Night of the Creeps (1986) Review

 

Alien parasites crash-land, turning hosts into reanimated corpses. Years later, college misfits Chris (Jason Lively) and J.C. (Steve Marshall) accidentally unleash them, forcing detective Cameron (Tom Atkins) and sorority girl Cynthia (Jill Whitlow) to fight the outbreak.

Written and directed by Fred Dekker, Night of the Creeps is a love letter to 50s B-movies and 80s horror, blending sci-fi, comedy, and zombie thrills. Dekker’s script is filled with sharp dialogue, genre homages, and a self-aware sense of fun, though the pacing isn’t always perfect. The film builds steadily but slows in places, yet it never loses its irresistible 80s charm. It has that all American high school horror vibe of the Night of the Comet (1984) Trick or Treat (1986) to name a few.

Tom Atkins steals every scene as the hard-boiled, shotgun-wielding detective haunted by his past, delivering some of the film’s best lines with grizzled intensity. Jason Lively is solid as the lead, but Steve Marshall’s J.C. arguably outshines him, injecting humor and heart into the film. Jill Whitlow’s Cynthia is more than just a love interest, getting a satisfying moment to shine in the climax in Aliens/ The Thing-like fashion. Small roles from genre favourites like Dick Miller as an armoury clerk and Suzanne Snyder as a sorority girl add extra appeal.

From the outset of the Alien inspired opening, also echoing Critters, the practical effects are impressive, including the creepy, squirming parasitic slugs. The zombie makeup holds up well, particularly in key moments of grotesque reanimation. While some effects show their age, the overall craftsmanship still delivers plenty of gory, B-movie fun.

The film has had two different endings since its original release—both have their own merits, though the director's cut is a grander, more ambitious choice.

Overall, a mix of horror and humour, Night of the Creeps is an underappreciated 80s cult classic. Even with some minor flaws, its practical effects, memorable characters, and quotable moments make it a must-watch for fans of the era’s horror.

The Evil Dead (1981) Review

 

Five friends head to a remote cabin in the woods, only to unwittingly unleash an ancient evil after discovering the mysterious Book of the Dead. 

Sam Raimi’s Evil Dead thrives on its raw, unpolished energy, turning its low-budget constraints into strengths. The grainy cinematography, eerie lighting, and relentless camerawork create a nightmarish atmosphere, while the isolated cabin setting heightens the film’s sense of dread. The inventive sound design, from guttural demonic growls to the unsettling creaks of the cabin, adds another layer of terror. Few horror films have delivered a moment as chilling as Betsy Baker’s as Linda possessed sing-song taunt, "We're going to get you!"—a line seared into horror history. And not forgetting Ash’s iconic cellar dwelling demon sister (Ellen Sandweiss)  Cheryl’s “Join us!”.

Bruce Campbell gives an early glimpse of his now-iconic horror persona, balancing vulnerability and intensity as Ash is pushed to his breaking point. Raimi’s direction is filled with ingenuity, using wild camera angles and kinetic movement to evoke a sense of relentless evil. Along with bags of blood The practical effects, from the grotesque stop-motion decay to the gory transformations, may be rough around the edges, but their sheer ambition and visceral impact remain effective. It put VHS horror infamously on the map.

Though later entries refined the formula, Evil Dead’s rawness is part of its lasting power. It’s a relentless, nightmarish descent into terror, a benchmark of independent horror filmmaking that still chills decades later.

Scream Blacula Scream (1973) Review

 

When a dying voodoo queen's successor is chosen, a vengeful rival resurrects Prince Mamuwalde through dark magic, unknowingly unleashing his bloodthirsty wrath once more.

Directed by Bob Kelljan, best known for Count Yorga, Vampire and The Return of Count Yorga, this sequel in terms of on-screen horror is possibly superior to Blackula, offering more style and dark humor but slightly less pulpy fun. Writers Joan Torres and Raymond Koenig, with help from Maurice Jules, deliver a more polished script, yet the pacing feels rushed, and the budget seems lower, with fewer locations-mostly confined to homes and small interiors. That said, it leans fully into its voodoo and black magic themes, adding a fresh layer to the horror.

