the 1973 book Rubyfruit Jungle, typically considered one the earliest coming-of-age lesbian novels.

Cat People (1982) [Collector’s Edition] – Blu-ray Disc

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***/**** Image B Sound B+ Extras B-
starring Nastassia Kinski, Malcolm McDowell, John Heard, Annette O’Toole
screenplay by Alan Ormsby, based on the story by DeWitt Bodeen
directed by Paul Schrader

by Bryant Frazer Amid the American horror boom of the late-1970s and early-1980s, when everything old was new again and once-dormant studio properties like Invasion of the Body Snatchers, The Thing from Another World, and The Fly were suddenly valuable franchises, the script for a remake of Cat People, one of the most subtle of all horror classics, somehow ended up on Paul Schrader’s desk. Why Schrader? Dumb luck, mostly. Certainly he had no great love for the source material, a 1942 horror film directed by Jacques Tourneur that Schrader famously (and charmlessly) claimed “isn’t that brilliant.” But he must have seen in the raw material the opportunity to make a deeply weird movie, one that fused a new mythology with a contemporary melodrama of fear, desire, and violence. The result is not just a personal expression of Schrader’s own sex-and-death preoccupations, but a sort of high-water mark for the quixotic attempt to meld visually sophisticated erotica with commercially savvy narrative storytelling.

Thief (1981) [The Criterion Collection] – Dual-Format Edition

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***/**** Image A Sound A Extras B+
starring James Caan, Tuesday Weld, Robert Prosky, Willie Nelson
screenplay by Michael Mann, based on the novel The Home Invaders by Frank Hohimer
directed by Michael Mann

“Look, I have run out of time. I have lost it all. So l cannot work fast enough to catch up, and l cannot run fast enough to catch up. And the only thing that catches me up is doin’ my magic act. But it ends, you know? It will end. When l got this, right there, it ends, it is over. So I am just asking you…to be with me.”
-Frank (James Caan), Thief (1981)

“I’m catching up. On life. Meeting someone like you.”
-John Dillinger (Johnny Depp), Public Enemies (2008)

by Bill Chambers SPOILER WARNING IN EFFECT. Like the historical Dillinger, the fictional Frank was just a punk kid overzealously punished for a petty crime by a judge looking to make an example of him. Instead, he created the man Frank is as Thief begins: a master safecracker, taught his trade in the joint by fellow convict Okla (Willie Nelson, heartbreaking). As Frank recounts in a mesmerizing monologue that Caan, for what it’s worth, has counted as his finest piece of screen acting, the other thing he learned in Joliet is how to create a forcefield around himself by disengaging from fear. It’s not Zen detachment that he’s mastered; a man of flashy tastes, he’s too much the materialist to live like Heat‘s ascetic Neil McCauley (Robert De Niro), whose Modernist house in the hills is all windows and no furniture. They are cut from the same cloth, though, in that they’re acutely aware of the temporariness of their stolen lifestyles and have no qualms about jumping ship to stay ahead of the enemy.

Saturn 3 (1980) – Blu-ray Disc

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**/**** Image A- Sound A- Extras B+
starring Kirk Douglas, Farrah Fawcett, Harvey Keitel
screenplay by Martin Amis
directed by Stanley Donen

by Bryant Frazer There are bad movies and there are tantalizingly bad movies, and Saturn 3 is the latter–the type of bad movie that tickles the imagination and demands an explanation. On first blush, there’s nothing unusual about it. Released in 1980, it was clearly trading on the post-Star Wars mania for sci-fi movies. The casting of Farrah Fawcett, at the time a big star, was a reasonable commercial gambit. And the release of Alien a year earlier certainly explained the idea of a monster movie set in space. If you look at the credits, you simply get a sense of older Hollywood types–director Stanley Donen, actor Kirk Douglas–striving to keep up with the prevailing trends.

But then you watch the movie, and you wonder: what the hell happened here?

Crawlspace (1986) – Blu-ray Disc

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**½/**** Image A- Sound B+ Extras B+
starring Klaus Kinski, Talia Balsam, Barbara Whinnery, Kenneth Robert Shippy
written and directed by David Schmoeller

by Bryant Frazer I’m pretty much on board with a horror movie about a creepy landlord who stalks his college-aged tenants, waging a low-level terror campaign against them by deliberately releasing pests into their living spaces. If he’s a sadist and a serial killer who keeps souvenirs of his victims (by which I mean body parts in jars), that just seems to go with the territory. If he’s also a hardcore Nazi sympathizer with a daddy fixation and a concentration-camp victim locked up in the attic, well, that sounds like it might be a little over the top. But if that creepy landlord-sadist-sociopath-Nazi is played by Klaus Kinski? Now you’re talking.