William Marshall returns as Mamuwalde/Blackula, resurrected in a compelling novel way, again delivering an intense, brooding performance, exuding Shakespearean tragic menace and terrifying dignity. Pam Grier, a welcome addition, plays Lisa, a voodoo priestess caught between good and evil, her presence elevating the film with both strength and vulnerability. The cast a solid, Arnold Williams briefly appears.

Like the resurrection the climax is also original. The film also leans into classic horror elements, with hypnotic stares, eerie rituals, and more graphic, bloody violence than its predecessor. There are more vampires, offering a Night of the Living Dead, Last Man on Earth vibe. Scream Blacula Scream leans less into the overt Blaxploitation elements of its predecessor, focusing more on gothic horror.

Cinematographer Isidore Mankofsky and composer Bill Marx (theme tunes aside) create a moody, atmospheric experience, with stylish lighting and an ominous score heightening the film's gothic undertones.

While it lacks some of the original's lively energy, Scream Blacula Scream is a darker, more brooding, and bloodier take on the legend, still brimming with 70s charm.

Blacula (1972) Review

 

In 1780, African Prince Mamuwalde seeks Count Dracula’s help in ending the slave trade, only to be cursed and entombed as the undead. Awakening in 1970s Los Angeles, he stalks the city in search of his lost love’s reincarnation, leaving a trail of blood in his wake.  

Directed by William Crain, Blackula blends gothic horror with 70s Blaxploitation energy, opening with a Hammer-style sequence in Dracula’s castle before shifting to the neon-lit streets of L.A. The film benefits from real locations, grounding its supernatural horror in an authentic urban setting. William Marshall elevates the material with his commanding presence, bringing both menace and tragic depth to Mamuwalde, making him one of the more unique and layered cinematic vampires.  

The supporting cast shines, with Thalmus Rasulala as Dr. Gordon Thomas, a no-nonsense investigator determined to stop the killings, and Vonetta McGee as Tina, Mamuwalde’s reincarnated love, adding emotional weight to the story. Denise Nicholas plays Michelle, Gordon’s girlfriend, providing strong support. Even Charles Macaulay makes an impression as Count Dracula in his brief but pivotal role. Look out for a cameo from Elisha Cook Jr. as the hook-handed morgue attendant, adding a touch of eerie character to the film.  

Though its dated effects and budget constraints are apparent, they add to its retro charm rather than detract from it. The funky 70s score, moody atmosphere, and stylish cinematography create a unique vibe that still resonates. While not as frightening as it was upon release, Blackula remains a genre favourite, blending horror and Blaxploitation with unforgettable style.

Millennium (1989) Review

 

A routine plane crash investigation takes an unexpected turn when investigator Bill Smith (Kris Kristofferson) uncovers a shocking truth: time travelers from a dying future, led by the enigmatic Louise Baltimore (Cheryl Ladd), are secretly abducting people before disasters to save their species.

Directed by Michael Anderson (Logan's Run), Millennium is an ambitious blend of sci-fi, mystery, and romance. While some of the production values feel made-for-TV, certain effects and makeup hold up well. The film's strength lies in its leads-Kristofferson brings a rugged, world-weary charm, while Ladd is both captivating and vulnerable, adding emotional weight to the film's high-concept premise.

John Varley's screenplay, adapted from his own story, presents intriguing ideas about fate and paradoxes, though the pacing can be uneven.

Overall, despite its flaws, Millennium remains an engaging and thought-provoking sci-fi tale.

Trick or Treat (1986) Review

 

When high school outcast Eddie Weinbauer acquires a rare demo record, through backward masking, he unwittingly resurrects his heavy metal icon, rebellious rock star Sammi Curr, setting off a supernatural rampage.

Directed by Charles Martin Smith, and predating the lesser Black Roses and Rock 'n' Roll Nightmare, Trick or Treat blends rock ‘n’ roll rebellion with supernatural horror, leaning into the Satanic Panic era with campy charm. While the pacing and editing feel uneven, and the budget shows at times, the film compensates with strong atmosphere, memorable practical effects, and old-school optical effects that give the supernatural sequences a distinctive, eerie glow. The fiery finale delivers thrills, and the film’s mix of metal and horror creates a uniquely energetic vibe.  

With all the 80’s high school bullying, romance and teen angst shenanigans thrown in on the peripheral Marc Price’s Eddie makes for a likeable underdog, while Lisa Orgolini’s gets more to do than typical female horror characters, particularly in the action-heavy climax. Elaine Joyce is notable as Eddie’s Mother and Elise Richard’s’ gratuitous Genie leaves an impression. Tony Fields is perfectly cast as theatrical Sammi Curr, exuding sinister rockstar menace and could have done with a little more screen time. But less is debatably better than more. Cameos from Ozzy Osbourne as a pious televangelist and Gene Simmons as a grizzled DJ add extra fun for rock fans.  

Fastway’s soundtrack fuels the film’s pulse, with electrifying riffs and devilish lyrics that seamlessly tie into Rhet Topham‘s story. 

Overall, Despite its flaws, Trick or Treat thrives on its metal-fuelled energy, eerie visuals and effects, securing its place as a cult favourite in the rock horror sub-genre.

Challenge of the Tiger (1980) Review

 When a lethal biological weapon-a formula capable of sterilizing the world's male population-falls into the wrong hands, two elite agents embark on a globe-trotting mission to retrieve it.

Bruce Le as Huang Lung and Richard Harrison as Richard Cannon lead this wildly entertaining espionage thriller, packed with martial arts, gunplay, and absurd excess. Their quest takes them across the globe, culminating in high-energy showdowns with a nefarious drug cartel and a ruthless kung fu assassin. Competently directed by Bruce Le, who also stars, the film is among his most polished efforts. The action is sharply choreographed, with Le's dynamic rooftop duels and Harrison's Bond-esque (and Italian Poliziotteschi) gunplay standing out. The soundtrack is energetic, heightening the film's pulpy, comic-book tone. The on-location shoot across Hong Kong, Macau, Spain, and the Philippines adds atmosphere and weight.

The cast is stacked with genre regulars. Spanish actress Nadiuska, best known for playing Conan's mother in Conan the Barbarian (1982), brings glamour and charisma to the role of a seductive femme fatale. Jennifer Holmes, a protégé of Hwang Jang-Lee, plays another tough female lead, holding her own in a cast dominated by testosterone-fueled action. Even Morgan Fairchild makes an uncredited appearance.

Bolo Yeung, a familiar face in Bruceploitation and a veteran of Bruce Lee's Enter the Dragon (1973) and The Chinese Connection (Fist of Fury) (1972), appears as a formidable henchman. His powerful physique and brutal fighting style make him a memorable adversary for Le. Meanwhile, the film's main villain, Paul Chang Chung, known for roles in Shaw Brothers productions, appears alongside Josef Laufer, while the hulking Brad Harris plays the imposing henchman Leopard.

The film indulges in gratuitous nudity, often unnecessary but in line with the era's exploitation sensibilities. Despite its absurdity, Challenge of the Tiger is undeniably fun, with breathtaking locations, memorable fights, and an irresistible 80s action charm. It stands as one of Bruce Le's most polished and enjoyable films.

Alice, Sweet Alice (1976) Review

 

When young Karen is murdered during her First Communion, suspicion falls on her troubled sister, Alice . As more bodies appear, innocence and guilt blur in a world of religious paranoia and repressed rage.  