Night of the Comet (1984) [Collector’s Edition] – Blu-ray + DVD Combo Pack

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½*/**** Image C+ Sound C+ Extras B
starring Robert Beltran, Catherine Mary Stewart, Kelli Maroney, Geoffrey Lewis
written and directed by Thom Eberhardt

by Walter Chaw SPOILER WARNING IN EFFECT. There's a quote from the seventh season of "The Simpsons" that applies to the problem before us where Bart, happening on a "Schoolhouse Rock" thing and learning from Lisa that it's one of "those campy '70s throwbacks that appeals to Generation X-ers," says, "We need another Vietnam to thin out their ranks a little." If there were, and if it had, we might've avoided the current rage for hipsterism–if the Joss Whedons of the world (and David Cranes and so forth) had found themselves casualties in some hostile jungle setting, then would this current youth generation have adopted, ironically, that last generation, and would people like me at my tender age of 40 be fuelling demand for hale distribution/archival companies like Shout! to produce exhaustively-supplemented HiDef releases of garbage like Thom Eberhardt's excruciating Night of the Comet? Look, I'm not immune–I wrote an entire monograph (200+ pages, no kidding) on Steve De Jarnatt's Miracle Mile that, in my defense, was more memoir than anything else (or is that more disclaimer than defense?). Still, I'll proclaim to my grave that Miracle Mile has substance, while Night of the Comet has none. The first and greatest danger of nostalgia is that having grown up with certain artifacts, we treat them like family and tend to love them unconditionally, as family does. This affection doesn't mean that junior isn't a grinning idiot, however, because at least in this instance, he is. And I'm a strong believer that if one of your family members is a grinning idiot, it's actually your job not to inflict him or her on other people.

Ms. 45 (1981)

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Ms. .45
***½/****
starring Zoë Tamerlis, Bogey, Albert Sinkys, Darlene Stuto
screenplay N. G. St. John
directed by Abel Ferrara

by Walter Chaw SPOILER WARNING IN EFFECT. I first saw Abel Ferrara’s Ms. 45 the way I suspect most men my age saw it: furtively, in my bedroom, on VHS. It had about it that aura of skeeviness I spent a good portion of my time hunting for at the local video store. My nose for such things had been rewarded with likes of I Spit on Your Grave and The Last House on the Left, films that never failed to be prurient in their rape sequences, no matter their nods to subsequently avenging our fair, fairly defiled, maidens. What Ferrara presents with this, arguably his second-most notorious film (The Addiction is unbelievable, and still only available on VHS), is a rape-revenge tale that does nothing to de-feminize its heroine–rather correctly, powerfully, identifying that the loci of a woman’s power is indeed her sexuality, even as that sexuality draws the objectifying, dehumanizing gaze. It’s why, after all, so many fertility goddesses are also destroyers, isn’t it? There’s a moment in the third Terminator where the female Terminator, played by the already-intimidating Kristanna Loken, makes a decision to enlarge her breasts prior to confronting a male victim. If only the rest of that film were so wise.

Psycho II (1983) [Collector’s Edition] + Psycho III (1986) [Collector’s Edition] – Blu-ray Discs

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PSYCHO II
***½/**** Image B Sound B Extras B
starring Anthony Perkins, Vera Miles, Robert Loggia, Meg Tilly
screenplay by Tom Holland
directed by Richard Franklin

PSYCHO III
**/**** Image B+ Sound A- Extras B+
starring Anthony Perkins, Diana Scarwid, Jeff Fahey, Roberta Maxwell
screenplay by Charles Edward Pogue
directed by Anthony Perkins