Alfred Sole’s second directorial effort is a little choppy with bumpy pacing but remains gripping. Echoing Don't Look Now and Hitchcock’s suspense, the film uses misdirection, voyeuristic camerawork, and shocking violence. The unsettling masks and Catholic iconography enhance its eerie, almost surreal tone.  Set in 1961 but steeped in a distinct ’70s atmosphere, Alice, Sweet Alice is a psychological horror-thriller blending Catholic guilt, family dysfunction, and masked terror. 

Paula Sheppard as Alice, though in her late teens, is convincingly childlike, balancing innocence and menace. Linda Miller and Niles McMaster add emotional weight, while Alfonso DeNoble steals scenes as a grotesque landlord. Brooke Shields brief debut appearance as Karen anchors the film and Miller delivers an underrated performance as her tormented mother. Both Rudolph Willrich as father Tom and Mildred Clinton as Mrs. Tredoni are notable. 

With shocks and twists despite its flaws, Alice, Sweet Alice is an underappreciated gem. Its suffocating tension, psychological depth, and haunting imagery make it a standout of ’70s horror.

Enter the Game of Death (1978) Review

 

A martial artist, Mr. Ang (Bruce Le), must battle spies and assassins while infiltrating a Japanese multi-level tower stronghold to recover secret documents.  

Directed by Lee Tso-nam (Exit the Dragon, Enter the Tiger, Fist of Fury II), the film blends espionage, revenge, and pulpy, comic book-style action. The solid opening stick fight impresses, but the talky midsection drags, worsened by an uncomfortable rape scene. The World War II plot, with China suspecting an invasion from Germany and Japan, adds historical interest. The soundtrack, oddly featuring music lifted from James Bond, King Kong (1976), and other films, adds to the film’s bizarre charm.  

Borrowing from Bruce Lee’s original Game of Death (1972) concept, the film replaces the missing artifact with stolen documents. The Game of Death-style tower is the highlight, with each floor featuring a unique guardian: a Shaolin monk with metal balls and butterfly swords, a snake-style master using live snakes and venom, a nunchaku expert skilled in karate, a Tiger-style fighter who attacks under red light, an elderly Shaolin master, and a brute using Bear-style kung fu. Despite their cartoonish nature, their distinct styles make for engaging fights.  

Though Bruce Le’s mannerisms border on parody, he has more charisma and screen presence than many Bruce Lee clones. His martial arts skills shine every time he dons the iconic yellow jumpsuit.  

Bolo Yeung, best known for Enter the Dragon and The Chinese Connection (Fist of Fury), delivers a standout sword-wielding duel. Yeo Su Jin (Lisa) makes an impression in an otherwise exaggerated action spectacle.  

Despite uneven pacing, bad dubbing and odd choices, Enter the Game of Death delivers thrilling tower fights, making it a worthwhile Bruceploitation entry.

Game of Death (1978) Review

 

Billy Lo (Bruce Lee), a rising martial arts star, is targeted by a ruthless syndicate that seeks to control him. After faking his death, he returns to take down his enemies, leading to a legendary multi-level pagoda showdown.

Directed by Robert Clouse, Game of Death is an infamous attempt to put Bruce Lee on screen one last time, although it’s far from its original story and vision. Despite its flawed execution—recycled footage, face cutouts,  awkward body doubles, and a disjointed plot—it delivers a thrilling climax that partially redeems the film. The pacing struggles, and Lee’s absence is poorly disguised, but the action remains compelling.  

The closing showdown, featuring Kareem Abdul-Jabbar, Dan Inosanto, and Ji Han-jae, is the film’s greatest strength. Each fight highlights Lee’s mastery, blending speed, philosophy, and adaptability.

While Game of Death is a compromised vision, it offers genuine moments of excitement. John Barry’s score adds tension, and supporting actors like Colleen Camp and Gig Young lend some weight to the story. Though far from Lee’s original intent, its finale ensures Game of Death is remembered more for its action and Lee’s now-iconic yellow-and-black striped jumpsuit than its shortcomings.