by Bill Chambers SPOILER WARNING IN EFFECT. For a fool’s errand, Psycho II–a decades-belated, colour follow-up to a seminal black-and-white horror by a filmmaker whose mythical stature had only grown since his death–is nothing short of a miracle. The story goes that in the early-Eighties, when sequels were the new Gold Rush, Universal–who’d seen healthy returns on Jaws 2 and Smokey and the Bandit II–realized it had a sequelizable property in Psycho but intended to hedge their bets with a telefilm for the burgeoning cable market. When Anthony Perkins got wind of the project, he expressed an unanticipated interest in reprising the role of Norman Bates, having done so one time before in a warmly-received sketch on the first season of “Saturday Night Live”. Australian Richard Franklin, a USC graduate back in Hollywood to direct the picture, realized the studio could be shamed into releasing Psycho II theatrically were Perkins to star in it, and recruited The Beast Within screenwriter Tom Holland (who went on to give us Fright Night and Child’s Play) to craft a script the actor couldn’t resist. Once Perkins said “yes,” Universal begrudgingly bumped it up to a feature but still expected it to be made quickly and cheaply like the original–probably to the perverse delight of Hitchcock scholar Franklin, who prided himself on doing things the Master’s way all through production, going so far as to cameo in the film.

John Carpenter’s Prince of Darkness (1987) [Collector’s Edition] – Blu-ray Disc

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***½/**** Image B+ Sound A- Extras B+
starring Donald Pleasence, Lisa Blount, Victor Wong, Jameson Parker
screenplay by John Carpenter (as Martin Quatermass)
directed by John Carpenter

by Bryant Frazer The first of two low-budget films that John Carpenter wrote pseudonymously and directed in and around downtown Los Angeles in the late-1980s, John Carpenter’s Prince of Darkness is one of the creepiest movies ever made. Underrated at the time by critics who called it “cheesy” (Vincent Canby)1 and said “[it] stinks” (Richard Harrington), Prince of Darkness was clearly made fast and on the cheap, and it’s roughly-crafted by Carpenter standards. Still, it’s a triumph of mood. Filling out a mystery-of-the-ancient-artifact yarn with a cosmic-horror mythology, Prince of Darkness lives in a sweet spot between religious thriller and Satanic potboiler where science is the way, the truth, and the life, for better or worse.

Day of the Dead (1985) [Divimax] – DVD|[Collector’s Edition] – Blu-ray Disc

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****/****
DVD – Image A Sound A Extras A
BD – Image A Sound B Extras A
starring Lori Cardille, Terry Alexander, Joe Pilato, Richard Liberty
written and directed by George A. Romero

by Walter Chaw SPOILER WARNING IN EFFECT. Far from the weak sister that critics and fanboys have branded George Romero’s conclusion to his zombie trilogy, Day of the Dead is at once the most hopeful and the most melancholy of the trio while falling short of the stark satirical perfection of the first (Night of the Living Dead) and the bloated satirical imperfections of the perhaps over-celebrated second (Dawn of the Dead). In fact, I find Day to be the equal of Dawn in almost every way and to exceed it in terms of its alacrity–its relative tightness in the development of its ideas about the nature of man unfolding against the backdrop of a rise of a new society. The obvious precursor to the zombie mythos is the Christian faith, with its saviour a zombie installing a new order (covenant) and its key ritual dedicated to a celebration of the eating of the saviour’s flesh and blood: a literal consumption of the Host that incorporates into its rite terms of infection and contagion. In fact, Day of the Dead, of the three, seems the most serious in exploring that spiritual/thaumaturgical connection with the introduction of what is essentially a demigod–an offspring of thought and body in the same way that Christ was meant to be God made flesh in all its weakness–in the form of the much-reviled Bub (Howard Sherman).

Swamp Thing (1982) – Blu-ray + DVD Combo Pack

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**½/**** Image B- Sound A- Extras A-
starring Louis Jourdan, Adrienne Barbeau, Ray Wise, Dick Durock
written and directed by Wes Craven

by Bryant Frazer Do you find monster movies that revolve around damsels, décolletage, and men in phony rubber suits pathetic or endearing? If the latter, you may well find room in your heart for Swamp Thing, an old-fashioned creature feature that already seemed anachronous when it hoisted itself up out of the mud of early-1980s genre cinema. As movies like Alien, Altered States, and Scanners put a grim, often grotesque spin on ideas about biological transformation, Wes Craven–surely one of the grimmest of horror directors in the 1970s–embarked on a PG-rated fairytale about a gentle scientist whose own experimental chemicals turn him into a super-powered hulk made entirely of plant matter. As Craven’s contemporaries busied themselves with tales of human bodies rent asunder by sex, drugs, and the military-industrial complex, the director of Last House on the Left was making a story of tender love in the wilds of South Carolina, where a wound to the breast can be healed by a clump of swamp moss and a beast’s severed limb can regenerate through the judicious application of sunlight.